The Bourne Ultimatum

Name: The Bourne Ultimatum
Released: 2007

ID	13192268
Movie Name	The Bourne Ultimatum
Release Name	COMMENTARY.The.Bourne.Ultimatum.2007.UHD.BluRay.2160p.DTS-X.7.1.HEVC.REMUX-FraMeSToR
Year	2007
Kind	movie
Language	English
IMDB ID	440963
Format	srt

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1 00:00:06,000 --> 00:00:12,074 Watch Online Movies and Series for FREE www.osdb.link/lm 2 00:00:25,567 --> 00:00:28,487 MOSCOW, RUSSIA 3 00:00:30,280 --> 00:00:33,659 Straight in, Bourne on the run. 4 00:00:34,952 --> 00:00:37,788 The key question, making this film, was tempo, I thought. 5 00:00:37,955 --> 00:00:41,625 This is the third installment of the Bourne trilogy 6 00:00:42,417 --> 00:00:46,755 and I wanted to set the tempo high from the off. 7 00:00:46,797 --> 00:00:52,135 Why? Because all movies are ultimately chase movies 8 00:00:52,261 --> 00:00:57,474 and I wanted this film to be all about Bourne getting answers, 9 00:00:57,516 --> 00:01:00,310 getting towards the end of his journey, 10 00:01:00,352 --> 00:01:04,481 the chase reaching its furious crescendo, 11 00:01:04,523 --> 00:01:09,152 and so, from the first frame, I wanted the tempo to be high. 12 00:01:18,161 --> 00:01:21,832 So, here we have Bourne on the run in Moscow, 13 00:01:21,915 --> 00:01:27,921 and that was one of the first decisions, actually, that was made on the film, 14 00:01:28,463 --> 00:01:30,632 was to start it in Moscow 15 00:01:30,674 --> 00:01:37,681 and to start the film earlier than where Bourne Supremacy had ended. 16 00:01:40,309 --> 00:01:43,770 That was an important choice. 17 00:01:43,854 --> 00:01:47,482 Tony Gilroy's choice, actually, the screenwriter. 18 00:01:47,524 --> 00:01:51,153 And in the end, I think that choice comes down 19 00:01:52,195 --> 00:01:54,990 to the fact that Bourne is looking for answers. 20 00:01:55,032 --> 00:01:59,202 And when you look at the end of Bourne Supremacy, 21 00:02:00,454 --> 00:02:06,126 you realize that he ends up in New York, having just left Moscow, 22 00:02:06,877 --> 00:02:10,339 and you wonder why he went to New York. 23 00:02:10,380 --> 00:02:15,177 What happened between his leaving Moscow and arriving in New York? 24 00:02:15,218 --> 00:02:18,347 Why did he come to New York? What happened in the interim? 25 00:02:18,388 --> 00:02:21,016 And that's what Bourne Ultimatum is all about. 26 00:02:21,350 --> 00:02:22,851 Send him in. 27 00:02:35,697 --> 00:02:38,325 The difficulty, of course, with any Bourne film 28 00:02:39,993 --> 00:02:44,164 is that the story exists in several time frames. 29 00:02:45,082 --> 00:02:48,585 You've got the story of Bourne being chased, 30 00:02:49,711 --> 00:02:52,756 but you also have the story of what happened to Bourne 31 00:02:52,881 --> 00:02:55,509 in his hidden past, in the flashbacks. 32 00:02:59,554 --> 00:03:01,264 And in these flashbacks, 33 00:03:01,390 --> 00:03:07,688 I wanted to give them a strong contemporary edge. 34 00:03:09,189 --> 00:03:11,608 One of the things, I think, 35 00:03:11,692 --> 00:03:15,862 that's most exciting about the Bourne franchise 36 00:03:15,946 --> 00:03:19,449 is that it's about a real man in a strong contemporary world, 37 00:03:19,574 --> 00:03:23,370 with stories that feel like they're ripped out of tomorrow's headlines, 38 00:03:24,454 --> 00:03:27,958 and so it seemed to me appropriate 39 00:03:29,042 --> 00:03:31,712 to fill Bourne's dreams, his nightmares, 40 00:03:31,795 --> 00:03:34,756 the fragments of his past that are visible to him, 41 00:03:36,216 --> 00:03:41,012 with images that shock and disturb and feel like they're from today. 42 00:03:43,432 --> 00:03:46,351 My argument is not with you. 43 00:04:02,951 --> 00:04:05,996 SIX WEEKS LATER 44 00:04:07,372 --> 00:04:12,335 CENTRAL INTELLIGENCE AGENCY LANGLEY, VIRGINIA 45 00:04:12,586 --> 00:04:14,796 There's no place it won't catch up to you. 46 00:04:14,880 --> 00:04:17,132 It's how every story ends. 47 00:04:17,716 --> 00:04:18,884 Tape recording, of course, 48 00:04:18,967 --> 00:04:24,222 was the tape that Bourne sent to Pam Landy at the end of Bourne Supremacy. 49 00:04:25,348 --> 00:04:29,019 And one of the difficult storytelling problems 50 00:04:29,102 --> 00:04:31,897 that you have in a Bourne film, particularly in this film, 51 00:04:31,980 --> 00:04:36,610 is to create a film that exists for an audience 52 00:04:36,693 --> 00:04:40,405 and will be explicable and understandable for an audience 53 00:04:40,489 --> 00:04:44,075 that's coming to only Bourne Ultimatum for the first time, 54 00:04:44,201 --> 00:04:47,579 and yet feel satisfying to an audience 55 00:04:47,662 --> 00:04:51,750 that has followed the trilogy from Bourne Identity through Bourne Supremacy 56 00:04:51,833 --> 00:04:53,418 and onwards. 57 00:04:53,502 --> 00:04:55,086 And a lot of discussion, 58 00:04:55,170 --> 00:04:58,089 particularly in the editing room, around this scene, 59 00:04:58,173 --> 00:05:00,926 which is essentially backstory. 60 00:05:02,761 --> 00:05:08,183 We have to convey our backstory with maximum economy 61 00:05:08,266 --> 00:05:10,477 and also establish, of course, the character of Landy, 62 00:05:10,560 --> 00:05:13,605 who's very, very important in the Bourne trilogy, obviously, 63 00:05:13,688 --> 00:05:16,233 as the character who pursues Bourne, 64 00:05:16,316 --> 00:05:19,069 but also comes to understand what his real agenda is. 65 00:05:19,152 --> 00:05:21,279 And that's what this scene's all about. 66 00:05:21,780 --> 00:05:24,491 He's looking for something. Something in his past. 67 00:05:24,574 --> 00:05:27,744 Maybe he hasn't found it yet and we need to know what it is. 68 00:05:27,828 --> 00:05:30,622 Are you telling me he's not a threat to this agency? 69 00:05:30,747 --> 00:05:33,708 I think if he wanted to hurt us, he could have sent the tape to CNN. 70 00:05:33,792 --> 00:05:35,418 Maybe he still will. 71 00:05:35,502 --> 00:05:41,216 Scott Glenn came in to play the part of CIA Director Kramer. 72 00:05:43,176 --> 00:05:47,430 A very fine actor and a very, very good foil, I think, for Joan Allen. 73 00:05:48,306 --> 00:05:49,391 Let's keep looking. 74 00:05:49,474 --> 00:05:54,646 And, of course, it's often said that in a thriller, 75 00:05:54,729 --> 00:06:00,193 the hero is only as good as the characters ranged against him, 76 00:06:01,736 --> 00:06:08,618 and so it's very important that all the parts in a Bourne film are played with conviction. 77 00:06:14,291 --> 00:06:18,753 So now we meet a young reporter, a British reporter, Simon Ross, 78 00:06:19,504 --> 00:06:21,590 played by Paddy Considine. 79 00:06:22,632 --> 00:06:26,803 To a mysterious meeting in a Turin café. 80 00:06:30,640 --> 00:06:34,853 I wanted this meeting to remind us... 81 00:06:34,978 --> 00:06:40,817 It certainly reminded me of the great 1970s movies, 82 00:06:40,859 --> 00:06:43,486 particularly All the President's Men. 83 00:06:45,530 --> 00:06:47,324 Great scenes between 84 00:06:49,326 --> 00:06:52,329 Bob Woodward and Deep Throat in the underground car park. 85 00:06:52,370 --> 00:06:56,499 I wanted it to have those echoes, but be a story for today. 86 00:06:56,541 --> 00:07:00,003 This reporter, who's on the hunt for Jason Bourne, 87 00:07:00,128 --> 00:07:02,005 in front of a source. 88 00:07:03,840 --> 00:07:07,385 Will the source help? What does he know? What will he say? 89 00:07:09,387 --> 00:07:13,391 And that's ultimately what drives the story of Bourne Ultimatum. 90 00:07:15,518 --> 00:07:19,564 PARIS, FRANCE 91 00:07:25,528 --> 00:07:28,156 Now we meet another character, Martin, 92 00:07:30,700 --> 00:07:32,369 Marie's brother. 93 00:07:36,414 --> 00:07:40,001 We learned of his existence, actually, in Bourne Identity 94 00:07:41,836 --> 00:07:47,926 and I always assumed that if Bourne didn't know him, 95 00:07:50,387 --> 00:07:52,555 that he knew of Bourne, 96 00:07:52,681 --> 00:07:56,851 and that maybe Marie, his sister, had been in contact at some point. 97 00:07:57,852 --> 00:08:02,399 And it gives a platform for some emotionality for Bourne. 98 00:08:03,566 --> 00:08:06,027 We can reclaim the memory of Marie 99 00:08:07,737 --> 00:08:10,240 and also understand 100 00:08:12,033 --> 00:08:15,537 that the character of Bourne is made by his circumstances 101 00:08:15,578 --> 00:08:18,206 rather than inborn. 102 00:08:20,250 --> 00:08:21,751 Where is she? 103 00:08:25,588 --> 00:08:27,048 She's dead. 104 00:08:30,093 --> 00:08:31,636 She was killed. 105 00:08:33,972 --> 00:08:35,056 I'm sorry. 106 00:08:35,223 --> 00:08:38,893 In a way, this is quite a similar scene to the final scene in Supremacy, 107 00:08:38,935 --> 00:08:41,771 when Bourne meets the young girl, Irena, 108 00:08:41,813 --> 00:08:44,566 but, again, I thought that was helpful, 109 00:08:46,067 --> 00:08:50,613 as I say, in balancing an audience that has followed the trilogy 110 00:08:50,655 --> 00:08:52,115 through Identity and Supremacy, 111 00:08:52,240 --> 00:08:55,785 that they'll reclaim the Bourne from the end of Supremacy 112 00:08:55,827 --> 00:08:58,997 and take him forward into Bourne Ultimatum. 113 00:08:59,122 --> 00:09:03,043 And for that audience that hadn't seen Supremacy, 114 00:09:03,126 --> 00:09:09,466 the scene would sit as a very important indicator of Bourne's emotional state. 115 00:09:09,591 --> 00:09:11,009 She was shot. 116 00:09:14,137 --> 00:09:16,181 We were together in India. 117 00:09:18,516 --> 00:09:20,143 He came for me. 118 00:09:23,313 --> 00:09:24,731 You killed him? 119 00:09:24,814 --> 00:09:29,360 Balancing backstory with forward momentum 120 00:09:29,486 --> 00:09:33,823 in an action-adventure thriller is one of the most difficult things, I think. 121 00:09:33,865 --> 00:09:36,034 How you get the story going. 122 00:09:37,160 --> 00:09:41,331 And I would say in this film, probably, 123 00:09:41,414 --> 00:09:45,043 more time was spent in the cutting room, 124 00:09:45,168 --> 00:09:48,338 myself, Chris Rouse and the team 125 00:09:48,421 --> 00:09:53,510 trying to get this film working swiftly, 126 00:09:53,885 --> 00:10:00,016 but yet allowing the audience to gather the pieces that they need, 127 00:10:00,100 --> 00:10:03,019 meet the characters that they need to know. 128 00:10:05,021 --> 00:10:08,024 And it's very hard to get that balance right. 129 00:10:08,608 --> 00:10:11,736 If you spend too much time setting things up, 130 00:10:12,737 --> 00:10:14,197 your audience never forgive you 131 00:10:14,280 --> 00:10:19,577 because they never quite exist at high tempo. 132 00:10:20,537 --> 00:10:23,581 A film will always be slightly hampered by that, 133 00:10:23,706 --> 00:10:26,584 but, on the other hand, if you go too quickly, 134 00:10:26,709 --> 00:10:30,588 then the audience won't have absorbed what you need them to absorb 135 00:10:31,589 --> 00:10:34,050 moving forward towards the climax. 136 00:10:34,467 --> 00:10:36,594 - Sir! - What you got? 137 00:10:36,719 --> 00:10:39,597 We intercepted a call in London. Keyword, "Blackbriar." 138 00:10:39,722 --> 00:10:41,202 Okay, send it to New York right away. 139 00:10:46,604 --> 00:10:49,440 So now we meet for the first time Noah Vosen, 140 00:10:50,400 --> 00:10:53,570 played brilliantly by David Strathairn, I think. 141 00:10:57,574 --> 00:11:00,243 David's an actor I've long admired, 142 00:11:00,285 --> 00:11:04,247 obviously particularly in Good Night, and Good Luck, 143 00:11:04,330 --> 00:11:06,291 but in many other films. 144 00:11:08,501 --> 00:11:11,588 And when we were thinking about how to replace Brian Cox, 145 00:11:11,629 --> 00:11:14,632 who obviously died at the end of Supremacy, 146 00:11:17,802 --> 00:11:21,598 I wanted an actor with conviction 147 00:11:21,681 --> 00:11:26,436 and the ability to frame a new kind of bad guy, 148 00:11:26,477 --> 00:11:29,856 {\an8}an intelligent mental master, 149 00:11:29,939 --> 00:11:32,692 someone who could play chess with Bourne, 150 00:11:33,318 --> 00:11:35,445 and that's what Vosen is. 151 00:11:41,451 --> 00:11:43,786 Have you heard of an Operation Blackbriar? 152 00:11:43,870 --> 00:11:45,121 You have details? 153 00:11:45,330 --> 00:11:46,831 I also wanted to locate Vosen 154 00:11:46,956 --> 00:11:52,712 at the heart of the, kind of, modern, technological CIA, 155 00:11:54,631 --> 00:11:59,177 operating the full panoply of surveillance techniques, 156 00:11:59,302 --> 00:12:05,975 in this case, ECHELON, which is a keyword-identifying program. 157 00:12:08,186 --> 00:12:11,356 Our target is a British national, Simon Ross. A reporter. 158 00:12:11,481 --> 00:12:16,194 I want all his phones, his BlackBerry, his apartment, his car, 159 00:12:16,319 --> 00:12:18,529 bank accounts, credit cards, travel patterns. 160 00:12:18,655 --> 00:12:20,695 I want to know what he's gonna think before he does. 161 00:12:20,740 --> 00:12:22,533 Every dirty little secret he has. 162 00:12:23,326 --> 00:12:26,496 I've always loved this scene 'cause it seemed to me 163 00:12:27,330 --> 00:12:31,042 to dramatize and express all our worst, paranoid fantasies 164 00:12:31,167 --> 00:12:36,756 about what goes on in secret, in our name, in these organizations. 165 00:12:39,008 --> 00:12:42,011 {\an8}And, of course, it builds up the bad guy nicely. 166 00:12:44,264 --> 00:12:46,224 {\an8}And now our story... 167 00:12:46,349 --> 00:12:49,227 {\an8}I think, at this point, we always felt, as we were cutting it, 168 00:12:49,352 --> 00:12:52,730 {\an8}this is really the moment when the story starts to bite, 169 00:12:52,855 --> 00:12:58,069 {\an8}when you realize that Bourne is after Ross and so is Vosen 170 00:12:58,194 --> 00:13:01,781 {\an8}but they have two very, very different agendas, obviously. 171 00:13:05,868 --> 00:13:06,911 What? 172 00:13:10,373 --> 00:13:11,916 Will you commit to this program? 173 00:13:16,629 --> 00:13:18,798 This is the second flashback 174 00:13:20,550 --> 00:13:22,218 that sets the scene for the mystery 175 00:13:22,260 --> 00:13:24,804 that Bourne is gonna have to uncover about his past. 176 00:13:24,887 --> 00:13:28,099 And already you can see in that flashback 177 00:13:29,225 --> 00:13:33,563 that it's all going to be about what happened 178 00:13:33,646 --> 00:13:36,274 when Bourne first joined the program. 179 00:13:36,399 --> 00:13:38,818 "Will you commit to the program?" is the signpost. 180 00:13:38,901 --> 00:13:42,905 What is it that happened when Bourne joined the program? 181 00:13:42,989 --> 00:13:45,950 How did Jason Bourne become Jason Bourne? 182 00:13:46,075 --> 00:13:49,912 What is the secret of Bourne's identity? 183 00:13:51,789 --> 00:13:53,225 That's the question in Bourne's mind 184 00:13:53,249 --> 00:13:58,129 as he powers through the countryside towards his meeting with Simon Ross. 185 00:13:59,422 --> 00:14:01,632 Whatever that secret is, 186 00:14:01,758 --> 00:14:05,928 we know from that flashback that it's cost him the life of Marie. 187 00:14:09,974 --> 00:14:12,077 Copy that. Mr. Vosen, the subject is entering his office. 188 00:14:12,101 --> 00:14:13,811 Give me some eyeballs on the street. 189 00:14:13,936 --> 00:14:16,689 - Where's my picture, please? - Coming online. 190 00:14:16,773 --> 00:14:18,274 Online now. 191 00:14:19,942 --> 00:14:21,986 Jimmy, how you doing with the phone line? 192 00:14:22,945 --> 00:14:26,157 Peter Wenham, who designed Bourne Ultimatum, 193 00:14:27,283 --> 00:14:28,826 wanted, and I think rightly, 194 00:14:28,951 --> 00:14:35,541 to give the hub a more striking, hi-tech look. 195 00:14:37,960 --> 00:14:42,965 The hub in Bourne Identity was tucked away in a basement of the CIA. 196 00:14:44,050 --> 00:14:48,304 The hub in Bourne Supremacy was an open-windowed office 197 00:14:49,472 --> 00:14:51,516 10 floors up, above Berlin. 198 00:14:52,517 --> 00:14:55,812 What we worked on for the hub in Ultimatum 199 00:14:55,853 --> 00:15:00,983 was that it be in New York and, as it were, a technical upgrade, 200 00:15:01,859 --> 00:15:05,988 capable of fielding all the vast array of surveillance equipment 201 00:15:06,030 --> 00:15:08,699 that Noah Vosen has at his fingertips. 202 00:15:15,039 --> 00:15:20,044 And, I think, the whole Waterloo sequence works 203 00:15:20,169 --> 00:15:24,257 because it pits one man, Jason Bourne, 204 00:15:25,508 --> 00:15:27,593 who has only his wits, 205 00:15:27,677 --> 00:15:33,850 against the hi-tech reality of modern-day espionage. 206 00:15:34,892 --> 00:15:36,060 Subject exiting the building. 207 00:15:36,185 --> 00:15:39,063 And it makes for a great cat-and-mouse game 208 00:15:39,856 --> 00:15:44,193 with an innocent, uncomprehending man in the middle, 209 00:15:44,277 --> 00:15:46,279 the reporter, Simon Ross. 210 00:15:47,363 --> 00:15:49,216 Mobile One should have him. Mobile One should have him. 211 00:15:49,240 --> 00:15:52,118 Get Mobile One on it. Let me know when you hear it. 212 00:15:52,201 --> 00:15:54,579 Hi. Waterloo Station, south entrance. 213 00:15:54,704 --> 00:15:55,848 - Mr. Wills. - Where's he going? 214 00:15:55,872 --> 00:15:57,206 Destination is Waterloo Station. 215 00:15:57,248 --> 00:15:58,374 Okay, Waterloo Station. 216 00:15:58,416 --> 00:16:00,710 Give me eyes at Waterloo. Put everyone in play. 217 00:16:00,793 --> 00:16:02,920 - Let's activate the asset. - Mobilize Tracker Three. 218 00:16:04,547 --> 00:16:09,552 Going into Bourne Ultimatum, I always wanted to set part of it in London. 219 00:16:10,219 --> 00:16:13,222 That's because it's my city 220 00:16:14,474 --> 00:16:16,809 and, also, it was the obvious choice 221 00:16:16,893 --> 00:16:21,981 because it was the major Northern European city that Bourne had not yet operated in, 222 00:16:22,982 --> 00:16:24,567 but there were personal reasons, too. 223 00:16:24,650 --> 00:16:29,322 I've always felt that London, in big movies, 224 00:16:29,405 --> 00:16:35,286 is too often presented to us as a land of Big Ben 225 00:16:35,411 --> 00:16:40,249 and the Houses of Parliament, St Paul's and London buses, 226 00:16:40,833 --> 00:16:43,085 and, you know, a tourist's London, 227 00:16:43,169 --> 00:16:46,422 and that's not the world of Jason Bourne. 228 00:16:46,506 --> 00:16:51,260 Jason Bourne lives in the cities that we all live in, 229 00:16:51,302 --> 00:16:54,263 whether it's Paris or Berlin or Moscow or, in this case, London. 230 00:16:54,347 --> 00:16:56,682 It's just an ordinary city. 231 00:16:58,017 --> 00:17:02,855 And the Brit in me wanted to create 232 00:17:02,980 --> 00:17:06,943 a bit of the Bourne thriller in my hometown. 233 00:17:11,948 --> 00:17:15,660 There were other reasons, too, though, for choosing Waterloo 234 00:17:17,119 --> 00:17:19,288 and that really goes to the heart 235 00:17:19,372 --> 00:17:22,124 of what was going on with Bourne Ultimatum 236 00:17:22,208 --> 00:17:23,960 in the preparation. 237 00:17:24,794 --> 00:17:30,466 It always felt to me, when I first saw Doug Liman's Bourne Identity, 238 00:17:30,550 --> 00:17:33,052 that it was a wonderful collision 239 00:17:33,135 --> 00:17:38,724 between a mainstream Hollywood mentality and an indie mentality 240 00:17:38,808 --> 00:17:42,186 and that's what made the Bourne franchise so fresh. 241 00:17:42,311 --> 00:17:45,982 And it was that collision that I tried to keep alive 242 00:17:46,065 --> 00:17:47,483 in Bourne Supremacy. 243 00:17:48,568 --> 00:17:52,196 But the problem, coming into Bourne Ultimatum, of course, 244 00:17:53,489 --> 00:17:57,493 is that by the time we sat down to start making the third in the trilogy, 245 00:17:57,577 --> 00:18:00,580 the franchise, of course, by then, was very, very successful 246 00:18:00,663 --> 00:18:04,709 and, clearly, Bourne Ultimatum was gonna be a very big movie 247 00:18:04,834 --> 00:18:08,671 and I didn't want us to succumb to "big movie-it is," 248 00:18:08,754 --> 00:18:14,510 to move into town and create sanitized spaces, 249 00:18:14,594 --> 00:18:17,346 put a picket fence around the unit, 250 00:18:17,430 --> 00:18:21,183 and make our film cut off from everyday life, 251 00:18:21,267 --> 00:18:24,020 because that's not where the Bourne franchise lives. 252 00:18:24,103 --> 00:18:26,522 The Bourne franchise lives on the streets. 253 00:18:26,689 --> 00:18:32,028 And so that really led me to set the action sequences in the film 254 00:18:32,111 --> 00:18:37,033 in places where it was impossible for us to operate as a big unit. 255 00:18:37,074 --> 00:18:39,619 So, for instance, Waterloo Station, 256 00:18:40,202 --> 00:18:43,873 the crowded markets of Tangier and the streets of New York. 257 00:18:43,914 --> 00:18:47,710 They're all places where no matter what resources you have as a movie, 258 00:18:47,793 --> 00:18:51,380 you can't operate and cut yourselves off. 259 00:18:51,422 --> 00:18:53,191 I mean, in Waterloo we were only able to have, 260 00:18:53,215 --> 00:18:55,551 I think, 15 or 20 people on the station at any one time. 261 00:18:55,635 --> 00:18:59,889 The unit had to be housed a mile or two away 262 00:18:59,930 --> 00:19:04,810 and it forced us to be true to our roots, to operate like a guerrilla unit, 263 00:19:05,645 --> 00:19:10,399 seizing the shots on the run in amongst everyday life, 264 00:19:10,483 --> 00:19:13,110 the teeming reality of big cities. 265 00:19:13,235 --> 00:19:16,572 And I think that gives this sequence its vitality, 266 00:19:16,656 --> 00:19:20,910 because very often we were literally making it up as we go along 267 00:19:20,993 --> 00:19:27,917 and grabbing shots as best we could in amongst the workings of the station. 268 00:19:29,835 --> 00:19:31,921 Go! Let's go. 269 00:19:32,088 --> 00:19:33,422 Oh, shit. 270 00:19:37,468 --> 00:19:38,594 What the hell was that? 271 00:19:40,971 --> 00:19:43,599 Sir, we've lost all communication with Mobile One. 272 00:19:49,772 --> 00:19:56,195 So Bourne successfully gets Ross away from his hunters 273 00:19:58,114 --> 00:20:00,282 but he knows he can only speak to him fleetingly 274 00:20:00,366 --> 00:20:02,952 because Vosen will be on him. 275 00:20:04,453 --> 00:20:05,871 Sir, asset's on scene. 276 00:20:06,163 --> 00:20:11,836 And I love the contrast between Vosen furiously trying to find him 277 00:20:11,961 --> 00:20:16,966 and Bourne grabbing his hurried moments with Ross, 278 00:20:17,967 --> 00:20:23,639 and the whole orchestration, really, of the threat with Paz coming in. 279 00:20:25,099 --> 00:20:27,476 Paz, of course, a new character. 280 00:20:29,311 --> 00:20:31,689 In each of the films, 281 00:20:31,814 --> 00:20:36,944 there's been a character who really has been Bourne's doppel. 282 00:20:38,279 --> 00:20:41,449 It was Clive Owen, of course, in Bourne Identity 283 00:20:41,490 --> 00:20:44,452 and then we had Kirill in Bourne Supremacy, 284 00:20:44,493 --> 00:20:48,664 and now, Paz, played by Edgar Ramirez. 285 00:20:50,040 --> 00:20:52,334 And they're very difficult parts to play, 286 00:20:52,376 --> 00:20:55,004 because, of course, they're essentially dialogless parts. 287 00:20:55,129 --> 00:20:58,174 He said that you were square one, the dirty little secret. 288 00:20:58,299 --> 00:21:00,509 He said he knows who you are. 289 00:21:04,013 --> 00:21:05,723 All right, we have to move. 290 00:21:05,848 --> 00:21:10,352 So that's the first time that Bourne hears of Operation Blackbriar, 291 00:21:10,478 --> 00:21:16,358 which was a code name that was thrown away at the end of Bourne Identity. 292 00:21:16,484 --> 00:21:19,236 For eagle-eyed viewers of the trilogy, 293 00:21:19,820 --> 00:21:24,700 they'll remember that when Brian Cox, Abbott, 294 00:21:24,825 --> 00:21:28,704 went up to Capitol Hill to testify at the end of Bourne Identity, 295 00:21:28,829 --> 00:21:32,833 he testified that Operation Treadstone had been closed down, 296 00:21:32,875 --> 00:21:37,922 but he asked for funding for an unspecified operation, Blackbriar. 297 00:21:39,089 --> 00:21:40,716 And in this film, 298 00:21:42,384 --> 00:21:47,389 the story is going to center on what that Operation Blackbriar actually is. 299 00:21:49,225 --> 00:21:50,893 And Bourne straightaway knows. 300 00:21:51,018 --> 00:21:55,731 He can see straight off that it's Treadstone upgraded. 301 00:21:57,775 --> 00:22:00,528 I'm gonna walk by you. I want you to move along the far wall 302 00:22:00,569 --> 00:22:04,740 to your left in four, three, two, one. 303 00:22:04,782 --> 00:22:05,950 Stand up. 304 00:22:06,075 --> 00:22:07,409 That's it. 305 00:22:10,204 --> 00:22:12,081 Where the hell is he? 306 00:22:12,122 --> 00:22:14,208 We cannot afford to lose this guy, people. 307 00:22:14,750 --> 00:22:18,587 There was an interesting example 308 00:22:18,712 --> 00:22:22,466 of the way fact and fiction can work with each other. 309 00:22:22,591 --> 00:22:25,094 When we were designing this sequence, 310 00:22:25,219 --> 00:22:27,263 I wanted very much Vosen, in New York, 311 00:22:27,388 --> 00:22:30,766 to be able to tap into the CCTV cameras at Waterloo 312 00:22:30,891 --> 00:22:34,103 in order to track Bourne's progress, 313 00:22:35,604 --> 00:22:39,108 but, of course, that was essentially a flight of fancy. 314 00:22:39,233 --> 00:22:42,111 It was only when we went down to Waterloo 315 00:22:42,236 --> 00:22:45,656 and actually visited the security operation there 316 00:22:45,781 --> 00:22:50,494 that we realized it's actually something that could easily happen. 317 00:22:50,619 --> 00:22:52,454 Hurry, Ross. We gotta move. 318 00:22:52,496 --> 00:22:54,224 Okay, move through this crowd. Move through this crowd. 319 00:22:54,248 --> 00:22:56,208 Get undercover right now. Move through this crowd. 320 00:23:03,966 --> 00:23:07,469 The whole choreography of this sequence 321 00:23:07,595 --> 00:23:10,806 was brilliantly executed, I think, by Christopher Rouse 322 00:23:10,931 --> 00:23:12,474 and the editorial team. 323 00:23:19,982 --> 00:23:21,822 It's a funny thing when you see these sequences 324 00:23:21,942 --> 00:23:24,838 months after you've completed them, because you look at them and you think, 325 00:23:24,862 --> 00:23:29,116 "Well, it could only be like that. Every shot has to be in that order." 326 00:23:29,158 --> 00:23:30,659 But, of course, 327 00:23:30,701 --> 00:23:35,831 when you're actually wrestling with a monstrous, great action sequence like this, 328 00:23:35,873 --> 00:23:38,834 you watch them, literally, hundreds upon hundreds of times 329 00:23:38,876 --> 00:23:42,296 in different ways, different orders, different pacing. 330 00:23:45,883 --> 00:23:47,110 And I think it's in this sequence 331 00:23:47,134 --> 00:23:50,012 that the whole issue of tempo starts to work for the film, 332 00:23:50,054 --> 00:23:54,224 because we set the tempo so high from the off that here 333 00:23:57,353 --> 00:23:58,854 it gets its payoff. 334 00:24:15,871 --> 00:24:20,250 And tempo is a difficult beast in a film, 335 00:24:20,376 --> 00:24:23,879 because you need tempo, but you have to have clarity. 336 00:24:25,255 --> 00:24:28,550 Tempo without clarity is very, very unsatisfying. 337 00:24:29,051 --> 00:24:30,552 Jesus Christ. 338 00:24:31,720 --> 00:24:33,555 That's Jason Bourne. 339 00:24:34,014 --> 00:24:36,892 He's picking us apart. Do you think he's the source? 340 00:24:37,017 --> 00:24:38,560 He's gotta be. 341 00:24:40,354 --> 00:24:45,067 So here is one of those examples of where you can vary the pace 342 00:24:46,110 --> 00:24:48,570 and introduce clarity and detail 343 00:24:50,781 --> 00:24:52,241 and then, when you pick it up again, 344 00:24:52,366 --> 00:24:56,578 you feel like a tremendous surge of energy returns. 345 00:24:56,620 --> 00:24:58,580 And varying pace, 346 00:24:59,748 --> 00:25:03,877 and ensuring that you're developing at all times 347 00:25:03,961 --> 00:25:08,048 character and narrative and action, 348 00:25:08,090 --> 00:25:10,968 is at the heart of this kind of filmmaking, I think. 349 00:25:12,386 --> 00:25:15,097 Listen to me! This isn't some story in a newspaper. 350 00:25:15,139 --> 00:25:18,267 This is real. You understand me? 351 00:25:18,642 --> 00:25:19,893 Okay. 352 00:25:30,612 --> 00:25:31,613 Call all agents back. 353 00:25:31,739 --> 00:25:34,283 Give Bourne's location at the back of the store to the asset. 354 00:25:34,450 --> 00:25:39,788 The character of Jason Bourne, of course, has always had this antenna, this radar, 355 00:25:39,913 --> 00:25:44,126 this ability to size up his situation 356 00:25:45,127 --> 00:25:46,962 and sense danger. 357 00:25:47,755 --> 00:25:52,134 It's just a casual look at two security men turning their backs, 358 00:25:53,635 --> 00:25:56,346 a camera turning in the wrong direction. 359 00:26:01,477 --> 00:26:03,979 - Bourne. - Wait. Something's not right. 360 00:26:04,188 --> 00:26:07,107 And he knows that he's in a killing field. 361 00:26:09,109 --> 00:26:13,489 And now all the threads of this long action sequence come together 362 00:26:13,530 --> 00:26:15,491 because, finally, Paz is... 363 00:26:17,826 --> 00:26:19,328 He's in play. 364 00:26:19,995 --> 00:26:21,663 Ross is panicking. 365 00:26:27,169 --> 00:26:30,089 And Bourne knows he has a body on his hands. 366 00:26:44,186 --> 00:26:46,855 And now this long sequence that's been built up 367 00:26:46,939 --> 00:26:51,318 from the moment Bourne got on the train to London from Paris 368 00:26:51,360 --> 00:26:53,862 resolves itself in a headlong chase. 369 00:27:01,286 --> 00:27:04,706 Bourne catches a glimpse of his doppel. 370 00:27:18,345 --> 00:27:20,222 And this sequence, of course, has had... 371 00:27:21,348 --> 00:27:23,517 It's got more than a wink 372 00:27:24,393 --> 00:27:29,898 at probably the great action-adventure film of all time, French Connection, 373 00:27:30,899 --> 00:27:33,026 one of my favorite films. 374 00:27:40,159 --> 00:27:42,911 The wink gets a bit heavy at this point, 375 00:27:47,332 --> 00:27:52,337 but it's good because it's Bourne face to face with his nemesis, 376 00:27:55,215 --> 00:28:01,054 and the stage is set, then, of course, for the rest of the film. 377 00:28:05,350 --> 00:28:07,102 We have a situation. 378 00:28:12,274 --> 00:28:13,358 Yeah. 379 00:28:13,942 --> 00:28:15,611 Director Kramer would like to see you. 380 00:28:15,944 --> 00:28:19,406 - We need to get those warrants... - He said it's urgent. 381 00:28:35,130 --> 00:28:40,469 The other interesting and infuriating thing when you make these kinds of thrillers 382 00:28:41,803 --> 00:28:46,642 is that the pieces, the clues, if you like, that drive the narrative 383 00:28:46,725 --> 00:28:49,895 are usually incredibly small and incredibly simple. 384 00:28:53,148 --> 00:28:57,319 And often, when you're constructing them, they feel too simple 385 00:28:58,654 --> 00:29:04,493 and often what you end up going for in preproduction 386 00:29:04,576 --> 00:29:08,080 {\an8}is something much more convoluted 387 00:29:08,455 --> 00:29:14,253 and, very often, the task of making, certainly making the Bourne films, 388 00:29:15,087 --> 00:29:21,134 is to take dense, complex, plotted storytelling 389 00:29:21,843 --> 00:29:24,680 and distill it, boil it down, 390 00:29:26,598 --> 00:29:30,352 bring it to its simplest core. 391 00:29:32,187 --> 00:29:34,022 A source on the run. 392 00:29:34,856 --> 00:29:36,817 A journalist murdered. 393 00:29:39,027 --> 00:29:43,365 Bourne hunting the source and the bad guys, too. 394 00:29:43,490 --> 00:29:48,704 And the clues that actually oil those wheels can be very simple, 395 00:29:49,204 --> 00:29:53,542 because as long as the audience knows the paradigm of the story, 396 00:29:53,667 --> 00:29:55,961 what's broadly driving it, 397 00:29:56,044 --> 00:30:00,299 then they're content and happy to absorb the characters. 398 00:30:02,801 --> 00:30:04,970 That's particularly true, I think, in this scene, 399 00:30:05,345 --> 00:30:09,057 which I think is a wonderful scene between Joan and David 400 00:30:10,225 --> 00:30:12,394 where you see a clash of temperaments 401 00:30:12,519 --> 00:30:18,358 and a clash of approaches to intelligence work. 402 00:30:19,401 --> 00:30:21,321 - Anything for you, ma'am? - Just coffee, please. 403 00:30:21,361 --> 00:30:22,714 - Are you sure? I'm buying. - I'm good. 404 00:30:22,738 --> 00:30:29,411 And you see this quality of intelligence at the heart of it all, 405 00:30:29,661 --> 00:30:35,208 that these are people using their minds to fight each other and to fight Bourne. 406 00:30:35,834 --> 00:30:39,046 And I think that's one of the crucial elements 407 00:30:39,087 --> 00:30:43,258 of the success of the Bourne franchise, that it's not just action and brawn. 408 00:30:43,759 --> 00:30:48,096 There's always a cool, smart factor at the heart of it 409 00:30:49,765 --> 00:30:52,267 that sustains the franchise, keeps it going, 410 00:30:52,351 --> 00:30:55,437 makes it endlessly rewarding to watch, I think. 411 00:30:55,562 --> 00:31:00,275 Particularly, I think, and I would say that, I suppose, but on DVD... 412 00:31:00,359 --> 00:31:03,445 I think that audiences come to these films on DVD 413 00:31:03,487 --> 00:31:08,617 and see all sorts of layers of motivation and cleverness 414 00:31:09,409 --> 00:31:14,081 that, perhaps, aren't immediately apparent when you see the film theatrically. 415 00:31:16,375 --> 00:31:19,252 Bourne saw us coming. The question is what was he doing there? 416 00:31:19,294 --> 00:31:20,894 No, the real question is how you managed 417 00:31:20,921 --> 00:31:23,298 to get into a firefight at a public train station. 418 00:31:23,423 --> 00:31:26,468 You know as well as I do decisions made in real time are never perfect. 419 00:31:26,551 --> 00:31:30,639 Don't second-guess an operation from an armchair. 420 00:31:34,810 --> 00:31:36,812 I'll see you at the office. 421 00:31:37,270 --> 00:31:39,147 Enjoy your egg whites. 422 00:31:51,952 --> 00:31:54,621 Here we are. Bourne arrives in Madrid. 423 00:31:55,956 --> 00:31:59,501 It was always one of the elements of making Bourne Ultimatum. 424 00:31:59,626 --> 00:32:04,673 I wanted to link London, Madrid and New York, 425 00:32:05,924 --> 00:32:11,638 three cities that had their own experiences of paranoia 426 00:32:12,806 --> 00:32:15,642 and fear in recent years. 427 00:32:16,977 --> 00:32:21,690 If the Bourne franchise is about anything, it is about fear and paranoia, 428 00:32:23,859 --> 00:32:26,528 and subtly, under the surface, it makes those cities 429 00:32:26,653 --> 00:32:30,532 very good backdrops for a contemporary thriller. 430 00:32:32,534 --> 00:32:36,955 Now, I want everyone to sit down, strap in and turn on all you've got. 431 00:32:38,123 --> 00:32:39,374 That would mean now! 432 00:32:39,875 --> 00:32:40,959 Thank you. 433 00:32:41,376 --> 00:32:42,669 Give me a team deployment plan. 434 00:32:42,752 --> 00:32:45,881 I want everything you got on Ross on screen one. 435 00:32:46,173 --> 00:32:52,512 Landy is such a great character, I think, because she combines 436 00:32:53,680 --> 00:32:57,434 a certain sort of ruthless realpolitik 437 00:32:57,517 --> 00:33:02,230 with sympathetic understanding and almost compassion for Bourne. 438 00:33:03,231 --> 00:33:05,400 She's never a sentimental character 439 00:33:06,735 --> 00:33:11,031 and, also, she's always the smartest person in the room. 440 00:33:12,199 --> 00:33:14,701 Found a round-trip ticket to Turin, Italy, yesterday. 441 00:33:14,784 --> 00:33:17,496 0800 arrival, 1205 departure. 442 00:33:17,579 --> 00:33:20,665 I think we can be pretty certain that Bourne's not your source, then. 443 00:33:21,374 --> 00:33:22,459 How? 444 00:33:22,542 --> 00:33:24,812 Ross's call to his editor where he said he'd just met the source 445 00:33:24,836 --> 00:33:25,879 took place just after... 446 00:33:25,962 --> 00:33:29,299 This scene was the brainchild of George Nolfi, 447 00:33:30,842 --> 00:33:34,721 who was the principal writer on Bourne Ultimatum. 448 00:33:35,472 --> 00:33:40,894 And it was George who came up with this idea 449 00:33:40,977 --> 00:33:44,773 of demonstrating Landy's expertise, 450 00:33:44,856 --> 00:33:47,776 that she would come into the hub, Vosen's world, 451 00:33:47,859 --> 00:33:50,779 where we had already seen Vosen 452 00:33:50,862 --> 00:33:55,158 with all his array of technological expertise at his fingertips, 453 00:33:55,242 --> 00:33:58,245 and she would literally turn it on its head. 454 00:33:58,328 --> 00:33:59,913 So, you got any better ideas? 455 00:33:59,996 --> 00:34:01,557 Yeah, look at all the people whose cell phones... 456 00:34:01,581 --> 00:34:03,458 That's a very, very clever scene 457 00:34:03,500 --> 00:34:06,419 because it sells so many characters all at once. 458 00:34:06,503 --> 00:34:11,091 Landy, the beginning of her fencing match with Vosen, 459 00:34:12,759 --> 00:34:18,557 the way that the hub operates and its technological possibilities, 460 00:34:18,974 --> 00:34:22,227 and also the characters of the two principal lieutenants. 461 00:34:22,978 --> 00:34:26,815 Tom Cronin, who is Landy's number two, 462 00:34:27,190 --> 00:34:31,236 very ably played by Tom Gallop, returning again from Bourne Supremacy, 463 00:34:31,945 --> 00:34:36,825 and, also, Wills, who is Vosen's number two, 464 00:34:38,451 --> 00:34:40,745 played very ably by Corey Johnson. 465 00:34:41,454 --> 00:34:42,581 Neal Daniels. 466 00:34:42,998 --> 00:34:46,126 - He's station chief in Madrid, isn't he? - Yeah. 467 00:34:50,005 --> 00:34:51,965 All right, call the RSO at the embassy. 468 00:34:52,048 --> 00:34:54,426 Have them take Daniels into custody, if he is there. 469 00:34:54,509 --> 00:35:00,056 And, also, the scene drives us towards the source, 470 00:35:00,890 --> 00:35:03,184 Neal Daniels. 471 00:35:03,643 --> 00:35:05,061 If he is not the source, 472 00:35:05,145 --> 00:35:07,606 then he is after the source, the same as we are. 473 00:35:13,820 --> 00:35:20,452 Good thriller writing, and it's an incredibly rare skill, 474 00:35:20,535 --> 00:35:25,582 is all about distilling what you know 475 00:35:26,583 --> 00:35:29,336 and then moving it up to the next level 476 00:35:30,503 --> 00:35:35,008 and continually turning the screw, piece by piece, 477 00:35:36,134 --> 00:35:41,348 towards a final satisfying conclusion. 478 00:35:43,016 --> 00:35:44,368 Three minutes to destination, sir. 479 00:35:44,392 --> 00:35:46,936 And we were very lucky in Bourne Ultimatum, 480 00:35:47,020 --> 00:35:51,274 all the Bourne films, to have wonderful, wonderful writers. 481 00:35:52,776 --> 00:35:56,404 Tony Gilroy, obviously, who's been there from the beginning, 482 00:35:57,656 --> 00:36:01,576 but also on this film, Scott Burns and George Nolfi. 483 00:36:08,333 --> 00:36:12,379 Your mission will save American lives. 484 00:36:16,341 --> 00:36:19,386 A vital moment now in the middle of the film, 485 00:36:20,136 --> 00:36:23,223 where Bourne finds the photograph 486 00:36:24,516 --> 00:36:29,312 and remembers the character of Hirsch, played by Albert Finney, 487 00:36:32,107 --> 00:36:36,820 and finally remembers his maker, 488 00:36:37,612 --> 00:36:39,447 the man who made him. 489 00:36:40,240 --> 00:36:44,411 Of course, we're driving forward on that theme 490 00:36:45,578 --> 00:36:48,707 of Bourne discovering the secret of his identity, 491 00:36:49,916 --> 00:36:51,793 who made him and how he was made. 492 00:37:02,095 --> 00:37:04,389 Sir, they're at the front door. 493 00:37:22,782 --> 00:37:24,159 - Five seconds. - Put it up live. 494 00:37:24,242 --> 00:37:27,454 This action sequence is all built on Bourne's ability 495 00:37:27,537 --> 00:37:30,665 to improvise using everyday objects. 496 00:37:30,999 --> 00:37:33,460 It's been a feature of the Bourne films since Bourne Identity, 497 00:37:33,543 --> 00:37:35,879 when he picked up the ballpoint pen. 498 00:37:36,504 --> 00:37:39,841 Bourne Supremacy, obviously, was the famous toaster, 499 00:37:41,134 --> 00:37:45,972 and now we have another action sequence which turns on everyday objects. 500 00:37:55,815 --> 00:37:57,442 - The safe is empty. - Shit. 501 00:37:57,525 --> 00:37:59,194 Looks like he left in a hurry. 502 00:37:59,277 --> 00:38:01,946 - Track Daniels' passports. - Stand by. 503 00:38:27,430 --> 00:38:30,350 Making a sequence like this, of course, is... 504 00:38:30,642 --> 00:38:31,684 You have to make choices. 505 00:38:31,768 --> 00:38:36,189 Do you stay with Bourne and watch it unfold from Bourne's point of view 506 00:38:36,689 --> 00:38:41,236 or do you, as in this case, stay with the hunters 507 00:38:42,195 --> 00:38:43,780 and let Bourne drop out of the story? 508 00:38:43,863 --> 00:38:46,157 And that's what we chose to do. 509 00:38:46,533 --> 00:38:49,828 And always, in action sequences, you're trying to decide 510 00:38:49,911 --> 00:38:52,831 "Which point of view is it better to go for?" 511 00:38:54,082 --> 00:38:55,375 Suspense? 512 00:38:59,921 --> 00:39:01,047 God damn it! 513 00:39:01,130 --> 00:39:02,757 Or revelation? 514 00:39:13,309 --> 00:39:16,396 Get me a secure line in there. Get the second team over there now! 515 00:39:24,404 --> 00:39:27,866 For those people who saw Bourne Supremacy, obviously, 516 00:39:27,949 --> 00:39:29,826 we've been here before. 517 00:39:29,993 --> 00:39:31,828 I was posted here after Berlin. 518 00:39:31,911 --> 00:39:33,621 Bourne and Nicky. 519 00:39:35,540 --> 00:39:37,166 Where's Daniels? 520 00:39:39,711 --> 00:39:41,129 Where is he? 521 00:39:44,215 --> 00:39:47,218 I've always very much liked the character of Nicky 522 00:39:47,302 --> 00:39:50,847 and felt that she had offered tremendous opportunities 523 00:39:50,930 --> 00:39:52,056 for the Bourne franchise. 524 00:39:52,140 --> 00:39:56,519 Ever since Julia Stiles brought the character in, in Identity. 525 00:39:56,978 --> 00:40:01,024 It was quite a small part then, I think, rather undeveloped, 526 00:40:02,442 --> 00:40:07,405 and I think she came much more into her own in Supremacy, 527 00:40:07,488 --> 00:40:10,742 with those wonderful scenes in Berlin, 528 00:40:12,243 --> 00:40:15,246 and I always wanted, in Bourne Ultimatum, 529 00:40:16,664 --> 00:40:20,752 to explore the Bourne-Nicky relationship in more detail. 530 00:40:21,336 --> 00:40:23,588 Nicky, I need to do an ID challenge. 531 00:40:23,671 --> 00:40:25,340 Code in, Sparrow. 532 00:40:31,638 --> 00:40:36,601 But, of course, to do that, it was critical to get the relationship 533 00:40:36,684 --> 00:40:41,272 beyond the point at which Bourne was holding a gun to her. 534 00:40:41,731 --> 00:40:43,149 Nicky, this is Noah Vosen. 535 00:40:44,108 --> 00:40:46,069 That's really what this scene's all about. 536 00:40:46,152 --> 00:40:47,236 I just walked in. 537 00:40:48,613 --> 00:40:52,367 We have two officers on-site. Are you in contact with them? 538 00:40:55,745 --> 00:40:59,040 They're down. Unconscious but alive. 539 00:41:03,336 --> 00:41:06,130 - Any sign of Neal Daniels? - No. 540 00:41:06,965 --> 00:41:09,092 Nicky, this is Pam Landy. 541 00:41:09,884 --> 00:41:12,004 We have reason to believe there's a connection between 542 00:41:12,053 --> 00:41:14,305 Neal Daniels and Jason Bourne. 543 00:41:15,807 --> 00:41:19,769 Bourne? You're still looking for Bourne? I thought that case was closed. 544 00:41:19,978 --> 00:41:21,562 No, some people are convinced... 545 00:41:21,646 --> 00:41:24,148 You see these scenes put together... 546 00:41:24,232 --> 00:41:27,485 It's an absolute testimony to the actors 547 00:41:28,277 --> 00:41:29,877 that they flow together so effortlessly, 548 00:41:29,946 --> 00:41:31,706 'cause, of course, all these scenes are shot 549 00:41:31,739 --> 00:41:35,994 in different times, in different places, in different fragments, 550 00:41:36,077 --> 00:41:38,871 often with additional photography in there, too, 551 00:41:38,997 --> 00:41:43,835 and yet, always, the central believability or the conceit of the scene, 552 00:41:43,918 --> 00:41:47,797 that they're all listening to each other, is entirely intact. 553 00:41:48,089 --> 00:41:50,842 Backup will be arriving in approximately one hour. 554 00:41:50,925 --> 00:41:54,595 It often doesn't feel like that when you're shooting them, 555 00:41:54,679 --> 00:41:57,557 but that, in a sense, is the real challenge 556 00:41:58,516 --> 00:42:00,184 for the actor in these films. 557 00:42:00,268 --> 00:42:03,271 To maintain concentration and conviction 558 00:42:03,354 --> 00:42:06,024 when fragments of story are coming to you... 559 00:42:06,107 --> 00:42:07,400 My car's outside. 560 00:42:07,483 --> 00:42:09,736 ...in very, very difficult situations. 561 00:42:09,819 --> 00:42:12,405 Somewhere, you have to play that little piece, 562 00:42:12,488 --> 00:42:17,285 even though you may not know where it fits into the whole, with complete conviction. 563 00:42:19,871 --> 00:42:22,915 I think it really shows through in that sequence. 564 00:42:22,999 --> 00:42:26,502 All these actors, Matt, Julia, David and Joan, 565 00:42:26,586 --> 00:42:30,882 all locked in together, with different agendas, in that phone call. 566 00:42:31,924 --> 00:42:34,927 And, again, like any great action sequence, 567 00:42:35,011 --> 00:42:37,388 it drives towards a payoff, 568 00:42:37,472 --> 00:42:38,765 an action payoff. 569 00:42:39,182 --> 00:42:41,601 ...to a bank account in Tangier. 570 00:42:42,101 --> 00:42:45,980 Right, that's 300 miles away. If we hurry, we can make the morning ferry. 571 00:42:47,065 --> 00:42:48,107 Where are you parked? 572 00:42:48,191 --> 00:42:51,402 To the right, 20 meters, north side of the street. 573 00:42:55,615 --> 00:42:57,408 I like this scene 'cause there's always a... 574 00:42:57,867 --> 00:43:02,622 In a Bourne film, you need just a small element of wit 575 00:43:02,914 --> 00:43:04,248 at the back of it all. 576 00:43:09,170 --> 00:43:13,299 Bourne films are never meant to be funny. They're never broad. 577 00:43:15,051 --> 00:43:20,264 But I think you want to smile when you see how Bourne outwits them 578 00:43:20,348 --> 00:43:22,391 and how simply he does it. 579 00:43:25,686 --> 00:43:27,522 What the hell just happened? 580 00:43:27,605 --> 00:43:29,166 We've lost visual contact with the subjects, sir. 581 00:43:29,190 --> 00:43:30,233 Christ! 582 00:43:32,819 --> 00:43:36,489 Issue a standing kill order on Jason Bourne, effective immediately. 583 00:43:38,032 --> 00:43:40,701 Of course, now the scene is set 584 00:43:40,785 --> 00:43:44,789 for the next confrontation between Vosen and Landy 585 00:43:46,249 --> 00:43:49,585 as Bourne and Nicky make their getaway, en route to Daniels. 586 00:44:03,391 --> 00:44:06,018 This is a very important scene in the film. 587 00:44:06,102 --> 00:44:10,815 We actually shot it two or three times in two or three different ways, 588 00:44:11,315 --> 00:44:13,317 a daylight scene, a night scene... 589 00:44:13,401 --> 00:44:14,986 What's Operation Blackbriar? 590 00:44:16,654 --> 00:44:20,116 ...always trying to nail the same idea, 591 00:44:21,284 --> 00:44:25,872 Vosen being forced by Landy to answer some questions, 592 00:44:25,955 --> 00:44:30,042 because the audience, at this point, needs to know certain things 593 00:44:31,043 --> 00:44:32,753 to keep going on the quest. 594 00:44:33,462 --> 00:44:37,049 But, of course, we can't give so much away 595 00:44:38,009 --> 00:44:40,845 that the rest of the story is redundant. 596 00:44:40,928 --> 00:44:44,015 And you often find that with these kinds of thrillers, 597 00:44:44,098 --> 00:44:48,436 that very often, they turn on a small number of scenes, 598 00:44:48,519 --> 00:44:52,690 and those scenes you may shoot three or four times 599 00:44:52,773 --> 00:44:56,277 because you're trying to get the exact right piece of the jigsaw. 600 00:44:56,360 --> 00:44:59,530 It's got to be exactly right to fit 601 00:45:01,365 --> 00:45:04,702 and sometimes you can shoot it one way and, tonally, it will be wrong 602 00:45:04,827 --> 00:45:09,290 or it'll give away too much information, or maybe not enough. 603 00:45:09,957 --> 00:45:14,879 And you're trying all the time to calibrate that absolutely perfectly 604 00:45:14,962 --> 00:45:16,631 for the unfolding story. 605 00:45:18,716 --> 00:45:24,513 In this scene, what you need to know is a glimpse of where Vosen's operation fits 606 00:45:24,639 --> 00:45:28,017 in the overall world of paranoia. 607 00:45:28,392 --> 00:45:30,394 What's the connection to Daniels? 608 00:45:30,478 --> 00:45:33,147 He ran all of our operations in Southern Europe... 609 00:45:33,189 --> 00:45:36,651 And, of course, what that does is enable us to elevate Daniels, 610 00:45:36,692 --> 00:45:39,695 to give him some sense of identity. 611 00:45:39,820 --> 00:45:42,823 This Deep Throat. Who is he? What does he know? 612 00:45:43,491 --> 00:45:44,742 How far does his knowledge go? 613 00:45:44,825 --> 00:45:47,578 And, of course, the more you can elevate that, 614 00:45:47,662 --> 00:45:49,413 the higher the stakes in the film. 615 00:45:49,497 --> 00:45:51,499 He's after Daniels for a reason. 616 00:45:52,333 --> 00:45:55,002 Well, what does it matter what Bourne is after? 617 00:45:55,044 --> 00:45:58,089 When we find Daniels, and, believe me, we'll find him... 618 00:45:58,172 --> 00:46:02,260 And what you need to know is that Vosen is desperate to get him 619 00:46:02,885 --> 00:46:08,182 and that Landy knows that she's on the trail of the truth, 620 00:46:08,516 --> 00:46:11,602 but she's not yet got it, that Vosen is hiding something. 621 00:46:23,030 --> 00:46:27,743 And, again, this is a very, very important scene for Bourne and for Nicky. 622 00:46:28,911 --> 00:46:33,082 So you have these two scenes back-to-back, in the middle of the film, 623 00:46:33,958 --> 00:46:39,088 which define a lot of the character in the film 624 00:46:40,047 --> 00:46:44,135 on Bourne's side of the story and also on the Vosen and Landy side. 625 00:46:47,596 --> 00:46:49,598 Do you know who that is? 626 00:46:50,933 --> 00:46:52,476 That's Daniels. 627 00:46:53,728 --> 00:47:00,109 This scene's a very clever scene, I think, 628 00:47:00,234 --> 00:47:02,486 cleverly constructed. 629 00:47:02,778 --> 00:47:04,905 He was there at the beginning. 630 00:47:05,948 --> 00:47:09,327 It was actually the original idea of Tom Stoppard, 631 00:47:09,410 --> 00:47:12,288 who was one of the writers on the film, 632 00:47:12,788 --> 00:47:17,126 and we talked about how we could develop the Bourne-Nicky relationship 633 00:47:18,753 --> 00:47:24,592 and he had this idea that you could create a scene where Bourne would realize 634 00:47:25,843 --> 00:47:29,096 from what Nicky was saying that they had a past together 635 00:47:29,180 --> 00:47:32,641 and that past would be ambiguous but meaningful. 636 00:47:34,101 --> 00:47:38,939 And out of that idea... It went through various versions. 637 00:47:39,857 --> 00:47:43,152 This was George Nolfi's version of that scene. 638 00:47:44,362 --> 00:47:46,489 And I think it really plays. 639 00:47:48,783 --> 00:47:49,825 Why are you helping me? 640 00:47:49,950 --> 00:47:51,762 It's a difficult scene because it's got to develop 641 00:47:51,786 --> 00:47:56,457 the idea of Hirsch and Bourne's past and what Bourne's agenda is 642 00:47:56,540 --> 00:47:58,501 in pursuing this quest, 643 00:47:58,626 --> 00:48:03,881 but it's also got to develop their past, Bourne and Nicky's past. 644 00:48:06,884 --> 00:48:10,221 And I think it's beautifully played by both of them. 645 00:48:22,525 --> 00:48:25,069 You really don't remember anything. 646 00:48:25,236 --> 00:48:30,366 And, of course, ultimately, it's a scene about Bourne's memory, 647 00:48:31,742 --> 00:48:34,495 what he can know and what he can't know. 648 00:48:39,208 --> 00:48:44,004 And I love the fact that that ambiguous past is left hanging there, 649 00:48:45,214 --> 00:48:48,342 explored and yet unexplored, 650 00:48:48,384 --> 00:48:52,847 and there's enough of it to drive them forward together, 651 00:48:53,722 --> 00:48:55,349 towards Tangier, 652 00:48:57,226 --> 00:48:59,353 which is where the story next goes. 653 00:49:04,191 --> 00:49:05,860 He's in Tangier. 654 00:49:12,741 --> 00:49:14,201 Noah Vosen. 655 00:49:21,208 --> 00:49:23,586 Great action scenes and great action thrillers, 656 00:49:23,711 --> 00:49:26,046 I think, are all about setup. 657 00:49:26,797 --> 00:49:32,052 You've got to take the time to set a sequence up 658 00:49:33,095 --> 00:49:34,889 and that's what we're doing here. 659 00:49:36,098 --> 00:49:38,642 And when you're sitting in a theater with an audience, 660 00:49:38,726 --> 00:49:45,232 the audience knows that it's getting ready for the tempo to rise, 661 00:49:46,275 --> 00:49:51,280 but, often, you can have a lot of enjoyment in holding that back, 662 00:49:52,281 --> 00:49:54,116 as we're doing here, 663 00:49:54,241 --> 00:49:58,078 signaling to the audience that it is going to come soon 664 00:49:59,622 --> 00:50:03,626 but we're going to make you wait a little bit while we set it up. 665 00:50:03,834 --> 00:50:05,127 And then... 666 00:50:07,755 --> 00:50:09,089 You start. 667 00:50:10,174 --> 00:50:12,259 Again, hold it back. 668 00:50:12,968 --> 00:50:14,637 Set the scene. 669 00:50:15,262 --> 00:50:18,015 First of all, establish a sense of place, 670 00:50:19,600 --> 00:50:24,146 two characters on a mission to find a man, Daniels, 671 00:50:24,271 --> 00:50:29,026 who Bourne believes can tell him the secret of his identity. 672 00:50:43,457 --> 00:50:48,546 And then slowly choreograph the forces 673 00:50:49,171 --> 00:50:51,006 ranged against them. 674 00:50:52,007 --> 00:50:56,303 In this case, a new operative, Desh, who arrives in Tangier, 675 00:50:57,346 --> 00:51:00,140 brought into play, obviously, by Vosen. 676 00:51:14,530 --> 00:51:18,993 There are a lot of complex elements that have got to come into play here 677 00:51:19,326 --> 00:51:21,328 before you can let rip. 678 00:51:23,872 --> 00:51:27,126 All right, get an elevation and a floor plan, tic-tac-toe. 679 00:51:27,334 --> 00:51:31,505 It was always my instinct, coming into Bourne Ultimatum, 680 00:51:31,630 --> 00:51:36,010 to try and make the action sequences much, much longer 681 00:51:36,051 --> 00:51:40,723 than they'd been in Bourne Supremacy. Much denser, richer and more complex, 682 00:51:41,557 --> 00:51:46,854 and I think it's at the heart of why people enjoy the film, 683 00:51:47,313 --> 00:51:50,858 because the tempo is high, 684 00:51:51,692 --> 00:51:53,736 but the ride is sustained 685 00:51:54,862 --> 00:51:58,198 {\an8}and it's filled with this kind of texture and detail. 686 00:52:12,212 --> 00:52:14,381 His location's being blocked by the firewall. 687 00:52:14,506 --> 00:52:16,925 No, they found Daniels. They know where he is. 688 00:52:17,051 --> 00:52:18,862 They'll get one of the operatives to terminate him. 689 00:52:18,886 --> 00:52:20,387 Find out who. 690 00:52:24,433 --> 00:52:25,517 Desh. 691 00:52:28,354 --> 00:52:31,190 Tell him you're gonna meet him and you have a new phone for him. 692 00:52:31,231 --> 00:52:33,359 If you stop Desh, they'll just get someone else. 693 00:52:33,400 --> 00:52:35,480 No, we're not gonna stop him, we're gonna follow him. 694 00:52:35,569 --> 00:52:37,613 Joey Ansah played Desh. 695 00:52:39,448 --> 00:52:41,367 It was his first role 696 00:52:41,408 --> 00:52:45,037 and I think he turned in a very strong performance. 697 00:52:46,580 --> 00:52:52,044 Again, it's very, very hard to play these parts when you have no lines 698 00:52:54,421 --> 00:52:57,633 and it's a tribute, when you can still follow a story... 699 00:52:57,758 --> 00:53:01,303 A story's been sold to you, but through physical acting. 700 00:53:05,724 --> 00:53:08,435 Tangier was a wonderful place to shoot. 701 00:53:09,812 --> 00:53:12,773 {\an8}We loved it, I think, again, because it's... 702 00:53:15,150 --> 00:53:19,154 It's there, just in the margins in French Connection. 703 00:53:20,239 --> 00:53:24,952 It's a wonderful location that throws back, I think, to the 1970s, 704 00:53:25,786 --> 00:53:29,289 but also has a strong contemporary resonance. 705 00:53:32,000 --> 00:53:33,919 We had a lot of fun there. 706 00:53:33,961 --> 00:53:37,798 We practically closed the city down for weeks and weeks and weeks. 707 00:53:44,096 --> 00:53:47,808 This, in fact, is one of the main intersections in Tangier. 708 00:53:53,981 --> 00:53:55,858 Asset unscheduled stop. 709 00:54:19,965 --> 00:54:24,178 Originally this scene was going to be in cars but we switched it 710 00:54:25,179 --> 00:54:29,850 {\an8}and made it Vespas, basically because 711 00:54:31,185 --> 00:54:36,023 it was obvious, once we got to Tangier, that Bourne would never operate in a car. 712 00:54:38,817 --> 00:54:41,820 In a landscape like Tangier 713 00:54:41,862 --> 00:54:46,033 the quickest way to get around would be by motorbike 714 00:54:47,326 --> 00:54:48,994 because the streets are so crowded. 715 00:54:49,036 --> 00:54:51,663 South to Rue de Belgique, stationary Place de France. 716 00:54:53,248 --> 00:54:54,875 That's where Parsons is. 717 00:54:55,000 --> 00:54:57,312 When we're finished with Daniels, send the asset after her. 718 00:54:57,336 --> 00:54:58,378 Yes, sir. 719 00:54:58,420 --> 00:55:00,547 We find Parsons, we find Bourne. 720 00:55:00,672 --> 00:55:02,758 Noah, what are you doing? 721 00:55:03,091 --> 00:55:04,694 - Not now. - I wanna know what's going on. 722 00:55:04,718 --> 00:55:06,220 I said not now! 723 00:55:06,345 --> 00:55:08,722 What basis are you continuing this operation on? 724 00:55:08,847 --> 00:55:11,350 The Vosen-Landy feud breaks out. 725 00:55:11,391 --> 00:55:14,853 - She is up to her neck in this! - This is about Daniels, not Nicky! 726 00:55:14,895 --> 00:55:17,255 - She has betrayed us. - You don't know the circumstances... 727 00:55:17,356 --> 00:55:22,945 The differing philosophies, the personal chemistry finally boiling over. 728 00:55:24,029 --> 00:55:25,739 And you had better get on board. 729 00:55:25,864 --> 00:55:27,616 Noah, she's one of us. 730 00:55:27,741 --> 00:55:30,911 And this, I think, is one of my favorite lines in the film. 731 00:55:31,453 --> 00:55:33,413 It ends when we've won. 732 00:55:35,415 --> 00:55:38,418 A great line for a bad guy. 733 00:55:38,460 --> 00:55:43,590 Ruthless, definitive, and upping the stakes for what's gonna happen. 734 00:55:46,760 --> 00:55:49,596 When we're finished with Daniels, send the asset after them. 735 00:55:49,721 --> 00:55:50,764 Yes, sir. 736 00:55:50,889 --> 00:55:52,933 - Okay, come on. - Stand by... 737 00:56:13,120 --> 00:56:15,330 - Two minutes, sir. - Two minutes. 738 00:56:15,455 --> 00:56:18,792 John Powell composed the score for Bourne Ultimatum. 739 00:56:18,917 --> 00:56:22,796 Obviously he scored Bourne Supremacy and Bourne Identity. 740 00:56:22,921 --> 00:56:27,509 Myself think that John Powell's Bourne music 741 00:56:27,634 --> 00:56:32,472 is amongst the best action-adventure thriller music ever composed. 742 00:56:32,598 --> 00:56:35,934 Much imitated, never surpassed, in my view. 743 00:56:38,312 --> 00:56:40,814 I think what he did on this film, 744 00:56:41,982 --> 00:56:46,987 particularly in view of the time constraints, was nothing less than extraordinary. 745 00:56:52,784 --> 00:56:55,329 His music has a pulse 746 00:56:55,370 --> 00:56:57,372 and an energy 747 00:56:57,497 --> 00:57:00,834 and yet a lyrical quality 748 00:57:00,959 --> 00:57:03,545 that defines Bourne, literally. 749 00:57:21,688 --> 00:57:24,358 - On it, sir. - Two hundred meters. 750 00:57:24,483 --> 00:57:26,764 Okay, come on, I want to lay in some preliminary tracking. 751 00:57:35,869 --> 00:57:38,330 We love this little trick. It... 752 00:57:38,372 --> 00:57:40,999 It throws Bourne onto the defensive. 753 00:57:45,045 --> 00:57:49,758 Suddenly what we think was gonna happen doesn't 754 00:57:49,883 --> 00:57:52,219 and Bourne is in mortal danger. 755 00:58:00,560 --> 00:58:04,523 {\an8}And it enables me to have a bit of fun winking back 756 00:58:04,564 --> 00:58:07,401 at another great film, Battle of Algiers 757 00:58:07,526 --> 00:58:09,569 and the famous café scene. 758 00:58:10,946 --> 00:58:14,866 Sadly, Pontecorvo, the wonderful director of Battle of Algiers 759 00:58:14,908 --> 00:58:18,370 passed away while we were shooting Bourne Ultimatum. 760 00:58:19,913 --> 00:58:24,042 And we had a minute's silence on set in his memory. 761 00:58:24,084 --> 00:58:27,421 One of the great directors of all time, in my view. 762 00:58:53,947 --> 00:58:56,134 During the making of Bourne Supremacy and Bourne Ultimatum 763 00:58:56,158 --> 00:59:00,454 I was often asked, "How do you approach these big action sequences?" 764 00:59:01,955 --> 00:59:03,915 And I would always answer, 765 00:59:03,957 --> 00:59:07,502 "The first thing you do is phone a man called Dan Bradley, 766 00:59:07,627 --> 00:59:11,798 "who's the best action-unit director in the business." 767 00:59:13,800 --> 00:59:18,263 And he and I worked together very closely on Supremacy and on Ultimatum. 768 00:59:19,639 --> 00:59:22,976 And here's another example of some of his brilliant work. 769 00:59:33,695 --> 00:59:37,532 He has the ability to have ideas, 770 00:59:37,657 --> 00:59:40,160 get some great action shots, 771 00:59:41,995 --> 00:59:45,624 and he's an integral member of the Bourne team. 772 00:59:47,667 --> 00:59:52,672 He shares with me, I think, just a thirst to be there when it happens, 773 00:59:52,798 --> 00:59:57,010 to be in the middle of it rather than to watch it from the outside, 774 00:59:57,052 --> 01:00:01,681 so you're not a spectator, you're immersed in it as a participant. 775 01:00:06,520 --> 01:00:10,649 He also has a genius for coming up with the most outrageous shots 776 01:00:11,483 --> 01:00:13,735 and being able to execute them. 777 01:00:15,570 --> 01:00:20,659 It helps, of course, to have a stunt team of several hundreds 778 01:00:20,700 --> 01:00:24,037 and we certainly used every one of them in this film. 779 01:00:46,226 --> 01:00:48,895 So we reach the Tangier Medina 780 01:00:49,938 --> 01:00:54,568 where we shot for what felt like months but probably was only several weeks. 781 01:01:00,407 --> 01:01:03,618 When you direct a film like Bourne Ultimatum 782 01:01:03,702 --> 01:01:07,581 one of the most extraordinary things, I think, when you make those films 783 01:01:07,622 --> 01:01:12,460 is that you're surrounded by so many talented, committed people, 784 01:01:15,589 --> 01:01:19,593 and here in this sequence, in the market, 785 01:01:19,634 --> 01:01:22,929 I leaned very heavily on Chris Carreras, my first A.D. 786 01:01:23,763 --> 01:01:29,603 who's responsible, basically, for marshaling a unit in small confined areas 787 01:01:29,728 --> 01:01:32,439 where you can't control crowds, 788 01:01:32,480 --> 01:01:34,040 where people are looking at the camera, 789 01:01:34,065 --> 01:01:37,444 where you've gotta run complicated action sequences, 790 01:01:37,485 --> 01:01:40,614 where there's safety issues, 791 01:01:40,655 --> 01:01:45,577 where you've got to make sure that the camera unit can see the action. 792 01:01:45,619 --> 01:01:49,581 It's an absolute creative and logistical nightmare. 793 01:01:50,624 --> 01:01:53,668 And, again, like Dan Bradley, 794 01:01:53,793 --> 01:01:58,924 Chris Carreras is one of the unsung heroes of Bourne Ultimatum. 795 01:02:18,151 --> 01:02:22,989 This is one of my favorite bits of Bourne Ultimatum. 796 01:02:23,114 --> 01:02:27,953 When you feel that, as a film, it's got more gears, 797 01:02:27,994 --> 01:02:30,372 you're going through the gears, getting quicker and quicker, 798 01:02:30,497 --> 01:02:34,376 and you feel it can do it as a film and sustain its energy, 799 01:02:35,835 --> 01:02:40,507 it gives that wonderful feeling of running along a cliff. 800 01:02:42,217 --> 01:02:44,511 It's just got a lot of energy. 801 01:02:59,859 --> 01:03:01,903 To me, making a Bourne film 802 01:03:02,028 --> 01:03:06,700 is a bit like taking a high performance car onto a racetrack. 803 01:03:06,741 --> 01:03:11,746 You've got to drive it as fast as it can possibly go 804 01:03:11,871 --> 01:03:17,043 but at a place where you still have perfect control of narrative character. 805 01:03:20,088 --> 01:03:21,589 And where those two meet, 806 01:03:21,715 --> 01:03:23,925 the forces of anarchy and the forces of control, 807 01:03:24,050 --> 01:03:27,053 is where a Bourne film should sit. 808 01:03:27,095 --> 01:03:30,598 And when you hit that sweet spot, as I think we do here, 809 01:03:32,434 --> 01:03:34,728 the result is thrilling 810 01:03:35,770 --> 01:03:37,272 because you know where everybody is, 811 01:03:37,397 --> 01:03:40,233 you know where the police are, you know what Bourne's doing, 812 01:03:40,358 --> 01:03:43,445 you know why he's picked up the towel. 813 01:03:43,570 --> 01:03:47,574 You've got cause and effect, complex choreography, 814 01:03:48,575 --> 01:03:50,243 a woman in danger, 815 01:03:51,369 --> 01:03:53,621 Bourne riding to the rescue. 816 01:04:03,298 --> 01:04:06,384 And the ability to vary pace. 817 01:04:06,426 --> 01:04:11,306 Now it slows down again and you get a different texture, 818 01:04:11,431 --> 01:04:16,478 stairs, interiors, cat-and-mouse, deadly cat-and-mouse. 819 01:04:36,498 --> 01:04:39,626 It's great fun shooting this stuff 820 01:04:39,667 --> 01:04:45,006 because all the time you're trying to make choices based on the physical environment. 821 01:04:45,131 --> 01:04:46,841 The idea for the towels on the glass 822 01:04:46,966 --> 01:04:50,428 was one that came up literally as we were shooting it. 823 01:05:10,115 --> 01:05:12,325 Now we pick the pace up again. 824 01:05:25,130 --> 01:05:29,801 I think the sound mix, which I think was brilliant in Bourne Ultimatum... 825 01:05:29,843 --> 01:05:33,680 But I think it comes into its own in the Tangier sequence 826 01:05:33,721 --> 01:05:37,183 because you can feel all the texture of a real city, 827 01:05:37,225 --> 01:05:40,728 all the detail of doors and sounds 828 01:05:42,480 --> 01:05:44,691 and space. Menace. 829 01:06:10,008 --> 01:06:13,219 We used to call this "the haunted-house sequence." 830 01:06:15,180 --> 01:06:18,892 Often you find with these action sequences that you're playing around 831 01:06:20,393 --> 01:06:22,854 with classic thriller paradigms. 832 01:06:25,690 --> 01:06:30,069 The trick is to try and take those paradigms and do something interesting with them. 833 01:06:30,111 --> 01:06:35,909 This case, here's the woman in the haunted house pursued by the killer 834 01:06:36,034 --> 01:06:38,703 and Bourne has got to take the straightest route 835 01:06:38,745 --> 01:06:41,206 and the straightest route is not over the roofs. 836 01:06:41,247 --> 01:06:46,294 It's straight through people's apartments, in and out of everyday lives, 837 01:06:46,419 --> 01:06:49,797 as he races to try and get there before it's too late. 838 01:06:56,596 --> 01:06:58,097 And, of course, in doing so, 839 01:06:58,139 --> 01:07:03,978 he's trying to redeem his failure to save Marie in Bourne Supremacy. 840 01:07:11,402 --> 01:07:13,905 This time, he gets there in time. 841 01:07:16,074 --> 01:07:19,494 That was one of Dan Bradley's great ideas, 842 01:07:19,619 --> 01:07:23,498 that you could create a shot coming down into the window 843 01:07:23,623 --> 01:07:27,460 where literally the cameraman would jump with the character, 844 01:07:27,502 --> 01:07:30,296 and that's what we did. It was a... 845 01:07:30,338 --> 01:07:32,799 And it's a great cinematic moment. 846 01:07:44,352 --> 01:07:48,606 The fights, of course, are staple ingredients of the Bourne franchise. 847 01:07:48,648 --> 01:07:51,484 Each one, I think, has been powerful. 848 01:07:53,653 --> 01:07:57,865 They're essentially ballets, violent ballets. 849 01:08:00,660 --> 01:08:04,664 They look real but, of course, in fact, 850 01:08:04,789 --> 01:08:07,041 they're rehearsed endlessly 851 01:08:08,167 --> 01:08:11,337 to get this amount of detail. 852 01:08:12,672 --> 01:08:15,466 So each move has got a purpose, 853 01:08:15,508 --> 01:08:18,386 each move is counted, cause and effect, 854 01:08:19,304 --> 01:08:24,684 and yet still have a sprawling quality that makes it feel violent and real. 855 01:08:33,693 --> 01:08:36,529 I'm not a great fan of designer violence myself. 856 01:08:36,571 --> 01:08:42,160 I think violence is desperate and brutal, ugly, 857 01:08:43,911 --> 01:08:49,375 and it's essential that Bourne discovers that in each film. 858 01:08:51,544 --> 01:08:54,339 His destiny as a character 859 01:08:54,380 --> 01:08:57,592 is to be put into the dark place, 860 01:08:57,717 --> 01:09:00,261 to become a killer against his will 861 01:09:01,554 --> 01:09:03,973 and to feel that sense of shame. 862 01:09:05,224 --> 01:09:08,603 It's essential to our understanding of the character. 863 01:09:19,572 --> 01:09:21,908 Code it in. We need to be dead. 864 01:09:29,540 --> 01:09:32,418 Sir? Asset confirms both targets are down. 865 01:09:40,593 --> 01:09:45,390 And, of course, very important, I think, in action sequences, 866 01:09:45,431 --> 01:09:48,768 that not only must you spend time setting them up 867 01:09:49,644 --> 01:09:51,896 and then choreograph them 868 01:09:51,938 --> 01:09:55,608 with complexity and pace and variety, 869 01:09:55,650 --> 01:10:00,071 but, I think, as important also is that when they end 870 01:10:00,113 --> 01:10:03,574 they take the character to a new level. 871 01:10:03,616 --> 01:10:08,413 Action has got to deliver character for it to really work, I think, 872 01:10:08,454 --> 01:10:11,582 and in that case, in the whole Tangier sequence, 873 01:10:12,625 --> 01:10:15,920 it delivers Bourne that moment of shame. 874 01:10:18,423 --> 01:10:20,967 Just remember why we put Landy there. 875 01:10:22,093 --> 01:10:27,140 If Blackbriar goes south, we'll roll it up, hang it around her neck and start over. 876 01:11:03,593 --> 01:11:07,388 One of the interesting things making Bourne Ultimatum 877 01:11:07,513 --> 01:11:10,975 and looking back at Supremacy and to a lesser extent Identity, 878 01:11:11,017 --> 01:11:13,060 Doug Liman's film, 879 01:11:13,186 --> 01:11:16,397 was to see the way Matt himself had changed 880 01:11:16,522 --> 01:11:19,692 over the five or six years of the franchise 881 01:11:19,734 --> 01:11:22,403 as Bourne had become tempered. 882 01:11:24,030 --> 01:11:26,324 The Bourne of Bourne Ultimatum 883 01:11:28,075 --> 01:11:32,038 is a character who knows so much more, who's seen so much more 884 01:11:32,079 --> 01:11:34,916 than the Bourne who's pulled out of the water 885 01:11:35,041 --> 01:11:37,168 at the beginning of Bourne Identity 886 01:11:37,210 --> 01:11:39,921 and I think Matt played that 887 01:11:40,046 --> 01:11:44,008 tempered Bourne in this film to perfection. 888 01:11:48,054 --> 01:11:50,264 I just don't know their names. 889 01:11:52,183 --> 01:11:55,770 And, I think, by this stage in the film you can see 890 01:11:57,230 --> 01:12:02,860 the breadth of acting required to carry one of these films. 891 01:12:03,069 --> 01:12:09,075 What Matt brings to that character is this quality of truthful acting. 892 01:12:10,368 --> 01:12:12,537 ...help me remember the names. 893 01:12:23,130 --> 01:12:28,094 He has that ability in those small number of scenes 894 01:12:29,595 --> 01:12:34,475 to bring us to the heart of the character of Bourne 895 01:12:34,600 --> 01:12:36,978 trapped in a cycle of violence, 896 01:12:37,103 --> 01:12:40,147 with great truthfulness and restraint, I think. 897 01:12:43,317 --> 01:12:48,823 And then ally that to the extraordinary range of physical acting 898 01:12:48,948 --> 01:12:51,117 that the part of Jason Bourne requires, 899 01:12:51,242 --> 01:12:54,495 the running, the jumping, the fighting, the driving, 900 01:12:55,454 --> 01:13:01,252 and it's that range of acting skills that he brings to the part 901 01:13:02,587 --> 01:13:06,424 that I think really is the reason why the franchise works. 902 01:13:08,134 --> 01:13:10,761 You know, I've said it before and I believe it to be true. 903 01:13:10,803 --> 01:13:15,641 I think that he has, in the Bourne franchise, 904 01:13:15,683 --> 01:13:20,980 redefined how we understand the action-adventure hero 905 01:13:21,105 --> 01:13:23,649 for a new century. 906 01:13:23,691 --> 01:13:28,863 I think he stripped out all the macho, gun-toting, 907 01:13:29,447 --> 01:13:33,159 conventional clichés of the action-adventure hero 908 01:13:33,284 --> 01:13:38,706 and brought instead a quality of humanity, a quality of truthfulness, 909 01:13:38,831 --> 01:13:44,670 still married to the brilliant action-adventure elements that you have to have 910 01:13:44,795 --> 01:13:47,548 and, in doing so, he's created a new kind of hero, 911 01:13:47,673 --> 01:13:49,884 one that speaks to our times. 912 01:13:50,968 --> 01:13:55,181 A human being, a character with heart and soul, 913 01:13:55,306 --> 01:13:58,309 a rather moral character, I think, Jason Bourne is, 914 01:13:58,351 --> 01:14:02,647 because he searches for truth in a corrupt world 915 01:14:02,730 --> 01:14:04,815 and is destined to be alone. 916 01:14:07,026 --> 01:14:09,695 And, of course, he feels the pain of loss. 917 01:14:09,737 --> 01:14:15,701 And in those small moments of humanity the character is brought to us. 918 01:14:15,743 --> 01:14:18,204 We relate to Jason Bourne. 919 01:14:18,329 --> 01:14:22,541 And I think that when people look back on this trilogy of films, 920 01:14:22,667 --> 01:14:24,585 as I'm sure they will, 921 01:14:24,710 --> 01:14:28,339 I think they will look at Matt's performances as Jason Bourne 922 01:14:28,381 --> 01:14:31,759 and see that they give a very real insight 923 01:14:31,884 --> 01:14:35,096 into the temperature of our culture 924 01:14:36,430 --> 01:14:39,433 in the six years since 2001. 925 01:14:40,893 --> 01:14:44,605 He has created that absolutely hardest thing of all, 926 01:14:44,730 --> 01:14:48,943 an iconic character who exists beyond us. 927 01:14:50,069 --> 01:14:54,281 We all know of Jason Bourne and we all think of Matt when we hear the name. 928 01:14:54,407 --> 01:14:58,244 And that is a testament to his achievement. 929 01:15:00,746 --> 01:15:02,373 It gets easier. 930 01:15:18,764 --> 01:15:22,309 These are Mr. Daniels' belongings. 931 01:15:22,435 --> 01:15:23,769 It's everything? 932 01:15:24,061 --> 01:15:25,104 Yes. 933 01:15:25,938 --> 01:15:26,939 Let's see that. 934 01:15:58,804 --> 01:16:04,185 The idea for bringing Jason Bourne back to New York was Tony Gilroy's. 935 01:16:04,310 --> 01:16:06,771 Station chief in Rabat just called. 936 01:16:06,854 --> 01:16:08,606 They found a body. 937 01:16:11,025 --> 01:16:12,651 - Bourne? - Desh. 938 01:16:14,653 --> 01:16:18,532 In a sense it means that the story is about Bourne coming home. 939 01:16:19,867 --> 01:16:23,204 And Tony had this idea 940 01:16:23,329 --> 01:16:27,374 that you could create the Bourne Ultimatum 941 01:16:27,500 --> 01:16:33,172 where the first two acts took place between the last two scenes of Bourne Supremacy. 942 01:16:33,214 --> 01:16:37,009 And so you would come to the last scene of Bourne Supremacy, 943 01:16:37,051 --> 01:16:42,181 the phone call between Bourne and Landy that we remember from that film, 944 01:16:42,306 --> 01:16:46,560 and you would understand it in a different way in Bourne Ultimatum. 945 01:16:46,685 --> 01:16:49,980 It would replay in a different way. 946 01:16:50,022 --> 01:16:53,317 And it was a great idea. 947 01:16:55,027 --> 01:17:00,366 And, again, it's all about choreographing the pieces, 948 01:17:00,407 --> 01:17:04,537 bringing all the pieces on the checkboard together 949 01:17:04,662 --> 01:17:10,543 in order to create the third act and the final act in the Bourne trilogy 950 01:17:11,669 --> 01:17:13,712 on the streets of New York. 951 01:17:17,883 --> 01:17:20,719 Gilberto de Piento. Gilberto de Piento. 952 01:17:20,845 --> 01:17:23,055 Your party is waiting for you. 953 01:17:59,383 --> 01:18:02,553 It's interesting. When we made the film we were obsessed 954 01:18:03,679 --> 01:18:07,808 with the idea that audiences would struggle 955 01:18:07,933 --> 01:18:11,604 with the idea that they were going to see a scene from Bourne Supremacy 956 01:18:11,645 --> 01:18:12,730 played in a different way. 957 01:18:12,771 --> 01:18:17,276 We were concerned that audiences wouldn't understand 958 01:18:17,401 --> 01:18:19,820 or would reject it. 959 01:18:19,945 --> 01:18:22,615 In point of fact, it was never an issue. 960 01:18:51,310 --> 01:18:55,356 Small example of the visual effects in Bourne Ultimatum. 961 01:18:55,481 --> 01:18:56,982 Pamela Landy. 962 01:18:57,358 --> 01:19:03,197 Peter Chiang, our visual effects supervisor I've worked with on a number of occasions, 963 01:19:03,280 --> 01:19:07,326 knows that I like visual effects to be very subtle, 964 01:19:08,327 --> 01:19:10,996 almost a last-resort option rather than a first 965 01:19:11,121 --> 01:19:13,921 because I think that one of the things that distinguishes a Bourne film 966 01:19:13,958 --> 01:19:15,876 is that it is as you see it. 967 01:19:16,001 --> 01:19:18,504 It's not a greenscreen construct. 968 01:19:20,506 --> 01:19:23,676 But there are visual effects and they have to be done 969 01:19:23,801 --> 01:19:27,012 and he does them with great subtlety, I think, and skill. 970 01:19:27,137 --> 01:19:28,514 Is that official? 971 01:19:28,681 --> 01:19:31,183 No. Off the record. You know how it is. 972 01:19:31,517 --> 01:19:33,352 - You tracing this? - Fifty seconds to trace. 973 01:19:34,186 --> 01:19:36,146 - Goodbye. - Wait. Wait. 974 01:19:39,024 --> 01:19:41,402 David Webb. That's your real name. 975 01:19:43,487 --> 01:19:46,865 You were born 4/15/71 in Nixa, Missouri. 976 01:19:48,033 --> 01:19:50,869 Why don't you come in and we'll talk about it? 977 01:19:51,912 --> 01:19:53,706 Something is very wrong here. 978 01:19:54,665 --> 01:19:59,169 So now we get the answer to the question that was my first question, really, 979 01:19:59,211 --> 01:20:02,214 when I rewatched Supremacy before I started Ultimatum. 980 01:20:02,339 --> 01:20:03,841 When I rewatched it 981 01:20:03,882 --> 01:20:08,554 and you got to that phone call between Bourne and Landy, it was obvious. 982 01:20:08,679 --> 01:20:13,934 The question was, why did Bourne come to New York just to phone her 983 01:20:14,893 --> 01:20:17,104 when he was a couple of hundred yards away from her? 984 01:20:17,229 --> 01:20:21,066 There must have been a reason why he did that. What was that reason? 985 01:20:21,191 --> 01:20:25,112 What was he doing? What did she think he was doing? 986 01:20:27,406 --> 01:20:29,241 And now you get the answer. 987 01:20:29,283 --> 01:20:32,077 He was sending her a message and so was she. 988 01:20:34,038 --> 01:20:35,414 Landy just left the building! 989 01:20:36,123 --> 01:20:38,417 And Vosen realizes it. 990 01:20:38,542 --> 01:20:42,421 And now the scene is set for the final adventure. 991 01:20:53,766 --> 01:20:56,810 She's using her cell. There's an incoming text. 992 01:20:57,102 --> 01:20:58,302 - Get it. - Working on it, sir. 993 01:20:58,395 --> 01:20:59,605 How many do we have on Landy? 994 01:20:59,730 --> 01:21:04,443 One of the realities of shooting a film like Bourne Ultimatum is the sheer scale of it, 995 01:21:04,485 --> 01:21:07,946 as a production, means that you'll be shooting across seasons. 996 01:21:08,822 --> 01:21:11,116 We started shooting in October 997 01:21:12,284 --> 01:21:16,455 and we were still shooting in May, 998 01:21:16,497 --> 01:21:18,457 the following year. 999 01:21:18,957 --> 01:21:24,630 What that means is that you're trying to create an even palette 1000 01:21:25,464 --> 01:21:27,925 when, in fact, the material you've gathered 1001 01:21:27,966 --> 01:21:31,512 from very different times and very different weather conditions. 1002 01:21:32,471 --> 01:21:35,766 And it's never more apparent than in this sequence, 1003 01:21:36,308 --> 01:21:40,104 where we began shooting in New York in the middle of a blizzard 1004 01:21:41,647 --> 01:21:45,818 and we ended up shooting in the height of summer. 1005 01:21:47,319 --> 01:21:51,156 And it meant that Peter Wenham, the designer, 1006 01:21:51,824 --> 01:21:56,495 and Oliver Wood, our cinematographer, had to use all their ingenuity 1007 01:21:56,537 --> 01:21:59,998 to ensure that you couldn't tell the difference. 1008 01:22:00,666 --> 01:22:01,834 He's trapping himself. 1009 01:22:01,959 --> 01:22:03,877 It's a bad place to meet. It's too exposed. 1010 01:22:03,961 --> 01:22:06,081 He wouldn't have chosen it if he didn't have a reason. 1011 01:22:11,677 --> 01:22:13,679 Subject is en route. 1012 01:22:14,012 --> 01:22:15,722 Roof 43, let me know when you have visual. 1013 01:22:16,014 --> 01:22:17,391 Roof 43, standing by. 1014 01:22:24,398 --> 01:22:25,482 Standing by. 1015 01:22:25,524 --> 01:22:28,527 Okay, folks, here we go. Box 200 meters. 1016 01:22:29,027 --> 01:22:30,362 Visual on leader. 1017 01:22:30,487 --> 01:22:32,364 43 ground in position. 1018 01:22:32,823 --> 01:22:35,534 As soon as you have eyes on Landy, I wanna know. 1019 01:22:46,044 --> 01:22:49,882 This is one of the great moments, I think, in Bourne Ultimatum. 1020 01:22:50,382 --> 01:22:51,592 Okay, here we go. 1021 01:22:51,717 --> 01:22:53,343 Copy that. I see her. 1022 01:22:53,385 --> 01:22:57,014 The stage is set. Vosen is waiting for Bourne to show up. 1023 01:22:58,390 --> 01:23:00,851 You know something's gonna happen. 1024 01:23:04,563 --> 01:23:05,606 Make them wait. 1025 01:23:05,731 --> 01:23:07,232 Any sign of Bourne? 1026 01:23:07,608 --> 01:23:08,901 Negative. 1027 01:23:09,568 --> 01:23:11,361 No sign of target. 1028 01:23:23,081 --> 01:23:24,416 Noah Vosen. 1029 01:23:25,542 --> 01:23:27,044 This is Jason Bourne. 1030 01:23:27,920 --> 01:23:30,631 Audiences love this in theaters. 1031 01:23:31,089 --> 01:23:32,758 How did you get this number? 1032 01:23:32,799 --> 01:23:35,427 You didn't actually think I was coming to Tudor City, did you? 1033 01:23:35,469 --> 01:23:37,471 It always got a big laugh. 1034 01:23:38,597 --> 01:23:40,098 No, I guess not. 1035 01:23:40,140 --> 01:23:44,269 But if it's me you want to talk to, perhaps we can arrange a meet. 1036 01:23:44,645 --> 01:23:46,438 Where are you now? 1037 01:23:47,272 --> 01:23:49,316 I'm sitting in my office. 1038 01:23:50,734 --> 01:23:52,236 I doubt that. 1039 01:23:52,736 --> 01:23:54,655 And why would you doubt that? 1040 01:23:54,780 --> 01:23:56,090 If you were in your office right now, 1041 01:23:56,114 --> 01:23:58,784 we'd be having this conversation face to face. 1042 01:24:06,291 --> 01:24:07,626 Noah Vosen. 1043 01:24:10,754 --> 01:24:12,422 This is a code ten abort. 1044 01:24:12,464 --> 01:24:14,817 I want everyone back in the vehicles. This is a code ten abort. 1045 01:24:14,841 --> 01:24:16,635 Let's go! Let's go! 1046 01:24:16,760 --> 01:24:18,762 Now the chase begins again. 1047 01:24:23,100 --> 01:24:26,645 Now Bourne has got the truth about Blackbriar. 1048 01:24:27,312 --> 01:24:30,816 Bigger, better, more dangerous than ever. 1049 01:24:31,483 --> 01:24:34,361 Unaccountable secret power out of control. 1050 01:24:39,199 --> 01:24:41,660 - Yeah? - Wills, check my office. 1051 01:24:45,497 --> 01:24:48,292 And Vosen knows Bourne's got the secret. 1052 01:24:52,170 --> 01:24:54,464 We need building security up here. 1053 01:24:56,008 --> 01:24:57,676 - He's got everything. - God damn it! 1054 01:24:57,801 --> 01:25:00,029 All right, set a four-block perimeter around the building. 1055 01:25:00,053 --> 01:25:01,305 Somebody give me a visual. 1056 01:25:01,346 --> 01:25:02,848 I want the entire building searched. 1057 01:25:02,931 --> 01:25:06,059 Every room, every hallway, every closet, every goddamn air duct. 1058 01:25:06,184 --> 01:25:08,186 You understand? I want him found! 1059 01:25:11,732 --> 01:25:12,858 What just happened? 1060 01:25:12,899 --> 01:25:18,030 The action in New York becomes more and more car-based. 1061 01:25:18,697 --> 01:25:19,740 Where to? 1062 01:25:19,865 --> 01:25:23,201 Because, of course, we're moving towards the car chase. 1063 01:25:23,243 --> 01:25:24,578 Four-fifteen-seventy-one? 1064 01:25:24,911 --> 01:25:28,206 Always one of my favorite moments in a Bourne film. 1065 01:25:38,884 --> 01:25:41,219 When Matt and I first talked about Bourne Ultimatum, 1066 01:25:41,345 --> 01:25:44,222 it was the first thing we discussed, really. 1067 01:25:45,223 --> 01:25:49,728 We had to dare to come back to New York, where French Connection was shot, 1068 01:25:51,229 --> 01:25:56,026 and see if we could give a good account of ourselves, 1069 01:25:57,027 --> 01:25:58,236 30 years on. 1070 01:25:58,278 --> 01:25:59,613 North on Eighth. 1071 01:26:00,906 --> 01:26:05,952 And that, I think, more than anything else, spurred us on. 1072 01:26:06,870 --> 01:26:08,348 He's headed east in the Port Authority. 1073 01:26:08,372 --> 01:26:11,917 We had to prove that we could be as good, if we could. 1074 01:26:34,773 --> 01:26:36,149 Right there! 1075 01:26:51,164 --> 01:26:55,293 Mind you, New York is a ferociously hard city 1076 01:26:55,419 --> 01:26:57,671 to shoot any kind of car chase in. 1077 01:27:00,465 --> 01:27:05,971 In Supremacy, Moscow was a city of wide boulevards 1078 01:27:07,305 --> 01:27:12,269 and you can create great speed. But New York, of course, is built up, 1079 01:27:13,603 --> 01:27:15,981 streets very dense with traffic. 1080 01:27:17,774 --> 01:27:21,319 And so we went for a different kind of texture, 1081 01:27:21,361 --> 01:27:26,616 much more percussive, much more of a pinball-machine ride. 1082 01:27:27,367 --> 01:27:30,871 Much less about speed and much more about obstruction. 1083 01:27:36,626 --> 01:27:39,671 - Police! Freeze! - Put your hands in the air! 1084 01:27:47,721 --> 01:27:52,058 And we had to decide what vehicle Bourne would be driving. 1085 01:27:52,184 --> 01:27:56,521 Of course, in Supremacy he drove the yellow taxi, the Russian taxi, 1086 01:27:58,023 --> 01:28:02,736 but what better car to drive in New York? What car would give Bourne an edge? 1087 01:28:04,362 --> 01:28:06,823 The answer, a police car, 1088 01:28:06,865 --> 01:28:11,203 to enable him to monitor the environment around him 1089 01:28:11,703 --> 01:28:13,371 and to use his siren. 1090 01:28:14,080 --> 01:28:16,583 It's a smart choice, but an exciting one. 1091 01:28:16,708 --> 01:28:18,543 Take a look at this! Bourne's birthday, sir. 1092 01:28:18,668 --> 01:28:20,086 - What about it? - Check that out. 1093 01:28:20,212 --> 01:28:24,800 Sir, Landy told Bourne that his birthday was 4/15/71. 1094 01:28:24,883 --> 01:28:27,177 Oh, my God. It's a code. 1095 01:28:27,719 --> 01:28:30,388 Everything stops. Everything stops! Listen up! 1096 01:28:30,430 --> 01:28:33,266 4/15/71. New assignment, numbers. 1097 01:28:33,391 --> 01:28:35,244 - What does it mean? - Give me encryption codes! 1098 01:28:35,268 --> 01:28:37,896 Sir, if you plug them in as variables of longitude and latitude 1099 01:28:38,021 --> 01:28:39,731 you get Cameroon. 1100 01:28:39,856 --> 01:28:42,567 41571 is the zip code for Varney, Kentucky. 1101 01:28:45,570 --> 01:28:49,115 - What date did she give him? - 4/15/71. 1102 01:28:49,574 --> 01:28:51,368 I don't believe it. 1103 01:28:51,868 --> 01:28:55,205 SRD is at 415 East 71st Street. 1104 01:28:55,705 --> 01:28:58,208 - She just gave him the training facility. - Oh, Christ. 1105 01:28:58,583 --> 01:28:59,903 Bring all the teams in behind us. 1106 01:29:04,214 --> 01:29:08,718 Like any good thriller, you need a final act reveal 1107 01:29:09,761 --> 01:29:15,433 and in Bourne Ultimatum's case it's Bourne moving towards his maker 1108 01:29:16,101 --> 01:29:18,562 and discovering that his maker is located 1109 01:29:18,603 --> 01:29:22,816 at the Treadstone/Blackbriar research training facility, 1110 01:29:23,733 --> 01:29:26,111 in a downtown Manhattan hospital. 1111 01:29:28,321 --> 01:29:32,117 But to get there, he's got to run the gauntlet of metal. 1112 01:29:44,296 --> 01:29:45,630 You can feel, here, 1113 01:29:45,672 --> 01:29:50,093 that percussive stop-start tempo 1114 01:29:50,594 --> 01:29:55,098 that I think is much more credible and realistic for a chase in New York. 1115 01:30:10,322 --> 01:30:13,658 Only Dan Bradley could execute a stunt like that 1116 01:30:13,700 --> 01:30:16,286 and leave a car like that still rolling. 1117 01:30:30,467 --> 01:30:34,846 And, of course, you have to have a final coup de théâtre. 1118 01:30:34,888 --> 01:30:39,684 You have to have a crowd-pleasing, shameless final moment 1119 01:30:39,809 --> 01:30:41,978 in any action-adventure film 1120 01:30:43,229 --> 01:30:44,856 and here's ours. 1121 01:30:59,579 --> 01:31:02,415 - Hurry up! Somebody call 911! - Help him! 1122 01:31:07,837 --> 01:31:13,343 Magnificent. A great stunt, brilliantly executed. 1123 01:31:15,011 --> 01:31:18,390 Over in seconds, of course, in the theater, 1124 01:31:18,431 --> 01:31:21,351 but months and months of planning. 1125 01:31:22,227 --> 01:31:28,608 Hundreds and hundreds of people involved to execute something like that safely. 1126 01:31:36,616 --> 01:31:39,119 The asset lost Bourne. We lost him. 1127 01:31:47,210 --> 01:31:49,379 - Hello? - Albert, it's Vosen. 1128 01:31:50,714 --> 01:31:54,426 Bourne knows everything and he's on his way to you right now. 1129 01:31:54,968 --> 01:31:57,220 He's coming home, Noah. 1130 01:31:57,262 --> 01:32:00,056 - How long do I have? - I don't know. 1131 01:32:00,432 --> 01:32:02,809 Just get the hell out of there. 1132 01:32:02,934 --> 01:32:04,894 No, I'm gonna stay. 1133 01:32:05,729 --> 01:32:08,064 Like most British directors, 1134 01:32:08,106 --> 01:32:11,317 Albert Finney is one of my acting heroes. 1135 01:32:12,110 --> 01:32:16,239 As a kid, I can remember watching those great films from the '60s 1136 01:32:16,614 --> 01:32:21,327 where he was a powerful actor who defined a new Britain. 1137 01:32:23,246 --> 01:32:26,916 Of course, now he's an enduring movie star, 1138 01:32:27,292 --> 01:32:33,131 and when casting the role of Hirsch, we needed somebody with stature, 1139 01:32:33,256 --> 01:32:37,177 someone who, when Bourne finally got there, 1140 01:32:37,302 --> 01:32:40,680 after this three-film quest to find his maker, 1141 01:32:41,598 --> 01:32:44,768 you would know was worthy of his attention. 1142 01:32:46,936 --> 01:32:49,522 What better actor than Albert Finney? 1143 01:33:03,787 --> 01:33:05,789 They'll kill you for giving me this. 1144 01:33:05,830 --> 01:33:08,374 4/15/71 isn't much of a code. 1145 01:33:08,792 --> 01:33:11,544 My guess is Vosen is on his way already. 1146 01:33:12,545 --> 01:33:16,966 And this is a very important scene, of course, because this is the only scene 1147 01:33:17,675 --> 01:33:21,137 that Bourne and Landy have together, face to face. 1148 01:33:21,638 --> 01:33:25,892 After two films of speaking to each other, dealing with each other, 1149 01:33:26,476 --> 01:33:29,062 talking to each other across a divide, 1150 01:33:30,980 --> 01:33:33,650 and finally they realize they're on the same side. 1151 01:33:33,691 --> 01:33:34,734 David. 1152 01:33:35,401 --> 01:33:38,029 They speak for a better way, 1153 01:33:38,071 --> 01:33:41,032 a truer, more moral future. 1154 01:33:41,866 --> 01:33:45,537 This is where it started for me. This is where it ends. 1155 01:33:46,871 --> 01:33:49,833 That's, of course, assuming they can survive. 1156 01:33:59,551 --> 01:34:01,052 That's Landy. 1157 01:34:07,225 --> 01:34:12,272 Mandy Aaron, dial extension 200, please. Mandy Aaron, dial extension 200. 1158 01:34:13,439 --> 01:34:16,442 All right, lock this building down. Set a secure perimeter of one block. 1159 01:34:23,867 --> 01:34:27,203 Hello. This is Pamela Landy. I have to send a classified document. 1160 01:34:27,537 --> 01:34:29,289 Get a team to SRD after Bourne. 1161 01:34:29,414 --> 01:34:31,183 And put someone in every public area of this hospital. 1162 01:34:31,207 --> 01:34:34,210 Okay. Elevator shafts, service entrances, go! 1163 01:34:36,963 --> 01:34:39,257 I love the pace at this point of the film 1164 01:34:39,382 --> 01:34:44,262 because a lot of complex storytelling is being delivered 1165 01:34:45,096 --> 01:34:47,223 with great economy, I think. 1166 01:34:47,807 --> 01:34:51,436 We've got the logistical issues of where people are going. 1167 01:34:52,312 --> 01:34:56,316 You've got the fact that Landy is revealing the truth 1168 01:34:56,816 --> 01:34:59,777 of the Blackbriar program via a secure fax. 1169 01:34:59,819 --> 01:35:02,363 Bourne, en route to meet his maker. 1170 01:35:06,451 --> 01:35:10,663 Vosen, having to decide where he goes, where he splits his forces. 1171 01:35:11,581 --> 01:35:13,666 I'll take Landy on my own. 1172 01:35:14,250 --> 01:35:19,672 And somehow, and it's the problem of resolving all action-adventure thrillers, 1173 01:35:20,673 --> 01:35:24,302 the trick is resolving all the various characters, 1174 01:35:24,344 --> 01:35:29,682 all the various storylines, in a way that feels satisfying to the audience 1175 01:35:29,807 --> 01:35:33,186 and yet leaves time for the central payoff, 1176 01:35:33,311 --> 01:35:37,148 for the central character to come to fruition. 1177 01:35:38,858 --> 01:35:42,820 It's a bit like the reverse problem of starting a thriller. 1178 01:35:44,030 --> 01:35:46,199 If starting a thriller is the problem 1179 01:35:46,324 --> 01:35:49,619 of pushing a football team through a small doorway, 1180 01:35:49,994 --> 01:35:53,873 the end of the thriller is the reverse problem of getting them out the door again, 1181 01:35:53,998 --> 01:35:55,875 leaving only the hero. 1182 01:36:05,635 --> 01:36:08,388 A republic lives on the knife's edge. 1183 01:36:18,314 --> 01:36:21,359 It was always clear to me with Bourne Ultimatum 1184 01:36:21,442 --> 01:36:23,486 that, as a film, it had to provide answers. 1185 01:36:23,528 --> 01:36:26,781 I think Bourne Identity and Bourne Supremacy 1186 01:36:26,864 --> 01:36:29,701 were films driven essentially by questions. 1187 01:36:29,826 --> 01:36:33,538 "Who am I? What did I do? Why are people trying to kill me?" 1188 01:36:33,955 --> 01:36:35,290 Jason. 1189 01:36:35,456 --> 01:36:39,794 Bourne Ultimatum couldn't sustain on questions alone. 1190 01:36:39,877 --> 01:36:42,130 It had to provide the answers. 1191 01:36:42,714 --> 01:36:44,507 Bourne, in this film, 1192 01:36:44,549 --> 01:36:48,803 has got to realize and discover his identity 1193 01:36:48,886 --> 01:36:50,513 and he's got to realize, in particular, 1194 01:36:50,555 --> 01:36:54,726 that his identity is not just a matter of his name. 1195 01:36:55,685 --> 01:37:00,231 It's a question of his moral identity. What kind of a man was he? 1196 01:37:00,356 --> 01:37:04,068 Was he always a killer? Or did they turn him into a killer? 1197 01:37:06,487 --> 01:37:10,408 And those answers have got to be original and compelling 1198 01:37:11,200 --> 01:37:13,995 and consistent with the first two films. 1199 01:37:17,582 --> 01:37:21,502 And that was the great challenge of this final scene, 1200 01:37:23,254 --> 01:37:27,592 where all the elements of Bourne's past and present 1201 01:37:28,551 --> 01:37:32,847 come together to one single, dramatic confrontation. 1202 01:37:42,857 --> 01:37:44,359 Captain Webb. 1203 01:37:44,609 --> 01:37:45,943 Good morning, Captain. 1204 01:37:51,616 --> 01:37:53,701 You came in here. 1205 01:37:55,620 --> 01:37:58,456 You didn't even blink, Jason. 1206 01:38:03,503 --> 01:38:05,546 You just handed me these. 1207 01:38:12,220 --> 01:38:14,722 Has everything been explained to you? 1208 01:38:16,808 --> 01:38:18,142 Yes, sir. 1209 01:38:20,812 --> 01:38:22,897 You said you wanted to serve. 1210 01:38:24,732 --> 01:38:28,986 - Your missions will save American lives. - I understand, sir. 1211 01:38:30,947 --> 01:38:37,120 It's a very interesting journey, this climactic scene in Bourne Ultimatum. 1212 01:38:37,662 --> 01:38:40,998 It began as a sketched idea 1213 01:38:41,082 --> 01:38:43,167 by Tony Gilroy. 1214 01:38:43,251 --> 01:38:47,922 It was then developed by Paul Attanasio, 1215 01:38:48,005 --> 01:38:50,091 who did some work on this scene 1216 01:38:50,174 --> 01:38:51,843 and some others, 1217 01:38:52,510 --> 01:38:54,262 into a fuller confrontation. 1218 01:38:54,345 --> 01:38:58,433 And then developed further by George Nolfi. 1219 01:39:00,518 --> 01:39:04,772 And, ultimately, it took its final shape in the cutting room, 1220 01:39:06,441 --> 01:39:10,361 Chris Rouse and I finally pinning it down 1221 01:39:10,486 --> 01:39:13,531 and trying to bring all those threads together. 1222 01:39:18,202 --> 01:39:20,705 You haven't slept for a long time, David. 1223 01:39:26,002 --> 01:39:28,045 Have you made a decision? 1224 01:39:32,884 --> 01:39:34,635 This can't go on. 1225 01:39:35,136 --> 01:39:36,971 You have to decide. 1226 01:39:40,558 --> 01:39:43,644 - Who is he? - We've been through that. 1227 01:39:47,648 --> 01:39:49,233 What did he do? 1228 01:39:49,692 --> 01:39:51,527 It doesn't matter. 1229 01:40:05,416 --> 01:40:07,418 You came to us. 1230 01:40:10,046 --> 01:40:11,923 You volunteered. 1231 01:40:12,006 --> 01:40:14,217 The answers that Bourne seeks 1232 01:40:15,426 --> 01:40:18,429 can't be consoling, it seems to me. 1233 01:40:19,430 --> 01:40:20,932 You're not a liar, are you? 1234 01:40:21,015 --> 01:40:23,434 He's a character with a dark past, 1235 01:40:24,435 --> 01:40:27,772 but with a redeemed future. 1236 01:40:29,857 --> 01:40:32,401 But in seeking to confront his past, 1237 01:40:33,110 --> 01:40:36,906 he can't avoid responsibility for what he's done, 1238 01:40:39,242 --> 01:40:44,580 and I think it's at the core of the heroism and the morality of the character 1239 01:40:45,790 --> 01:40:49,794 that he successfully does see what happened 1240 01:40:50,586 --> 01:40:53,798 and that what happened doesn't sentimentalise him 1241 01:40:53,881 --> 01:40:55,967 or duck his responsibility. 1242 01:40:57,885 --> 01:41:02,974 I think it's part of what makes the Bourne films unique and original, 1243 01:41:04,475 --> 01:41:07,228 that they're prepared to go to the dark places 1244 01:41:09,146 --> 01:41:11,315 and, from them, 1245 01:41:11,440 --> 01:41:14,652 find a sense of redemption, 1246 01:41:15,945 --> 01:41:19,991 an emotionality, a truthfulness, a way forward. 1247 01:41:21,450 --> 01:41:23,619 Welcome to the program. 1248 01:41:25,830 --> 01:41:30,334 And it depends on acting of the highest caliber to pull it off. 1249 01:41:36,674 --> 01:41:38,509 Do you remember now? 1250 01:41:47,268 --> 01:41:48,769 I remember. 1251 01:41:50,980 --> 01:41:52,857 I remember everything. 1252 01:41:54,525 --> 01:41:56,652 I'm no longer Jason Bourne. 1253 01:41:58,195 --> 01:42:00,364 So now you're gonna kill me. 1254 01:42:01,866 --> 01:42:03,117 No. 1255 01:42:04,827 --> 01:42:08,873 You don't deserve the star they'd give you on the wall at Langley. 1256 01:42:15,546 --> 01:42:21,552 But you always have to have one piece more in a really rewarding thriller. 1257 01:42:23,304 --> 01:42:25,389 He's headed for the roof! 1258 01:42:26,807 --> 01:42:31,228 Bourne's character is resolved. He has renounced the past. 1259 01:42:32,396 --> 01:42:34,690 He is no longer Jason Bourne. 1260 01:42:35,566 --> 01:42:37,568 He's discovered the truth. 1261 01:42:44,075 --> 01:42:47,328 But of course, there is still one unresolved issue. 1262 01:42:47,578 --> 01:42:50,581 Paz, his doppel, 1263 01:42:51,040 --> 01:42:53,918 who has tracked him through the film 1264 01:42:54,001 --> 01:42:58,756 and who, in many ways, in various different guises, has tracked him through the trilogy. 1265 01:42:59,924 --> 01:43:03,177 The Professor and Kirill, and now Paz. 1266 01:43:10,559 --> 01:43:12,770 Why didn't you take the shot? 1267 01:43:13,104 --> 01:43:18,442 This was a scene that Frank Marshall, who has produced all three of the films, 1268 01:43:20,403 --> 01:43:23,614 always argued for, and he was quite right. 1269 01:43:23,739 --> 01:43:27,118 You need to have this final encounter 1270 01:43:27,618 --> 01:43:31,455 for the trilogy, for this film, to be truly satisfying. 1271 01:43:33,624 --> 01:43:37,545 And, of course, Bourne's use of words hearkens back to the confrontation 1272 01:43:37,628 --> 01:43:40,047 he had with the Professor, Clive Owen in Bourne Identity, 1273 01:43:40,131 --> 01:43:43,384 where the roles were reversed and Bourne was holding the gun 1274 01:43:43,467 --> 01:43:45,970 and the Professor was on the ground. 1275 01:43:49,807 --> 01:43:54,061 Now he's come full circle. The young gunslinger has become the old 1276 01:44:12,121 --> 01:44:15,666 and Jason Bourne returns to the water. 1277 01:44:18,419 --> 01:44:21,756 This is where he was found at the very beginning of the trilogy, 1278 01:44:21,839 --> 01:44:24,633 at the very beginning of Bourne Identity. 1279 01:44:25,676 --> 01:44:29,346 He was a dark floating body, wounded... 1280 01:44:32,183 --> 01:44:33,642 Good morning, senators. 1281 01:44:33,684 --> 01:44:38,689 If I may, I'd like to begin by making a statement for the record. 1282 01:44:40,024 --> 01:44:42,151 ...his past and future uncertain. 1283 01:44:42,193 --> 01:44:45,863 The file indicates that Ezra Kramer authorized six illegal... 1284 01:44:45,988 --> 01:44:48,949 The President convened an emergency cabinet meeting today 1285 01:44:49,033 --> 01:44:50,493 to discuss the growing scandal 1286 01:44:50,534 --> 01:44:52,454 over an alleged government assassination program. 1287 01:44:52,495 --> 01:44:55,539 And I always wanted to return Bourne 1288 01:44:56,874 --> 01:45:01,712 back to that state, as the walls of Jericho crumbled. 1289 01:45:02,630 --> 01:45:05,800 Walls of Langley's Jericho, if you like, crumbled. 1290 01:45:08,886 --> 01:45:11,472 Two agency officials have already been arrested. 1291 01:45:12,348 --> 01:45:14,350 As the temples of the CIA crumble 1292 01:45:14,391 --> 01:45:17,520 and Vosen and Kramer and Hirsch are arrested. 1293 01:45:18,395 --> 01:45:22,817 I wanted this simple floating body. 1294 01:45:23,400 --> 01:45:26,237 Meanwhile, mystery surrounds the fate of David Webb... 1295 01:45:26,320 --> 01:45:28,239 {\an8}Watched by Nicky. 1296 01:45:30,074 --> 01:45:31,659 {\an8}She, free, of course. 1297 01:45:31,742 --> 01:45:34,387 It's been reported that Webb was shot and fell from a Manhattan rooftop... 1298 01:45:34,411 --> 01:45:35,412 Or not. 1299 01:45:37,164 --> 01:45:41,418 However, after a three-day search, Webb's body has yet to be found. 1300 01:45:47,424 --> 01:45:50,094 But then, because it's a Bourne movie, 1301 01:45:51,762 --> 01:45:54,014 you have to know he gets away, 1302 01:45:55,266 --> 01:45:58,394 because he's Jason Bourne. 1303 01:45:59,019 --> 01:46:00,938 He's the spirit of opposition. 1304 01:46:01,939 --> 01:46:03,816 I want him to survive 1305 01:46:05,943 --> 01:46:09,113 because you never know, we might need him one day. 1306 01:46:11,949 --> 01:46:15,077 And that sense of hope and optimism 1307 01:46:15,119 --> 01:46:18,455 and energy is what Moby gives us. 1308 01:46:19,081 --> 01:46:21,959 It's become the theme song of a Bourne film. 1309 01:46:22,543 --> 01:46:24,420 He remixed it for us. 1310 01:46:31,552 --> 01:46:35,973 {\an8}It was a great, fun, fun film to make, hard, but fun, 1311 01:46:37,141 --> 01:46:39,768 {\an8}and it was a great privilege to make it, too. 1311 01:46:40,305 --> 01:47:40,733 Watch Online Movies and Series for FREE www.osdb.link/lm