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Do you want subtitles for any video?
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[man] Hi, this is Mel Gibson here
to do the, uh, you know...

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Give you the wristwatch show on this.

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Kick back, open up a soft drink,
put your feet up.

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I'm here with Farhad Safinia,
co-writer,

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co-producer and, uh, all-around...

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I don't know. He was there.
He saw it happen. We were there.

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- [Safinia] We were.
- [Gibson] This was our baby, man.

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- If two men can have a baby.
- [Safinia] Don't! Please.

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[laughter]

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- [Gibson] Don't go there. OK.
- [Safinia] No.

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- Not for two hours anyway.
- [Gibson] No.

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- OK, we'll try and keep it clean.
- [Safinia] Yes.

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- [Gibson] You do the same.
- [Safinia] I shall.

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- [Gibson] Good. No, them, I mean, them.
- [Safinia] Oh, I see. [laughs]

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Do you wanna talk about how many times
it took us to get this shot right

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- 'cause this is all one single shot.
- [Gibson] Yeah. Got it. It's one shot.

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We had to get the tapir
to pop out right on cue.

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And, of course, he's a...
He's a dumb animal.

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Or maybe he's a smart animal,
but he's an animal.

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Not inclined to cooperate, but,
uh, he came right into the lens there.

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- It was amazing.
- [Safinia] Yeah.

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Tapirs are actually notoriously,
uh, shy, yeah.

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They're very afraid of things. And if
you frighten them and they start to run,

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you better get outta the way,
'cause they'll take everything with 'em.

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[Gibson] They'll go right
through your trees, animals, you know.

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[Safinia] They're heavily endangered,

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so we had to be very careful
with our particular one.

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[Gibson] He got treated better
than I did on this shoot.

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[Safinia laughs] He did, yeah.

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[Gibson] "More ice cream, Mr. Tapir?"
"Why, yes, thank you."

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People don't know what it is.
They think it's... What are they?

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- [Safinia] A pig?
- [Gibson] A pig they call it. But...

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- It's actually closer to being a horse.
- [Safinia] That's right.

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It sort of throws you off if
you don't know anything about the film.

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You don't know what era,
what time period you're watching and...

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- [Gibson] "Who are these guys?"
- [Safinia] Yeah, "Who are these guys?"

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[Gibson] "Why aren't
they wearing trousers?"

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[Safinia laughs] Yeah.

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[Gibson] And a tapir would've been
the... uh, the largest game animal

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in their forest, in their world, so...

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[Safinia] Because in Central America
in the period where the film is set,

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- there were no horses.
- [Gibson] No.

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[Safinia] Horses arrived
with conquistadors.

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[Gibson] Horses came on boats. Oh, boy.

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<i>[squealing]</i>

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- [Gibson] Sounds like a pig.
- [Safinia] It does, yeah.

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[laughter]

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[Gibson] 'Course, this was a puppet.

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[Safinia] Yes, it was.

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<i>[all laughing]</i>

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[Gibson] There's our guys.
Hand-chosen.

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[Safinia] For the bad teeth.
Right? That's what...

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[laughter]

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<i>[men whooping, laughing]</i>

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[Gibson] Prerequisite was they had
to have a terrible dentist and...

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[Safinia] These images, these were
the first shoot. This is the first day.

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- [Gibson] First day, yeah.
- [Safinia] Everybody was nervous.

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- [Gibson] Oh, yeah, all the guys.
- [Safinia] Yeah.

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[Gibson] First time in front
of a camera for most of 'em.

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[Safinia] We watched a lot of, uh...
a lot of, um, documentary footage

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of tribal people living
in forests and stuff

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just to try and get some of this right

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because they really wouldn't have
carted off the entire animal in its...

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In its original state. They would've
packaged it up to take it along

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with 'em wherever they're going.

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[Gibson] The other thing that
was important when we were writing

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was to create, I guess,

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an expected thing
of what might one think of as...

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As primitives on a hunt and then
to totally sort of go against the mood

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of what one would expect
and turn it into a practical joke.

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[Safinia] Right, particularly
in how they speak to each other.

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We wanted to stay clear of that
thing you see in films all the time

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with the whole honor
and speech stuff, you know.

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This was, uh,
very much colloquial and friendly.

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[Gibson] Making the guy
eat the tapir's balls.

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- [Safinia] Yeah.
- [Gibson] It's a big joke. It's...

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I guess it's their version
of television, you know.

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What was that show where they eat
horrible things? <i>Fear Factor?</i>

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[Safinia] <i>Fear Factor,</i> yeah.
This is <i>Fear Factor</i> circa 1502.

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- [Gibson]Yeah. <i>Mayan Fear Factor.</i>
- [Safinia] Yeah.

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- [Gibson] Mmm.
- [Safinia laughs]

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- [Gibson] That gets me. Oh!
- [Safinia] Me too. It's the squirt.

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[Gibson] I gotta say.

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<i>- [gagging]
- [laughter]</i>

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[Safinia] He was so good at that.

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[Gibson] Every time he gags,
it cracks me up.

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- [Safinia laughs]
- [Gibson] It's like a bear.

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[Safinia] One of the things that's
amazing is how everything's matched

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because we shot this sequence
over many, many days.

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And Dean's going hard
at work here trying to make...

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Because the forest,
the light's changing all the time.

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And you have the sunny hot spots
and the sort of darker spots,

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and he's making it match
into one sequence. It's well done.

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[Gibson] Yeah. Well, those guys
with those big scrims,

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Goose and those guys, they were
dragging scrims all over the place

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to block light.
So it was very time-consuming.

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'Cause where the light was coming from
was always very definite.

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[Safinia] That's right.

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[Gibson] But if you
don't notice it, that's OK.

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- [Safinia] That's right.
- [Gibson laughs]

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- Beautiful sometimes.
- [Safinia] Amazing. These shots...

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[Gibson] Backlit. Beautiful stuff.

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This is Genesis at its best sometimes
'cause of the way the light looks

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in the background.

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[Gibson] Probably a lot of this
was getting dark.

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- [Safinia] Yeah. Yeah.
- [Gibson] But look how it just pops.

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'Cause it shows you the sensitivity
to light that the stuff has,

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- and it doesn't blow it out.
- [Safinia] That's right.

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[Gibson] I mean,
even behind his head there.

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That's good. I mean, that
was almost full sun backlight coming in.

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[Safinia] Mm-hm.

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[Gibson] Both these guys are...
They're from the same tribe in Canada.

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- [Safinia] Yes, the Cree Nation, yeah.
- [Gibson] From the Cree Nation.

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Rudy and Raoul come from further south.
They're Native Americans.

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But the rest of the cast were
Mezzo-Americans or from Mexico

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- or Guatemala or from Central America.
- [Safinia] Right.

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[Safinia] I love what Morris
is doing here. He's...

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Once you've seen the film
and you know what he's up to...

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- [Gibson] He's just a beast.
- [Safinia] He's funny.

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The looks in his eyes
are just priceless.

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- [Gibson] You see him laughing...
- [laughing]

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[Gibson] "I can't
believe he believes this."

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[Safinia] Yeah, that's right. Yeah.

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[Safinia] This part,
giving him more leaves,

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you came up with that on the day.
It's just hilarious.

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[Safinia] Do you remember how that meat
smelled so bad on the set, yeah.

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- [Gibson] It was starting to get old.
- [Safinia] Yeah, it was. [laughs]

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[Gibson] I don't even know what it was.
I don't wanna know.

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[Safinia laughs]

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[Gibson] It was important that this
character be singled out at this point

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as someone a little more aware or more
sensitive to things than the others.

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[Safinia] Yeah.

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[Gibson] That's why he survives,
in a sense, is that he's just

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a little ahead of the game.
For some reason he has a sixth sense.

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[Safinia] That's right.

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[Gibson] That's what sets him apart.

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[Safinia] And also apart from us,
the viewing audience,

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because we can't see what he sees.

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- [Gibson] No.
- [Safinia] And...

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It's that he's
got something else going on.

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[Gibson] So as he sees it,
none of us can.

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It doesn't seem like
the others can either,

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- but we don't go into that.
- [Safinia] Right.

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[Gibson] And that was intentional. He's
talking to something that we can't see,

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so he sees it before we do.

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[Safinia] I'm so glad
this worked for real.

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Because I remember you talking

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- about doing it with computer help.
- [Gibson] Morphing.

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[Safinia] But it worked. We put the guys
out there, and they just moved it

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a little to the left, a little
to the right, suddenly they disappeared.

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[Gibson] They couldn't see. You couldn't
see till they moved. It's pretty scary.

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[Safinia] Yeah.

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[Gibson] Ah, Hiram,
cast for his startled appearance.

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[Safinia laughs]

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[Gibson] He's got this look
of being afraid.

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- [Safinia] True.
- [Gibson] Did it well.

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He's got really big eyes and he looks
like he's missed a few meals.

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- The fear being contagious.
- [Safinia] Yeah.

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[Gibson] It makes him reach for darts,

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'cause the guy's acting weird
'cause he's afraid.

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[Safinia] You told him to behave like
he's the walking dead. Remember that?

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[Gibson] Yeah, I told him to...
he's dead.

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He just doesn't know it yet.
Or he knows it, but he doesn't.

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[Safinia] Yeah.

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[Gibson] "Be a victim."

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[Gibson laughs]

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He's like, "What are doing
looking at my refrigerator?"

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- It's like...
- [both laugh]

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- [Gibson] "Yeah, nice waters, yeah."
- [Safinia] Yeah.

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[Gibson] Yeah. [laughs]

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- "Two weeks, you're staying? Two?"
- [Safinia] Yeah, exactly.

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- [Gibson laughs]
- [Safinia] And he goes, "Go then."

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- [Gibson] "Get outta here."
- [Safinia] Yeah.

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[laughter]

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[Gibson] Start catching a man's fish,
he gets sensitive.

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[Safinia] Yeah.

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I think one thing that we forget here
is how amazing the makeup job is.

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[Gibson] Oh, look at this.
Every aspect of these guys...

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[Safinia] It looks so real.
You don't notice it,

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because you buy in immediately, on...

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And these people here, these
are all background extras, ostensibly.

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- They're done up so...
- [Gibson] From the town of Catemaco.

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[Safinia] Right, the local town
where we were shooting this,

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- in this forest nearby.
- [Gibson] That guy looks kinda like...

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He's just kinda staring
in the bushes. I'll show you.

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He comes back again later. He knew
something like seven languages.

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- Remember that cat?
- [Safinia] I do, yes.

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[Gibson] He'd been to college,
and he was a brilliant guy.

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And he looks like, you know,
he looks like the village idiot.

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[Safinia] This was the day
that snake had wrapped itself...

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Yeah, that guy. The snake had wrapped
itself around that young boy's foot.

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- Remember, it was...
- [Gibson] That's right.

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I swear it's the only cold day
of the year that ever happened there.

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- [Safinia] It was freezing.
- [Gibson] It was so cold.

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And I guess the snake, for warmth's
sake, wrapped itself around

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a four-year-old's leg and had to be
pried loose. But it was a fer-de-lance.

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[Safinia] Deadliest snake in the forest.

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[Gibson] Incidentally, the little kid
that the snake wrapped around his leg,

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he lived.

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No, the snake never even bit him.
The wrangler was there.

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They were able to use their expertise
to extract the snake,

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who was really trying to stay warm
off this little four-year-old's leg.

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I don't know how he let it get there.

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He was probably talking to it for five
minutes, but it was all a happy ending.

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All these guys, I found
all these actors and performers,

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they worked as artisans or painters,
or some of them were dancers.

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Some of them worked in the circus.

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[Safinia] A lot of the people
in that forest shot

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and now in the village you'll see
had never seen a film.

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- [Gibson] Yeah.
- [Safinia] Which was amazing

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because they were suddenly so able
to perform and act and dramatize things.

213
00:13:06,078 --> 00:13:09,748
[Gibson] All the people in that village,
and that was a function of really just

214
00:13:09,790 --> 00:13:12,918
talking to them and making them
feel relaxed, I think, and just say,

215
00:13:12,959 --> 00:13:15,212
"Go about your business.
Have something to do."

216
00:13:15,253 --> 00:13:18,674
[Safinia] This tree they're leaning
against, it's come crashing down.

217
00:13:18,757 --> 00:13:22,386
This tree nearly took half
of our crew with it.

218
00:13:22,427 --> 00:13:26,515
'Cause it was standing when we first
built the set. There was a huge storm.

219
00:13:26,598 --> 00:13:29,935
- [Gibson] And it keeled over.
- [Safinia] Yeah, it keeled over.

220
00:13:31,061 --> 00:13:33,271
Tom Sanders made it part of the set,

221
00:13:33,355 --> 00:13:36,483
made a great entrance
to the village for us with it.

222
00:13:40,737 --> 00:13:44,533
[Gibson] "The concept of fear
is the biggest enemy."

223
00:14:08,932 --> 00:14:10,684
[Safinia] I love the way he says this.

224
00:14:10,767 --> 00:14:14,438
I actually love the way
the words sound in this speech.

225
00:14:14,479 --> 00:14:15,731
[Gibson] Yeah.

226
00:14:38,003 --> 00:14:41,673
- [Gibson] Just a couple of bums.
- [Safinia laughs]

227
00:14:43,425 --> 00:14:45,177
[Gibson] That always made me laugh.

228
00:14:45,260 --> 00:14:49,097
After he gives this "fear about" speech
he tries to frighten all the kids.

229
00:14:49,181 --> 00:14:51,016
[both laugh]

230
00:14:55,937 --> 00:15:00,192
- [Safinia] The great Isabel.
- [Gibson] Yes. Isabel.

231
00:15:00,233 --> 00:15:04,029
- And where did she come from?
- [Safinia] I don't know. Where did...?

232
00:15:04,112 --> 00:15:09,034
[Gibson] You're heard all sorts of
stories that she was on the street...

233
00:15:09,117 --> 00:15:12,454
[Safinia] I think she's a grand dame
of the theater down there in Mexico.

234
00:15:12,537 --> 00:15:14,247
[Gibson] She is?

235
00:15:15,624 --> 00:15:18,543
- I don't know.
- [Safinia laughs]

236
00:15:20,212 --> 00:15:24,174
- [Safinia] But she had this going on.
- [Gibson] This kind of madness.

237
00:15:24,216 --> 00:15:26,635
That was what it was,
that moment there.

238
00:15:26,718 --> 00:15:29,554
[Safinia] You saw that in the room,
and you said, "That's it.

239
00:15:29,638 --> 00:15:33,600
- I don't wanna see anyone else."
- [Gibson] The harridan mother-in-law.

240
00:15:33,683 --> 00:15:35,894
- A cliché if you like, but...
- [Safinia] Yeah.

241
00:15:35,977 --> 00:15:38,104
[Gibson] And she does it well.

242
00:15:41,316 --> 00:15:42,901
[Gibson laughs]

243
00:15:52,994 --> 00:15:56,331
[Safinia] It's amazing how many
characters you get to know in this film,

244
00:15:56,414 --> 00:15:58,416
- in the first half hour.
- [Gibson] Yeah.

245
00:15:58,458 --> 00:16:00,961
- [Safinia] So many.
- [Gibson] It has to be clear.

246
00:16:01,044 --> 00:16:05,215
That's why I think
casting according to type

247
00:16:05,257 --> 00:16:07,551
or archetype even was very...

248
00:16:10,053 --> 00:16:12,514
- I'd pointedly did so, you know.
- [Safinia] Mm-hm.

249
00:16:15,559 --> 00:16:18,728
[Gibson] You know,
the sage father, the cute son.

250
00:16:18,770 --> 00:16:20,897
- [Safinia] Right.
- [Gibson] Furry monkey.

251
00:16:20,939 --> 00:16:22,691
[both laugh]

252
00:16:22,774 --> 00:16:25,318
[Gibson] The archetypal sort of hero,
you know.

253
00:16:25,402 --> 00:16:28,947
The guy who's got kind of childlike

254
00:16:28,989 --> 00:16:33,118
sort of heroism in his eyes
and sort of innocent in a way, but...

255
00:16:37,205 --> 00:16:39,457
So it was important to us
to have those types.

256
00:16:39,541 --> 00:16:43,086
Particularly when you're dealing
with a culture so far away

257
00:16:43,128 --> 00:16:45,130
in another language,
they had to be clear.

258
00:16:45,171 --> 00:16:46,715
[Safinia] Yes.

259
00:16:47,799 --> 00:16:50,385
And it's... Quick thing
to say about the set dressing,

260
00:16:50,468 --> 00:16:53,096
one of the things that
sold this whole thing was

261
00:16:53,138 --> 00:16:55,307
every corner you look,
you see little details.

262
00:16:55,390 --> 00:16:58,143
- [Gibson] Something.
- [Safinia] They did an amazing job,

263
00:16:58,226 --> 00:16:59,436
Tom's team.

264
00:16:59,477 --> 00:17:02,480
[Gibson] The forest was beautiful,
but they've just adorned it

265
00:17:02,564 --> 00:17:07,694
with this little abode, this village.

266
00:17:09,988 --> 00:17:13,909
And there are villages built
more primitively than this still today.

267
00:17:13,992 --> 00:17:17,329
[Safinia] Existing in the Yucatán
and Chiapas and parts of Mexico

268
00:17:17,370 --> 00:17:20,832
that we, in fact,
found some of our cast from there.

269
00:17:20,916 --> 00:17:22,334
[Gibson] Yeah.

270
00:17:25,253 --> 00:17:28,673
[Safinia] Do you remember he couldn't
stand being upside down for longer

271
00:17:28,715 --> 00:17:31,384
- than about a few seconds.
- [Gibson] Yeah.

272
00:17:31,468 --> 00:17:35,597
[Safinia] It would frighten him. So we
had to be very careful with him on that.

273
00:17:35,680 --> 00:17:39,225
[Gibson] Look at that makeup job.
I mean, the prosthetic pregnant belly.

274
00:17:39,309 --> 00:17:42,437
- I mean, it's seamless.
- [Safinia] Yeah, yeah.

275
00:17:42,520 --> 00:17:45,690
<i>[moaning]</i>

276
00:17:46,566 --> 00:17:48,902
- [Gibson] Payoff time.
- [Safinia laughs]

277
00:17:51,988 --> 00:17:54,157
[both laugh]

278
00:17:54,199 --> 00:17:57,494
[Safinia] Now, nobody
knew about the joke

279
00:17:57,535 --> 00:18:01,122
that you were playing here with her,
with his wife.

280
00:18:01,206 --> 00:18:06,002
Um, and when the crew saw this...

281
00:18:06,044 --> 00:18:08,171
- [Safinia laughs]
- [Gibson] This?

282
00:18:08,213 --> 00:18:10,006
They laughed their heads off.

283
00:18:10,048 --> 00:18:14,219
[Safinia] 'Cause they didn't know. Mel
kept it a secret from almost everybody.

284
00:18:14,260 --> 00:18:16,888
[Gibson] I filmed her.
I said, "Start drinking the..."

285
00:18:16,972 --> 00:18:20,392
[Safinia] Yeah, yeah.
And they couldn't believe that...

286
00:18:21,851 --> 00:18:24,437
There we go. [laughs]

287
00:18:26,481 --> 00:18:29,275
Do you remember how dark it was?
It was night almost.

288
00:18:29,359 --> 00:18:31,820
- [Gibson] Testament to Genesis.
- [Safinia] Yeah.

289
00:18:31,903 --> 00:18:34,322
[Gibson] I said, "Dean,
it's dark. We can't shoot."

290
00:18:34,406 --> 00:18:36,324
He says, "Right, mate.
Give it a whirl."

291
00:18:36,408 --> 00:18:38,702
- [Safinia] Yeah, yeah.
- [Gibson] And he's...

292
00:18:54,759 --> 00:18:58,513
- [Safinia] Jonathan's just so...
- [Gibson] Laugh, cry, laugh, cry.

293
00:18:58,596 --> 00:19:00,765
[both laughing]

294
00:19:06,604 --> 00:19:08,690
[Safinia] These shots
are from Costa Rica,

295
00:19:08,773 --> 00:19:12,527
these big sort of forest-scapes
that we see.

296
00:19:12,610 --> 00:19:16,114
- It's a beautiful country there.
- [Gibson] It is. Stunning.

297
00:19:16,197 --> 00:19:20,493
If you want those big vistas,
you know, and mountains and...

298
00:19:20,577 --> 00:19:22,787
We had another crew off in Costa Rica

299
00:19:22,829 --> 00:19:25,373
- just shooting beautiful things.
- [Safinia] Yeah.

300
00:19:25,457 --> 00:19:28,001
[Gibson] Sunsets, sunrises, rain.

301
00:19:30,003 --> 00:19:33,798
[Safinia] This speech, um,
that the old storyteller is telling,

302
00:19:33,882 --> 00:19:35,341
we found this.

303
00:19:35,425 --> 00:19:38,970
This was an old Mayan tale

304
00:19:39,054 --> 00:19:41,473
called The Myth of the Man's Sadness.

305
00:19:41,514 --> 00:19:45,602
And we took what was there
and changed it a little bit

306
00:19:45,643 --> 00:19:48,646
- to bring it up to date.
- [Gibson] We modified it.

307
00:19:48,730 --> 00:19:51,232
- [Safinia] Yeah.
- [Gibson] He's a real storyteller,

308
00:19:51,316 --> 00:19:54,736
a Mayan who is really missing
an arm there.

309
00:19:56,362 --> 00:19:59,741
Some kind of industrial accident
when he was a young man.

310
00:20:01,159 --> 00:20:02,744
[Safinia] These are the scenes?

311
00:20:02,827 --> 00:20:06,122
These are the ones where there
is literally no other source of light

312
00:20:06,164 --> 00:20:08,166
- except for the fire?
- [Gibson] Yeah.

313
00:20:08,249 --> 00:20:10,418
- Amazing.
- [Gibson] Look at that! Wow.

314
00:20:10,502 --> 00:20:16,091
Amazing. Dean was so excited
when we saw this, how it looked...

315
00:20:19,636 --> 00:20:22,222
...and how the flames
looked fluid almost.

316
00:20:22,305 --> 00:20:24,891
Because you could open the shutter,
so the blur effect

317
00:20:24,974 --> 00:20:27,310
- on the movement of the flames.
- [Safinia] Yeah.

318
00:20:42,992 --> 00:20:46,037
[Gibson] He had a kind of a black
nose ring, but it made him look like

319
00:20:46,121 --> 00:20:49,165
he had a Charlie Chaplin look.
I had to change it to white.

320
00:20:49,207 --> 00:20:52,502
- It was like... I said, yeah...
- [Safinia laughs]

321
00:20:52,544 --> 00:20:54,754
- [Safinia] Like a mustache.
- [Gibson] Yeah.

322
00:21:05,849 --> 00:21:10,103
[Safinia] I love this sequence where the
camera's literally moving all the time.

323
00:21:10,186 --> 00:21:13,314
- [Gibson] Did it ever stop?
- [Safinia] No, it didn't, not once.

324
00:21:13,398 --> 00:21:16,151
- Not in quiet scenes.
- [Safinia] Slightest movements.

325
00:21:16,234 --> 00:21:19,279
[Gibson] If it did, it would seem weird.
I think we did a few takes.

326
00:21:19,362 --> 00:21:22,073
Just be stock still just
for the effect of being still.

327
00:21:22,157 --> 00:21:26,494
But even then there was usually
someone moving in that shot.

328
00:21:36,421 --> 00:21:40,592
[Safinia] I remember that night. You
got everybody to dance in this scene.

329
00:21:40,633 --> 00:21:43,761
And the entire village was dancing
and dancing on the first take.

330
00:21:43,845 --> 00:21:49,392
And when they stopped, the crew standing
around watching erupted into applause

331
00:21:49,434 --> 00:21:54,189
because they were so taken in
by the energy of the whole thing.

332
00:21:54,272 --> 00:21:58,026
It was just such a magical moment
for everybody. We just all clapped.

333
00:21:58,109 --> 00:21:59,819
[Gibson] Everybody wanted to dance.

334
00:21:59,903 --> 00:22:02,363
[Safinia] You got in the middle
of the thing, but...

335
00:22:02,447 --> 00:22:05,617
[Gibson] I was running
around like a lunatic.

336
00:22:30,642 --> 00:22:34,562
[Gibson] We basically started off with a
very choreographed structure with people

337
00:22:34,646 --> 00:22:37,774
with functions and prosthetic makeup.

338
00:22:37,815 --> 00:22:40,735
[Safinia] Yep. Amazing.

339
00:22:43,112 --> 00:22:44,364
[Gibson] Huh.

340
00:22:44,447 --> 00:22:49,160
[Safinia] He was sound asleep, the kid.
Dead to the world at that point.

341
00:23:00,588 --> 00:23:03,800
<i>[animal screeches]</i>

342
00:23:07,637 --> 00:23:12,141
[Gibson] It's amazing,
the leeway you get with Genesis

343
00:23:12,183 --> 00:23:14,727
- and with digital timing too.
- [Safinia] Right.

344
00:23:14,811 --> 00:23:18,773
[Gibson] You can make it virtually
any time of the day or night almost.

345
00:23:18,856 --> 00:23:21,693
It's not just a matter
of a couple of stops in this direction

346
00:23:21,776 --> 00:23:25,697
or that direction anymore, but now
it's virtually anything you want.

347
00:23:25,780 --> 00:23:30,827
<i>- [heart beats]
- [dog barks]</i>

348
00:23:32,453 --> 00:23:34,872
- Dreams are important, you think?
- [Safinia] Very.

349
00:23:34,956 --> 00:23:39,127
- They tell you something.
- [Gibson] Yes, like, "Hey, run."

350
00:23:39,210 --> 00:23:41,337
[Safinia laughs]

351
00:23:41,379 --> 00:23:43,631
<i>[panting]</i>

352
00:23:43,715 --> 00:23:45,800
[Gibson] Hmm.
Guy's got a lot of heart.

353
00:23:45,883 --> 00:23:49,387
[Safinia] He's... [laughs]
That's a great makeup job too.

354
00:23:49,470 --> 00:23:52,181
- [Gibson] It is, yeah.
- [Safinia] It's just amazing.

355
00:23:53,016 --> 00:23:56,019
[Gibson] I mean, that thing actually
looks like a dog, didn't it?

356
00:23:56,060 --> 00:23:58,771
- [Safinia laughs]
- [Gibson] Great makeup job.

357
00:24:02,442 --> 00:24:05,486
<i>[dog barks]</i>

358
00:24:11,993 --> 00:24:13,786
<i>[groans]</i>

359
00:24:16,247 --> 00:24:18,958
[Gibson] I love this little kid's hand
that slaps over.

360
00:24:19,042 --> 00:24:20,585
[Safinia] Yeah, yeah.

361
00:24:21,753 --> 00:24:26,257
You had to increase the sound on that
'cause you really wanted it heard.

362
00:24:26,299 --> 00:24:29,260
- [Gibson] Yes. He slaps her...
- [Safinia] Yeah.

363
00:24:40,772 --> 00:24:43,524
[Gibson] Just when you thought you
were in Happy Valley...

364
00:24:43,608 --> 00:24:44,942
[Safinia laughs]

365
00:24:44,984 --> 00:24:47,737
[Gibson] ...comes a man
with human jaws on his arm.

366
00:24:47,779 --> 00:24:49,364
[Safinia] Hmm.

367
00:24:50,740 --> 00:24:53,951
[Gibson] You think he'll be nice?
He's not the Fuller Brush man.

368
00:24:53,993 --> 00:24:57,997
[Safinia] No.
He's not the bearer of glad tidings.

369
00:25:00,792 --> 00:25:04,212
It was so amazing to see these guys
the first day they came on set,

370
00:25:04,295 --> 00:25:06,964
- quite a way into the shoot.
- [Gibson] Frightening.

371
00:25:07,006 --> 00:25:10,093
I mean, they're the scariest
looking dudes I've ever seen.

372
00:25:12,220 --> 00:25:15,431
I remember when we showed
the film to the distributors at Disney.

373
00:25:15,473 --> 00:25:19,227
They were like,
"These are the scariest guys ever."

374
00:25:19,310 --> 00:25:21,646
And it helps that you never
saw any of them before.

375
00:25:21,687 --> 00:25:23,856
[Safinia] True.
You have no idea what...

376
00:25:23,940 --> 00:25:27,902
[Gibson] Raoul there, you've seen him
before. He was in films and TV.

377
00:25:29,487 --> 00:25:31,572
[Safinia] He was
in <i>The New World</i> before this.

378
00:25:31,656 --> 00:25:35,201
[Gibson] He was, yeah. But we actually
gave him a prosthetic nose.

379
00:25:35,284 --> 00:25:38,246
- [Safinia] Right.
- [Gibson] He was aquiline-featured,

380
00:25:38,329 --> 00:25:42,417
and we thought to make him more
Mayan-looking, à la the murals,

381
00:25:42,500 --> 00:25:45,962
we thought it was good
to give him more of a proboscis.

382
00:25:51,175 --> 00:25:53,177
This kid was in good shape,
I have to admit.

383
00:25:53,261 --> 00:25:55,888
- [Safinia] He was.
- [Gibson] He's a real athlete,

384
00:25:55,972 --> 00:25:57,849
and that's what really...

385
00:25:59,142 --> 00:26:03,646
It was down to a couple, but this guy
moved like an animal when he moved.

386
00:26:04,355 --> 00:26:06,941
He had to do a lot
of moving in this. [laughs]

387
00:26:11,529 --> 00:26:13,448
<i>[screaming]</i>

388
00:26:20,496 --> 00:26:22,623
All the stunt guys
are Mexican stunts guys.

389
00:26:22,707 --> 00:26:23,833
[Safinia] They are.

390
00:26:30,465 --> 00:26:32,967
[Gibson] What did Frank do?
A lawyer or something?

391
00:26:33,050 --> 00:26:34,552
[Safinia] No, I don't, uh...

392
00:26:34,594 --> 00:26:36,679
[Gibson] We called
this guy Frank Sinatra.

393
00:26:36,721 --> 00:26:40,683
Because if you look at him,
he looks like young Frank Sinatra.

394
00:26:40,725 --> 00:26:42,351
[Safinia] He does.

395
00:26:42,393 --> 00:26:46,063
[Gibson] And somebody ties you.
And it's like...

396
00:26:48,232 --> 00:26:52,111
[Safinia] The visual effects here,
the special effects,

397
00:26:52,195 --> 00:26:53,905
the ones done on set, the fire,

398
00:26:53,988 --> 00:26:56,908
was done by local Mexican crews
as well, and they did a really...

399
00:26:56,991 --> 00:26:58,618
[both] Chucho Duran.

400
00:26:58,701 --> 00:27:03,206
[Gibson] He's a legend down there.
On-site special effects man.

401
00:27:08,211 --> 00:27:10,213
[Safinia] It was raining
so hard the day...

402
00:27:10,254 --> 00:27:14,091
[Gibson] That day. Oh, man. You'd have
to find stuff to do indoors, you know.

403
00:27:14,133 --> 00:27:16,802
It's supposed to be outdoors,
but since it was raining...

404
00:27:16,886 --> 00:27:18,304
[both laugh]

405
00:27:23,643 --> 00:27:25,686
<i>[screaming]</i>

406
00:27:32,443 --> 00:27:35,112
- [Gibson] Uh, that's good.
- [Safinia] Yeah.

407
00:27:36,280 --> 00:27:38,324
And here's Blunted.

408
00:27:39,283 --> 00:27:42,537
[Gibson] Yep. Maybe he can't
father children, but he can kick ass.

409
00:27:42,620 --> 00:27:44,997
- [Safinia] Yeah.
- [both laugh]

410
00:27:47,959 --> 00:27:50,336
[Safinia] This was
a wonderful combination.

411
00:27:50,419 --> 00:27:54,549
You can talk to it, I guess,
more than I can, about how the...

412
00:27:54,632 --> 00:27:58,803
...combining the exterior set and
the interior set. You can't even tell.

413
00:27:58,886 --> 00:28:01,681
[Gibson] You can't.
'Cause that hole there was indoors.

414
00:28:01,764 --> 00:28:05,059
[Safinia] Yeah. Yet everything
from the outside was shot obviously

415
00:28:05,142 --> 00:28:07,311
- in the village set.
- [Gibson] Yeah.

416
00:28:07,395 --> 00:28:10,856
So you had to both up and down,
both in the pers...

417
00:28:10,940 --> 00:28:13,025
You know, the synthetic set

418
00:28:13,109 --> 00:28:16,571
and the real one.

419
00:28:16,654 --> 00:28:19,073
- And they match perfectly.
- [Safinia] Perfectly.

420
00:28:40,845 --> 00:28:43,681
[Safinia] The music is really good
in this sequence, I think.

421
00:28:43,764 --> 00:28:47,101
- [Gibson] Yeah.
- [Safinia] It keeps your blood pumping.

422
00:28:47,184 --> 00:28:50,855
- [Gibson] Ugh. This is hard.
- [Safinia] Yeah.

423
00:28:52,023 --> 00:28:56,027
[Gibson] There used to be more of that
scene, but I didn't... I got out of it.

424
00:28:56,110 --> 00:28:57,612
[Safinia] Yes.

425
00:29:07,204 --> 00:29:11,208
[Safinia] This is one of the sequences
I am so glad it worked the way you...

426
00:29:11,292 --> 00:29:14,879
- Remember during writing it, it...?
- [Gibson] Yeah. Yeah.

427
00:29:14,962 --> 00:29:17,298
- Oop.
- [Safinia] You shot so many different

428
00:29:17,381 --> 00:29:20,009
- angles to make this work.
- [Gibson] Ugh. Yeah.

429
00:29:20,051 --> 00:29:22,053
Bang, feet up on the...

430
00:29:22,136 --> 00:29:25,556
[Safinia] Feet on the wall, inside,
outside, close shots on this guy.

431
00:29:25,640 --> 00:29:29,769
Him coming in POV, that, I mean,
it's just, the combination is huge.

432
00:29:30,895 --> 00:29:34,940
And she hits the ground.
And these were ridiculous. Remember...?

433
00:29:35,024 --> 00:29:37,485
[Gibson] You don't know
whether they're gonna work.

434
00:29:37,568 --> 00:29:40,321
[Safinia] You didn't know,
and then they work so great.

435
00:29:47,745 --> 00:29:50,915
[Gibson] It's amazing, you know,
a lot of these actors and, you know,

436
00:29:50,998 --> 00:29:54,085
they did a lot of their own
kind of physical work.

437
00:29:54,168 --> 00:29:56,379
This guy here, Javier,
hanging upside down.

438
00:29:56,420 --> 00:30:00,049
That's tough to hang upside down
all day, do all this stuff.

439
00:30:00,091 --> 00:30:03,427
You drag him up now and then,
so his head wouldn't explode, but...

440
00:30:03,511 --> 00:30:08,140
And then to take all the the fake hits
with the rubber club and...

441
00:30:30,121 --> 00:30:33,040
- [Gibson laughs] Desperation.
- [Safinia] Hmm.

442
00:30:42,133 --> 00:30:44,677
[Gibson] This girl
gave it everything, man.

443
00:30:44,760 --> 00:30:48,139
- [Safinia] She did, out of nowhere.
- [Gibson] Yeah, she was...

444
00:30:48,222 --> 00:30:51,976
She didn't have any dialogue
or anything. She was just, you know...

445
00:30:52,435 --> 00:30:55,730
But she really gave it everything,

446
00:30:55,813 --> 00:30:58,190
Screaming, I mean, you know.

447
00:31:03,654 --> 00:31:06,657
- [Gibson] That was Mrs. Sinatra.
- [Safinia] Yes.

448
00:31:11,078 --> 00:31:12,747
[Safinia] Yeah.

449
00:31:15,666 --> 00:31:18,919
See the nets here and the clubs
that can be used on both sides.

450
00:31:19,003 --> 00:31:21,797
These were designed specifically
to capture these guys,

451
00:31:21,839 --> 00:31:25,926
and Simon Atherton put a lot of work
into figuring out what kinds of weaponry

452
00:31:26,010 --> 00:31:29,889
would be used actually
to subdue people and capture them,

453
00:31:29,972 --> 00:31:33,934
as opposed to necessarily kill them.
Or if they got in your way...

454
00:31:34,018 --> 00:31:37,188
[Gibson] One of my favorites
is coming up. It's like a hook thing

455
00:31:37,271 --> 00:31:41,525
that you can just choke somebody out
with and not necessarily kill 'em.

456
00:31:41,609 --> 00:31:44,862
The other thing like that hook
that goes through the wall of the hut

457
00:31:44,945 --> 00:31:47,323
and drags the guy right
through the wall.

458
00:31:47,364 --> 00:31:50,451
That was Simon, came up,
"Pull him right through the walls."

459
00:31:50,534 --> 00:31:52,244
That's great, you know.

460
00:31:52,703 --> 00:31:54,997
- [Safinia] This is all Rudy...
- [Gibson] Yeah.

461
00:31:55,039 --> 00:31:59,710
No, these guys, they did their own
stuff, man. They're tough boys, yeah.

462
00:31:59,794 --> 00:32:04,340
- [Safinia] Rolling around...
- [Gibson] Head butts. They look real.

463
00:32:07,927 --> 00:32:11,013
[Safinia] I love these drumbeats.
They're so good.

464
00:32:21,357 --> 00:32:23,692
[Gibson] That screamed out
for percussion.

465
00:32:23,734 --> 00:32:25,027
[Safinia] It did, yeah.

466
00:32:26,487 --> 00:32:31,408
[Gibson] That's the choke-out weapon.
It's like two things combined. Oop.

467
00:32:31,492 --> 00:32:33,786
- [both laugh]
- [Gibson] Had many uses.

468
00:32:37,164 --> 00:32:41,210
[Safinia] This cracked us up,
Raoul's look here.

469
00:32:41,252 --> 00:32:43,379
- [Gibson] The tantrum.
- [Safinia] Then...

470
00:32:43,420 --> 00:32:45,714
[Gibson] It's like,
"That's my boy." "What?"

471
00:32:46,090 --> 00:32:48,092
- That tells you a lot.
- [Safinia] It does.

472
00:32:48,175 --> 00:32:52,137
It's true character stuff, this,
establishing who these guys are

473
00:32:52,221 --> 00:32:56,934
in relation to each other
and who they are in themselves, yeah.

474
00:32:56,976 --> 00:33:00,688
[Gibson] He's like a spoiled child that
has to obey, but he doesn't like it.

475
00:33:00,771 --> 00:33:04,149
- [Safinia] He will break the rules.
- [Gibson] He's seriously troubled.

476
00:33:05,317 --> 00:33:08,654
[Safinia] Gerardo Taracena is
one of the best actors they have

477
00:33:08,737 --> 00:33:11,448
- south of the border. He's...
- [Gibson] This guy? Yeah.

478
00:33:11,490 --> 00:33:14,118
Oh, he plays a lunatic great.
Look at this.

479
00:33:14,201 --> 00:33:17,371
[Safinia] Amazing, but the face
and the way he uses it, you know.

480
00:33:17,454 --> 00:33:20,124
[Gibson] I don't know why,
he reminds me of Robert Duvall.

481
00:33:20,207 --> 00:33:23,460
I know he doesn't really look like him,
but he just reminds me of...

482
00:33:23,502 --> 00:33:27,006
[Safinia] It's that off thing,
playing it off a little bit, and it's...

483
00:33:29,008 --> 00:33:33,137
- [Gibson] Almost anemic.
- [Safinia] And his tone is so flip,

484
00:33:33,178 --> 00:33:36,974
just not... disregard
for the moment itself.

485
00:33:37,057 --> 00:33:39,602
- [Gibson] I love this look on Morris.
- [Safinia] Yes.

486
00:33:39,643 --> 00:33:42,271
- [Gibson] Next look. That one.
- [Safinia] Yeah.

487
00:33:42,313 --> 00:33:44,148
- [Gibson] Amazing.
- [Safinia] It is.

488
00:33:44,189 --> 00:33:46,942
[Gibson] It's like four things
happening right there.

489
00:34:13,969 --> 00:34:16,180
[Safinia] Stay well away from it.

490
00:34:16,221 --> 00:34:19,642
[Gibson] Yeah.
I love that, going way wide for that.

491
00:34:19,683 --> 00:34:21,435
- He's standing.
- [Safinia] Yeah.

492
00:34:21,518 --> 00:34:23,312
[Gibson] Like, really, it's cool.

493
00:34:23,354 --> 00:34:25,689
[Safinia] It's the only way
to do it really.

494
00:34:25,773 --> 00:34:28,108
- [Gibson] It was cool.
- [Safinia] Only good way.

495
00:34:41,538 --> 00:34:45,209
[Safinia] And this is the voice
of Rahat Nusrat Fateh Ali Khan, yeah?

496
00:34:45,292 --> 00:34:48,045
- [Gibson] That's his nephew.
- [Safinia] Yeah, Rahat...

497
00:34:48,128 --> 00:34:49,922
- Rahat, yeah.
- [Gibson] Rahat, yeah.

498
00:34:50,005 --> 00:34:52,841
[Safinia] And he
is a great Pakistani vocalist.

499
00:34:52,883 --> 00:34:54,426
[Gibson] Yeah.

500
00:34:57,846 --> 00:35:03,394
And it's not just...
It's years, this stuff.

501
00:35:03,435 --> 00:35:06,772
[Safinia] Hours of practice every day
to keep that voice tuned.

502
00:35:06,855 --> 00:35:08,691
[Gibson] Before he could record.

503
00:35:08,732 --> 00:35:13,612
He'd sit there for ten minutes
and warm up... or longer.

504
00:35:13,696 --> 00:35:15,781
Half an hour sometimes.

505
00:35:36,927 --> 00:35:39,304
<i>[wailing, chattering]</i>

506
00:35:57,031 --> 00:35:58,782
[Gibson] Jonathan was great here.

507
00:35:58,866 --> 00:36:01,910
His heart's so out there with
what he does. He's just so raw.

508
00:36:01,952 --> 00:36:05,080
[Safinia] With everything,
with everything he does, yeah.

509
00:36:05,122 --> 00:36:10,335
[Gibson] Really vulnerable. The big
vulnerable guy. He's really like that.

510
00:36:10,419 --> 00:36:12,838
[Safinia] In fact,
this scene works because of him.

511
00:36:12,921 --> 00:36:16,508
Not because of what's happening here.
It's because what's going on with him.

512
00:36:16,592 --> 00:36:19,303
[Gibson] But his compassion and his...

513
00:36:20,137 --> 00:36:22,139
- But Rudy too.
- [Safinia] Yeah, yeah.

514
00:36:22,222 --> 00:36:24,767
[Gibson] You know,
the sadness of everything.

515
00:36:27,728 --> 00:36:28,812
<i>[screaming]</i>

516
00:36:35,110 --> 00:36:37,154
[Safinia] It was rough
shooting this stuff.

517
00:36:37,237 --> 00:36:39,782
[Gibson] Yeah, I know.
It was hard to do.

518
00:36:39,823 --> 00:36:42,326
<i>[crying, sobbing]</i>

519
00:37:05,099 --> 00:37:07,810
- [Gibson] Aw, poor little fellow.
- [Safinia] Yeah.

520
00:37:07,851 --> 00:37:09,394
[Gibson] I think he was hungry.

521
00:37:09,478 --> 00:37:11,897
[Safinia] He had ice cream.
He wanted ice cream.

522
00:37:11,980 --> 00:37:14,858
- [Gibson] He got up early.
- [Safinia] That's Mayra Serbulo.

523
00:37:14,942 --> 00:37:19,613
[Gibson] Mayra Serbulo. Beautiful
actress. Really. She's really great.

524
00:37:21,406 --> 00:37:23,992
- She's from Oaxaca.
- [Safinia] Oaxaca, that's right.

525
00:37:24,034 --> 00:37:28,080
She's from the Zapotec extraction.

526
00:37:38,257 --> 00:37:40,217
[Safinia] This shot,
I wanna point it out

527
00:37:40,300 --> 00:37:44,847
because of how the next one, about
how you can tell a story with one shot.

528
00:37:44,888 --> 00:37:47,349
- You start behind the beam.
- [Gibson] Yeah.

529
00:37:47,391 --> 00:37:50,811
[Safinia] And you follow this guy
through to the other side here.

530
00:37:50,894 --> 00:37:53,063
It's... There we go. It's...

531
00:37:53,147 --> 00:37:55,190
[Gibson] Thank goodness
for Technocrane.

532
00:37:55,232 --> 00:37:58,193
[Safinia] Exactly. It really
tells you a lot in one shot.

533
00:38:15,752 --> 00:38:19,923
[Safinia] Rodolfo Palacios, who plays
Snake Ink, had to spend something like

534
00:38:19,965 --> 00:38:23,677
six hours a day in makeup
just to apply all those tattoos

535
00:38:23,760 --> 00:38:24,761
and scars on his body.

536
00:38:24,803 --> 00:38:28,599
[Gibson] Scarifications to make it look
like he's snakeskin.

537
00:38:34,605 --> 00:38:38,358
[Gibson] Timing.
[laughs] The kid's great here.

538
00:38:38,442 --> 00:38:40,444
[Safinia] Yeah.

539
00:39:00,797 --> 00:39:03,717
[Gibson] It's interesting.
I'm just looking at Rodolfo here.

540
00:39:03,800 --> 00:39:05,761
He was fit...
he was a pretty fit guy.

541
00:39:05,802 --> 00:39:08,889
- [Safinia] That's true, yeah.
- [Gibson] But a lot of the cast...

542
00:39:08,972 --> 00:39:10,974
- [Safinia] Soft.
- [Gibson] They had

543
00:39:11,016 --> 00:39:13,936
- a little 20th century blubber on 'em.
[Safinia] That's true.

544
00:39:13,977 --> 00:39:17,564
[Gibson] We put them on special
diets of more hard foods like meat

545
00:39:17,648 --> 00:39:21,151
and vegetables and just more
natural stuff, and they all leaned out

546
00:39:21,193 --> 00:39:24,905
- and got muscular and more angular.
- [Safinia] Yeah.

547
00:39:24,988 --> 00:39:26,740
They all looked good in the end.

548
00:39:26,823 --> 00:39:28,742
They were happy
with the bodies they got.

549
00:39:28,825 --> 00:39:33,455
- [Gibson] They were like, "Look at me."
- [Safinia laughs] Yeah.

550
00:39:33,497 --> 00:39:37,584
[Gibson]
'Cause Raoul, the main Holcane here,

551
00:39:37,668 --> 00:39:40,796
the guy with the headgear,
the scary-looking guy...

552
00:39:41,964 --> 00:39:44,967
- [Safinia] Here he is.
- [Gibson] He's in good shape,

553
00:39:45,008 --> 00:39:47,469
- and he's not a youngster.
- [Safinia] No, he's not.

554
00:39:48,512 --> 00:39:52,432
[Gibson] Think he dropped about 30
pounds and really got tight, you know.

555
00:39:52,516 --> 00:39:54,559
[Safinia] We made him
run around a lot.

556
00:39:54,643 --> 00:39:55,936
[Gibson] Yeah, running.

557
00:39:56,019 --> 00:39:58,397
[Safinia] Joints,
complaining about his knees.

558
00:39:58,480 --> 00:40:01,149
He said, "Please." [laughs]

559
00:40:03,527 --> 00:40:05,821
But he did a great job
running around like that.

560
00:40:05,862 --> 00:40:08,949
Trying to keep up
with Rudy was no easy task.

561
00:40:09,032 --> 00:40:12,160
[Gibson] Kidding me? You can't.

562
00:40:13,328 --> 00:40:15,956
I got one of these guys
when we were just talking to 'em.

563
00:40:16,039 --> 00:40:19,459
I said, "OK, I'll take you out in the
parking lot and have a race with you."

564
00:40:19,543 --> 00:40:21,169
Kid's like 20 years old.

565
00:40:21,211 --> 00:40:25,340
And, uh... I mean,
I used to be pretty fast.

566
00:40:25,382 --> 00:40:28,093
And I thought,
"Yeah, I'll probably beat the kid."

567
00:40:28,176 --> 00:40:30,178
- He smoked me.
- [Safinia laughs]

568
00:40:30,220 --> 00:40:32,139
[Gibson] He was so fast.

569
00:40:32,222 --> 00:40:35,934
Think I gave him the part just
'cause he could run like a deer.

570
00:40:45,902 --> 00:40:50,115
[Gibson laughs] Some of these shots.
I love the movement coming over...

571
00:40:50,198 --> 00:40:52,784
[Safinia] It's huge,
and the fire's in the background.

572
00:40:52,868 --> 00:40:56,121
[Gibson] There's a lot going on,
a lot of elements, a lot of elements.

573
00:40:56,204 --> 00:40:59,207
[Safinia] One thing people
don't realize when they watch films

574
00:40:59,249 --> 00:41:01,877
is the amount of work required
to run a set and the AD crew.

575
00:41:01,918 --> 00:41:02,919
[Gibson] Adrian.

576
00:41:03,003 --> 00:41:06,214
[Safinia] The AD crew is, like,
really the unsung heroes of any film

577
00:41:06,256 --> 00:41:09,426
- of this scale and size.
- [Gibson] You don't see 'em.

578
00:41:09,509 --> 00:41:12,179
They're constantly at it.
I think I said it at...

579
00:41:12,262 --> 00:41:16,141
When the screening happened, I
spotted Adrian's bald head in the dark.

580
00:41:16,224 --> 00:41:18,935
- [Safinia laughs]
- [Gibson] I said, "Adrian Grunberg,

581
00:41:19,019 --> 00:41:21,772
- hardest working man in Mexico."
- [Safinia] Absolutely.

582
00:41:21,813 --> 00:41:24,775
[Gibson] Gotta be true. Never
see anybody put so much into it.

583
00:41:24,858 --> 00:41:26,693
That guy was flat-out...

584
00:41:26,777 --> 00:41:29,613
[Safinia] Every single thing
we're looking at, in terms of

585
00:41:29,654 --> 00:41:32,366
where people are,
what the fires are doing, what...

586
00:41:32,449 --> 00:41:35,619
He's gotta run all that
and make it happen at the right time.

587
00:41:35,660 --> 00:41:38,455
- And it's a tough job.
- [Gibson] It's like, "More people."

588
00:41:38,497 --> 00:41:42,334
- "OK." Go and get some more people.
- [Safinia laughs] Yeah. Yeah.

589
00:41:42,417 --> 00:41:45,962
- [Gibson] I love this shot.
- [Safinia] Yeah. She's alone.

590
00:41:49,591 --> 00:41:52,260
[Gibson whispers]
The horror is sinking in.

591
00:41:53,136 --> 00:41:56,306
Great the way you just catch her eyes
at the bottom there.

592
00:41:58,767 --> 00:42:02,312
- [Gibson] Which is the word for "ma."
- [Safinia laughs]

593
00:42:02,354 --> 00:42:05,065
- [Gibson] "Na" means "ma."
- [Gibson] Remarkable.

594
00:42:05,148 --> 00:42:08,652
- [Gibson] And "ma" means "no."
- [Safinia] That's right. Exactly.

595
00:42:11,988 --> 00:42:14,408
[Gibson] So to say,
"No, mother," you say, "Na, ma."

596
00:42:14,491 --> 00:42:16,827
- [Safinia] "Na, ma."
- [Gibson] Or, "Ma, na."

597
00:42:21,581 --> 00:42:24,292
[Safinia] That's the kid
who smoked you in the parking...

598
00:42:24,334 --> 00:42:26,503
[Gibson] The guy
who killed me in a footrace.

599
00:42:26,545 --> 00:42:30,590
- [Safinia] Yeah.
- [Gibson] Incredible athlete, this kid.

600
00:42:31,174 --> 00:42:34,386
Nineteen, he just... I think he was...

601
00:42:34,469 --> 00:42:36,721
Worked with a dance troupe or something.

602
00:42:37,472 --> 00:42:39,474
I say, "Come join us."

603
00:42:39,516 --> 00:42:43,728
And he had a very good natural ability
with intention with a camera.

604
00:42:43,812 --> 00:42:45,480
It's really nice.

605
00:42:50,610 --> 00:42:54,698
- Oop, there he is, terrified as always.
- [Safinia] Yeah.

606
00:42:56,450 --> 00:42:59,119
- [Gibson] Like Lee Marvin there.
- [Safinia laughs]

607
00:43:03,540 --> 00:43:08,420
[Safinia] These shots are amazing.
That's the jungle in Catemaco.

608
00:43:08,503 --> 00:43:13,049
[Gibson] Yeah. And Technocrane,
being able to just come down on that.

609
00:43:14,801 --> 00:43:17,929
You couldn't use the whole shot,
because it just takes too long.

610
00:43:18,013 --> 00:43:20,265
But, you know, it's a shame.

611
00:43:20,348 --> 00:43:22,392
[Safinia] You chose
this jungle because...

612
00:43:22,476 --> 00:43:24,853
Because you could...
It is so thick and lush,

613
00:43:24,895 --> 00:43:27,063
- yet you can see so far.
- [Gibson] Into it.

614
00:43:27,105 --> 00:43:29,191
[Safinia] You couldn't
in other countries.

615
00:43:29,232 --> 00:43:31,359
In Costa Rica,
you can't see as deep as this.

616
00:43:31,401 --> 00:43:34,404
[Gibson] As deep, yeah, and you needed
to have depth of field,

617
00:43:34,488 --> 00:43:37,240
and to be able to see things.
But that said,

618
00:43:37,282 --> 00:43:40,243
I have to say that the
greens department were amazing.

619
00:43:40,285 --> 00:43:43,246
[Safinia] Unbelievable.
They are hard-working.

620
00:43:43,330 --> 00:43:47,459
[Gibson] Man, they never stopped.
And this kid here, wow, amazing.

621
00:43:48,418 --> 00:43:51,922
- [Safinia] This girl.
- [Gibson] Lorena. I was impressed.

622
00:43:51,963 --> 00:43:57,385
She's 11 years old and she
lived in Catemaco, you know,

623
00:43:57,427 --> 00:44:01,723
the farmer's daughter, whatever,
and had just...

624
00:44:01,765 --> 00:44:04,184
Was just perfectly honest
in front of the camera.

625
00:44:04,267 --> 00:44:06,686
- [Safinia] And so beautiful.
- [Gibson] Oh, yeah.

626
00:44:06,770 --> 00:44:09,898
She's one of the faces that
reminded me of those frozen kids

627
00:44:09,940 --> 00:44:12,108
they found on the mountain...
Where was this?

628
00:44:12,192 --> 00:44:16,404
Where did they find 'em?
Somewhere in Asia. I can't remember.

629
00:44:17,697 --> 00:44:20,325
- Like near Tibet or something.
- [Safinia] Yeah, yeah.

630
00:44:24,162 --> 00:44:27,832
[Safinia] This scene always makes me
think of how truly subtle and great

631
00:44:27,916 --> 00:44:29,876
Gerardo is as Middle Eye.

632
00:44:29,960 --> 00:44:33,547
[Gibson] Yeah.
Even sorta, like, gags. Oh!

633
00:44:33,630 --> 00:44:37,425
"Look, the poor guy's hurt. Quick."

634
00:44:37,467 --> 00:44:40,554
- Has a drink himself. I mean...
- [Safinia laughs]

635
00:44:44,641 --> 00:44:46,977
[Safinia] And Rudy's doing
a great job too.

636
00:44:47,018 --> 00:44:49,479
[Gibson] They all are.
This guy, out of drama school.

637
00:44:49,563 --> 00:44:53,525
- [Safinia] Israel.
- [Gibson] Yeah. From drama school.

638
00:44:53,608 --> 00:44:57,279
There's two Israels on the post, the one
down and the one in front of Rudy.

639
00:44:57,320 --> 00:44:58,780
[Safinia] Yeah.

640
00:45:03,076 --> 00:45:05,620
[Gibson] You call one of 'em,
and they both turn up.

641
00:45:05,662 --> 00:45:08,456
[Safinia] They'd both turn
and look at you. [laughs]

642
00:45:09,082 --> 00:45:11,960
[Gibson] So we had
to find other names for 'em.

643
00:45:12,002 --> 00:45:14,170
- Cocoa.
- [Safinia] Cocoa Leaf.

644
00:45:14,254 --> 00:45:16,965
- [Gibson] Cocoa and Smoky.
- [Safinia] That's right.

645
00:45:25,265 --> 00:45:27,475
<i>[groaning]</i>

646
00:45:48,121 --> 00:45:49,873
- [Gibson] Love it.
- [Safinia] Yeah.

647
00:45:49,956 --> 00:45:53,251
[Gibson] Technocrane again.
Look at this shot. Great.

648
00:45:56,463 --> 00:45:59,382
- [Safinia] And again, the music.
- [Gibson] Yeah.

649
00:46:01,051 --> 00:46:04,095
- The river wasn't as rough as it looks.
- [Safinia] That's right.

650
00:46:04,179 --> 00:46:07,057
[Gibson] We roughed it up.
I put some boulders in there

651
00:46:07,140 --> 00:46:09,392
to make it spill, crash a bit.

652
00:46:09,476 --> 00:46:13,897
And we dug a trench
so that it would appear deeper.

653
00:46:13,938 --> 00:46:15,940
[Safinia] Right.
There's a safety line.

654
00:46:16,024 --> 00:46:19,361
- [Gibson] Everyone's got a safety line.
- [Safinia] Just to make sure.

655
00:46:19,402 --> 00:46:22,030
[Gibson] But it looks,
uh, looks pretty rugged.

656
00:46:49,599 --> 00:46:52,727
- [Gibson] So great, this actress.
- [Safinia] I just love her.

657
00:46:52,769 --> 00:46:55,814
You ought to make every film
you ever make with her in it.

658
00:46:55,897 --> 00:46:58,233
[Gibson] I know. It's funny.
So dignified too.

659
00:46:58,274 --> 00:47:01,194
[Safinia] Yeah, she really is.
And look at that shot.

660
00:47:01,277 --> 00:47:04,656
- [Gibson] Yeah...
- [Safinia] Cliff in the background.

661
00:47:06,783 --> 00:47:09,119
- [Gibson] Costa Rica once again.
- [Safinia] Yes.

662
00:47:10,745 --> 00:47:12,872
[Gibson] I believe
that's the faker hole.

663
00:47:12,956 --> 00:47:14,290
[both laugh]

664
00:47:17,711 --> 00:47:19,629
[Gibson] This wasn't in the script.

665
00:47:19,713 --> 00:47:22,757
[Safinia] No, you came up
with this just the day before

666
00:47:22,799 --> 00:47:24,092
we were going to shoot it.

667
00:47:24,134 --> 00:47:26,720
You said, "You know, I think
they do this thing with..."

668
00:47:26,803 --> 00:47:30,306
- [Gibson] Ants.
- [Safinia] To suture wounds, yeah.

669
00:47:30,390 --> 00:47:32,392
- Soldier ants.
- [Safinia] We looked it up.

670
00:47:32,475 --> 00:47:33,643
They used to do it...

671
00:47:33,727 --> 00:47:38,398
As far back as ancient Egypt they
actually used to use various forms

672
00:47:38,481 --> 00:47:43,486
of army ants, 'cause the ant would
clamp down shut around the wound.

673
00:47:43,570 --> 00:47:47,407
And you just cut its head off,
and you'd have a suture right there.

674
00:47:47,490 --> 00:47:48,700
- Hmm.
- [Safinia] And...

675
00:47:48,783 --> 00:47:50,827
[Gibson] Mezzo-American
natives still do.

676
00:47:50,910 --> 00:47:52,662
- [Safinia] Right.
- [Gibson] Some.

677
00:47:52,704 --> 00:47:54,664
[Safinia] In the Amazon too.

678
00:47:55,248 --> 00:47:57,125
- He's wonderful.
- [Gibson] The kid.

679
00:47:57,167 --> 00:47:59,669
- [Safinia] Carlos.
- [Gibson] Four years old, yeah.

680
00:47:59,753 --> 00:48:04,340
- [Safinia] Carlito. Yeah, he'd...
- [Safinia laughs]

681
00:48:04,382 --> 00:48:06,426
- [Gibson] Look at that.
- [Safinia] Yeah.

682
00:48:06,509 --> 00:48:07,677
[Gibson] Yeah.

683
00:48:07,719 --> 00:48:10,346
I said, "Don't cry,
but you don't like it. Be brave."

684
00:48:10,388 --> 00:48:12,307
- [Safinia] Yeah.
- [Gibson laughs]

685
00:48:26,321 --> 00:48:29,574
[Gibson] Oof. Boy, this was hot.

686
00:48:29,657 --> 00:48:32,202
- [Safinia] This was hot.
- [Gibson] 135 degrees.

687
00:48:32,243 --> 00:48:36,164
- [Safinia] That wall behind them...
- [Gibson] Like an oven, cooking.

688
00:48:36,206 --> 00:48:38,249
- [Safinia] Cooking.
- [Gibson] These guys.

689
00:48:38,333 --> 00:48:42,253
Even these guys, with their wonderful
sorta brown complexions,

690
00:48:42,337 --> 00:48:45,173
- even they got sunburned.
- [Safinia] They did. You can see it

691
00:48:45,215 --> 00:48:47,050
on a couple of them.

692
00:48:48,092 --> 00:48:51,304
[Safinia] We should make
a quick mention here of Ted Rae's job

693
00:48:51,387 --> 00:48:53,932
because this scene is one
in which a lot of these guys

694
00:48:54,015 --> 00:48:56,476
are wearing wires
so that they wouldn't fall over.

695
00:48:56,559 --> 00:48:59,312
And, um, a lot of the special effects
done in this film

696
00:48:59,395 --> 00:49:02,398
were to remove wires and things
like that. And you just...

697
00:49:02,440 --> 00:49:05,568
It's so seamless if you look at it now,
that, you know,

698
00:49:05,610 --> 00:49:08,696
he and his team
did a really wonderful job with that.

699
00:49:10,573 --> 00:49:14,244
[Gibson] Yeah, all the falls,
all the dangling over a high spot.

700
00:49:14,285 --> 00:49:16,287
All safe.
Looks precarious. That's good.

701
00:49:16,371 --> 00:49:18,039
[Safinia] Yeah.

702
00:49:22,794 --> 00:49:25,088
[laughter]

703
00:49:26,673 --> 00:49:30,426
[Safinia] In case you didn't know
Middle Eye was crazy, here he is again.

704
00:49:30,510 --> 00:49:33,429
[Gibson] Yeah. He's a sociopath.
It's Frank Sinatra.

705
00:49:33,513 --> 00:49:35,723
[Safinia laughs]

706
00:49:38,476 --> 00:49:40,937
[Safinia laughs]
That makes me laugh.

707
00:49:41,020 --> 00:49:42,313
[Gibson] I know.

708
00:49:43,815 --> 00:49:45,942
<i>[screaming]</i>

709
00:49:54,033 --> 00:49:57,078
[Safinia] I remember you
were telling Gerardo to look at this

710
00:49:57,120 --> 00:50:01,082
as though a beautiful daisy
was flowering in the spring.

711
00:50:01,124 --> 00:50:04,210
- That was your direction to him.
- [Gibson] Yeah.

712
00:50:06,170 --> 00:50:08,673
[Gibson] At his handiwork
after he pushed the guy off?

713
00:50:08,756 --> 00:50:10,592
Yeah, look at that flower.

714
00:50:10,633 --> 00:50:13,469
- [Safinia] Oh.
- [Gibson] It's nice. Ugh.

715
00:50:15,597 --> 00:50:17,640
<i>[panting]</i>

716
00:50:27,817 --> 00:50:29,152
[Safinia] Deeply troubled.

717
00:50:29,235 --> 00:50:31,195
[Gibson] That wasn't
as good as I thought.

718
00:50:31,279 --> 00:50:32,363
[Safinia] Exactly

719
00:50:32,447 --> 00:50:36,326
[Gibson] It's like,
"Oh, well, next episode."

720
00:50:46,961 --> 00:50:48,838
[Gibson] Oop, the dad's here.

721
00:51:13,154 --> 00:51:16,240
- [Gibson] Pauses were important.
- [Safinia] Mm-hm.

722
00:51:26,584 --> 00:51:29,963
[Safinia laughs] Just great.

723
00:51:36,594 --> 00:51:39,389
[Safinia laughs]
Most of it is not speaking, you know.

724
00:51:39,430 --> 00:51:42,892
[Gibson] It's just looking at him.
He's like boring holes. I love it.

725
00:51:51,317 --> 00:51:52,944
[Safinia] The knife.

726
00:51:54,612 --> 00:51:56,781
That's the first time
you see that knife.

727
00:51:57,740 --> 00:52:00,326
- [Gibson] It's not.
- [Safinia] Saw it in the village?

728
00:52:00,410 --> 00:52:03,830
[Gibson] Yeah. I think he sliced
and diced somebody there.

729
00:52:03,913 --> 00:52:05,081
[Safinia] He does, yes.

730
00:52:05,164 --> 00:52:08,418
- [Gibson] So you know he's handy.
- [Safinia] Knows how to use it.

731
00:52:08,501 --> 00:52:11,921
I love the way you didn't put a subtitle
on that. It's not necessary.

732
00:52:11,963 --> 00:52:14,549
Everybody knows what he's saying
when he goes, "No."

733
00:52:30,606 --> 00:52:34,485
- [Gibson] He threw that one in extra.
- [Safinia] Yeah, he did.

734
00:52:34,569 --> 00:52:37,864
<i>[groaning, straining]</i>

735
00:52:47,206 --> 00:52:49,167
<i>[woman singing]</i>

736
00:52:49,250 --> 00:52:52,336
- [Gibson] Miriam's lullaby.
- [Safinia] Hmm.

737
00:52:54,672 --> 00:52:59,135
[Safinia] This is an old... It's an old
Zapotecan lullaby that we translated

738
00:52:59,218 --> 00:53:04,182
into Yucatec Mayan and goes...

739
00:53:04,265 --> 00:53:06,684
It's a very, very old lullaby.

740
00:53:08,227 --> 00:53:13,441
Something about how the kids will play
when the parents are away or something.

741
00:53:19,113 --> 00:53:22,408
<i>[woman continues singing]</i>

742
00:53:37,173 --> 00:53:39,425
[Gibson] That guy talking
is named Richard Can.

743
00:53:39,509 --> 00:53:42,553
He's from... Is he from the Yucatan?

744
00:53:42,637 --> 00:53:47,183
- [Safinia] He is, yes.
- [Gibson] He speaks fluent Yucatec

745
00:53:47,225 --> 00:53:49,852
and is a kindergarten teacher,
and he looks vicious.

746
00:53:49,936 --> 00:53:53,815
[Safinia] Very vicious, yeah.
Very nice guy though.

747
00:53:53,856 --> 00:53:55,566
- [Gibson] Hell.
- [Safinia laughs]

748
00:53:55,650 --> 00:53:58,236
- He's not vicious at all.
- [Gibson] Oh. Mr. Can?

749
00:53:58,319 --> 00:53:59,862
[Safinia] Yeah.

750
00:54:07,203 --> 00:54:10,665
[Safinia] I remember the makeup artists
were having all sorts of trouble

751
00:54:10,706 --> 00:54:14,585
because the prosthetic part of the ears
of these characters

752
00:54:14,669 --> 00:54:16,295
didn't have blood, obviously.

753
00:54:16,379 --> 00:54:20,049
So when the firelight's shining
behind it you couldn't see any red.

754
00:54:20,133 --> 00:54:23,177
So they actually had
to put fake red pigments in these ears

755
00:54:23,219 --> 00:54:25,680
to make them look real.
That's the level of detail

756
00:54:25,721 --> 00:54:29,308
to which they went
to make everything look so real.

757
00:54:43,447 --> 00:54:45,908
[Safinia laughs]

758
00:54:47,201 --> 00:54:49,162
[Gibson] You could get busted, Farhad.

759
00:54:49,245 --> 00:54:50,246
[Safinia laughs]

760
00:55:10,349 --> 00:55:13,769
[Safinia] This is another one
of those great moments with Jonathan.

761
00:55:17,356 --> 00:55:21,152
[Gibson] Yeah, I love the profile shot
and the flames.

762
00:55:43,633 --> 00:55:46,844
[Safinia] It's so beautifully lit,
and all by fire.

763
00:55:46,928 --> 00:55:48,304
[Gibson] Yeah.

764
00:56:31,931 --> 00:56:34,225
[Gibson] It's kinda
like the end of act one.

765
00:56:34,308 --> 00:56:36,352
[Safinia] Yeah, I know. It is.

766
00:56:36,435 --> 00:56:40,022
And it's so great how you immediately go
into this new setup, you know,

767
00:56:40,064 --> 00:56:42,275
this new environment.

768
00:56:46,529 --> 00:56:48,948
[Gibson] And devastation
of the landscape.

769
00:56:50,825 --> 00:56:52,743
You say,
"How come there's no trees?"

770
00:56:52,827 --> 00:56:55,413
- [Safinia] Yeah.
- [Gibson] You go, "Oh, this is why."

771
00:56:55,496 --> 00:56:57,039
[Safinia laughs]

772
00:57:00,543 --> 00:57:04,338
[Gibson] A big setup this one,
the special effects guys.

773
00:57:04,380 --> 00:57:08,551
- [Safinia] They built that tree, yeah.
- [Gibson] Whew. Yeah. It's a...

774
00:57:08,634 --> 00:57:09,635
[Safinia] Real.

775
00:57:09,719 --> 00:57:15,433
[Gibson] Something on a hinge
they could drop. Amazing. Impactful.

776
00:57:15,516 --> 00:57:18,978
[Safinia] I think what you
were willing to go with here,

777
00:57:19,061 --> 00:57:22,481
in terms of telling the story visually,
what they were doing to themselves

778
00:57:22,565 --> 00:57:25,901
from a industrial perspective and...
is really great.

779
00:57:25,985 --> 00:57:27,945
Because you never really stop.

780
00:57:28,029 --> 00:57:31,866
Nobody ever stops to really explain
anything in terms of exposition.

781
00:57:31,907 --> 00:57:34,910
You're just watching
a series of visuals

782
00:57:34,952 --> 00:57:37,747
that tell you a story of what
they were up to, you know,

783
00:57:37,830 --> 00:57:40,249
- what they were doing.
- [Gibson] You get land,

784
00:57:40,333 --> 00:57:44,587
and then you get people
affected by it. They're ill.

785
00:57:44,670 --> 00:57:47,006
They have lesions for some reason.

786
00:57:48,591 --> 00:57:51,719
They were...
And there were periods during Maya,

787
00:57:51,761 --> 00:57:54,180
sort of rise and fall
of their civilizations

788
00:57:54,263 --> 00:57:58,726
in which disease would come and be
one of the factors that eventually would

789
00:57:58,768 --> 00:58:03,689
precipitate the downfall. Um...
Who knows where these came from?

790
00:58:03,773 --> 00:58:07,902
It could be from a combination
of bad malnourishment or lack of food,

791
00:58:07,943 --> 00:58:11,280
- hygiene.
- [Gibson] Hygiene. All sorts of stuff.

792
00:58:13,699 --> 00:58:17,703
This little kid was amazing.
She's a little girl from the Yucatec.

793
00:58:17,787 --> 00:58:19,789
She only spoke Mayan.

794
00:58:19,872 --> 00:58:25,336
She came from a very primitive village.
Very sweet kid.

795
00:58:25,419 --> 00:58:27,797
- [Safinia] Seven years old.
- [Gibson] I chose her,

796
00:58:27,880 --> 00:58:30,216
because, look at her.
I mean, just look at her.

797
00:58:30,299 --> 00:58:34,970
She's like an old soul. She's seven
years old, but she's like an old soul.

798
00:58:36,138 --> 00:58:38,724
She used to have

799
00:58:38,808 --> 00:58:42,812
millennium of knowledge back there.
It's like kinda spooky.

800
00:58:51,654 --> 00:58:53,572
- [Safinia] Brave girl.
- [Gibson] Yeah.

801
00:58:53,656 --> 00:58:55,699
[Safinia] Didn't know
about filmmaking...

802
00:58:55,783 --> 00:58:58,536
- [Gibson] Anything.
- [Safinia] ...had never seen a floor

803
00:58:58,619 --> 00:59:02,248
- and a car or a road or anything.
- [Gibson] Or an ice cream.

804
00:59:02,331 --> 00:59:05,418
[Safinia] And here she was
and doing all this stuff.

805
00:59:07,837 --> 00:59:10,005
Now this sequence with the prophecy,

806
00:59:10,047 --> 00:59:14,260
this is actually something that
was very true to research that we did

807
00:59:14,343 --> 00:59:17,012
that came from the <i>Popul Vuh</i>
and other sources.

808
00:59:17,054 --> 00:59:21,183
The Mayans, as a people,
were very much obsessed almost

809
00:59:21,225 --> 00:59:24,562
with predicting and prophesizing

810
00:59:24,645 --> 00:59:29,483
the rise and the fall of their times.
And who knows?

811
00:59:29,525 --> 00:59:32,445
Once you become so obsessed
with something prophetic,

812
00:59:32,528 --> 00:59:37,032
whether it's self-fulfilling
or whether it's genuinely

813
00:59:37,116 --> 00:59:40,035
a prophecy of the future.

814
00:59:40,077 --> 00:59:43,038
But she gives 'em a few clues
as to what the countdown is

815
00:59:43,122 --> 00:59:46,792
from a mythic perspective.

816
00:59:48,419 --> 00:59:52,047
[Gibson] And I always thought that
because she was so close to death

817
00:59:52,089 --> 00:59:56,218
and that they were
leaving her out there to die...

818
00:59:56,302 --> 00:59:59,972
...that she had some kind of link
to the beyond.

819
01:00:01,223 --> 01:00:03,350
- It's spooky.
- [Safinia] You asked her...

820
01:00:03,392 --> 01:00:06,479
You really tried very hard,
even though she was only seven,

821
01:00:06,562 --> 01:00:09,982
to get her to switch into a different
mode here as she said these lines,

822
01:00:10,065 --> 01:00:13,444
as opposed to just being
a regular kid crying, you know.

823
01:00:13,527 --> 01:00:15,237
[Gibson] Yeah.

824
01:00:18,449 --> 01:00:20,618
[Safinia] And they're a little worried.

825
01:00:22,411 --> 01:00:25,748
[Gibson] Yeah, I'd leave too.
I mean, that is disturbing.

826
01:00:25,789 --> 01:00:27,708
- [Safinia] Back away.
- [both laugh]

827
01:00:36,425 --> 01:00:40,387
[Gibson] That someone so little could,
you know, speak to them like that.

828
01:00:40,429 --> 01:00:41,889
[Safinia] Yeah.

829
01:00:41,931 --> 01:00:44,934
[Gibson] They were very superstitious,
and they would have...

830
01:00:45,017 --> 01:00:49,605
[Safinia] They would have believed that
and looked for those signs then.

831
01:00:51,982 --> 01:00:55,569
[Gibson] Even if they didn't believe it
wholly, they'd be disturbed by it.

832
01:00:55,611 --> 01:00:57,947
- [Safinia] Would be, yes.
- [Gibson laughs]

833
01:00:57,988 --> 01:01:01,784
- Ah, yes, the lime quarry.
- [Safinia] Yeah.

834
01:01:01,825 --> 01:01:04,078
[Gibson] The logs from trees
that get chopped.

835
01:01:04,119 --> 01:01:06,163
[Safinia] Right.
This is visual storytelling

836
01:01:06,247 --> 01:01:10,125
that we just saw these trees
being cut and burnt down.

837
01:01:10,209 --> 01:01:12,503
And what are they doing
with the wood?

838
01:01:12,586 --> 01:01:14,964
[Gibson] They're heating up
a bunch of rocks...

839
01:01:16,966 --> 01:01:20,010
- ...so that they can pulverize it.
- [Safinia laughs]

840
01:01:20,094 --> 01:01:22,429
[Gibson] Turn it into
white powder which they cart

841
01:01:22,471 --> 01:01:27,142
into their cities and make a slurry of.

842
01:01:27,476 --> 01:01:32,106
[Safinia] Now this is all a real set.
This is all completely built.

843
01:01:38,654 --> 01:01:42,283
- This was my favorite set.
- [Gibson] Beautiful, yeah.

844
01:01:42,324 --> 01:01:47,162
[Safinia] Just the way they constructed
this to make it feel

845
01:01:47,204 --> 01:01:48,998
- like you have...
- [Gibson] Nothing.

846
01:01:49,081 --> 01:01:51,542
[Safinia] ...devastation
right into the horizon.

847
01:01:51,625 --> 01:01:54,044
[Gibson] And with the deforestation,
of course,

848
01:01:54,128 --> 01:01:56,171
the rains would come
and wash the topsoil.

849
01:01:56,255 --> 01:02:00,009
- [Safinia] That's right.
- [Gibson] The clay and less desirable

850
01:02:00,050 --> 01:02:04,513
kind of growing stuff would run off
into the arability of their fields

851
01:02:04,597 --> 01:02:09,476
and start to make their crops
not yield, be unhealthy.

852
01:02:10,519 --> 01:02:12,605
[Safinia] Because this earth
here at the...

853
01:02:12,688 --> 01:02:14,982
Was so thin,
everything would run out.

854
01:02:15,024 --> 01:02:17,568
[Gibson] Yeah,
and all to build the temples bigger.

855
01:02:17,651 --> 01:02:18,902
[Safinia] Yeah.

856
01:02:18,986 --> 01:02:21,238
[Gibson] They burned trees
to heat rocks to pulverize

857
01:02:21,322 --> 01:02:25,200
to make the temples big, kill their
crops, everyone would get diseases.

858
01:02:27,036 --> 01:02:30,706
[Safinia] Here's that sediment washing

859
01:02:30,789 --> 01:02:33,751
into their fields, crops.

860
01:02:36,795 --> 01:02:40,883
And almost instantly, you see
the famine that's associated with that.

861
01:02:42,134 --> 01:02:45,262
- [Gibson] There are wonderful faces.
- [Safinia] Yeah.

862
01:02:47,640 --> 01:02:51,894
[Safinia] This was historically
genuinely the way that these cities

863
01:02:51,935 --> 01:02:54,647
were in that the remnants of them
that we have today

864
01:02:54,730 --> 01:02:58,317
are these large stone edifices.

865
01:02:58,400 --> 01:03:01,111
But at the time, at their height,
they had huts...

866
01:03:01,195 --> 01:03:03,155
[Gibson] All sorts of peripheral stuff.

867
01:03:03,238 --> 01:03:05,658
[Safinia] And shanty towns
all over the outskirts

868
01:03:05,741 --> 01:03:09,161
and the poor trying to survive
on the outskirts and the edges.

869
01:03:09,411 --> 01:03:12,581
[Gibson] Abel, one of the
famous character actors in Mexico.

870
01:03:12,665 --> 01:03:16,669
When I met him he was a robust man,
and by the time we wanted to film him,

871
01:03:16,752 --> 01:03:19,254
he was...
He had very short time to live.

872
01:03:19,338 --> 01:03:23,258
But he wanted,
with everything he had, to do this part.

873
01:03:37,439 --> 01:03:41,443
[Safinia] Here they are moving closer
and closer to the heart of the city.

874
01:03:41,485 --> 01:03:44,446
- [Gibson] Getting more prosperous.
- [Safinia] You can see

875
01:03:44,530 --> 01:03:48,951
a little more trade going on,
a little more of the industry

876
01:03:48,992 --> 01:03:50,494
that we know they had.

877
01:03:50,577 --> 01:03:53,831
[Gibson] There was a scene, in
that last scene where there was nothing,

878
01:03:53,914 --> 01:03:57,084
except for there was this one
green plant that a guy was watering,

879
01:03:57,126 --> 01:03:59,795
which I thought was...
I just thought it was hilarious.

880
01:03:59,878 --> 01:04:01,547
[Safinia] Right. I remember.

881
01:04:01,630 --> 01:04:04,341
[Gibson] You only see it for a second.

882
01:04:04,425 --> 01:04:07,803
[Safinia] And this is where
Tom Sanders' set really is shining,

883
01:04:07,886 --> 01:04:13,809
because the depth of the set, you could
shoot in any direction you wanted, yeah.

884
01:04:13,892 --> 01:04:17,771
[Gibson] And it just kept going.
There was industry.

885
01:04:18,772 --> 01:04:21,191
It had meaning and a purpose.
There were districts,

886
01:04:21,275 --> 01:04:24,820
like this is the garment district.
And it was like that.

887
01:04:24,862 --> 01:04:26,488
It was really amazing.

888
01:04:27,656 --> 01:04:32,369
And these are just some people
from Veracruz that you find.

889
01:04:32,453 --> 01:04:33,996
They're just... Look at them.

890
01:04:34,079 --> 01:04:36,707
These extras,
they're beautiful, and they really...

891
01:04:36,790 --> 01:04:39,668
- They really put out emotionally.
- [Safinia] Right.

892
01:04:45,507 --> 01:04:48,218
[Safinia] The dyers,
the dye makers, and...

893
01:04:50,846 --> 01:04:53,849
- [Gibson] The goat head corner.
- [Safinia] Right. And I love...

894
01:04:53,932 --> 01:04:56,935
I love the little vignettes
you put in here with, you know,

895
01:04:57,019 --> 01:04:59,313
telling a little story here
and there all the time

896
01:04:59,354 --> 01:05:04,151
about the kind of environment we're in,
where things aren't quite so good.

897
01:05:04,193 --> 01:05:05,569
[Gibson] Yeah.

898
01:05:12,701 --> 01:05:16,580
[Safinia] This is the end point for the
lime powder that they've been carrying

899
01:05:16,663 --> 01:05:18,916
- from the quarry.
- [Gibson] You see what they do.

900
01:05:18,999 --> 01:05:21,376
[Safinia] They're applying
to palaces and temples.

901
01:05:21,460 --> 01:05:23,712
[Gibson] It was used
as flooring and roads...

902
01:05:23,796 --> 01:05:28,467
[Safinia] Right. They covered roads
with feet deep thick of lime plaster.

903
01:05:28,550 --> 01:05:30,636
[Gibson] Conspicuous consumption.

904
01:05:32,513 --> 01:05:35,599
[Safinia] Do you remember
the choosing of this pigment?

905
01:05:35,682 --> 01:05:38,977
The makeup team came to you and said...
They gave you three choices

906
01:05:39,061 --> 01:05:40,979
- for the blue that...
- [Gibson] Four.

907
01:05:41,063 --> 01:05:42,147
[Safinia] Right.

908
01:05:42,231 --> 01:05:45,609
[Gibson] They said, "Which one
do you like?" And I said, "That one."

909
01:05:45,692 --> 01:05:46,944
[Safinia] It was the one.

910
01:05:47,027 --> 01:05:49,780
[Gibson] That was the pigment,
the shade that they had used.

911
01:05:49,863 --> 01:05:52,115
[Safinia] Actually used.
Yeah, they used to coat

912
01:05:52,199 --> 01:05:55,494
the sacrificial victims
in this particular shade of blue

913
01:05:55,577 --> 01:05:58,121
to earmark them for that purpose.

914
01:06:06,630 --> 01:06:10,092
[Gibson] Whew, boy,
remember how hot this place was?

915
01:06:14,596 --> 01:06:17,140
[Safinia] What's remarkable here
in these sequences

916
01:06:17,224 --> 01:06:21,436
is there isn't one false image anywhere,
or false visual.

917
01:06:21,478 --> 01:06:25,023
All the extras, as deep, as far
as back you can go in the background

918
01:06:25,107 --> 01:06:28,569
have the right makeup,
the right prosthetics,

919
01:06:28,610 --> 01:06:31,947
the right clothing
to really sell this to you.

920
01:06:32,030 --> 01:06:33,949
And that's an enormous job.

921
01:06:34,032 --> 01:06:37,661
The makeup teams, during these
sequences, had to start literally

922
01:06:37,744 --> 01:06:40,372
at midnight every day, so that by 8:00,

923
01:06:40,455 --> 01:06:44,668
when we were going to shoot,
they had enough people ready to go

924
01:06:44,751 --> 01:06:46,628
with all the right kind of...

925
01:06:46,712 --> 01:06:50,048
[Gibson] The makeup team was
like 300, 400 strong sometimes,

926
01:06:50,132 --> 01:06:52,759
many of them students from Mexico City.

927
01:06:52,801 --> 01:06:55,637
- [Safinia] Many students.
- [Gibson] Wonderful work.

928
01:06:57,806 --> 01:07:00,225
They'll never work on a show
with this makeup again.

929
01:07:00,309 --> 01:07:02,269
[Safinia] Never, no.

930
01:07:02,311 --> 01:07:06,607
Because it was more just
the sheer will to do this.

931
01:07:06,648 --> 01:07:10,235
[Gibson] My hat's off to those guys.
They worked harder than...

932
01:07:10,986 --> 01:07:15,115
Whew, look at this. Scarification
on the foreheads. Unbelievable stuff.

933
01:07:15,157 --> 01:07:16,783
[Safinia] Jade jewelry.

934
01:07:16,825 --> 01:07:18,827
- [Gibson] Jade teeth.
- [Safinia] Teeth.

935
01:07:18,869 --> 01:07:22,497
[Gibson] Inlays in their teeth.
Look at this.

936
01:07:22,581 --> 01:07:26,335
Paint, tattoos,
scarifications, everything.

937
01:07:32,424 --> 01:07:35,344
[Safinia] That man was cast
for his laughing ability.

938
01:07:35,427 --> 01:07:38,263
[Gibson laughs] Yeah.

939
01:07:43,936 --> 01:07:47,940
[Gibson] And the slave trader
are both real Mayans.

940
01:07:49,691 --> 01:07:52,986
But the woman slave trader
was our dialogue coach,

941
01:07:53,028 --> 01:07:57,032
the most demure little woman, shy.

942
01:07:57,115 --> 01:08:01,536
And then when she got to be the slave
trader she became this callous harridan

943
01:08:01,578 --> 01:08:05,791
who was trading in human misery.

944
01:08:06,541 --> 01:08:09,252
[Safinia] Miriam Tun.
Everybody knows about you, Miriam.

945
01:08:09,336 --> 01:08:11,546
- [Gibson] Yeah.
- [Safinia laughs]

946
01:08:25,602 --> 01:08:30,399
[Gibson] A lot of this bamboo
and kind of woodwork that they did

947
01:08:30,440 --> 01:08:34,987
that go upon the stone was really great.

948
01:08:35,070 --> 01:08:39,157
And it must have been there.
It was there to be...

949
01:08:54,589 --> 01:08:57,009
- [Safinia] I love how packed it is.
- [Gibson] Yeah.

950
01:08:57,092 --> 01:09:00,262
- [Safinia] How deep you see.
- [Gibson] This was almost nighttime.

951
01:09:00,345 --> 01:09:02,556
[Safinia] Yes.
Dean Semler, light magician.

952
01:09:02,597 --> 01:09:05,517
[Gibson] Yeah,
and he threw a light back there.

953
01:09:06,643 --> 01:09:08,437
Amazing.

954
01:09:09,271 --> 01:09:12,441
But this, look at this stuff,
the light in here.

955
01:09:12,482 --> 01:09:14,317
- [Safinia] Yeah.
- [Gibson] Whew!

956
01:09:20,032 --> 01:09:21,992
[Safinia] These
are the murals we chose

957
01:09:22,075 --> 01:09:25,787
that were from San Bartolomé, which
were a discovery that was quite recent,

958
01:09:25,871 --> 01:09:28,540
only during
the pre-production of the film.

959
01:09:28,623 --> 01:09:31,251
And we chose to go with them

960
01:09:31,293 --> 01:09:34,546
because they were so evocative
of what we were trying to tell.

961
01:09:34,629 --> 01:09:36,965
[Gibson] Not only that,
but we'd painted murals.

962
01:09:37,049 --> 01:09:40,469
- We replaced them with these.
- [Safinia] 'Cause the discoveries...

963
01:09:40,510 --> 01:09:45,307
[Gibson] The colors and the images.
So it was pretty cool.

964
01:09:48,769 --> 01:09:51,396
- Yeah, the reveal.
- [Safinia] The big reveal.

965
01:09:51,480 --> 01:09:55,901
[Gibson] Yeah.
And all the buildings you see...

966
01:09:56,943 --> 01:09:59,696
...in the foreground,
one, two, three, four.

967
01:09:59,780 --> 01:10:02,449
There were four
real buildings in that shot.

968
01:10:02,491 --> 01:10:04,326
[Safinia] In that shot, yeah.

969
01:10:04,409 --> 01:10:07,079
- [Gibson] That's real.
- [Safinia] Everything's real.

970
01:10:09,331 --> 01:10:12,167
[Gibson] And a cast
of what seems like thousands.

971
01:10:12,250 --> 01:10:13,710
[Safinia laughs]

972
01:10:27,682 --> 01:10:30,143
[Gibson] Dancing people.
I love the way they looked.

973
01:10:30,185 --> 01:10:33,814
Their hair and everything.
They're kinda spooky.

974
01:10:39,444 --> 01:10:42,447
[Safinia] There are some
very detailed accounts of this stuff,

975
01:10:42,531 --> 01:10:46,368
this kind of ritualized sacrificial
ceremony occurring right up

976
01:10:46,409 --> 01:10:48,203
until the arrival of the Europeans.

977
01:10:48,286 --> 01:10:52,332
In fact, we have firsthand European
accounts of these types of ceremonies

978
01:10:52,374 --> 01:10:55,127
in a book by Diego de Landa.

979
01:10:55,210 --> 01:10:58,505
But it describes the various
ceremonies they engaged in

980
01:10:58,547 --> 01:11:02,217
and specific ones in which there
was human sacrifice

981
01:11:02,300 --> 01:11:04,719
in the form of cardiectomies,
or removal of hearts.

982
01:11:04,803 --> 01:11:05,929
[Gibson] Yeah.

983
01:11:06,012 --> 01:11:09,391
[Safinia] And they were for
various purposes, to appease the gods,

984
01:11:09,432 --> 01:11:13,270
to appeal for better crops
for a good year,

985
01:11:13,353 --> 01:11:15,647
- so on and so forth.
- [Gibson] Or for suffering

986
01:11:15,730 --> 01:11:19,484
to appease the gods. Just, you know,
bloodletting for the sake of it.

987
01:11:19,568 --> 01:11:21,570
They used to bloodlet on themselves.

988
01:11:21,611 --> 01:11:24,406
[Safinia] This platform you saw
with the head spikes in them

989
01:11:24,489 --> 01:11:27,284
is a take from Chichén Itzá.

990
01:11:27,367 --> 01:11:30,287
And the platforms, the square type
platforms, are very much

991
01:11:30,370 --> 01:11:33,748
post-classic architecture
that we put in here

992
01:11:33,832 --> 01:11:36,626
because the period of the film
obviously is set at that time.

993
01:11:36,710 --> 01:11:38,837
[Gibson] There is a mixture
of architecture.

994
01:11:38,920 --> 01:11:40,338
[Safinia] Correct. There is.

995
01:11:40,422 --> 01:11:43,925
The pyramid styles are mostly classic,
and they helped more.

996
01:11:43,967 --> 01:11:45,719
I remember you making that choice

997
01:11:45,760 --> 01:11:48,638
because it was much better
for the composition of the frame

998
01:11:48,722 --> 01:11:52,017
to have these high-rising pyramids
that were really overpowering

999
01:11:52,100 --> 01:11:55,145
the central characters of our story
and terrifying them,

1000
01:11:55,228 --> 01:11:57,397
as opposed
to the more squat, flat pyramids

1001
01:11:57,439 --> 01:12:00,901
that existed
in the post-classic period.

1002
01:12:00,942 --> 01:12:03,945
[Gibson] But we did
introduce post-classic elements to them.

1003
01:12:04,029 --> 01:12:06,615
- [Safinia] Like...
- [Gibson] The intricacy of the top.

1004
01:12:06,698 --> 01:12:09,868
[Safinia] And the snake head
that you see at the top, yeah.

1005
01:12:09,951 --> 01:12:11,995
And here,
this is my favorite VFX shot.

1006
01:12:12,078 --> 01:12:13,079
[Gibson] I love it.

1007
01:12:13,121 --> 01:12:16,291
[Safinia] When you see
that city in the background. Oh!

1008
01:12:16,374 --> 01:12:17,959
[Gibson] Just for an instant.

1009
01:12:18,043 --> 01:12:21,129
[Safinia] That's all you need
to make people realize these cities

1010
01:12:21,171 --> 01:12:24,216
would go on for as far
as the eye could see.

1011
01:12:24,299 --> 01:12:26,801
[Gibson] There's better shots coming up.

1012
01:12:26,885 --> 01:12:31,473
This guy. Now Farhad found this guy
'cause we didn't have a king.

1013
01:12:31,556 --> 01:12:33,308
They kept bringing guys
from the gym.

1014
01:12:33,350 --> 01:12:36,770
And they were very nice guys,
but they looked like guys from the gym.

1015
01:12:36,811 --> 01:12:39,231
I said, "I need a guy that
I wanna know in one look,

1016
01:12:39,314 --> 01:12:41,983
'cause he doesn't say anything,
why he's the king."

1017
01:12:42,067 --> 01:12:44,653
Farhad went to the docks
and brought me back three guys,

1018
01:12:44,736 --> 01:12:47,530
and, by golly,
he had the king with him.

1019
01:12:47,614 --> 01:12:49,199
[Safinia] That was a funny day.

1020
01:12:49,282 --> 01:12:53,328
[Gibson] He wanted to know on sight
he murdered his brother for the job.

1021
01:12:53,370 --> 01:12:55,997
- [Safinia] He's got that look.
- [Gibson] Got that look.

1022
01:12:56,039 --> 01:12:59,167
- [Safinia] What did you call it?
- [Gibson] Sneer of cold command.

1023
01:12:59,251 --> 01:13:00,835
[Safinia] Sneer of cold command.

1024
01:13:00,919 --> 01:13:03,755
[Gibson] I borrowed that
from Percy Bysshe Shelley,

1025
01:13:03,838 --> 01:13:05,840
<i>- Ozymandias.</i>
- [Safinia] That's right.

1026
01:13:05,882 --> 01:13:08,635
[Gibson] The sneer of cold command.

1027
01:13:08,677 --> 01:13:13,056
- But he certainly had it.
- [Safinia] Yeah, he did.

1028
01:13:13,139 --> 01:13:15,141
- [Gibson] Green eyes.
- [Safinia] Yeah.

1029
01:13:15,183 --> 01:13:17,852
- [Gibson] Almost Egyptian.
- [Safinia] Yeah, yeah.

1030
01:13:19,980 --> 01:13:22,774
[Safinia] Look at that,
as far as the eye can see.

1031
01:13:28,446 --> 01:13:31,074
[Safinia] He couldn't have been better.
He just...

1032
01:13:31,157 --> 01:13:32,993
- [Gibson] This guy?
- [Safinia] Yeah.

1033
01:13:33,034 --> 01:13:36,371
- [Gibson] The politician.
- [Safinia] Absolutely.

1034
01:13:36,454 --> 01:13:39,040
- [Gibson] Who does he remind you of?
- [Safinia laughs]

1035
01:13:39,124 --> 01:13:41,376
- Which century?
- [Gibson] Which congressman?

1036
01:13:41,418 --> 01:13:43,878
- [Safinia] That's right.
- [both laugh]

1037
01:13:43,920 --> 01:13:46,715
[Safinia] Throughout
every century, every civilization,

1038
01:13:46,756 --> 01:13:50,176
there's always one of these guys
up there doing his little thing.

1039
01:13:50,218 --> 01:13:54,139
[Gibson] I mean, we told them
to watch the tapes of Mussolini

1040
01:13:54,222 --> 01:13:57,767
and the dictator Hitler and just
look at their ugly body language

1041
01:13:57,851 --> 01:13:59,561
- and that...
- [Safinia] Right.

1042
01:13:59,602 --> 01:14:02,480
- [Gibson] And it was...
- [Safinia] It's the demagoguery,

1043
01:14:02,564 --> 01:14:05,191
- the ability to whip...
- [Gibson] There's Mussolini.

1044
01:14:05,233 --> 01:14:07,110
- Perfect.
- [Safinia] He's loving it.

1045
01:14:07,193 --> 01:14:10,572
They're both exchanging
these looks of, yeah...

1046
01:14:10,655 --> 01:14:13,241
They're whipping
the crowd up into a frenzy.

1047
01:14:25,795 --> 01:14:28,465
[Gibson] All these people down here,
they're folks,

1048
01:14:28,548 --> 01:14:31,384
regular working folks from Veracruz.
They got so into it.

1049
01:14:31,426 --> 01:14:34,387
They were so cooperative,
so uncomplaining,

1050
01:14:34,429 --> 01:14:39,601
- and honestly, they were wonderful.
- [Safinia] One thing to notice...

1051
01:14:39,642 --> 01:14:43,146
[Gibson] I really found out a lot
about the people of Mexico from this.

1052
01:14:43,229 --> 01:14:45,190
They're so gracious.

1053
01:14:46,024 --> 01:14:47,609
Amazing. They just went for it.

1054
01:14:47,692 --> 01:14:51,196
They just went for it, you know.
It's great.

1055
01:14:51,279 --> 01:14:53,823
<i>[crowd cheering]</i>

1056
01:14:59,871 --> 01:15:01,956
[Gibson] It was not comfortable.
It was hot.

1057
01:15:01,998 --> 01:15:04,417
- [Safinia] It was very hot.
- [Gibson] Scorching.

1058
01:15:04,459 --> 01:15:07,379
[Safinia] We had
to have little Red Cross tents

1059
01:15:07,462 --> 01:15:10,298
with air conditioners in them
so that people could cool down.

1060
01:15:10,382 --> 01:15:11,841
[Gibson] Mm-hm.

1061
01:15:13,259 --> 01:15:16,513
The food bills were heavy,
I tell you. [laughs]

1062
01:15:19,099 --> 01:15:21,643
This guy,
he's a farmer from Catemaco.

1063
01:15:21,684 --> 01:15:22,685
[Safinia] Yeah.

1064
01:15:22,769 --> 01:15:25,480
[Gibson] He's doing
a performance thing. It's amazing.

1065
01:15:25,563 --> 01:15:26,856
[Safinia] Close up.

1066
01:15:26,940 --> 01:15:31,152
[Gibson] He's like,
"Whoa, me?" "Yeah, why not?"

1067
01:15:34,739 --> 01:15:37,283
[Safinia] I love how you stay
well back from that.

1068
01:15:37,325 --> 01:15:41,955
The expectation is to go right in,
but it's just shot from far away.

1069
01:15:41,996 --> 01:15:45,583
[Gibson] Well, you know, it doesn't
pay to sort of focus too much on that.

1070
01:15:45,667 --> 01:15:48,461
- It is a cardiectomy after all.
- [Safinia laughs]

1071
01:15:48,503 --> 01:15:52,465
[Gibson] Look at that town.
Ooh! Chicago.

1072
01:15:55,343 --> 01:15:57,929
[Safinia] One of the things
Tom was trying very hard to do

1073
01:15:58,012 --> 01:16:02,934
was to give you the impression that
the town was always under construction.

1074
01:16:03,017 --> 01:16:06,354
There's always something being built
somewhere or renewed somewhere,

1075
01:16:06,438 --> 01:16:09,774
so you'll see the pyramid
that's got the scaffolding around it,

1076
01:16:09,858 --> 01:16:14,195
people working on it
and still participating in the ceremony.

1077
01:16:14,279 --> 01:16:15,697
- [Gibson] Ugh.
- [both laugh]

1078
01:16:15,738 --> 01:16:17,699
[Gibson] Just awful.

1079
01:16:19,367 --> 01:16:21,035
But it was far worse than that.

1080
01:16:21,119 --> 01:16:23,621
They used to cut their hands
and their feet off as well.

1081
01:16:23,705 --> 01:16:27,375
[Safinia] They did. And once
these bodies were rolled down,

1082
01:16:27,459 --> 01:16:30,253
they would actually flay them,
rip the skin off and wear it.

1083
01:16:30,336 --> 01:16:32,213
- [Gibson] Wear skin.
- [Safinia] Yeah.

1084
01:16:32,297 --> 01:16:34,090
[Gibson] We're letting you off light,

1085
01:16:34,174 --> 01:16:37,427
no matter what anyone
tells you about inaccuracy.

1086
01:16:37,510 --> 01:16:41,723
[Safinia]This here is the <i>Guinness Book
of Records</i> longest stair fall, ever.

1087
01:16:42,474 --> 01:16:44,893
Started at the top
of that pyramid...

1088
01:16:44,976 --> 01:16:47,061
- [Gibson] 80 steps.
- [Safinia] Rolled down.

1089
01:16:47,145 --> 01:16:49,355
[Gibson] Whatever it was.

1090
01:16:49,397 --> 01:16:51,357
<i>[panting]</i>

1091
01:16:53,026 --> 01:16:55,987
<i>[grunting]</i>

1092
01:17:08,333 --> 01:17:10,877
[Gibson] Funny, when you
turn these guys upside down.

1093
01:17:10,919 --> 01:17:15,423
[Safinia] It looks even worse.
[laughs] If it can, and it does.

1094
01:17:19,677 --> 01:17:21,679
<i>[gasping]</i>

1095
01:17:30,271 --> 01:17:35,193
[Gibson] They were very adept at keeping
people alive while removing things.

1096
01:17:35,276 --> 01:17:40,156
They used to cauterize them and
take out their whole system almost.

1097
01:17:40,240 --> 01:17:43,576
[Safinia] There's an account
of the king of Copán being captured

1098
01:17:43,618 --> 01:17:47,914
and kept alive and tortured
for nine years, during which time

1099
01:17:47,956 --> 01:17:51,334
they disemboweled him
and removed various parts of his body,

1100
01:17:51,417 --> 01:17:54,546
and also managed to keep him alive
for that entire time...

1101
01:17:54,629 --> 01:17:57,173
[Gibson] Nine years! Unbelievable.

1102
01:17:57,257 --> 01:18:01,511
[Safinia] Mostly, it was
so that they could humiliate somebody,

1103
01:18:01,594 --> 01:18:05,807
especially a ruler of an opposing city.
It was all about the humiliation.

1104
01:18:05,890 --> 01:18:08,226
[Gibson] Mostly humiliation.
No mercy on a ruler.

1105
01:18:08,309 --> 01:18:11,145
The higher you're ranked,
the more they humiliated you.

1106
01:18:11,854 --> 01:18:13,731
<i>[gasps]</i>

1107
01:18:13,815 --> 01:18:17,193
[Gibson] I think it's a little
bit the same now, don't you?

1108
01:18:17,277 --> 01:18:19,195
[Safinia laughs]

1109
01:18:21,864 --> 01:18:26,411
[Safinia] Did they look inside their
mouths and look for their teeth?

1110
01:18:33,710 --> 01:18:35,795
[Gibson whispers]
Where did that come from?

1111
01:18:35,837 --> 01:18:38,339
- [Safinia] She's so good.
- [Gibson laughs] Yeah.

1112
01:18:38,381 --> 01:18:40,425
[Safinia] She found it.

1113
01:18:41,217 --> 01:18:43,636
- So did he.
- [Gibson] Yeah.

1114
01:18:43,678 --> 01:18:47,348
They all found it.
They were good, these kids.

1115
01:18:48,766 --> 01:18:51,436
I'm proud of 'em. [chuckles]

1116
01:18:53,688 --> 01:18:55,815
<i>[crowd cheering]</i>

1117
01:19:42,070 --> 01:19:44,238
[Safinia] So it's a well-known fact

1118
01:19:44,280 --> 01:19:47,742
- that the Mayans were... astrologers.
- [Gibson] Astrologers.

1119
01:19:47,784 --> 01:19:51,412
[Safinia] Knew about the planetary
movements, the movement of the sun.

1120
01:19:52,580 --> 01:19:56,876
And I think the thing that we
were trying to say here was, well,

1121
01:19:56,918 --> 01:20:01,464
within any society, civilization,
who holds the information,

1122
01:20:01,547 --> 01:20:04,050
who is aware of it,
and if they do have it...?

1123
01:20:04,092 --> 01:20:07,095
- [Gibson] How do they use it?
- [Safinia] How do they use it? Yeah.

1124
01:20:07,178 --> 01:20:10,807
[Gibson] Even though Papa Smurf
has gone through some shenanigans,

1125
01:20:10,890 --> 01:20:13,101
- it's like...
- [Safinia] It's clearly a...

1126
01:20:13,142 --> 01:20:15,103
[Gibson] It's a dumb show.

1127
01:20:15,895 --> 01:20:20,692
And, you know, the educated always...
Knowledge is power.

1128
01:20:20,775 --> 01:20:24,570
[Safinia] That's right. If you're
able to manipulate that information

1129
01:20:24,612 --> 01:20:29,951
to achieve your own political ends,
then I think you're saying something

1130
01:20:30,034 --> 01:20:34,872
that's quite universal,
across all societies.

1131
01:20:38,000 --> 01:20:41,045
[Gibson] Even if everybody knew
about it, it's still amazing.

1132
01:20:41,129 --> 01:20:44,298
- [Safinia] Yes.
- [Gibson] An eclipse, "What is it?"

1133
01:20:51,139 --> 01:20:53,182
Look at this guy. [laughs]

1134
01:20:53,850 --> 01:20:56,978
[Safinia] Just these shots,
these completely still. [laughs]

1135
01:20:57,061 --> 01:21:01,315
- [Gibson] "Hey, uh, uh, fellows?"
- [Safinia] Yeah. [laughs]

1136
01:21:03,276 --> 01:21:05,486
<i>[clamoring]</i>

1137
01:21:07,530 --> 01:21:12,243
[Safinia] An eclipse, a solar eclipse,
looks like a 360 degree sunset,

1138
01:21:12,326 --> 01:21:14,495
which is very weird.

1139
01:21:18,166 --> 01:21:19,709
Yeah, that's enough.

1140
01:21:28,843 --> 01:21:33,598
[Safinia] I love the way he does that.
[laughing] It's so frightening.

1141
01:21:33,681 --> 01:21:35,767
- [Gibson] I love this.
- [Safinia] This shot.

1142
01:21:35,850 --> 01:21:37,351
[Gibson] The silhouette.

1143
01:21:53,034 --> 01:21:55,161
<i>[cheering]</i>

1144
01:22:04,796 --> 01:22:08,883
[Gibson] Dean had a special rig here
with the lighting on the people.

1145
01:22:08,966 --> 01:22:14,055
He was able to raise and lower
the light in the daytime.

1146
01:22:14,096 --> 01:22:17,225
- [Safinia] Yeah.
- [Gibson] And bring it down.

1147
01:22:17,266 --> 01:22:20,102
[Safinia] He had a screen
that would slide across the...

1148
01:22:20,186 --> 01:22:22,647
- [Gibson] Musco Light.
- [Safinia] The Musco Light.

1149
01:22:22,730 --> 01:22:26,234
And the screen would come across
the Musco Light and effectively create

1150
01:22:26,317 --> 01:22:28,236
the effect of an eclipse happening,

1151
01:22:28,277 --> 01:22:32,198
and then remove itself and make it look
like the sun was coming back.

1152
01:22:32,240 --> 01:22:35,243
[Gibson] I don't know
anyone's done an eclipse on film before.

1153
01:22:35,284 --> 01:22:37,912
- [Safinia] I haven't seen one.
- [Gibson] No.

1154
01:22:37,995 --> 01:22:40,289
<i>[crowd cheering]</i>

1155
01:22:47,129 --> 01:22:49,924
[Safinia] Beautiful costumes.

1156
01:22:50,007 --> 01:22:52,760
- Mayes Rubeo.
- [Gibson] Yeah.

1157
01:22:56,389 --> 01:22:59,767
[Safinia] And the jewelry
and the makeup is just...

1158
01:23:20,913 --> 01:23:23,875
[Gibson] Amazing how seamless
that was, in different places.

1159
01:23:23,958 --> 01:23:26,377
[Safinia] Yes, totally different.

1160
01:23:26,460 --> 01:23:32,008
Now this is something, again, that we
have some historical records for.

1161
01:23:32,091 --> 01:23:37,847
The... When the Holcanes would
capture victims from other cities,

1162
01:23:37,930 --> 01:23:41,350
they would often use them
for target practice, but they never...

1163
01:23:41,434 --> 01:23:43,644
We're not sure
they would allow them to run.

1164
01:23:43,728 --> 01:23:47,815
What we do know is they would hook them
up to these scaffolds and fire at them.

1165
01:23:47,857 --> 01:23:50,902
- Yeah. As targets.
- [Gibson] Pepper 'em with arrows,

1166
01:23:50,985 --> 01:23:52,987
different distances,
like a target range.

1167
01:23:53,070 --> 01:23:56,407
[Safinia] Yeah. There are images
of it too that show this. The...

1168
01:23:56,490 --> 01:23:59,285
What we did here
for this scene was obviously to...

1169
01:23:59,327 --> 01:24:03,331
- [Gibson] Make it compelling.
- [Safinia] Set it free, so they ran.

1170
01:24:06,459 --> 01:24:10,546
[Gibson] You said, "Why wouldn't they
want a moving target now and then?

1171
01:24:10,630 --> 01:24:14,884
It must have got boring just
using a guy like a pin cushion."

1172
01:24:14,967 --> 01:24:17,094
[Safinia] Makes it more fun, yeah.

1173
01:24:18,095 --> 01:24:21,349
And this kind of arena
exists all over the Mayan world.

1174
01:24:21,390 --> 01:24:25,353
Most of them, and the Aztecs too,
engage in this sport, this ball game.

1175
01:24:25,436 --> 01:24:28,397
And they had lots of ball courts
everywhere that would allow

1176
01:24:28,481 --> 01:24:30,900
for this kind of activity.

1177
01:25:26,414 --> 01:25:29,625
- [Safinia] Remember how that happened?
- [Gibson] Kid with the arm.

1178
01:25:29,709 --> 01:25:31,627
[Safinia] The 14-year-old with the arm.

1179
01:25:31,711 --> 01:25:33,546
[Gibson] Nobody could hit this guy.

1180
01:25:33,587 --> 01:25:36,757
- He had a balloon with...
- [Safinia] With red blood, and he...

1181
01:25:36,841 --> 01:25:38,592
- [Gibson] Fluid.
- [Safinia] He threw it

1182
01:25:38,676 --> 01:25:41,929
- and hit him every time. [laughs]
- [Gibson] Yeah.

1183
01:25:43,222 --> 01:25:45,141
CGI.

1184
01:25:46,642 --> 01:25:47,727
<i>[groans]</i>

1185
01:25:49,687 --> 01:25:52,857
[Safinia] A lot of those arrows
coming in, actually flying in,

1186
01:25:52,940 --> 01:25:55,901
that was Simon Atherton,
the armorer, chasing these guys

1187
01:25:55,943 --> 01:26:00,614
just off-camera
and throwing arrows at them. [laughs]

1188
01:26:03,909 --> 01:26:07,371
- [Gibson] And some of them are CG.
- [Safinia] Yeah.

1189
01:26:07,455 --> 01:26:10,541
- [Gibson] Others are already there.
- [Safinia] That's right.

1190
01:26:10,624 --> 01:26:13,127
<i>[gasping]</i>

1191
01:26:25,639 --> 01:26:28,059
[Gibson] They did use
captives as target practice,

1192
01:26:28,142 --> 01:26:33,355
but for the purposes of being compelling
in film, we invented this little game.

1193
01:26:33,439 --> 01:26:35,274
[Safinia] Yeah, so that they'd run.

1194
01:26:46,160 --> 01:26:50,873
[Gibson] Probably, if they had made it
to the cornfield, they'd let him go.

1195
01:26:50,956 --> 01:26:53,375
- [Safinia] It's very possible.
- [Gibson] The guy

1196
01:26:53,459 --> 01:26:55,503
does the inexcusable
before he gets away.

1197
01:26:55,586 --> 01:26:57,379
[Safinia] He certainly does, yeah.

1198
01:27:16,190 --> 01:27:17,441
<i>Ah!</i>

1199
01:27:17,525 --> 01:27:19,360
[Safinia laughs] Ouch.

1200
01:27:22,696 --> 01:27:24,865
- [Gibson] Why not?
- [Safinia] Why not?

1201
01:27:30,371 --> 01:27:33,040
<i>- [grunts]
- [cheering]</i>

1202
01:27:37,545 --> 01:27:40,172
<i>[grunting]</i>

1203
01:28:16,125 --> 01:28:19,837
[Safinia] The combination of the shots
you're using here are so interesting,

1204
01:28:19,920 --> 01:28:23,132
'cause you're doing very long wide shots

1205
01:28:23,215 --> 01:28:26,135
and lots of handheld close-up shots,

1206
01:28:26,218 --> 01:28:29,263
and trying to tell the story in a way
that hasn't been done before.

1207
01:28:29,305 --> 01:28:32,266
You don't see the things
happening up-close necessarily.

1208
01:28:32,349 --> 01:28:35,102
[Gibson] You try and tell it
without actually showing it.

1209
01:28:35,186 --> 01:28:36,562
[Safinia] That's right.

1210
01:28:38,063 --> 01:28:39,398
<i>Ah!</i>

1211
01:28:40,107 --> 01:28:44,403
- [Gibson] I love this.
- [Safinia] Ooh. Oh! [laughs]

1212
01:28:54,580 --> 01:28:57,791
<i>[gagging, choking]</i>

1213
01:29:23,567 --> 01:29:25,736
[Gibson] Raoul was great here.
So was the kid.

1214
01:29:25,819 --> 01:29:28,948
- [Safinia] Really great.
- [Gibson] Amazing. [laughs]

1215
01:29:28,989 --> 01:29:31,450
[Safinia] This is where
he really makes 'em human.

1216
01:29:31,492 --> 01:29:34,495
- [Gibson] Yeah.
- [Safinia] Therefore, more frightening.

1217
01:29:34,578 --> 01:29:35,663
[Gibson] Yeah.

1218
01:29:55,766 --> 01:29:59,395
[Safinia] Sometimes you've also got to
know when not to play any music, right?

1219
01:29:59,478 --> 01:30:01,021
[Gibson] Mm-hm.

1220
01:30:08,570 --> 01:30:11,865
[Safinia laughs] He's freaked out.

1221
01:30:11,949 --> 01:30:14,201
- [Gibson] He's great.
- [Safinia] He really is.

1222
01:30:14,243 --> 01:30:18,455
Bernardo Ruiz,
who is a woodworker, right?

1223
01:30:18,539 --> 01:30:21,959
- [Gibson] Yeah.
- [Safinia] Carpenter from Oaxaca.

1224
01:30:24,503 --> 01:30:26,463
[Gibson] Cool shot.

1225
01:30:39,435 --> 01:30:42,980
[Safinia] It's a good shot with our
Steadicam operator running backwards.

1226
01:30:43,063 --> 01:30:45,566
- [Gibson] Yeah. Fast.
- [Safinia laughs] Yeah.

1227
01:30:45,607 --> 01:30:47,401
[both laugh]

1228
01:30:58,120 --> 01:31:00,039
- [Gibson] I love this.
- [Safinia] Yeah.

1229
01:31:00,080 --> 01:31:04,668
[Gibson] It's the big...
bird's-eye view.

1230
01:31:12,426 --> 01:31:14,011
<i>Ah!</i>

1231
01:31:14,094 --> 01:31:16,263
[Gibson] Phew.

1232
01:31:21,435 --> 01:31:23,729
<i>[flies buzzing]</i>

1233
01:31:35,449 --> 01:31:37,284
[Safinia] This was a fantastic set.

1234
01:31:37,326 --> 01:31:41,413
Because what it was
was hollow, really,

1235
01:31:41,455 --> 01:31:44,750
and the impression the camera gives
with the right lens

1236
01:31:44,792 --> 01:31:46,585
- that it's flat.
- [Gibson] Yeah.

1237
01:31:46,627 --> 01:31:48,837
- Like it goes on forever.
- [Safinia] Yeah.

1238
01:31:48,921 --> 01:31:51,507
[Gibson] And it was a pretty big area.

1239
01:31:51,590 --> 01:31:53,926
[Safinia] It was built
on the edge of the jungle.

1240
01:31:53,967 --> 01:31:58,514
A lot of this, it's amazing
how much it was created for real.

1241
01:32:05,062 --> 01:32:07,981
And we're starting
to uncover some archaeological records

1242
01:32:08,023 --> 01:32:12,111
of these great mass graves, too,
in places like Cancuén,

1243
01:32:12,152 --> 01:32:17,366
which was a classic site
in which they uncovered something,

1244
01:32:17,449 --> 01:32:22,121
a grave that contained bodies that
had been shown to be ritually killed.

1245
01:32:23,372 --> 01:32:24,581
[Gibson] How many?

1246
01:32:24,665 --> 01:32:26,917
[Safinia] I don't remember,
but that was Mayan.

1247
01:32:27,000 --> 01:32:30,170
- We found more in the Aztec area.
- [Gibson] Yeah.

1248
01:33:04,663 --> 01:33:08,792
[Gibson] I like the musical change
that happens here. It goes all quiet.

1249
01:33:10,836 --> 01:33:12,254
Lyrical.

1250
01:33:14,882 --> 01:33:17,759
<i>[groaning]</i>

1251
01:33:43,702 --> 01:33:46,538
[Gibson] He looks
really scared. [laughs]

1252
01:33:46,580 --> 01:33:49,666
[Safinia] We have to mention
the job that John Wright has done.

1253
01:33:49,750 --> 01:33:53,712
- [Gibson] Editing? You kidding me?
- [Safinia] To build this sequence,

1254
01:33:53,754 --> 01:33:56,757
in terms of all the elements
of seeing them and seeing the blood,

1255
01:33:56,840 --> 01:33:59,176
- going back to them and...
- [Gibson] Oh, no, John

1256
01:33:59,259 --> 01:34:03,764
is a grade-A editor.
I worked with him on <i>The Passion,</i>

1257
01:34:03,847 --> 01:34:08,852
and, uh... his abilities,

1258
01:34:08,936 --> 01:34:13,524
if I didn't say it before, I'm sorry.
It's just, he's an amazing editor.

1259
01:34:13,607 --> 01:34:16,860
[Safinia] It's so seamless,
and when you're working with visuals,

1260
01:34:16,944 --> 01:34:20,614
particularly like this, that don't
have dialogue attached to them,

1261
01:34:20,656 --> 01:34:24,993
you really have to rely on how you want
to build the story, yeah.

1262
01:34:25,077 --> 01:34:27,120
[Gibson] How you see it, yeah.

1263
01:34:27,162 --> 01:34:29,915
And he's, uh... he's good like that.

1264
01:34:29,957 --> 01:34:31,833
<i>[growling]</i>

1265
01:34:35,629 --> 01:34:38,966
[Safinia] Three days old? Three
or four days old, this little thing.

1266
01:34:39,049 --> 01:34:41,343
- [Gibson] Yeah. Cute.
- [Safinia] It was so cute.

1267
01:34:41,426 --> 01:34:45,514
It was so young that it couldn't focus,
because, like babies,

1268
01:34:45,597 --> 01:34:48,475
human babies can't focus
when they're young, with their eyes.

1269
01:34:48,559 --> 01:34:50,769
This one couldn't either.

1270
01:34:54,731 --> 01:34:59,611
Aside from being the namesake of the
central character, the jaguar was also

1271
01:34:59,653 --> 01:35:02,781
the... a very, very important animal

1272
01:35:02,823 --> 01:35:06,618
in the mythic pantheon of animals
that the Mayans had.

1273
01:35:06,660 --> 01:35:08,161
[Gibson] King of their jungle.

1274
01:35:08,245 --> 01:35:11,665
[Safinia] It was king of their jungle,
sort of god of the underworld

1275
01:35:11,748 --> 01:35:15,544
and had many, many religious
significances for them.

1276
01:35:15,627 --> 01:35:20,924
To kill one, if you ever should do,
was an incredibly bad omen.

1277
01:35:21,008 --> 01:35:23,802
[Gibson] Not necessarily.
They did it sacrificially.

1278
01:35:23,844 --> 01:35:26,638
[Safinia] Well, that's right.
But it depend... Yes, it did.

1279
01:35:26,680 --> 01:35:30,142
[Gibson] You had to have a good reason.
You had to do it right.

1280
01:35:30,183 --> 01:35:33,520
- If you just kinda bump one...
- [Safinia laughs]

1281
01:35:33,604 --> 01:35:36,523
- Things aren't looking good.
- [Gibson] That was like, "Ooh."

1282
01:35:36,565 --> 01:35:40,986
- [Safinia] They really believed that.
- [Gibson] Supposed to let it eat you.

1283
01:35:41,028 --> 01:35:45,198
[Safinia] These are the bits where
Rudy's ability as an athlete shine.

1284
01:35:45,282 --> 01:35:46,950
- He's just...
- [Gibson] Guy runs.

1285
01:35:47,034 --> 01:35:50,370
[Safinia] He's running at that distance
from a jaguar chasing him.

1286
01:35:50,454 --> 01:35:53,999
[Gibson] That's really there.
It's not CGI. [laughs]

1287
01:35:54,041 --> 01:35:57,711
Mind you, there were restraints.

1288
01:35:57,794 --> 01:36:01,923
He would never
have been eaten by the jaguar.

1289
01:36:02,007 --> 01:36:05,344
- [Safinia] No.
- [Gibson] Maybe if he tripped.

1290
01:36:05,385 --> 01:36:06,803
[Safinia laughs]

1291
01:36:06,887 --> 01:36:09,056
[Gibson] I'm kidding.
There were safeguards.

1292
01:36:09,139 --> 01:36:12,225
- [Safinia] Yeah.
- [Gibson] Many safeguards.

1293
01:36:12,309 --> 01:36:14,394
But I'm not gonna bother
to explain that.

1294
01:36:14,478 --> 01:36:15,896
[Safinia laughs] Trade secrets?

1295
01:36:15,979 --> 01:36:19,191
[Gibson] Oh, brother. Trade secrets.
Mostly just patience.

1296
01:36:19,232 --> 01:36:20,734
[Safinia] Yeah. [laughs]

1297
01:36:20,776 --> 01:36:24,196
Gosh, it took us a long time
to figure out how to do that.

1298
01:36:24,237 --> 01:36:25,572
[Gibson] Yes, it did.

1299
01:36:28,909 --> 01:36:31,745
- This is my favorite sequence.
- [Safinia] In the whole film.

1300
01:36:31,828 --> 01:36:36,083
[Gibson] I wanted to make a car...
like a foot chase like a car chase.

1301
01:36:37,793 --> 01:36:40,629
It starts to get
that kind of speed going on it.

1302
01:36:40,712 --> 01:36:43,423
- [Safinia] The collision aspect.
- [Gibson] Yeah.

1303
01:36:45,509 --> 01:36:47,844
[Safinia] Marco
was a really fast runner himself.

1304
01:36:47,928 --> 01:36:50,597
[Gibson] All these guys,
all these kids were fit.

1305
01:36:50,639 --> 01:36:52,808
- They're in their 20s.
- [Safinia] Yeah.

1306
01:36:52,891 --> 01:36:54,351
[Gibson] Fit as fiddles.

1307
01:36:54,434 --> 01:36:57,813
[Safinia] Remember you asked him
to interject between Rudy and the jag?

1308
01:36:57,896 --> 01:37:00,273
- [Gibson] The cat? No problem.
- [Safinia laughs]

1309
01:37:00,357 --> 01:37:03,193
- "And don't look back, Marco."
- [Gibson] "Don't look back."

1310
01:37:03,276 --> 01:37:04,736
[both laugh]

1311
01:37:04,778 --> 01:37:07,072
[Safinia] Here he is not looking back.

1312
01:37:07,114 --> 01:37:09,282
- [Gibson] Unbelievable.
- [Safinia laughs]

1313
01:37:10,909 --> 01:37:11,910
<i>[screaming]</i>

1314
01:37:11,952 --> 01:37:14,496
[Gibson] What happened
to a guy who doesn't look back.

1315
01:37:14,579 --> 01:37:17,416
[Safinia] Right.
Should've looked back, Marco. [laughs]

1316
01:37:18,875 --> 01:37:21,795
[Gibson] Of course, there was...
As with the tapir,

1317
01:37:21,878 --> 01:37:25,298
and the jaguar also,

1318
01:37:25,382 --> 01:37:28,260
there was a lot of...
You know, we had puppets.

1319
01:37:29,469 --> 01:37:31,972
- [Safinia] Ow!
- [Gibson] Yeah.

1320
01:37:35,934 --> 01:37:39,312
Some of those shots where they're
stabbing, where you just see the head

1321
01:37:39,396 --> 01:37:42,107
and the paw, that's me
sort of clawing at those guys

1322
01:37:42,149 --> 01:37:45,402
and them stabbing me
with their spears.

1323
01:37:45,736 --> 01:37:49,197
[Safinia] I love this bit
when they just stop, like...

1324
01:37:49,281 --> 01:37:52,200
- [Safinia laughs]
- [Gibson] Yeah, it's, "Whoa."

1325
01:37:52,284 --> 01:37:54,161
[Safinia] It's really a "whoa" moment.

1326
01:37:54,202 --> 01:37:56,997
- [Gibson] Yeah, it is.
- [Safinia] Yeah.

1327
01:37:59,499 --> 01:38:01,960
That, Genesis...
That is the Genesis streak.

1328
01:38:02,002 --> 01:38:03,920
[Gibson] Yeah.

1329
01:38:04,004 --> 01:38:07,507
[Safinia] When Dean would
open the shutter to 360 degrees

1330
01:38:07,549 --> 01:38:10,927
and move the camera at high speed,
it would create this streaking effect

1331
01:38:11,011 --> 01:38:14,097
where the character in the middle
of the frame would be sharp,

1332
01:38:14,181 --> 01:38:16,183
but everything
around it would be blurry.

1333
01:38:16,224 --> 01:38:18,477
[Gibson] Yeah, strobe.

1334
01:38:24,191 --> 01:38:26,651
[Safinia] That's another one
of the classic lines.

1335
01:38:26,693 --> 01:38:29,321
- [Gibson] Definition of a sociopath.
- [Safinia] Yeah.

1336
01:38:32,699 --> 01:38:36,453
[Gibson] There's a lot of camerawork
not done on the Genesis too.

1337
01:38:36,536 --> 01:38:41,208
Anything that's high speed, where the
camera's over-cranked a great deal,

1338
01:38:41,291 --> 01:38:45,962
had to have been done
on a Panavision orArriflex.

1339
01:38:46,046 --> 01:38:51,426
And, um, indeed, even some of the
more intimate running shots, Rudy,

1340
01:38:51,510 --> 01:38:57,474
uh, running with a four-pound handheld
A camera, 16-millimeter.

1341
01:38:57,557 --> 01:38:58,934
And all these...

1342
01:38:59,017 --> 01:39:01,436
[Safinia] Chad,
camera operator, was chasing him

1343
01:39:01,520 --> 01:39:03,230
with a handheld 16-mil camera,

1344
01:39:03,271 --> 01:39:07,150
which gave us some of that really
frenetic stuff that you mix in

1345
01:39:07,234 --> 01:39:09,361
with the rest of it,
and it works great.

1346
01:39:09,402 --> 01:39:14,449
[Gibson] Yeah, it melds right in
with it. These days, it's amazing.

1347
01:39:14,533 --> 01:39:17,702
[Safinia] Here we're harking back
a little bit to the old prophecy.

1348
01:39:17,744 --> 01:39:22,082
- And the thing that's great...
- [Gibson] Bush medicine here.

1349
01:39:22,123 --> 01:39:25,460
[Safinia] The thing that's great about
these sequences is the sound.

1350
01:39:25,544 --> 01:39:27,546
The sound guys here are just,
you know...

1351
01:39:27,587 --> 01:39:30,340
There's the background
of the jungle and the music.

1352
01:39:43,436 --> 01:39:46,606
[Gibson] I like this next bit.
You take all natural sound out

1353
01:39:46,690 --> 01:39:48,900
- and go with the music.
- [Safinia] Right.

1354
01:39:48,942 --> 01:39:50,026
[Gibson] So it's cool.

1355
01:40:01,997 --> 01:40:06,084
[Safinia] You almost never ever cut back
to the same angle on this film, do you?

1356
01:40:06,126 --> 01:40:09,796
- [Gibson] No. There's so many angles.
- [Safinia] Yeah.

1357
01:40:17,721 --> 01:40:20,140
[Gibson] Love this. Yeah.

1358
01:40:20,223 --> 01:40:22,559
[Safinia] This is Rahat again, yeah.

1359
01:40:31,151 --> 01:40:33,987
<i>[panting]</i>

1360
01:40:44,497 --> 01:40:50,378
[Safinia] One of the few night scenes
in films that you see that are not blue.

1361
01:40:50,462 --> 01:40:54,841
Nights are always blue in movies,
and Dean made this one...

1362
01:40:54,925 --> 01:40:58,511
- [Gibson] Not blue.
- [Safinia] Made it real. [laughs]

1363
01:40:58,553 --> 01:41:02,223
[Gibson] Yeah.
The night looked real.

1364
01:41:09,522 --> 01:41:13,818
This was just firelight. Yeah.

1365
01:41:15,862 --> 01:41:17,697
Look at that.

1366
01:41:18,949 --> 01:41:21,701
[Safinia] You kept wanting them
to get those fires closer

1367
01:41:21,743 --> 01:41:24,329
- to their faces.
- [Gibson] And they're like, "No!"

1368
01:41:24,371 --> 01:41:26,289
- [laughter]
- [Gibson] "What's wrong?"

1369
01:41:26,373 --> 01:41:29,876
- [Safinia] "My hair is burning."
- [both laugh]

1370
01:41:29,918 --> 01:41:31,461
[Gibson] Yeah.

1371
01:41:34,214 --> 01:41:36,091
<i>[animal screeches]</i>

1372
01:41:43,306 --> 01:41:45,725
<i>- [screeching]
- [gasping]</i>

1373
01:41:53,817 --> 01:41:56,695
[Safinia] Those howler monkeys
actually do make this sound.

1374
01:41:56,736 --> 01:41:59,698
- It's a shrieking kind of awful.
- [Gibson] Horrible. [growls]

1375
01:41:59,739 --> 01:42:03,743
Like that. Now you might think
a howler monkey's cute, but...

1376
01:42:03,827 --> 01:42:05,745
- [Safinia laughs]
- I'll tell you,

1377
01:42:05,829 --> 01:42:08,415
you don't want one on your case,
especially injured.

1378
01:42:08,498 --> 01:42:09,666
[Safinia] That's right.

1379
01:42:09,749 --> 01:42:13,003
[Gibson] Hopefully you'll have a
stalactite when he comes a-calling.

1380
01:42:13,086 --> 01:42:14,963
[Safinia] Nearby.

1381
01:42:17,507 --> 01:42:19,926
<i>[animal growls]</i>

1382
01:42:35,942 --> 01:42:37,986
[Gibson] There's a lot
of puppets at work...

1383
01:42:38,069 --> 01:42:39,779
[Safinia] As well as real monkeys.

1384
01:42:39,821 --> 01:42:41,489
- Real monkey.
- [Gibson] Intercut.

1385
01:42:41,573 --> 01:42:44,784
[Safinia] Yeah. This little boy
really did not like the puppet.

1386
01:42:44,868 --> 01:42:46,202
[Gibson] Hated the puppet.

1387
01:42:46,286 --> 01:42:48,913
- It was like...
- [Safinia] So these looks are genuine.

1388
01:42:48,955 --> 01:42:50,665
[Gibson] "I don't like that thing."

1389
01:42:50,749 --> 01:42:54,335
- [Safinia] He's really not impressed.
- [Gibson] "I don't dig that puppet."

1390
01:42:54,419 --> 01:42:58,673
I didn't like the puppet. It came around
me, but I'd say, "Get it away from me."

1391
01:42:58,757 --> 01:43:00,759
<i>[panting]</i>

1392
01:43:14,314 --> 01:43:16,983
[Gibson] You thought it
was ten minutes before the next

1393
01:43:17,067 --> 01:43:20,236
- "cat out of the closet" moment.
- [Safinia laughs]

1394
01:43:20,320 --> 01:43:21,738
[Gibson] But no.

1395
01:43:23,990 --> 01:43:26,910
[Safinia] Again,
that's a real snake launching...

1396
01:43:26,993 --> 01:43:29,370
- [Gibson] Into plastic.
- [Safinia] Into plastic.

1397
01:43:29,454 --> 01:43:31,081
[Gibson] Into a prosthetic.

1398
01:43:31,706 --> 01:43:34,793
- [Safinia] That's not a real snake.
- [Gibson] No. That's a faker.

1399
01:43:34,834 --> 01:43:36,878
[Safinia] Yeah.

1400
01:43:39,005 --> 01:43:41,466
- [Gibson] It's a real guy though.
- [Safinia laughs]

1401
01:43:44,344 --> 01:43:47,347
[Safinia] Something interesting
about the line he says,

1402
01:43:47,388 --> 01:43:52,769
which is that the original Mayan
language is actually a carnal language.

1403
01:43:52,852 --> 01:43:55,188
- [Gibson] Yeah.
- [Safinia] He's actually saying

1404
01:43:55,230 --> 01:43:59,109
that sentence in Mayan,
which exists and is used quite commonly.

1405
01:43:59,192 --> 01:44:02,070
One of the things that I've heard
from people is asking us...

1406
01:44:02,153 --> 01:44:04,572
- [Gibson] "How come you put that in?"
- [Safinia] "Something

1407
01:44:04,656 --> 01:44:08,118
so idiosyncratic and weird that was
clearly not part of what they'd say?"

1408
01:44:08,201 --> 01:44:10,995
In fact, if you listened to Mayan,

1409
01:44:11,037 --> 01:44:13,498
they referred
to these kinds of words all the time,

1410
01:44:13,540 --> 01:44:15,542
and it's very much part
of their language.

1411
01:44:15,583 --> 01:44:17,043
[Gibson] Inguinal language.

1412
01:44:17,085 --> 01:44:20,338
[Safinia] Very much, and I think
it's a reflection upon us today

1413
01:44:20,380 --> 01:44:24,551
and our sensibilities, that we think
they wouldn't have used these words,

1414
01:44:24,634 --> 01:44:27,720
whereas, in truth,
why wouldn't they?

1415
01:44:49,576 --> 01:44:52,704
[Safinia] That fer-de-lance
would kill a man if you couldn't find

1416
01:44:52,745 --> 01:44:56,916
the appropriate anti-venom
within a few hours.

1417
01:44:57,000 --> 01:44:58,668
[Gibson] Oh, less than a few.

1418
01:44:58,751 --> 01:45:00,545
If you go for an hour,
you're a croaker.

1419
01:45:00,587 --> 01:45:04,507
- [Safinia] You're pretty much.
- [Gibson] Depends where he bites you.

1420
01:45:10,388 --> 01:45:12,932
[Safinia] Richard was handy
with that bow and arrow.

1421
01:45:12,974 --> 01:45:15,935
[Gibson] He was into archery.
He was the kindergarten teacher.

1422
01:45:15,977 --> 01:45:18,062
[Safinia] Right,
man with the bow and arrow.

1423
01:45:18,104 --> 01:45:19,647
[Gibson] Mean-looking guy.

1424
01:45:19,731 --> 01:45:23,818
Apparently his kids'll never go back
to school with him again now.

1425
01:45:23,902 --> 01:45:27,947
[Safinia] Now a lot of these shots,
you actually shot them backwards, right?

1426
01:45:27,989 --> 01:45:29,324
[Gibson] A lot of them, yeah.

1427
01:45:29,407 --> 01:45:32,493
[Safinia] To get the right effect,
then played the film forward.

1428
01:45:32,577 --> 01:45:35,538
[Gibson] Right. Like with
that ball hitting the tree and stuff,

1429
01:45:35,622 --> 01:45:40,126
you had to get Rudy to run backwards
and then rip the ball out of the tree,

1430
01:45:40,168 --> 01:45:43,171
and just, you know,
those kinds of weird tricks.

1431
01:45:44,130 --> 01:45:45,965
Did that a few times.

1432
01:45:46,841 --> 01:45:50,887
[Safinia] And I think what is quite cool
here is that this music that's playing

1433
01:45:50,970 --> 01:45:56,351
is the same music underneath
that we hear during the tapir hunt,

1434
01:45:56,434 --> 01:45:59,479
- at the beginning.
- [Gibson] Man as tapir.

1435
01:46:00,355 --> 01:46:02,440
I love this shot.

1436
01:46:02,482 --> 01:46:05,485
We almost ran out of time
for this shot here.

1437
01:46:05,568 --> 01:46:07,695
[Safinia] They're
going down the tree.

1438
01:46:08,071 --> 01:46:10,490
[Gibson] This was Dean's concept.
He wanted to do it,

1439
01:46:10,573 --> 01:46:12,492
but he was saying,
"We haven't got time."

1440
01:46:12,533 --> 01:46:16,996
I said, "Dean, we gotta do it."
And he said, "Oh, righto." [laughs]

1441
01:46:17,080 --> 01:46:18,373
But it's beautiful.

1442
01:46:19,958 --> 01:46:24,003
[Safinia] This location is also not far
from where we shot the jungle location.

1443
01:46:24,045 --> 01:46:28,675
In fact, it's in the same state
where they have this waterfall.

1444
01:46:28,758 --> 01:46:32,178
[Gibson] Massive waterfall, yeah.
It's a whopper.

1445
01:46:33,680 --> 01:46:35,974
[Safinia] Everybody asks me
how you did this.

1446
01:46:36,015 --> 01:46:39,185
- [Gibson] Really?
- [Safinia] How did you do this shot?

1447
01:46:39,269 --> 01:46:41,854
- [Gibson] Well, let me tell you.
- [Safinia laughs]

1448
01:46:41,896 --> 01:46:43,982
[Gibson] Called SpiderCam.

1449
01:46:45,358 --> 01:46:47,902
Just hook a few cranes up
and have some wires,

1450
01:46:47,986 --> 01:46:50,989
and you can make the camera
do that all in one.

1451
01:47:01,541 --> 01:47:06,212
[Safinia] And there have been stories
on the Internet, which are true,

1452
01:47:06,296 --> 01:47:08,214
of when we were shooting here.

1453
01:47:08,256 --> 01:47:10,967
- A real cow...
- [Gibson] Fell over the waterfall.

1454
01:47:11,050 --> 01:47:14,512
[Safinia] ...fell over that waterfall
and survived.

1455
01:47:14,554 --> 01:47:19,517
[Gibson] Mm-hm. But people
have jumped off there and not survived.

1456
01:47:19,559 --> 01:47:22,520
- [Safinia] Yeah.
- [Gibson] Come up weeks later as soup.

1457
01:47:22,562 --> 01:47:25,982
- [Safinia] Yeah.
- [Gibson] And, uh...

1458
01:47:26,065 --> 01:47:28,860
...big jump. It's about 175 feet.

1459
01:47:30,445 --> 01:47:33,156
So in order to get that effect,

1460
01:47:33,239 --> 01:47:36,951
we had to jump Rudy off
a 175-foot building in a harness.

1461
01:47:37,035 --> 01:47:39,245
[Safinia] It's a good example,
this sequence,

1462
01:47:39,329 --> 01:47:41,873
of the marriage between stunts,

1463
01:47:41,914 --> 01:47:46,169
visual effects and camera work,

1464
01:47:46,252 --> 01:47:50,548
because, uh, the shaky effects

1465
01:47:50,590 --> 01:47:53,676
and the steam and everything
really sell it.

1466
01:47:58,264 --> 01:48:00,475
Of course, the rest of this is all real.

1467
01:48:01,893 --> 01:48:04,228
[Gibson] Not all.
There's a few jumps that aren't.

1468
01:48:04,270 --> 01:48:07,857
[Safinia] Oh, that's right. I know.
[laughing]

1469
01:48:07,940 --> 01:48:10,360
[Gibson] But they look good, dynamic.

1470
01:48:10,443 --> 01:48:13,279
But that is a real waterfall.
It's a beauty.

1471
01:48:36,260 --> 01:48:38,596
- [Gibson]Remember <i>Get Smart?</i>
- [Safinia] Yeah.

1472
01:48:38,638 --> 01:48:41,849
[Gibson] When he used to say
something arrogant like this to...

1473
01:48:41,933 --> 01:48:44,185
The other guy would
get the upper hand, he'd say,

1474
01:48:44,268 --> 01:48:48,773
"Hey, I hope I didn't get to you with
that crack about this being my forest."

1475
01:48:48,815 --> 01:48:51,275
- [Safinia laughs]
- [Gibson] It's like...

1476
01:48:57,615 --> 01:49:00,201
[Safinia] I love the other guys in this.
Look at them...

1477
01:49:00,284 --> 01:49:02,995
- [Gibson] They're like... Lookit.
- [Safinia] Yeah.

1478
01:49:03,037 --> 01:49:04,747
- [Gibson] Huh.
- [Safinia laughs]

1479
01:49:04,831 --> 01:49:08,000
[Gibson] Like, "What did he...?"
Yikes. [giggles]

1480
01:49:22,557 --> 01:49:26,978
[Safinia] Again, another real jump,
this one, off another... a crane.

1481
01:49:27,019 --> 01:49:29,647
- [Gibson] Real jump off another area.
- [Safinia] Yeah.

1482
01:49:29,689 --> 01:49:34,277
- [Gibson] Of course, that's all real.
- [Safinia laughs] Yeah.

1483
01:49:34,360 --> 01:49:36,696
- [Gibson] He's happy he made it.
- [Safinia] Yeah.

1484
01:49:36,737 --> 01:49:39,365
You wanted a big smile there. He just...

1485
01:49:42,702 --> 01:49:44,495
This... People... Oh!

1486
01:49:44,537 --> 01:49:46,080
[Gibson] Worst part of the film.

1487
01:49:46,164 --> 01:49:49,208
- [Safinia] It is. It's just...
- [Gibson] That's a primal fear.

1488
01:49:49,292 --> 01:49:51,544
Jump in the water.
There could be something...

1489
01:49:51,627 --> 01:49:53,212
[Safinia] Something down there.

1490
01:49:59,218 --> 01:50:02,930
- [Safinia] This is actual stunt work.
- [Gibson] Guys are taking the ride.

1491
01:50:03,014 --> 01:50:06,309
That wasn't easy.
You get banged around in there.

1492
01:50:06,893 --> 01:50:09,520
- [Safinia] So is he here.
- [Gibson] Oh, yeah.

1493
01:50:10,897 --> 01:50:13,608
Oh, yeah. Oh, the mud hole. Oof.

1494
01:50:20,573 --> 01:50:24,535
[Safinia] Again, I have to say,
testament to the work of the...

1495
01:50:24,577 --> 01:50:28,247
- [Gibson] Chucho Duran.
- [Safinia] Also the makeup people.

1496
01:50:28,331 --> 01:50:31,751
To ask a makeup crew
to create prosthetics and makeup

1497
01:50:31,834 --> 01:50:34,921
that you can put through water
and mud and jungle...

1498
01:50:34,962 --> 01:50:38,257
- [Gibson] I see what you're saying.
- [Safinia] Amazing.

1499
01:50:40,259 --> 01:50:42,720
- And Rudy...
- [Gibson] Love the way he looks around.

1500
01:50:42,762 --> 01:50:45,223
[Safinia] Just goes
down under that thing.

1501
01:50:45,973 --> 01:50:47,767
[Safinia laughs]

1502
01:50:52,355 --> 01:50:54,815
- [Safinia] Greens.
- [Gibson] Isn't it something?

1503
01:50:54,899 --> 01:50:56,984
- [Safinia] Amazing.
- [Gibson] Beautiful.

1504
01:50:57,068 --> 01:50:59,487
[Safinia] There's an observatory there
and they...

1505
01:50:59,570 --> 01:51:01,656
- [Gibson] Doesn't look real.
- [Safinia] No.

1506
01:51:01,739 --> 01:51:04,492
- [both laugh]
- [Safinia] No. They did a great job.

1507
01:51:04,575 --> 01:51:05,618
[Gibson] I love this.

1508
01:51:05,701 --> 01:51:08,120
[Safinia] This is my
favorite moment in the film.

1509
01:51:08,204 --> 01:51:10,289
[Gibson] When he pops out...
[screeches]

1510
01:51:10,373 --> 01:51:13,584
[Safinia] Primal kind of
the rebirth of man kind of thing,

1511
01:51:13,626 --> 01:51:16,587
- coming out of the earth.
- [Gibson] Reborn of mud and earth.

1512
01:51:16,629 --> 01:51:18,631
[Safinia] And it was prophesized too...

1513
01:51:18,714 --> 01:51:20,967
- [Gibson] The kid.
- [Safinia] Can you believe it?

1514
01:51:21,050 --> 01:51:22,802
- [Gibson] How about that?
- [Safinia laughs]

1515
01:51:22,885 --> 01:51:25,555
[Gibson] How about that?
Must be self-fulfilling prophecy.

1516
01:51:25,638 --> 01:51:27,598
[both laugh]

1517
01:51:29,308 --> 01:51:33,187
[Safinia] But I think honestly that
the visuals here are just wonderful.

1518
01:51:33,271 --> 01:51:35,022
- [Gibson] Pretty.
- [Safinia] Yeah.

1519
01:51:35,106 --> 01:51:38,317
He went for it. He did it.
He just went under and came up.

1520
01:51:38,359 --> 01:51:40,653
- [Gibson] Yeah.
- [Safinia] Mud in his mouth...

1521
01:51:40,736 --> 01:51:43,197
[Gibson] His eyes, I mean, ugh.

1522
01:51:43,281 --> 01:51:46,284
- He had scratches on his irises.
- [Safinia] And he looks like...

1523
01:51:46,325 --> 01:51:49,829
- [Gibson] A jaguar.
- [Safinia] That's right. Yeah.

1524
01:52:00,214 --> 01:52:02,633
[Safinia] They were chasing
that flare all day.

1525
01:52:02,675 --> 01:52:04,343
[Gibson] Yeah.

1526
01:52:06,262 --> 01:52:09,473
I kept making him jump, or,
"Now do it over here. Get that flare."

1527
01:52:09,515 --> 01:52:11,642
We just get a hint of it.

1528
01:52:25,656 --> 01:52:28,993
[Safinia] I love the way you always said
that the most important moment

1529
01:52:29,035 --> 01:52:33,456
in this character's arc,
you played on the back of his head.

1530
01:52:33,539 --> 01:52:37,543
- You don't even see him.
- [Gibson] Yeah. You see it there. Ooh.

1531
01:52:55,728 --> 01:52:57,730
- [Gibson] So private.
- [Safinia] Mm-hm.

1532
01:52:57,772 --> 01:53:00,399
- [Gibson] He's talking to himself.
- [Safinia] Right.

1533
01:53:00,483 --> 01:53:02,902
- Don't want to be on the other side.
- [Gibson] No.

1534
01:53:12,662 --> 01:53:15,706
- [Gibson] Kind of looks like Gumby.
- [Safinia] Yeah, yeah.

1535
01:53:34,892 --> 01:53:38,020
[Gibson] And the beautiful Dalia,
and the kid is adorable.

1536
01:53:38,104 --> 01:53:40,356
- Everything.
- [Safinia] This is his scene.

1537
01:53:40,439 --> 01:53:43,526
[Gibson] Yeah. Oh, absolutely.
He doesn't do anything. [laughs]

1538
01:53:43,609 --> 01:53:45,152
[Safinia] This, yeah.

1539
01:53:53,619 --> 01:53:56,789
[Safinia] You work really hard
to create something between them

1540
01:53:56,872 --> 01:54:00,876
that was, you know,
on a more level footing than...

1541
01:54:00,960 --> 01:54:04,588
- [Gibson] But that's right.
- ...than a mother/son relationship.

1542
01:54:04,630 --> 01:54:07,758
[Gibson] This, I mean, you can
imagine she had him when she was 14.

1543
01:54:07,800 --> 01:54:10,010
They practically are like...

1544
01:54:15,099 --> 01:54:17,017
<i>[grunts]</i>

1545
01:54:25,818 --> 01:54:27,862
[Safinia] Dalia's quite athletic too.

1546
01:54:27,945 --> 01:54:32,283
She's a dancer from Jalapa in Veracruz.

1547
01:54:32,324 --> 01:54:33,826
She's a dance student.

1548
01:54:35,077 --> 01:54:36,787
[Gibson] We saw her in action.

1549
01:54:36,829 --> 01:54:39,415
She used to get on the floor
and do the salsa dancing.

1550
01:54:39,498 --> 01:54:42,168
Unbelievable. That gal can move.

1551
01:54:42,877 --> 01:54:46,172
- [Safinia] This music cue is fantastic.
- [Gibson] Great music cue.

1552
01:54:46,213 --> 01:54:49,258
[Safinia] James Horner
really did a good job on this.

1553
01:54:50,009 --> 01:54:52,011
[Gibson] This is a great cue.

1554
01:55:11,238 --> 01:55:13,741
[Safinia] Everything
is told visually, completely.

1555
01:55:13,824 --> 01:55:16,368
Nothing is...
He hasn't got anyone to speak to.

1556
01:55:16,452 --> 01:55:18,329
He's not gonna say anything to the frog.

1557
01:55:18,370 --> 01:55:21,207
[Gibson] Ain't much dialogue
after the cornfields.

1558
01:55:21,290 --> 01:55:22,792
[Safinia] No, nothing really.

1559
01:55:29,256 --> 01:55:33,928
And that was really always a goal. It
was an aim to create that kind of thing.

1560
01:55:34,303 --> 01:55:37,389
Ariel, who plays Hanging Moss.

1561
01:55:37,473 --> 01:55:40,976
- [Gibson] He's allergic to wasps.
- [Safinia laughs] Allergic to wasps.

1562
01:55:48,734 --> 01:55:52,571
Again, a great combination
of greens work and set design here

1563
01:55:52,655 --> 01:55:55,115
to create this tree
with the water underneath it,

1564
01:55:55,199 --> 01:55:56,659
in the rest of the forest

1565
01:55:56,742 --> 01:55:59,411
- and blend it in.
- [Gibson] To make it distinguished.

1566
01:55:59,453 --> 01:56:01,497
You haven't seen it before,

1567
01:56:01,580 --> 01:56:05,125
and when you see it again, hopefully it
will tell you that the man's just run

1568
01:56:05,209 --> 01:56:07,503
- around in a big circle.
- [Safinia] Mm-hm.

1569
01:56:07,586 --> 01:56:10,965
[Gibson] Not just that, but traveling
from left to right, right to left,

1570
01:56:11,048 --> 01:56:13,050
- on the overhead shot.
- [Safinia] Yeah.

1571
01:56:13,092 --> 01:56:16,303
- [Gibson] Hopefully we get the story.
- [Safinia] I think so. Yeah.

1572
01:56:29,775 --> 01:56:33,112
[Gibson] I love this build to nothing.

1573
01:56:33,904 --> 01:56:35,739
[Safinia] It takes
you somewhere else.

1574
01:56:35,781 --> 01:56:40,452
'Cause you think he's waiting
for them, but then... oops.

1575
01:56:40,494 --> 01:56:43,163
[Gibson] He don't like thunder.
"What's up?"

1576
01:57:00,973 --> 01:57:03,183
[Safinia] Dalia also
had a great stunt double.

1577
01:57:03,267 --> 01:57:05,227
- [Gibson] Tough gal.
- [Safinia] Nayeli.

1578
01:57:05,311 --> 01:57:08,731
Yeah, whose... There aren't
many stunt women in Mexico.

1579
01:57:08,814 --> 01:57:10,774
- And...
- [Gibson] I think there was one.

1580
01:57:10,816 --> 01:57:12,651
- [Safinia] We got her.
- [both laugh]

1581
01:57:12,693 --> 01:57:14,570
And here she is doing her...

1582
01:57:14,653 --> 01:57:17,573
[Gibson] No, there were three,
at least, working with us, yeah.

1583
01:57:17,656 --> 01:57:20,409
- [Safinia] True.
- [Gibson] Probably six, at that rate.

1584
01:57:20,492 --> 01:57:22,453
[Safinia laughs]

1585
01:57:26,040 --> 01:57:29,126
[Gibson] She was up for it,
man, taking the falls with it.

1586
01:57:57,738 --> 01:58:00,199
[Gibson] That was done
the old-fashioned way.

1587
01:58:01,867 --> 01:58:04,286
- [Safinia] The zoom-in move.
- [Gibson] Yeah.

1588
01:58:06,080 --> 01:58:09,583
[Safinia] I love this,
when he looks at it. [laughs]

1589
01:58:09,667 --> 01:58:11,710
[Gibson] "What the...?"

1590
01:58:14,713 --> 01:58:17,925
[Safinia] Remember you told him,
"You're losing a limb at a time,

1591
01:58:18,008 --> 01:58:23,055
in terms of your ability to use them."
He started failing.

1592
01:58:23,138 --> 01:58:25,975
<i>[choking]</i>

1593
01:58:31,563 --> 01:58:34,191
- [Gibson] I just love this sequence.
- [Safinia] Yeah.

1594
01:58:34,233 --> 01:58:38,612
- [Gibson] Took a long time to film it.
- [Safinia] A very long time.

1595
01:58:43,117 --> 01:58:48,080
[Gibson] And this is an example of
the Genesis and film going hand-in-hand.

1596
01:58:48,122 --> 01:58:51,417
You can't tell
where one begins and the other...

1597
01:58:56,422 --> 01:58:59,425
[Safinia] It's about the number
of angles you show in this thing.

1598
01:58:59,508 --> 01:59:03,262
- Everything is different.
- [Gibson] There's a million of them.

1599
01:59:26,201 --> 01:59:27,786
[Gibson] Ooh.

1600
01:59:29,121 --> 01:59:31,665
The sound too, the sound work here.

1601
01:59:31,749 --> 01:59:35,377
[Safinia] Yep, slowing it down,
taking a little bit surreal.

1602
01:59:36,128 --> 01:59:37,755
[Gibson] It's good.

1603
01:59:37,796 --> 01:59:40,466
- What you take out, what you leave in.
- [Safinia] Mm-hm.

1604
01:59:41,425 --> 01:59:43,802
<i>- [yelling]
- [grunting]</i>

1605
01:59:51,310 --> 01:59:54,688
[Safinia] Now this shot here,
I remember, Rudy was trying very hard...

1606
01:59:54,772 --> 01:59:56,148
[Gibson] Not to laugh.

1607
01:59:56,190 --> 01:59:58,484
[Safinia] Gerardo
was pulling all these faces.

1608
01:59:58,567 --> 02:00:02,112
- Look at him there. He's...
- [both laugh]

1609
02:00:02,946 --> 02:00:04,823
[Safinia] Look, he's trying so hard.

1610
02:00:04,907 --> 02:00:07,367
<i>[grunting]</i>

1611
02:00:11,330 --> 02:00:13,665
[Gibson] Oh, just from nowhere.

1612
02:00:20,923 --> 02:00:23,133
<i>[thunder rumbles]</i>

1613
02:00:37,689 --> 02:00:40,651
[Gibson] See, it's the only thing
he's afraid of now, rain.

1614
02:00:40,692 --> 02:00:42,611
[Safinia] All that's left.
The rain here

1615
02:00:42,694 --> 02:00:45,739
is the work
of Chucho Duran's team down in Mexico.

1616
02:00:45,823 --> 02:00:48,242
Making it look
like it's raining everywhere is...

1617
02:00:48,325 --> 02:00:51,036
- [Gibson] Boy, that was tough.
- [Safinia] Yeah.

1618
02:00:51,078 --> 02:00:53,080
- [Gibson] A lot of area.
- [Safinia] A lot.

1619
02:00:53,163 --> 02:00:55,707
Some of these shots are very wide.

1620
02:01:10,556 --> 02:01:12,558
<i>[gasping]</i>

1621
02:01:30,951 --> 02:01:33,162
- [Gibson] Cool.
- [Safinia] Yeah.

1622
02:01:33,245 --> 02:01:37,457
[Gibson] Love that close-up. Love these
close-ups with the light here.

1623
02:01:37,749 --> 02:01:40,586
- [Safinia] This one, the taking away.
- [Gibson] Oh, yeah.

1624
02:01:40,627 --> 02:01:43,046
- [Safinia] Taking off.
- [Gibson] That guy can run.

1625
02:01:43,088 --> 02:01:44,590
[both laugh]

1626
02:02:04,109 --> 02:02:08,906
[Safinia laughs] It's the boy.
A boy's just...

1627
02:02:08,947 --> 02:02:12,659
- [Gibson] He's having pains too.
- [Safinia laughs] He is.

1628
02:02:12,743 --> 02:02:15,871
- He loved being in there, though.
- [Gibson] Oh, yeah.

1629
02:02:15,954 --> 02:02:19,499
[Safinia] When we turned the water on,
it was like we just... it was all

1630
02:02:19,583 --> 02:02:22,878
- happening at the same time.
- [Gibson] He'd play and swim around.

1631
02:02:24,963 --> 02:02:26,465
It's a great shot.

1632
02:02:48,904 --> 02:02:52,699
[Gibson] Love the water dripping off
his eyeball there, really ominous.

1633
02:02:52,783 --> 02:02:55,285
[Safinia] It's hard.
We realized, making this,

1634
02:02:55,327 --> 02:02:57,412
how hard it is
to keep eyes open in the rain.

1635
02:02:57,496 --> 02:02:59,915
- [Gibson] You kidding?
- [Safinia] These guys did.

1636
02:02:59,998 --> 02:03:01,333
[Gibson] We tried. Brutal.

1637
02:03:01,416 --> 02:03:03,669
[Safinia] You bribed people
with ice creams...

1638
02:03:03,752 --> 02:03:08,048
- [Gibson laughs] Houses, cars.
- [Safinia] Houses, cars.

1639
02:03:08,131 --> 02:03:11,343
[Gibson] I said they won't
actually be life-size, any of them.

1640
02:03:24,856 --> 02:03:29,236
- [Gibson] I forgot about that trap.
- [Safinia] Great sound job.

1641
02:03:29,319 --> 02:03:31,196
- [Gibson] Yeah.
- [Safinia] Amazing.

1642
02:03:31,280 --> 02:03:35,075
There's so many different sounds you
hear at the same time on that trap.

1643
02:03:35,158 --> 02:03:37,536
So that you know what's coming.

1644
02:04:16,408 --> 02:04:21,121
[Safinia] Another really cool cue
here from James on the music.

1645
02:04:21,204 --> 02:04:25,959
[Gibson] Yeah. Oh, yeah. Good cues.
All this music is great.

1646
02:04:26,043 --> 02:04:27,461
[Safinia] Mm-hm.

1647
02:05:12,089 --> 02:05:14,466
<i>[groaning]</i>

1648
02:06:06,184 --> 02:06:09,062
[Safinia] So this is, um...

1649
02:06:09,146 --> 02:06:12,566
This is where the story
started really, isn't it?

1650
02:06:12,649 --> 02:06:15,193
[Gibson] Yeah,
this is the first thing I thought of.

1651
02:06:15,235 --> 02:06:17,821
[Safinia laughs]
You said it was a joke.

1652
02:06:17,863 --> 02:06:18,864
[Gibson] Yeah.

1653
02:06:18,947 --> 02:06:23,869
[Safinia] You said there's a guy
being chased by ten really bad guys

1654
02:06:23,952 --> 02:06:26,288
and he comes out
onto this beach and he collapses

1655
02:06:26,371 --> 02:06:29,541
and he's exhausted and he looks up.

1656
02:06:29,583 --> 02:06:31,835
[Gibson] It's the end,
Columbus is arriving...

1657
02:06:31,877 --> 02:06:33,795
[Safinia] Christopher Columbus.

1658
02:06:33,879 --> 02:06:36,715
And we laughed. We thought, gosh,
that's really funny.

1659
02:06:36,756 --> 02:06:39,968
But, you know, in truth,

1660
02:06:40,051 --> 02:06:43,889
the first encounter
of Europeans with mainland...

1661
02:06:43,972 --> 02:06:46,558
- Any mainland civilization...
- [Gibson] Was Mayans.

1662
02:06:46,600 --> 02:06:50,228
[Safinia] ...was Mayans in 1502
when Columbus had his fourth expedition.

1663
02:06:50,270 --> 02:06:53,440
[Gibson] Right here.
And I believe it was four ships.

1664
02:06:53,523 --> 02:06:56,193
[Safinia] It was,
and he actually got back only with one.

1665
02:06:56,234 --> 02:06:58,361
- He had a rough time.
- [Gibson] Ooh, rugged.

1666
02:06:58,403 --> 02:07:02,699
- [Safinia] Yeah.
- Had a rougher time when he got back.

1667
02:07:02,741 --> 02:07:04,993
[Safinia] So people have said to me,

1668
02:07:05,076 --> 02:07:07,579
"Is this conquistadors?"
It doesn't really matter.

1669
02:07:07,662 --> 02:07:10,790
In truth,
the first encounter was, yes, Spanish.

1670
02:07:10,874 --> 02:07:13,793
And it was Columbus in 1502,
when he ran into a Mayan...

1671
02:07:13,877 --> 02:07:17,464
[Gibson] Everyone calls it
"conquistadors." They don't know...

1672
02:07:17,547 --> 02:07:19,466
[Safinia laughs] They don't.

1673
02:07:19,549 --> 02:07:22,260
[Gibson] They presume to know
what they're talking about.

1674
02:07:22,344 --> 02:07:24,137
Maybe if they did
their damn homework.

1675
02:07:24,221 --> 02:07:27,349
[Safinia] We never said anything.
You see these people twice.

1676
02:07:27,432 --> 02:07:28,433
[Gibson] Yeah.

1677
02:07:28,517 --> 02:07:31,394
[Safinia] The, uh...
Those ships were real again.

1678
02:07:31,436 --> 02:07:34,773
[Gibson] Yeah. And by the way,
the conquistador was the set designer.

1679
02:07:34,856 --> 02:07:36,066
[Safinia] Tom Sanders.

1680
02:07:36,107 --> 02:07:39,110
[Gibson] And the Franciscan
was Simon Atherton, the weapon guy.

1681
02:07:39,194 --> 02:07:40,779
[Safinia] The weapons master.

1682
02:07:40,862 --> 02:07:42,614
<i>[crying]</i>

1683
02:07:42,656 --> 02:07:45,784
- [Gibson] And that's not a real baby.
- [Safinia laughs]

1684
02:07:48,453 --> 02:07:50,622
[Safinia] But the thing here
is Dalia's look.

1685
02:07:50,664 --> 02:07:53,083
- Where did she find that? Amazing.
- [Gibson] Beautiful.

1686
02:07:53,124 --> 02:07:55,794
[Safinia] She's amazing.

1687
02:07:55,877 --> 02:08:00,465
- [Gibson] That's a real baby.
- [both laugh]

1688
02:08:31,496 --> 02:08:34,457
[Safinia] She's really wonderful
in this scene.

1689
02:08:34,499 --> 02:08:35,834
So is he.

1690
02:08:35,917 --> 02:08:39,170
[Gibson] She didn't know it,
but she has the soul of an actress.

1691
02:08:39,254 --> 02:08:42,424
[Safinia] Yes. Actually,
what they're both able to do is...

1692
02:08:44,009 --> 02:08:46,678
Is allow you to read
into a lot more that's going on

1693
02:08:46,720 --> 02:08:49,389
- underneath the words.
- [Gibson] Yeah, it's great.

1694
02:09:32,098 --> 02:09:35,226
[Gibson] Hmm.
Nice music cue at the end.

1695
02:09:36,311 --> 02:09:38,229
Hmm.

1696
02:09:41,733 --> 02:09:43,485
Interesting.

1697
02:09:45,737 --> 02:09:49,157
- See, there's Farhad.
- [Safinia laughs]

1698
02:09:49,240 --> 02:09:51,826
- [Gibson] There's...
- [Safinia] That's you, though.

1699
02:09:51,910 --> 02:09:54,079
- [Gibson] There's Bruce.
- [Safinia] Yeah.

1700
02:09:54,162 --> 02:09:57,123
- [laughter]
- [Safinia] Ned and Vicki.

1701
02:10:00,085 --> 02:10:05,340
- [Gibson] Ah, yes, Dean's the man.
- [Safinia laughs, coughs]

1702
02:10:05,423 --> 02:10:06,591
[Gibson] Tom Sanders.

1703
02:10:06,675 --> 02:10:09,552
[Safinia] Tom Sanders
grew his beard for a year,

1704
02:10:09,594 --> 02:10:12,472
vying for that part
of the guy in the boat.

1705
02:10:12,555 --> 02:10:15,266
[Gibson] We had a bet,
but I couldn't take it anymore.

1706
02:10:15,308 --> 02:10:17,268
- [Safinia laughs]
- [Gibson] Yeah.

1707
02:10:17,352 --> 02:10:19,938
No, everyone did a sterling job.

1708
02:10:22,065 --> 02:10:24,984
[Safinia] Carla with her casting,
searching almost, I think,

1709
02:10:25,068 --> 02:10:28,613
something like three continents
looking for people.

1710
02:10:30,281 --> 02:10:33,535
- [Gibson] Hey, you were on there twice.
- [Safinia laughs]

1711
02:10:41,376 --> 02:10:43,878
[Safinia] And,
of course, all the Mexican crew.

1712
02:10:43,962 --> 02:10:46,715
- [Gibson] Oh, wow.
- [Safinia] With Anna Roth and...

1713
02:10:46,798 --> 02:10:49,008
[Gibson] Unbelievable.

1714
02:10:49,092 --> 02:10:54,222
The effort and the ability
down there is... It's amazing.

1715
02:10:55,849 --> 02:10:57,976
The grips.
You were always blown away by...

1716
02:10:58,059 --> 02:11:00,770
[Safinia] I couldn't believe.
I kept describing things.

1717
02:11:00,812 --> 02:11:03,982
The amazing thing about this film,
I think, everybody remembers

1718
02:11:04,023 --> 02:11:07,652
is the chase, you know,
and the insane velocity

1719
02:11:07,736 --> 02:11:10,321
with which you're shooting
and capturing everything.

1720
02:11:10,363 --> 02:11:13,658
And I think if you try and think about
sometimes there's a guy pushing

1721
02:11:13,742 --> 02:11:17,829
an actual dolly at that pace
and having to stop it.

1722
02:11:17,912 --> 02:11:20,165
- [Gibson] Yeah.
- [Safinia] That's the thing,

1723
02:11:20,206 --> 02:11:23,084
trying to stop the dolly
as it's going along at whatever it is,

1724
02:11:23,168 --> 02:11:25,336
- 15 miles an hour.
- [Gibson] One time,

1725
02:11:25,420 --> 02:11:28,631
the dolly came off the tracks,
and one of the grips,

1726
02:11:28,673 --> 02:11:31,509
he caught the whole piece
right in his lap, didn't he?

1727
02:11:31,593 --> 02:11:33,011
[Safinia] Oh, that's right.

1728
02:11:33,052 --> 02:11:36,639
[Gibson] Lucky he was an enormous man.
I think it would have squished him.

1729
02:11:36,681 --> 02:11:37,682
[Safinia] I know.

1730
02:11:37,766 --> 02:11:40,268
[Gibson] I don't think he
was feeling too good.

1731
02:11:43,021 --> 02:11:44,063
[Safinia] The grips,

1732
02:11:44,147 --> 02:11:48,193
because also they had to deal with that
jungle terrain, and it's not easy to do.

1733
02:11:48,276 --> 02:11:50,570
It's very rocky
and difficult to work in.

1734
02:11:50,653 --> 02:11:53,448
But I think also, the other thing for me

1735
02:11:53,531 --> 02:11:57,869
was it's the most amazing combination
of set design, makeup,

1736
02:11:57,911 --> 02:12:01,372
costume and visual effects
that I've seen in anything.

1737
02:12:01,414 --> 02:12:03,500
You don't realize,
when you watch this film,

1738
02:12:03,541 --> 02:12:05,543
and we didn't point everyone out,

1739
02:12:05,585 --> 02:12:08,797
but there's something like 400
visual effects shots in this film.

1740
02:12:08,880 --> 02:12:11,341
- [Gibson] That's right.
- [Safinia] And you're...

1741
02:12:11,382 --> 02:12:13,927
- ...hard-pressed to find one.
- [Gibson] If you see.

1742
02:12:14,010 --> 02:12:16,262
That's Ted Rae.
He's, uh... He likes to...

1743
02:12:16,346 --> 02:12:18,723
He likes to cover his tracks.

1744
02:12:22,060 --> 02:12:24,938
Hopefully,
if you know the action's going along

1745
02:12:25,021 --> 02:12:27,732
and you're involved in the story,
you won't think of that.

1746
02:12:27,774 --> 02:12:29,067
[Safinia] Won't think about it.

1747
02:12:29,108 --> 02:12:31,402
[Gibson] Every department
did an excellent job.

1748
02:12:31,486 --> 02:12:34,197
- [Safinia] There are the sound guys.
- [Gibson] Oh.

1749
02:12:34,239 --> 02:12:37,992
[Safinia] Hopefully, 19th is
the lucky one for Kevin O'Connell.

1750
02:12:38,076 --> 02:12:40,453
- [Gibson] For Kevin O'Connell.
- [Safinia laughs]

1751
02:12:40,537 --> 02:12:44,749
[Gibson] He's been nominated 19 times
for an Oscar in sound and never won.

1752
02:12:44,833 --> 02:12:48,169
He's the most nominated man ever, but...

1753
02:12:48,253 --> 02:12:50,755
Not that he didn't deserve it.
He's done great work.

1754
02:12:50,839 --> 02:12:53,633
- [Safinia] That's true.
- [Gibson] I've used him twice,

1755
02:12:53,716 --> 02:12:57,804
and he's the ant's pants.
And he'll probably get it.

1756
02:12:57,887 --> 02:13:00,223
[Safinia] I hope so. [clears throat]

1757
02:13:00,265 --> 02:13:03,935
And here we go
with the makeup crew.

1758
02:13:03,977 --> 02:13:05,311
Look at these names.

1759
02:13:05,395 --> 02:13:09,983
[Gibson] Look at this.
Whew, keep on going.

1760
02:13:10,066 --> 02:13:11,734
[Safinia] They just keep on going.

1761
02:13:11,776 --> 02:13:15,530
Every single one of them deserves
to be there and... because they just...

1762
02:13:15,613 --> 02:13:18,616
The sheer grit with which they
came back every single day

1763
02:13:18,658 --> 02:13:22,287
and put in the effort is really what
is up there on the screen

1764
02:13:22,370 --> 02:13:24,747
for us to all see,
and the hairstylists as well.

1765
02:13:24,789 --> 02:13:29,294
Aldo Signoretti
designed those insane hair... [laughs]

1766
02:13:29,377 --> 02:13:31,045
[Gibson] He's good at big hair.

1767
02:13:31,129 --> 02:13:34,632
[Safinia laughs] He's good at big hair.
No, but the detail,

1768
02:13:34,716 --> 02:13:38,052
and thank God for the Genesis,
because you could pick up...

1769
02:13:38,136 --> 02:13:40,555
- [Gibson] Textures.
- ...textures within the hair

1770
02:13:40,638 --> 02:13:43,558
- of those women in the city.
- [Gibson] Just amazing.

1771
02:13:43,641 --> 02:13:47,312
I remember Anna Roth,
our Mexico unit manager,

1772
02:13:47,353 --> 02:13:53,109
who said to me, the day that we shot the
first scene at the top of the temple,

1773
02:13:53,151 --> 02:13:56,946
and she saw the king and the queen
and all the nobility up there

1774
02:13:56,988 --> 02:14:00,950
with all the adornment and the dress
and the scar on their faces

1775
02:14:00,992 --> 02:14:02,869
and the tattoos.

1776
02:14:02,952 --> 02:14:06,623
And she looked at it, and she
was quite silent for a little while.

1777
02:14:06,664 --> 02:14:10,293
And then she said, "You know what?
It's not that different today.

1778
02:14:10,335 --> 02:14:14,464
We still go
for so much personal adornment."

1779
02:14:14,505 --> 02:14:17,258
And that was
the most amazing thing to her.

1780
02:14:17,342 --> 02:14:19,928
And I was really happy
that she said that

1781
02:14:20,011 --> 02:14:25,183
because you are trying to say some
things about how things haven't changed

1782
02:14:25,224 --> 02:14:27,018
all that much and...

1783
02:14:27,101 --> 02:14:30,021
[Gibson] I remember going
to the set that morning.

1784
02:14:30,063 --> 02:14:32,732
Maybe it wasn't that morning.
But it was one of those days

1785
02:14:32,815 --> 02:14:35,860
when it was a real big day
with a lot of extras, and the temple.

1786
02:14:35,944 --> 02:14:37,487
[Safinia] That's right.

1787
02:14:37,528 --> 02:14:40,323
[Gibson] And I remember,
I saw little Mayes running around.

1788
02:14:40,365 --> 02:14:43,534
And I just looked at the costumes,
and I got really emotional.

1789
02:14:43,618 --> 02:14:47,997
'Cause I realized the amount

1790
02:14:48,039 --> 02:14:50,708
- of almost perfect work that she did.
- [Safinia] Yeah.

1791
02:14:50,792 --> 02:14:53,336
- [Gibson] She was humble.
- [Safinia] That's right.

1792
02:14:53,378 --> 02:14:56,881
[Gibson] I just almost
started crying because I...

1793
02:14:56,965 --> 02:14:59,968
- I told everybody that.
- [Safinia] You got on the microphone.

1794
02:15:00,051 --> 02:15:03,388
[Gibson] I told everybody how proud
I was because it was like, wow.

1795
02:15:03,429 --> 02:15:07,392
It blew my mind.
When I saw it, it was like, wow.

1796
02:15:07,433 --> 02:15:11,187
Everybody was...
Everybody did a top job.

1797
02:15:11,229 --> 02:15:14,232
[Safinia] They did, and again,
like we mentioned earlier,

1798
02:15:14,273 --> 02:15:16,651
the AD crew
could be mentioned again,

1799
02:15:16,734 --> 02:15:20,613
because organizing people who've never
been in front of a camera before,

1800
02:15:20,697 --> 02:15:23,449
and hundreds of them at that...

1801
02:15:23,533 --> 02:15:25,702
[Gibson] They were
like hamsters on wheels.

1802
02:15:25,743 --> 02:15:28,454
- [Safinia] Running.
- [Gibson laughs] Like...

1803
02:15:28,538 --> 02:15:32,250
[Safinia] And you and they...
you used every trick in the book,

1804
02:15:32,333 --> 02:15:36,796
including music and trying to get them

1805
02:15:36,879 --> 02:15:41,759
to react to what we were playing,
extraordinarily lewd Mexican pop songs.

1806
02:15:41,801 --> 02:15:43,469
[Gibson] Soccer songs.

1807
02:15:43,553 --> 02:15:47,765
- Football favorites, yeah.
- To get them to react the right way,

1808
02:15:47,807 --> 02:15:51,602
to get the reaction we wanted from them.

1809
02:15:51,644 --> 02:15:53,771
[Gibson] And, you know,
generally speaking,

1810
02:15:53,855 --> 02:15:56,399
- the Mexican people are shy.
- [Safinia] They are.

1811
02:15:56,441 --> 02:16:00,028
They're quite reserved.
But, man, once they get the point,

1812
02:16:00,111 --> 02:16:04,866
once they get going, it's like,
"Yeah!" They give it everything.

1813
02:16:04,949 --> 02:16:06,534
It was like really...

1814
02:16:18,463 --> 02:16:20,631
[Gibson] Yeah,
the work ethic is huge.

1815
02:16:20,715 --> 02:16:23,217
[Safinia] I only realize when I looked
at the credits

1816
02:16:23,301 --> 02:16:26,721
that we were a multinational shoot.
[laughs] I didn't quite...

1817
02:16:26,804 --> 02:16:30,141
It didn't quite hit me that we shot,
yeah, in Costa Rico,

1818
02:16:30,224 --> 02:16:34,312
and some things in the UK
and some things in Ted Rae's backyard.

1819
02:16:34,353 --> 02:16:38,149
- [Gibson] Yes.
- [Safinia] In the United States.

1820
02:16:38,191 --> 02:16:40,985
[Gibson] There's even a
macro shot of my ingrown toenail.

1821
02:16:41,069 --> 02:16:43,446
[Safinia laughs]

1822
02:16:47,658 --> 02:16:49,827
- [Gibson] Mostly Veracruz.
- [Safinia] Yeah.

1823
02:16:49,911 --> 02:16:54,916
[Gibson] And the people and the governor
of Veracruz were great to us, amazing.

1824
02:16:55,458 --> 02:16:58,753
I think we were the only show where...
Oh, never mind. I won't say that.

1825
02:16:58,836 --> 02:17:00,671
[Safinia laughs]

1826
02:17:03,591 --> 02:17:05,676
[Gibson] SpiderCam.

1827
02:17:06,469 --> 02:17:08,387
Whew.

1828
02:17:08,471 --> 02:17:11,849
Color by Deluxe.
Don't you love saying that?

1829
02:17:11,891 --> 02:17:14,602
- [Safinia] I do.
- [Gibson] Color by Deluxe. Say it.

1830
02:17:14,685 --> 02:17:17,230
[Safinia laughs] I can't,
not the way you're saying it.

1831
02:17:17,313 --> 02:17:19,148
[Gibson] No, come on.
Color by Deluxe.

1832
02:17:19,190 --> 02:17:21,526
- [Safinia] Never gonna be good.
- [Gibson] No.

1833
02:17:21,609 --> 02:17:24,570
- [both laugh]
- [Gibson] Well, at least say SDDS.

1834
02:17:24,654 --> 02:17:27,490
- [Safinia] SDDS.
- [Gibson] That sucked.

1835
02:17:27,532 --> 02:17:30,952
[both laugh]

1836
02:17:33,204 --> 02:17:34,872
[Gibson] As my agent would say,

1837
02:17:34,914 --> 02:17:40,253
"Distributed by Buena Vista Pictures."

1838
02:17:40,336 --> 02:17:41,838
- There you go.
- [Safinia] Yeah.

1839
02:17:41,879 --> 02:17:44,382
- [Gibson] What's that?
- [Safinia] Touchstone logo.

1840
02:17:44,465 --> 02:17:46,092
[Gibson] Thought there was a hole.

1841
02:17:46,175 --> 02:17:47,718
- [Safinia] No.
- [Gibson] Oh.

1842
02:17:47,802 --> 02:17:51,722
- [Safinia] And I think Icon's next.
- [Gibson] Oh.

1843
02:17:51,806 --> 02:17:54,100
- [Safinia] There.
- [Gibson] Let's applaud.

1844
02:17:54,183 --> 02:17:57,645
[whistling, applause]

1845
02:17:57,728 --> 02:17:59,772
[Safinia laughs]

1845
02:18:00,305 --> 02:19:00,873
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