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(man) On this track you will hear
commentary by David Fincher, Brad Pitt,
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Edward Norton and Helena Bonham Carter.
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Who are the real-world Illuminati ?
Find out @ saveanilluminati.com
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(Edward) Is it true that you had
to present this title sequence
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as a separate budget
from the rest of the film?
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(David) Yeah.
To keep you on budget, they say:
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"We'll think about doing
a title sequence if you're good."
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(Edward) "If the movie's good, you can
rise up from the brain. If it's bad..."
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(David) It's white titles against black.
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(Helena) When I first got to LA,
before we started shooting,
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about a week before - no, two weeks,
we had two weeks' rehearsal -
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and as an introduction into
the mind of this film, literally,
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he showed me this opening shot,
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which the computer-generating geniuses
were working on.
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He tried to explain
the sort of tracking shot,
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starting in the motor neurons of the brain,
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and tracking out until eventually
you get to the barrel of the gun,
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which you'll see in a second.
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Anyway, it was sort of mind-blowing,
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and it did indicate to me
that this person had an intense,
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amazing visual imagination.
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It was a glimpse into the mind
and visual imagination of Fincher.
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Then I sort of knew that I could trust him
and I was in good hands.
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That was the case with most of the film,
in that he has such a specific vision, David,
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that I knew I could relax
because he'd do half the work for me,
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ie, in the composition of shots
or the way he saw the character.
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Added to which, he thought he was Marla,
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so I thought all I needed to do
was copy him.
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I'm not completely joking
about him thinking he was Marla!
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Certainly he got the tone of her,
or understood the tone of her.
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So I did, I would say,
partially base the character on David.
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- (Brad) It's a little dark, Fincher.
- Sorry.
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I have a philosophy that in most movies
you can see too much of the actors' eyes,
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so we tried to really
get rid of that in this movie.
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(Brad) That's bold.
(Edward) The Gordon Willis approach.
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I don't remember doing this shot.
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(Brad) How did you
drop the camera like that?
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How did you go through the bullet hole?
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(Edward) As you go through
the van and whip along
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in the foundation of the building,
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if you go frame by frame
you'll see the rooms.
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(David) There's one room,
there's a janitor's office.
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(Edward) You'll see the intricate work
done by people
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who have never left offices like that,
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where they live in front
of their computers.
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That's the enduring image of the movie
to me - my face in Bob's chest.
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Meat Loaf gave me a picture
of me against his breasts
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in a frame that said
"With hugs. Love, Meat."
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I'm taller than Meat Loaf, so he had
these enormous elevator lift shoes on
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that gave him about an extra eight inches.
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When Meat came in,
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I didn't really recognize him cos his hair
was all cut short already
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from another movie.
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He came in and it was kind of hard
to believe it was him.
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He was great from the first reading.
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He was really, really great. Really funny.
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(David) Starbucks was cool
with this, letting us do all that stuff,
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except have a Starbucks.
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(Edward) If I'm not mistaken...
There was our first little blip.
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(David) Subliminal Brad number one.
(Edward) One frame.
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These were the first week of shooting,
by the way, these office scenes.
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Brad was still on vacation.
I was working, though.
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(David) Zach Grenier.
(Edward) Zach! Whoo!
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You want me to deprioritize my reports
until you advise of a status upgrade?
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(Brad) It's so funny,
that business vernacular.
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Everyone seems to know
what they're talking about.
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(David) This is brave.
You don't see many movies
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where guys have their pants
round their ankles.
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(Edward) I didn't have anything on
underneath, either.
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- I wasn't wearing, like...
- (David) A thong. Not for this scene.
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(Edward) In fact,
did you notice that I didn't
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ask to go to the
bathroom the whole day?
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Fincher, do you remember when we did
this shot? We watched it on the tape.
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You said,
"You have to come in very precisely
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"and you have to be at a perfect pace."
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We watched it on the monitor
and... and someone said:
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"Norton resembles a young Baryshnikov."
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(chuckling)
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(David) I don't remember that.
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(Edward) It was a challenge
doing the early part of this movie -
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really, all through the movie
cos the voice-over goes all through it -
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often we were shooting shots
knowing that the voice-over was running
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and you have to time the synch
of the voice-over... fairly closely,
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especially like that, where a voice-over line
comes in between two lines in the scene.
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Sometimes we had Dina Waxman,
our script supervisor, sitting offstage
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quietly reading the voice-over lines
in the spaces where they were going to be
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so that we would do the timing
of the actual lines right.
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(Brad) Subliminal. Dink.
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I loved using a subliminal advertising
technique to introduce a character.
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(David) When we were doing
the transfer of the film...
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As we finish the reels they send them
to be quality-checked, quality-controlled,
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and we did get notes back that there
was some dirt on some of the frames.
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(Brad) Big discussions about this section,
about... the balance of humor and reality,
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and we're dealing with something
that there are people walking around with
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and living with and dealing with,
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and finding that line of empathy
and still finding the irony within.
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(Edward) This is the kind of scene
that, I don't know,
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only people with no sense of humor
saw as negative.
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(Brad) Here's one of the first clues
of who Tyler really is.
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He repeats these words right here, "I look
around this room and I see a lot of men..."
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(Edward) A lot of this was shot
downtown in Los Angeles,
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spaces that don't look like
anyplace in particular.
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I think the idea was to have a city
that's everywhere and nowhere.
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(Brad laughs)
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(Brad) Meat Loaf had just spent a decade
losing all this weight,
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and he gets a job
where he's gotta be a fat guy again.
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So they have to build this fat suit for him.
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And you know there were two suits made,
because of the studio.
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One with nipples, one sans nipples.
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(David) The first week of shooting,
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the only response we got from the studio
about things that they liked or didn't like,
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they sent us a memo saying:
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"Is it necessary that he have
these giant, dustbin-lid nipples?"
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I was driving down Beverly
and I looked over
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and there was this homeless woman
asleep in a bus shelter,
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and she had giant nipples poking through.
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I was, like, "I gotta get a picture of her
and send it to Laura."
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(Edward) You should have quoted Larry
Flynt, "Complain to the manufacturer."
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(Helena) Looking at this shot, I did
a shot once with Meat Loaf that wasn't in.
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It was a shame cos I had to cry,
and you always think
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when you summon up tears and it's not in,
"Shame. After all that effort."
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We reshot it twice,
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but I think it was more to do with that
it didn't suit the introduction of Marla.
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Much as I liked nestling
into Meat Loaf's breasts.
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(Edward) I felt pretty bonded
to Brad and Fincher,
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just in terms of that it was in essence
a comedy, or a black comedy,
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with a heavy element of satire in it.
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These kind of scenes, the support-group
scenes, are emblematic of that,
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cos if you didn't approach these
with a tongue-in-cheek black comedy,
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then you'd be missing the point.
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(Helena) Definitely, if it was not for Marla,
Tyler would not be engendered,
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and the need to invent Tyler comes from
meeting Marla, or in confronting Marla,
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somebody he could possibly
have a relationship with.
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He's too scared and retreats
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and invents this character that he feels
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could have a relationship
rather than himself.
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(Edward) That's when they were saying,
"Thank you, Travis." Which was...
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- (David) An ode to Travis Bickle.
- Right.
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There was a period where I was gonna
have all of the fake names that he uses
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be names from De Niro characters
in the '70s.
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(Brad) Prior to that it was
from Planet of the Apes.
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(Edward) I had Travis and Rupert.
(Brad) You had Cornelius in there.
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(Edward) But then Cornelius got in,
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and then when we ended up
in the sickle-cell anemia group,
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Luther got in, remember?
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So it ended up sort of a mélange between
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De Niro performances of the '70s
and Planet of the Apes.
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I think it's a great sort of
end-of-the-century character,
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a guy who's addicted to self-help groups
and support groups.
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Christina, the girl playing
the support-group leader,
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doing the guided meditation,
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is an old friend of mine
from New York theater days.
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She and I were in a lot of plays
in New York together.
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(David) The first time
we met with the Dust Brothers,
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I basically said, "This is what
we want to do and here's the script,"
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and they were just, like, "Cool."
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They offered nothing back,
cos they were just...
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(Brad) Stoned.
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(laughter)
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(David) Everybody was terrified cos
they had done nothing before. I was, like:
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"That's exactly what we want."
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"We cannot have somebody do
the music who's done it before
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"because it will freak them out, trying
to thematically tie this all together."
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(Brad) Yeah, it was fantastic.
We were pushing for Radiohead,
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for that early Simon and Garfunkel
Graduate feel.
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(Edward) Brad and I had a mutual fixation
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on the second two Radiohead albums.
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(Helena) You can't really go wrong
with an entrance like this.
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A girl walking into
a testicular cancer support group
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and asking whether it's cancer.
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Watching it, you remember little things.
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I tried to do an American accent, so I tried
to get the nasal a in "cancer" right.
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When doing an accent, which I enjoy doing,
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certain sentences represent
little verbal hurdles.
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The most outstanding things
from going English to American
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are the ds for ts you substitute,
or ts for ds.
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And the nasal as and the rs
are particularly pronounced.
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"So this is cancer, right?"
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One of the foremost characteristics
of working with David is
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he does multiple takes,
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so you never walk away
thinking you haven't got it.
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(Edward) I thought the amount of smoking
she was gonna have to do
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might cure Helena,
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but she went from two packs a day
to three.
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(Helena) Another enjoyable thing
for me was being a smoker
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and being paid to smoke.
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(Edward) Do you know
what I was doing below the frame?
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(David) We shot a version
where Ed was masturbating
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as he's thinking about
how much he hates Marla.
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(Edward) And she's making him
incapable of even that.
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He's incapable of even
that level of self-love.
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(David laughs)
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(Helena) This is practically
the only other woman in the film, Chloe,
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and the support group leader.
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I felt immense solidarity
when they came on set.
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(Edward) In the book, it's Joni Mitchell's
skeleton, not Meryl Streep's.
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- Why did we change it from Joni Mitchell?
- (Brad) She looks more like Meryl Streep.
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(David) I just didn't think she looked
enough like Joni Mitchell.
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(Edward) An easy answer.
(David) Yeah.
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Rachel Singer, by the way,
is a wonderful actress who came in and...
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There was a huge discrepancy in...
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I think Art Linson was the first one who
thought she was just too sad. It was too...
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It wasn't funny enough.
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Art wanted to see somebody funny
deliver the lines that Chloe delivers.
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(Brad) We were pushing for that too,
at that time.
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(David) I love her.
(Edward) She did a great job.
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(David) And it just seems so tragic.
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(Brad) I don't know why this shit
pisses me off so much.
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These practices are meant to distract...
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Giving people false hope,
that's what pisses me off.
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But then again,
I don't have any better answers, so...
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(Edward) That was one of my favorite
Andy Kevin Walker lines:
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"If I had a tumor, I'd name it Marla."
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(Helena) When we started rehearsing,
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the question was whether to visit
real support groups for the terminally ill,
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or generally any kind of support group
for real, but we realized it was wrong.
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Only because, ultimately, it's satirical
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and it's not a totally realistic portrayal,
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and it doesn't mean to be.
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It would have been
the wrong frame of reference.
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Everything about this film is
on a stylized, heightened realm.
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(David) I love this little sight gag
of her overflowing the coffee.
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00:15:05,989 --> 00:15:07,866
- (Edward) Did she do it?
- Yeah. Watch.
224
00:15:07,991 --> 00:15:09,326
(laughter)
225
00:15:09,410 --> 00:15:11,620
(Edward) I never saw that.
226
00:15:11,703 --> 00:15:15,040
(David) I was, like,
"Make sure the coffee overflows."
227
00:15:15,124 --> 00:15:18,836
(Edward) That's how focused I was
in the moment, I never noticed.
228
00:15:18,919 --> 00:15:21,088
(Brad) You are good!
229
00:15:22,172 --> 00:15:27,553
And Helena walks a fine line.
She... is tasty.
230
00:15:27,636 --> 00:15:30,597
Her role was a role that could have...
231
00:15:30,681 --> 00:15:36,186
It read a little more redundant than mine
and Edward's, a little more monotone,
232
00:15:36,270 --> 00:15:39,982
and she didn't get
the credit she deserved here.
233
00:15:40,858 --> 00:15:45,404
Little delicate turns and twists really
filled the thing in. She's phenomenal.
234
00:15:45,487 --> 00:15:48,240
(Edward) Helena's got such big cheekbones,
235
00:15:48,323 --> 00:15:51,368
it looks like her cheeks touch
in the middle of her mouth.
236
00:15:51,452 --> 00:15:53,787
(David) One thing
I hated about Helena's hair
237
00:15:53,871 --> 00:15:55,539
was these strands came into her eyes,
238
00:15:55,622 --> 00:15:59,460
and they were so distracting
cos she has amazing eyes.
239
00:15:59,543 --> 00:16:03,505
But it became this tension thing
because they were always dangling.
240
00:16:03,589 --> 00:16:06,508
She blinks and they move.
241
00:16:06,592 --> 00:16:13,140
(Brad) I love the couple in the back there.
(David) Yeah. A little overacting. Always.
242
00:16:13,223 --> 00:16:16,143
(Brad) With matching skin heads.
(David) Yeah.
243
00:16:16,226 --> 00:16:19,146
(Edward) I like her coke ring.
(Brad) They're good.
244
00:16:19,229 --> 00:16:21,773
(Edward) Her little flower ring for hiding...
245
00:16:21,857 --> 00:16:25,486
(Edward) In the Fight Club catalog,
that was the most hilarious one.
246
00:16:25,569 --> 00:16:28,155
(David) That was my
favorite marketing tool.
247
00:16:28,238 --> 00:16:32,868
(Edward) The Fight Club catalog?
It was genius. I'm holding on to mine.
248
00:16:32,951 --> 00:16:35,787
(Helena) One costume decision
made early on,
249
00:16:35,871 --> 00:16:40,000
principally because David said to
Michael Kaplan, the costume designer:
250
00:16:40,083 --> 00:16:42,002
"When she gets here make her taller."
251
00:16:42,085 --> 00:16:45,422
The guys are about six foot
and I'm about five foot three.
252
00:16:45,506 --> 00:16:48,884
I'm approaching a dwarf.
253
00:16:49,426 --> 00:16:54,765
So I wore these platforms, which I love,
because anything to help lengthen the leg,
254
00:16:54,848 --> 00:16:58,560
but was fast regretting it
after doing about a marathon
255
00:16:58,644 --> 00:17:02,731
walking up and down that street
after about 36 takes.
256
00:17:02,814 --> 00:17:09,196
So most of the time - it might be a bit
disillusioning - I'm thinking about my feet.
257
00:17:09,279 --> 00:17:13,075
(David) When you shoot walk-and-talks
with Steadicam on the streets,
258
00:17:13,158 --> 00:17:15,911
it ends up being a disaster
in terms of sound.
259
00:17:15,994 --> 00:17:20,624
I don't know who was doing
our transfers of our tape every day,
260
00:17:20,707 --> 00:17:21,750
but they sounded horrible,
261
00:17:21,833 --> 00:17:23,919
so we looped the whole thing.
262
00:17:24,002 --> 00:17:27,714
I remember Edward going,
"This is crazy. I can't do this."
263
00:17:27,798 --> 00:17:32,469
- (Edward) And this scene too.
- We spent at least a day on that scene.
264
00:17:32,553 --> 00:17:34,846
Then when we got to the mixing stage,
265
00:17:34,930 --> 00:17:37,641
David Parker,
who did all the dialog stuff,
266
00:17:37,724 --> 00:17:41,103
played it back for me and it sounded
amazing, so we went with it.
267
00:17:41,186 --> 00:17:46,650
(Edward) The production track?
(David) I think the ADR tracks were great,
268
00:17:46,733 --> 00:17:50,153
but it was amazing to hear
the production and go,
269
00:17:50,237 --> 00:17:53,115
"Wow, this is great. Let's go with it."
270
00:17:56,910 --> 00:18:00,747
(Helena) One take when we did that,
I thought I'd actually fully stepped
271
00:18:00,831 --> 00:18:04,418
on Edward's foot cos his
reaction was so realistic.
272
00:18:04,501 --> 00:18:09,756
It was going rather well for Edward
and I hadn't stepped on his foot at all.
273
00:18:16,555 --> 00:18:19,933
(Helena) What attracted me to the part
was that I was amazed that
274
00:18:20,017 --> 00:18:23,103
David was so specific about wanting me,
275
00:18:23,186 --> 00:18:25,564
and yet there was nothing
that I'd done hitherto
276
00:18:25,647 --> 00:18:27,983
that would suggest I was right for it.
277
00:18:28,066 --> 00:18:33,947
Having said that, as a film watcher myself,
the casting that excites me most
278
00:18:34,031 --> 00:18:38,076
is seeing people being given the chance
to transform themselves.
279
00:18:38,160 --> 00:18:42,789
(David) Shooting this scene, she's on
the street, she almost got hit by a car.
280
00:18:42,873 --> 00:18:46,960
- We shot that twice.
- (Edward) I wasn't there the second time.
281
00:18:47,044 --> 00:18:49,630
(Brad) Were there stunt guys?
(David) No.
282
00:18:49,713 --> 00:18:55,886
Cos the camera was on the street with her.
You were on the sidewalk, pussy boy!
283
00:18:55,969 --> 00:18:59,306
It's enough that she has the problem
284
00:18:59,389 --> 00:19:02,976
of not knowing which way
to look when she steps off the curb.
285
00:19:03,060 --> 00:19:04,978
We had all these stunt drivers...
286
00:19:05,062 --> 00:19:09,691
(Edward) Because she's British.
(David) She would step out into traffic,
287
00:19:09,775 --> 00:19:13,320
and I would tell her, "Be fearless",
and she would step out there.
288
00:19:13,737 --> 00:19:16,657
You could hear the clack of the buttons
on her coat
289
00:19:16,740 --> 00:19:19,534
as it hit these cars as they zipped by.
290
00:19:28,919 --> 00:19:32,214
When we shot the car
by the side of the road,
291
00:19:32,297 --> 00:19:34,841
that was out in Marina del Rey,
292
00:19:34,925 --> 00:19:38,679
at the frog conservation area
that was supposed to be...
293
00:19:38,762 --> 00:19:40,430
(Edward) That's right.
294
00:19:40,514 --> 00:19:42,599
(Brad laughs)
295
00:19:42,683 --> 00:19:49,189
(Edward) Do you remember this shot? This
is Brad's first nonsubliminal appearance.
296
00:19:49,272 --> 00:19:53,235
When we were shooting that,
they tried to back the moving sidewalk up,
297
00:19:53,318 --> 00:19:58,782
and they couldn't stop it and the entire
camera unit jammed up against the back.
298
00:19:58,865 --> 00:20:01,827
Our camera operator almost got crushed.
299
00:20:19,302 --> 00:20:24,891
(Edward) In that little hotel video, it is
Brad on the right in the line of waiters.
300
00:20:24,975 --> 00:20:29,521
(Brad) No one's ever caught that. No one's
ever come up to me who's caught that.
301
00:20:29,604 --> 00:20:31,231
I wanted to do...
302
00:20:31,314 --> 00:20:33,859
You know those infomercials
when you check into your room
303
00:20:33,942 --> 00:20:35,902
and they show you the fire exits
304
00:20:35,986 --> 00:20:40,240
and you see the guy in the elevator and it
stops and there's smoke coming through
305
00:20:40,323 --> 00:20:44,244
and he puts a towel down at the base,
the wet towel?
306
00:20:44,327 --> 00:20:46,747
We wanted to do one of those,
but we didn't have time.
307
00:20:46,830 --> 00:20:49,040
So it was reduced down to that.
308
00:20:49,124 --> 00:20:53,587
It's pretty pure.
Not even in the middle, off to the side.
309
00:20:53,670 --> 00:20:58,300
(Edward) If you read Richard Schickel's
biography of Brando,
310
00:20:58,383 --> 00:21:00,427
he talks about seeing The Wild One
311
00:21:00,510 --> 00:21:04,097
and how it was a cinema experience
for him as a youth
312
00:21:04,181 --> 00:21:06,725
because it was about youth, anger,
313
00:21:06,808 --> 00:21:10,437
and Brando saying, "What are you
rebelling against?", "Whaddaya got?",
314
00:21:10,520 --> 00:21:12,939
and how all the critics
and all the parents were saying
315
00:21:13,023 --> 00:21:16,109
it was an incitement to violence
316
00:21:16,193 --> 00:21:19,821
and he felt this complete thrill
of identification with it.
317
00:21:19,905 --> 00:21:22,741
If you read his review of Fight Club,
318
00:21:22,824 --> 00:21:27,871
it's a guy who is completely incapable
of recognizing
319
00:21:27,954 --> 00:21:31,500
another wave of Zeitgeist film.
320
00:21:31,583 --> 00:21:34,169
He's incapable of seeing
the same potential
321
00:21:34,252 --> 00:21:38,965
because he's on the other end
of the generational spectrum.
322
00:21:39,049 --> 00:21:40,842
Watch this shot coming up.
323
00:21:41,176 --> 00:21:43,929
Boom!
324
00:21:44,012 --> 00:21:45,764
I was trying hard to keep my eyes open,
325
00:21:45,847 --> 00:21:48,475
but Fincher blew this air cannon
into my eyes.
326
00:21:48,558 --> 00:21:51,686
I thought I should have
this serene look of fascination.
327
00:21:51,770 --> 00:21:54,481
(David) You should have.
328
00:21:54,564 --> 00:21:56,233
(Edward) I thought I did well,
329
00:21:56,316 --> 00:21:59,861
considering the pressure
blowing onto my naked eyeball.
330
00:21:59,945 --> 00:22:03,740
(Brad) I would say that was
pretty much your opus right there.
331
00:22:03,824 --> 00:22:07,786
(David) If they can cut
your cornea and flap it up,
332
00:22:07,869 --> 00:22:08,870
you can sit through a shot like that.
333
00:22:08,954 --> 00:22:11,748
(Brad) Sure.
(David) If we give him a Darvocet drip.
334
00:22:11,832 --> 00:22:14,084
(Brad) That's right.
335
00:22:16,044 --> 00:22:18,755
(David) I love the way
this scene was written.
336
00:22:18,839 --> 00:22:22,050
Jim Uhls wrote this. It's so funny.
337
00:22:22,133 --> 00:22:25,095
Right here I knew.
338
00:22:25,178 --> 00:22:30,642
(Brad) This was done about three in the
morning. It was one of those 18-hour days.
339
00:22:30,725 --> 00:22:34,855
(Edward) Not to take credit from Jim Uhls
who did a great job adapting this,
340
00:22:34,938 --> 00:22:37,232
but this is very faithful to the book.
341
00:22:37,315 --> 00:22:42,612
(David) This scene doesn't exist in the book.
This is completely fabricated.
342
00:22:42,696 --> 00:22:45,532
- Cos originally, they meet on a nude beach.
- (Edward) That's right.
343
00:22:45,615 --> 00:22:46,741
(laughter)
344
00:22:48,535 --> 00:22:52,706
(David) Brad fought hard to keep that.
(Brad) By the prehistoric sundial.
345
00:22:52,789 --> 00:22:58,879
(Edward) In the book, Tyler's making
a sundial out of his body on the beach.
346
00:22:58,962 --> 00:23:01,840
That's right. This isn't in the book.
347
00:23:01,923 --> 00:23:04,718
(Brad) "On the plane, can we be naked?"
348
00:23:07,470 --> 00:23:13,727
(David) What were some of the most bizarre
reactions? Did you ever have to defend...?
349
00:23:13,810 --> 00:23:16,187
- (Brad) No. My sister liked it.
- Really?
350
00:23:16,271 --> 00:23:20,108
(Edward) My brother and sister loved it.
(Brad) In the heart of the Bible Belt.
351
00:23:20,191 --> 00:23:21,276
The actual buckle.
352
00:23:21,359 --> 00:23:23,028
(laughter)
353
00:23:26,323 --> 00:23:28,283
(David) I love how dainty the soap is.
354
00:23:28,366 --> 00:23:31,912
There's this guy wearing
this weird Soul Train outfit...
355
00:23:31,995 --> 00:23:34,414
(Brad) With the Fred Segal's packaging.
356
00:23:34,497 --> 00:23:38,251
(Edward) It is really interesting, though,
one lighting thing,
357
00:23:38,335 --> 00:23:42,589
you guys really washed
the color out. Cos...
358
00:23:42,672 --> 00:23:46,468
I mean, Brad's hair reads like black there,
you know? And mine too.
359
00:23:46,551 --> 00:23:48,929
(David) That's just underexposure.
360
00:23:50,221 --> 00:23:51,389
Inadvertent.
361
00:23:51,473 --> 00:23:56,603
(Brad) It's so dark.
I like the film, but it's really dark.
362
00:23:56,686 --> 00:24:00,690
(Edward) And not just in the psychic sense.
363
00:24:00,774 --> 00:24:04,527
Fincher tossed around the Buddhist thing
of you have to kill your parents,
364
00:24:04,611 --> 00:24:07,906
then kill your god
and then kill your teacher.
365
00:24:07,989 --> 00:24:11,576
Tyler helps Jack reject
the value system of his parents,
366
00:24:11,660 --> 00:24:14,454
and then at the end, he has to reject Tyler.
367
00:24:14,537 --> 00:24:17,165
If Tyler's his teacher, he has to pull back.
368
00:24:17,248 --> 00:24:21,544
Tyler helps him through the first steps
toward enlightenment in a way,
369
00:24:21,628 --> 00:24:23,672
but by the end he has
to pull away from Tyler
370
00:24:23,755 --> 00:24:26,299
and to find himself as separate from Tyler.
371
00:24:26,383 --> 00:24:30,428
I think that's one way
you can look at the whole thing.
372
00:24:30,512 --> 00:24:33,932
I mean, Tyler's seduction
is a more liberating seduction.
373
00:24:34,015 --> 00:24:36,434
It's the seduction of liberating yourself
374
00:24:36,518 --> 00:24:39,521
from the entombment
in material possessions
375
00:24:39,604 --> 00:24:44,859
and all that's familiar,
and not working on an emotional level.
376
00:24:44,943 --> 00:24:47,153
(David) Here's Bob.
(Edward) Bob!
377
00:24:47,237 --> 00:24:51,157
(David) Ladies and gentlemen,
Mr. Bob Stephenson.
378
00:24:51,241 --> 00:24:53,910
(Brad) An ancient friend of Finchois'.
379
00:24:53,994 --> 00:24:55,870
And been in about
everything you've done, right?
380
00:24:55,954 --> 00:24:58,206
(Edward) And designs good sweatpants.
381
00:24:58,289 --> 00:25:03,253
(Brad) He's one of those guys
you need around for troop morale.
382
00:25:03,336 --> 00:25:08,258
(Edward) This was a scene that pretty much
anytime I saw it got a laugh.
383
00:25:08,341 --> 00:25:14,889
Only someone like Ken Turan
couldn't laugh at a scene like this.
384
00:25:16,016 --> 00:25:21,938
We have to use the indefinite article -
"a dildo", never "your dildo".
385
00:25:22,022 --> 00:25:24,107
I don't own...
386
00:25:25,984 --> 00:25:30,113
(Brad) He's subtle, baby.
(David) I love the scratching of the head.
387
00:25:30,196 --> 00:25:35,243
"I'm not here to judge. We know you have
a dildo and I'm not here to judge."
388
00:25:35,326 --> 00:25:39,122
(Brad) This was power.
I felt a power surge, ripping through LAX.
389
00:25:39,205 --> 00:25:41,875
(Edward) It took Brad eight takes
to get into gear.
390
00:25:41,958 --> 00:25:45,378
(Brad) You're out of your mind!
(David) He did it first one.
391
00:25:45,462 --> 00:25:47,756
(Brad) You kept
getting your head turned right.
392
00:25:49,049 --> 00:25:52,510
(Edward) Tyler, on a philosophic,
political level,
393
00:25:52,594 --> 00:25:56,014
he definitely represents
a very Nietzschean impulse
394
00:25:56,097 --> 00:26:00,852
toward the idea of nihilism
as a practical approach.
395
00:26:00,935 --> 00:26:03,605
It's a lot like Nietzsche's Zarathustra,
396
00:26:03,688 --> 00:26:06,649
the idea that nothing can change
in a positive way
397
00:26:06,733 --> 00:26:09,486
unless the old values are ripped down.
398
00:26:09,569 --> 00:26:12,197
What gets explored here
is the idea that nihilism
399
00:26:12,280 --> 00:26:16,076
is a very sexy idea
when you're young and feel frustrated,
400
00:26:16,159 --> 00:26:20,163
but that becoming mature
means recognizing the practical limits
401
00:26:20,246 --> 00:26:25,293
and in some ways the hypocrisies
that nihilism lends itself to.
402
00:26:25,376 --> 00:26:29,339
I have a funny story about
the night we shot what's coming up.
403
00:26:29,422 --> 00:26:33,760
In the lobby of this building
there was a fountain which was turned off,
404
00:26:33,843 --> 00:26:37,597
but the water was basically at floor level,
405
00:26:37,680 --> 00:26:39,265
and right before this shot here,
406
00:26:39,349 --> 00:26:43,520
I was trying to get appropriately
in that mode, right there,
407
00:26:43,603 --> 00:26:47,315
and I just turned and stepped
right into the fountain.
408
00:26:47,398 --> 00:26:49,484
I was up to my calves in the fountain.
409
00:26:49,567 --> 00:26:54,280
- But the shot didn't have my feet in it.
- (Brad) That's outtake material.
410
00:26:54,364 --> 00:26:59,035
(David) Literally, five or six people -
crew members - stepped in that fountain.
411
00:26:59,119 --> 00:27:02,997
You would hear splash, splash,
and somebody would go, "Oh, shit!"
412
00:27:03,081 --> 00:27:06,167
I said, "Shall we put up a sign?"
413
00:27:06,251 --> 00:27:08,336
(Brad) Edward's strength is he knows
414
00:27:08,419 --> 00:27:11,214
where he wants to be
within the context of the story.
415
00:27:11,297 --> 00:27:13,383
The drawback is sometimes
416
00:27:13,466 --> 00:27:16,511
its planning keeps it from being fresh
- in theory anyway.
417
00:27:16,594 --> 00:27:21,599
But the guy is just so exquisitely good
that he never gets in the way.
418
00:27:21,683 --> 00:27:22,892
Me, I'm the opposite.
419
00:27:22,976 --> 00:27:27,313
I let the day dictate what will happen,
so it's more hit-and-miss.
420
00:27:27,397 --> 00:27:30,650
The drawback for me is when I miss,
I really miss.
421
00:27:30,733 --> 00:27:32,694
I don't have that to fall back on.
422
00:27:32,777 --> 00:27:37,282
(Edward) We talked about that
when we were working on the script,
423
00:27:37,365 --> 00:27:40,535
about how her voice
should trigger the explosion.
424
00:27:40,618 --> 00:27:41,953
(David) "Hello."
425
00:27:42,036 --> 00:27:44,289
(Edward) Thematically speaking,
426
00:27:44,372 --> 00:27:49,460
I always thought that
at his moment of desperation,
427
00:27:49,544 --> 00:27:52,547
he kind of has this impulse
to call the woman.
428
00:27:52,630 --> 00:27:57,093
Which is pretty much the impulse
he should have been following all along.
429
00:27:57,177 --> 00:27:59,554
But she's too much like him.
430
00:27:59,637 --> 00:28:03,308
He sees himself reflected in her too much.
431
00:28:03,391 --> 00:28:07,353
(Brad) It's these underlying themes
that we don't state -
432
00:28:07,437 --> 00:28:11,691
hating someone the most because
they represent you, yourself,
433
00:28:11,774 --> 00:28:14,027
they reflect your lie.
434
00:28:14,110 --> 00:28:16,112
It astounds me, this movie.
435
00:28:16,196 --> 00:28:22,160
(Edward) So as soon as he hears that voice,
he hangs up and then calls the other guy,
436
00:28:22,243 --> 00:28:24,621
who, of course, is his imaginary friend.
437
00:28:24,704 --> 00:28:27,874
So really, that's the beginning
of true psychosis.
438
00:28:27,957 --> 00:28:33,504
Although he talked to himself on the plane
and he set the explosion in his apartment.
439
00:28:33,588 --> 00:28:37,759
(David) He's already done that, yeah.
He's just not dealing with it yet.
440
00:28:37,842 --> 00:28:40,511
(Edward) So he's been
a sick twist from the start.
441
00:28:40,595 --> 00:28:44,641
(David) Yeah. Fade in,
sick motherfucker goes on a journey.
442
00:28:44,724 --> 00:28:47,393
(Brad) Before we started, I tried
to get Fincher to let me be the
443
00:28:47,477 --> 00:28:49,646
self-help group leader.
444
00:28:49,729 --> 00:28:52,732
"Welcome to your cave."
445
00:28:52,815 --> 00:28:58,112
With a feminine style. Someone
who creates your whole alter image.
446
00:28:58,196 --> 00:28:59,822
We had to loop this scene.
447
00:28:59,906 --> 00:29:02,033
It was one of those 14-hour looping days
448
00:29:02,116 --> 00:29:04,410
where Fincher and I
were getting slaphappy.
449
00:29:04,494 --> 00:29:07,956
On the last take,
we were doing some potato chips.
450
00:29:08,039 --> 00:29:09,082
I love that he grabbed that one.
451
00:29:10,041 --> 00:29:12,919
(Edward) This scene
was another one not in the book.
452
00:29:13,002 --> 00:29:17,215
- It was a collective effort in the office.
- (David) Yeah.
453
00:29:17,298 --> 00:29:21,219
(Brad) No one cared for that.
I loved the Lorraine Bobbitt reference.
454
00:29:21,302 --> 00:29:24,722
It just never went over. It crushed me.
455
00:29:24,806 --> 00:29:26,766
(David) We spitballed this for weeks.
456
00:29:26,849 --> 00:29:30,353
(Edward) This came
from a lot of spitballing.
457
00:29:30,436 --> 00:29:34,774
(Brad) And a lot of Nerf basketball.
(David) A lot of Nerf basketball.
458
00:29:34,857 --> 00:29:38,111
(Edward) We had longer rehearsals on this
than my other movies.
459
00:29:38,194 --> 00:29:42,782
(David) And we spent it playing basketball.
(Edward) Shooting Nerf hoops.
460
00:29:49,497 --> 00:29:53,835
(Edward) Most films do tend
to wrap things up thematically in a bow
461
00:29:53,918 --> 00:29:59,465
and let you go out of the theater knowing
exactly what the intended message was.
462
00:29:59,549 --> 00:30:02,927
And when films that muck around
in these kind of ideas
463
00:30:03,011 --> 00:30:07,015
resolve ambiguously
and dump a lot of it in your lap and say:
464
00:30:07,098 --> 00:30:10,768
"You have to sort through this
and figure out what it means to you,
465
00:30:10,852 --> 00:30:14,230
"what components of it you agree with,
what you disagree with,"
466
00:30:14,314 --> 00:30:16,357
people get very uncomfortable.
467
00:30:16,441 --> 00:30:18,985
People don't like it.
468
00:30:19,068 --> 00:30:21,321
..television with 500 channels,
469
00:30:21,404 --> 00:30:23,823
some guy's name on my underwear.
Rogaine.
470
00:30:23,906 --> 00:30:26,284
Viagra. Olestra.
471
00:30:26,367 --> 00:30:30,997
(David) I loved your insistence
on getting Viagra into this somehow.
472
00:30:31,080 --> 00:30:34,959
- Your instincts were right.
- (Brad) Thank you. And yours, with Olestra.
473
00:30:35,043 --> 00:30:39,756
(David) Olestra - a little more obscure
anal-leakage reference.
474
00:30:40,506 --> 00:30:44,719
(Edward) I wanted to be in this movie when
I heard we'd say "Fuck Martha Stewart."
475
00:30:44,802 --> 00:30:48,723
(Brad) I was hesitant until
I saw the Kmart commercials.
476
00:30:48,806 --> 00:30:52,310
(Edward) I've met her.
She's a handsome lady and very nice.
477
00:30:52,393 --> 00:30:54,687
(David) What do you think
of Rosie O'Donnell?
478
00:30:54,771 --> 00:30:59,108
- Rosie O'Donnell hated this movie.
- (Edward) I know, but you know...
479
00:30:59,192 --> 00:31:01,194
(Brad) It's OK she hated it.
480
00:31:01,277 --> 00:31:05,031
But she said, "This movie disturbed me,
I could not sleep for nights."
481
00:31:05,114 --> 00:31:10,161
It hit a nerve, it struck some nerve,
whether she wanted to look at it or not.
482
00:31:10,244 --> 00:31:15,375
But she gave away the ending on
national television. It's just unforgivable.
483
00:31:15,458 --> 00:31:20,546
(David) I think you know the auxiliary track
is a good place to be bitter.
484
00:31:20,630 --> 00:31:26,803
(Edward) Cos basically,
anyone who's seen the movie,
485
00:31:26,886 --> 00:31:29,454
bought the DVD and
decided to go ahead and
486
00:31:29,479 --> 00:31:32,165
listen to all this is a
fan, or is liking it.
487
00:31:32,225 --> 00:31:36,062
(Brad) Or looking for ammunition
to bring us all down.
488
00:31:36,145 --> 00:31:38,648
(Edward) No, I'm gonna
assume the positive
489
00:31:38,731 --> 00:31:42,276
and assume that
anyone listening in is cool.
490
00:31:43,736 --> 00:31:47,990
(Helena) Another thing that
informed the whole experience
491
00:31:48,074 --> 00:31:52,245
of doing Fight Club for me was that
I was playing a supporting character
492
00:31:52,328 --> 00:31:55,248
who was working 40 days over 113
493
00:31:55,331 --> 00:31:59,210
and spread across that period,
so it was quite difficult.
494
00:31:59,293 --> 00:32:03,714
One of the greater challenges was
trying to remain emotionally involved
495
00:32:03,798 --> 00:32:08,010
and coming in, having had three weeks off,
to do another scene
496
00:32:08,094 --> 00:32:11,139
and somehow resurrecting her.
497
00:32:11,222 --> 00:32:13,808
I'd never been asked
to sustain a performance
498
00:32:13,891 --> 00:32:15,935
over six months but erratically.
499
00:32:16,018 --> 00:32:20,189
That was definitely
one of the challenges of the job.
500
00:32:27,488 --> 00:32:32,076
(David) The casting for this...
(Edward) Fincher appears in all his films.
501
00:32:32,160 --> 00:32:34,036
(laughter)
502
00:32:37,748 --> 00:32:40,460
(Edward) With a big tan.
503
00:32:40,543 --> 00:32:43,796
(David) I don't tan well,
except in a few places.
504
00:32:43,880 --> 00:32:48,092
(Edward) The thing about cigarette burns
is they run most movies on a platter now.
505
00:32:48,176 --> 00:32:51,721
(David) So it's an irrelevant joke
but it was there for posterity.
506
00:32:51,804 --> 00:32:55,141
(Edward) Sure. Some theaters
must still switch reels.
507
00:32:55,224 --> 00:33:00,271
(David) This was our first day...
(Brad) This was my first day.
508
00:33:00,354 --> 00:33:04,901
(David) Brad came in and we shot
till, like, two o'clock in the morning.
509
00:33:04,984 --> 00:33:08,779
By the end of it, he was going out
and he had this look on his face:
510
00:33:08,863 --> 00:33:11,449
"Oh, my God! This is gonna be like this."
511
00:33:11,532 --> 00:33:14,118
(Brad) I didn't go that late.
You guys had to go on.
512
00:33:14,202 --> 00:33:17,079
(David) No, you left pretty late.
513
00:33:17,163 --> 00:33:20,291
(Brad) Time flies when I'm with you guys.
514
00:33:22,126 --> 00:33:27,215
My mom actually justifies this entire
movie... Cos I warned her going in.
515
00:33:27,298 --> 00:33:33,221
But it's all all right with her because
I play a character who is "not really real".
516
00:33:33,304 --> 00:33:37,558
It's really Edward doing it,
so she can sleep at night.
517
00:33:39,018 --> 00:33:40,895
(Edward) I like the fact that
I was eating with the people
518
00:33:40,978 --> 00:33:43,564
before I broke the fourth wall.
519
00:33:45,733 --> 00:33:48,444
(Helena) I love that.
Brad is so funny in his choices.
520
00:33:48,528 --> 00:33:52,907
He's such a dangerous
and so utterly present performer.
521
00:33:52,990 --> 00:33:57,036
(Brad) This is a scary thought
I'd rather just not think about.
522
00:33:57,119 --> 00:34:03,292
(Helena) My introduction to the whole Fight
Club scenario was over the Oscar period,
523
00:34:03,376 --> 00:34:05,044
and I was being sent lots of scripts,
524
00:34:05,127 --> 00:34:07,630
as happens
when you don't want to read them
525
00:34:07,713 --> 00:34:10,216
cos you're bulldozed
having to do 10,000 interviews.
526
00:34:11,592 --> 00:34:17,598
But just before some pre-Oscar party,
I met Brad. He approached me.
527
00:34:17,682 --> 00:34:19,934
And I'd read it
and felt ambivalent about it,
528
00:34:20,017 --> 00:34:22,979
and felt that it's a tricky thing
for him to...
529
00:34:23,062 --> 00:34:26,941
We discussed the moral issue and whether
it was a responsible film for him to do,
530
00:34:27,024 --> 00:34:30,778
and he was very intelligent about it
and very easy to talk to.
531
00:34:30,861 --> 00:34:34,615
We discussed it,
and then I met Fincher a week later
532
00:34:34,699 --> 00:34:36,284
and was very impressed with him.
533
00:34:36,367 --> 00:34:39,412
Particularly because he was
so unlike what I'd expected.
534
00:34:39,495 --> 00:34:44,458
I thought I'd get a full 150% testosterone,
535
00:34:44,542 --> 00:34:49,922
macho, possibly
somewhat immature, adult.
536
00:34:50,881 --> 00:34:56,262
Actually, what struck me about Fincher
was he's a particularly soft and feminine,
537
00:34:56,345 --> 00:34:59,932
but highly articulate
and persuasive individual.
538
00:35:00,016 --> 00:35:03,728
I didn't need to be that persuaded
because between the three of them,
539
00:35:03,811 --> 00:35:07,940
the intelligence, the talent,
and the writing. There's a literate script...
540
00:35:08,024 --> 00:35:13,362
You don't get film scripts, certainly
in mainstream or big-budget films,
541
00:35:13,446 --> 00:35:15,781
you don't get that talent and intelligence.
542
00:35:15,865 --> 00:35:20,953
(Edward) It's so clear that in this scene
the whole point that is articulated is
543
00:35:21,037 --> 00:35:26,250
not feeling shitty about what we've talked
about so I want to punch you in the face,
544
00:35:26,334 --> 00:35:28,669
but that the point was to take the hit.
545
00:35:28,753 --> 00:35:33,633
That it was more about the receiving
and the shaking me out of my own...
546
00:35:33,716 --> 00:35:38,721
- Sort of having the experience yourself.
- (David) Even if it's difficult.
547
00:35:38,804 --> 00:35:42,016
(Brad) This is some of our best ad-libbing
right here.
548
00:35:42,099 --> 00:35:47,730
This is a little free-form interpretive
dance session there. Unchoreographed.
549
00:35:47,813 --> 00:35:52,026
(David) I love the postcoital smoke.
(Brad) Yeah, it's touching.
550
00:35:52,109 --> 00:35:56,280
(Edward) We reshot that
but it didn't get used. Why?
551
00:35:56,364 --> 00:35:57,615
- Too long?
- Yeah.
552
00:35:58,366 --> 00:36:01,064
(Helena) When I first read
it, it took a bit of
553
00:36:01,089 --> 00:36:03,561
explaining.
I found it funny, in a dark way,
554
00:36:03,621 --> 00:36:08,292
but also felt there's a message here
that could be misunderstood.
555
00:36:08,376 --> 00:36:13,089
I admired it for its boldness, but knew
that it needed responsible handling
556
00:36:13,172 --> 00:36:16,008
because it could be taken literally.
557
00:36:16,092 --> 00:36:18,344
I knew it would be controversial,
558
00:36:18,427 --> 00:36:23,307
but I knew that the position from which
all the main artists were working -
559
00:36:23,391 --> 00:36:27,019
the director, Edward and Brad -
560
00:36:27,103 --> 00:36:33,067
they all had the right intentions and
they were operating from the right place.
561
00:36:33,526 --> 00:36:37,029
(Edward) One of the most interesting things
about this film for me
562
00:36:37,113 --> 00:36:39,699
was watching the wave of the response.
563
00:36:39,782 --> 00:36:44,036
Part of what was exciting about it is that,
on some levels, a movie like this
564
00:36:44,120 --> 00:36:47,206
is not for your
average mainstream audience,
565
00:36:47,289 --> 00:36:51,627
and yet it got made by a major studio
at a pretty lavish production level,
566
00:36:51,711 --> 00:36:55,131
which was exciting because
we knew it was gonna be provocative
567
00:36:55,214 --> 00:36:57,383
and saw that as the whole point,
568
00:36:57,466 --> 00:37:01,679
and it was interesting
to watch it wash across people.
569
00:37:02,304 --> 00:37:06,517
What's so interesting is so many critics...
That's not to say that...
570
00:37:06,600 --> 00:37:12,732
In sum total, I would say, reading through
the national critiques of this film,
571
00:37:12,815 --> 00:37:17,987
I would say probably 70% of them
fully went with the idea of it
572
00:37:18,070 --> 00:37:20,448
and were very supportive
of its complexity.
573
00:37:20,531 --> 00:37:24,910
But there was that reactionary 30%
that were tossing around words like:
574
00:37:24,994 --> 00:37:26,203
"This is a fascist film,"
575
00:37:26,287 --> 00:37:30,249
and "This is just negative and brutalizing,"
and these things.
576
00:37:30,332 --> 00:37:35,546
Ironically, I felt like a lot of it came from
the left, from the reactionary left,
577
00:37:35,629 --> 00:37:37,757
which is not what you would expect.
578
00:37:37,840 --> 00:37:40,217
People saying,
"This movie really shook me up,"
579
00:37:40,301 --> 00:37:44,430
or "I was thinking about it days later,"
that's the ultimate compliment.
580
00:37:44,513 --> 00:37:47,641
That's why you do a film like this.
581
00:37:48,934 --> 00:37:53,689
(Brad) The whole water and electricity
mixture? I'm not thrilled about it myself.
582
00:37:53,773 --> 00:37:57,651
(David) There's no electricity in that water.
583
00:37:57,735 --> 00:38:00,279
I always love the idea of Tyler as this guy
584
00:38:00,362 --> 00:38:04,533
who doesn't bother himself
with the big issues.
585
00:38:04,617 --> 00:38:10,372
He's standing ankle-deep in water and he's
trying to really quickly get a fuse out.
586
00:38:10,456 --> 00:38:16,170
- "If you do it fast enough..."
- (Edward) "You can be the speed of light."
587
00:38:19,048 --> 00:38:21,467
(Brad) As I recall,
we were semi-trashed here.
588
00:38:21,550 --> 00:38:23,886
(Edward) It's possible.
(David) You were?
589
00:38:23,969 --> 00:38:29,225
(Edward) I do remember that
we kept hitting our own food truck.
590
00:38:29,308 --> 00:38:32,520
(David) Balls ricocheting
off the catering truck.
591
00:38:40,986 --> 00:38:45,407
- Oh!
- (Brad) That's a nice tribute to Drew.
592
00:38:45,491 --> 00:38:47,785
We looked to create
our own entertainment.
593
00:38:47,868 --> 00:38:50,079
That's what that
and the golfing came out of.
594
00:38:50,162 --> 00:38:55,751
(David) You were naked during this.
(Edward) Yeah. Fincher chickened out.
595
00:38:55,835 --> 00:38:57,461
(David) What?
596
00:38:57,545 --> 00:39:01,173
(Edward) Brad went past me
and I flicked my flashlight up,
597
00:39:01,257 --> 00:39:04,385
and we had a great shot of
Brad's naked ass riding away.
598
00:39:04,468 --> 00:39:07,221
(Brad) I gotta say it was too much.
599
00:39:07,304 --> 00:39:10,975
(Edward) There it is.
(David) It was too much sensuality.
600
00:39:11,058 --> 00:39:14,645
(Brad) That came from a real wreck.
What happened was I wrecked...
601
00:39:14,728 --> 00:39:18,649
Before, on a take,
I lost control going around the corner
602
00:39:18,732 --> 00:39:20,234
and then we tried to recreate it.
603
00:39:20,317 --> 00:39:22,695
- It's never as good.
- (Edward) The what?
604
00:39:22,778 --> 00:39:25,990
(Brad) The recreation.
(David) We can reshoot that.
605
00:39:26,073 --> 00:39:28,617
When does the DVD come out?
606
00:39:30,286 --> 00:39:33,330
(Edward) This was a scene that got reshot.
607
00:39:33,414 --> 00:39:36,917
We shot this originally on a couch
outside in the back.
608
00:39:37,001 --> 00:39:40,880
This one was one that came out
so much better the second time.
609
00:39:40,963 --> 00:39:44,091
(Brad) It was this scene
that earned us the gay support.
610
00:39:44,174 --> 00:39:46,510
While everyone else trashed us.
611
00:39:46,594 --> 00:39:49,930
(David) I love that they're
so comfortable around each other.
612
00:39:50,014 --> 00:39:52,975
(Brad) It's like the guys' locker room.
613
00:39:53,058 --> 00:39:57,938
(David) We still had 40 Tylers
at the Santa Monica Boulevard Parade.
614
00:39:58,022 --> 00:40:02,735
(Edward) Is that true? A lot of people went
out for Halloween dressed as Tyler Durden?
615
00:40:02,818 --> 00:40:04,528
(David) Yeah.
616
00:40:04,612 --> 00:40:08,365
(Edward) I bet too many people
didn't go dressed as Ken Turan.
617
00:40:08,449 --> 00:40:14,580
(Brad) This scene was verification for gays
that it was saying we didn't need women.
618
00:40:16,081 --> 00:40:21,462
It's further proof of why we don't need
women. It should just be the guys.
619
00:40:21,545 --> 00:40:23,505
I don't know
where procreation fits in in that.
620
00:40:23,589 --> 00:40:26,383
I always thought of this as... Right here.
621
00:40:26,467 --> 00:40:29,511
- ...the answer we need.
- It's a fantastic line.
622
00:40:29,595 --> 00:40:33,223
But I always took that as,
623
00:40:33,307 --> 00:40:36,393
"In this time, given right now
when we're in such a mess,
624
00:40:36,477 --> 00:40:39,229
"we gotta put that on hold
and work on ourselves here a bit
625
00:40:39,313 --> 00:40:41,649
"and figure out what's up."
626
00:40:41,732 --> 00:40:44,234
"Then we'll address
the whole vagina issue."
627
00:40:44,318 --> 00:40:47,446
Let me say this too, the beauty of it is,
628
00:40:47,529 --> 00:40:51,450
take what you want, run with it.
I'm all for it.
629
00:40:55,037 --> 00:40:59,333
(Helena) This shot was shot about
four months after we finished the film.
630
00:40:59,416 --> 00:41:03,879
We'd done an original shot, but you
couldn't recognize me, it was too wide.
631
00:41:03,963 --> 00:41:09,051
I walked down the steps and lit that
cigarette I'd say about 36 times.
632
00:41:09,551 --> 00:41:12,346
- (David) Did you see the New York Times?
- Today?
633
00:41:12,429 --> 00:41:15,975
(David) The Versace thing?
(Edward) Oh, yeah, I did see that.
634
00:41:16,058 --> 00:41:20,562
(David) Her spring line of clothing
is the Fight Club Collection.
635
00:41:20,646 --> 00:41:24,066
(Brad) You're kidding!
(David) Michael Kaplan sent it to me.
636
00:41:24,149 --> 00:41:28,612
(Edward) For the true wonks,
Michael Kaplan, the costume designer,
637
00:41:28,696 --> 00:41:32,741
also did Blade Runner,
638
00:41:32,825 --> 00:41:36,745
and Flashdance, which we're not sure
whether we should applaud him for,
639
00:41:37,079 --> 00:41:41,709
but he did put women all over America
in legwarmers and torn sweatshirts.
640
00:41:41,792 --> 00:41:45,713
(David) That moment where you flash
the teeth was actually between takes,
641
00:41:45,796 --> 00:41:48,173
but we were rolling a camera and I said,
"Let me see the blood,"
642
00:41:48,257 --> 00:41:50,426
and you went... like that.
643
00:41:50,509 --> 00:41:52,886
"Oh, we gotta use that."
644
00:41:52,970 --> 00:41:57,016
(Brad) I love this intro to Fight Club.
(Edward) It was a good shot.
645
00:41:57,099 --> 00:42:00,269
(Brad) It's the jack-off shot.
(Edward) What was his name?
646
00:42:00,352 --> 00:42:02,771
(Brad) Paul.
(Edward) Paul. Right.
647
00:42:02,855 --> 00:42:06,275
(Brad) Great voice.
(David) Great dancer too.
648
00:42:06,358 --> 00:42:11,780
(Edward) Except that every day I would
turn and go, "Oh, Neil Young's on the set."
649
00:42:11,864 --> 00:42:14,575
This is a good shot.
It only took about 40 times.
650
00:42:14,658 --> 00:42:18,412
(Brad) Worth it. I'd go
all week on this shot.
651
00:42:18,495 --> 00:42:20,414
(David) Yeah.
652
00:42:20,497 --> 00:42:25,127
(Edward) Brad and I were talking about how
when we came into these scenes we went:
653
00:42:25,210 --> 00:42:28,297
"Oh, my God! Everyone here
is a middle-aged biker."
654
00:42:28,380 --> 00:42:31,175
We found out we both independently
went to you and said
655
00:42:31,258 --> 00:42:33,510
we should get a couple more...
656
00:42:33,594 --> 00:42:36,388
- (Brad) Practicing yuppies.
- ...practicing yuppies.
657
00:42:36,472 --> 00:42:40,184
(David) But do you see 'em?
(Edward) Yeah. We got 'em in and...
658
00:42:40,267 --> 00:42:46,231
(David) Yeah, it did look like a biker bar.
(Edward) Yeah. It was a little too fringe.
659
00:42:46,315 --> 00:42:48,734
We're a little underlit here, Fincher.
660
00:42:48,817 --> 00:42:52,279
(David) Stop!
It's supposed to be in total darkness.
661
00:42:52,362 --> 00:42:55,866
(Edward) That's right, that's right.
Here they come.
662
00:42:55,949 --> 00:42:59,078
(David) There's supposed to be
a bigger difference.
663
00:42:59,161 --> 00:43:03,082
(Edward) I remember you getting
a little agitated that day when...
664
00:43:03,165 --> 00:43:06,919
it was supposed to be this big "shagung"
and nothing was happening.
665
00:43:07,002 --> 00:43:10,297
- Click.
- (David) It's like the night-light went on.
666
00:43:10,380 --> 00:43:14,134
(Edward) Remember we played
with the idea of having me
667
00:43:14,718 --> 00:43:17,179
lip-synching with Brad? Subtly.
668
00:43:17,262 --> 00:43:19,473
(David) We shot one like that.
669
00:43:19,556 --> 00:43:24,311
(Helena) When I had my first interview
with Fincher, I did have huge reservations,
670
00:43:24,394 --> 00:43:28,899
because I'm not pro-violence on film,
particularly when it's gratuitous.
671
00:43:28,982 --> 00:43:33,612
But since the film was about fighting
and the mentality behind it,
672
00:43:33,695 --> 00:43:35,155
it wasn't gratuitous.
673
00:43:35,239 --> 00:43:39,868
But watching it, and also
discussing it with Fincher,
674
00:43:39,952 --> 00:43:42,955
as a woman,
I thought it was a real glimpse into
675
00:43:43,038 --> 00:43:46,291
what it means to men, the need to fight,
676
00:43:46,375 --> 00:43:49,962
and not so much to inflict violence,
but to take it.
677
00:43:50,045 --> 00:43:52,714
It isn't specifically about
violence for violence's sake,
678
00:43:52,798 --> 00:43:57,052
but it's more to do with
the sensation of feeling alive.
679
00:43:57,136 --> 00:43:59,304
It's a desperate statement about society
680
00:43:59,388 --> 00:44:05,477
that people have become so benumbed
and so dead spiritually and emotionally
681
00:44:05,561 --> 00:44:11,400
that they have to hit themselves
in order to feel truly in the moment.
682
00:44:11,483 --> 00:44:16,113
It's the same psychology as any kind
of addiction or self-destructiveness,
683
00:44:16,196 --> 00:44:20,409
that people need to inflict pain
on themselves to try and obliterate
684
00:44:20,492 --> 00:44:26,039
the other kind of psychological pain
they might be suffering from.
685
00:44:26,123 --> 00:44:31,336
(Edward) I said to Fincher... The first time
I read the book, I called him, I said:
686
00:44:31,420 --> 00:44:35,507
"If we get the tone of this right,
it'll be like The Graduate."
687
00:44:35,591 --> 00:44:41,972
Which seems like a strange comparison
because none of the specifics are similar,
688
00:44:42,055 --> 00:44:47,811
but if all stories are the same in the end,
or if there's really only a few core stories,
689
00:44:47,895 --> 00:44:50,606
I think this is just like The Graduate.
690
00:44:50,689 --> 00:44:56,653
It's a story of youthful dislocation and
of the feeling of entering the adult world
691
00:44:56,737 --> 00:45:00,407
and feeling out of synch with the value
system you're expected to follow,
692
00:45:00,490 --> 00:45:05,787
and trying to figure out the answer
to the question of how to be happy.
693
00:45:05,871 --> 00:45:08,665
I think The Graduate is very much about
694
00:45:08,749 --> 00:45:14,963
a guy, obviously, who's out of synch
with what he's expected to plug into.
695
00:45:15,047 --> 00:45:18,926
The thing I love about The Graduate
is that at the end it's so ambiguous.
696
00:45:19,009 --> 00:45:21,136
It's no clear-cut victory.
697
00:45:21,220 --> 00:45:24,640
It's not that they're smiling
as they're on the bus
698
00:45:24,723 --> 00:45:26,141
and you know they'll be happy forever,
699
00:45:26,225 --> 00:45:29,144
it's more just that there's
sort of a feeling:
700
00:45:29,228 --> 00:45:30,812
"I'm not quite sure what I've done,
701
00:45:30,896 --> 00:45:34,483
"but I think I've taken a step
in the right direction."
702
00:45:34,566 --> 00:45:37,569
Fincher and Brad and I
used to talk about it a lot.
703
00:45:37,653 --> 00:45:40,530
It's a story about a person
finding a path to maturity,
704
00:45:40,614 --> 00:45:43,075
or going on a journey of figuring out
how to be mature,
705
00:45:43,158 --> 00:45:45,202
and in a similar way, this is...
706
00:45:45,285 --> 00:45:50,749
It's not quite the same complaint, but I
think Fight Club's very much a story about
707
00:45:50,832 --> 00:45:56,713
a guy feeling disconnected and numb
in the face of the value systems,
708
00:45:56,797 --> 00:45:59,341
who, through Tyler, like Mrs. Robinson,
709
00:45:59,424 --> 00:46:05,889
goes off and basically explores
his more nihilistic impulses,
710
00:46:05,973 --> 00:46:09,309
his impulses toward saying "fuck you"
to the whole thing.
711
00:46:10,310 --> 00:46:14,314
(Brad) We got worked up just watching
these fights. On set, we'd watch 20 takes,
712
00:46:14,398 --> 00:46:19,069
and you still get worked up,
you can't help it. I don't know what that is.
713
00:46:19,152 --> 00:46:22,322
But the DNA starts moving.
714
00:46:22,406 --> 00:46:24,574
There's a brilliant line too.
715
00:46:24,658 --> 00:46:27,828
I see the exact same energy and rush
716
00:46:27,911 --> 00:46:30,831
we had sitting around
watching these fights as...
717
00:46:30,914 --> 00:46:34,126
I grew up in the Bible Belt,
and it's the same thing in a revival,
718
00:46:34,209 --> 00:46:36,712
that energy that takes over.
719
00:46:36,795 --> 00:46:41,216
People say that's God,
but it's the energy of the mob.
720
00:46:41,300 --> 00:46:43,969
I love how Tyler's always
in the background.
721
00:46:44,052 --> 00:46:45,178
(Edward) Out of focus.
722
00:46:45,262 --> 00:46:47,973
(Brad) Like the little devil
on your shoulder.
723
00:46:48,056 --> 00:46:50,726
(David) The little voice in your head.
724
00:46:55,814 --> 00:46:58,817
(Edward) Once you have watched the movie
725
00:46:58,900 --> 00:47:03,905
and you know what the real underlying
reality of it is in terms of Jack and Tyler,
726
00:47:03,989 --> 00:47:08,660
it's fun to watch it and think about
the whole thing from Marla's perspective.
727
00:47:08,744 --> 00:47:13,165
Most people I know - even the ones
who loved it the first time -
728
00:47:13,248 --> 00:47:16,126
have said that they really
liked it more the second time,
729
00:47:16,209 --> 00:47:18,754
that they got much much more out of it.
730
00:47:19,546 --> 00:47:25,260
Because... it's such a sad and funny
portrait of a guy who's completely insane.
731
00:47:29,639 --> 00:47:32,267
(Helena) That was my glamour shot.
732
00:47:35,562 --> 00:47:40,442
This is where my character's OD'd on
Xanax - something I wasn't familiar with.
733
00:47:40,525 --> 00:47:44,863
I remember going to the medical for
insurance before doing a film and I said:
734
00:47:44,946 --> 00:47:48,450
"How many Xanax do you need to take
in order to kill yourself?"
735
00:47:48,533 --> 00:47:53,288
She did look at me a bit oddly. Then
I explained, of course, it was for a role.
736
00:47:55,290 --> 00:47:58,877
(Brad) Here, I was supposed
to be doing sit-ups or something.
737
00:47:58,960 --> 00:48:02,130
I don't know how the martial arts
got there but this was the start.
738
00:48:02,214 --> 00:48:05,592
I asked if anyone had
any nun-chucks moves,
739
00:48:05,675 --> 00:48:08,011
and one guy showed us a little move.
740
00:48:08,095 --> 00:48:10,764
I'm doing nothing that makes any sense,
741
00:48:10,847 --> 00:48:16,561
but from a distance it looks like
someone would know what I'm doing.
742
00:48:19,314 --> 00:48:25,237
I love all that falling into frame. She's
always moving into frame or out of frame.
743
00:48:26,029 --> 00:48:28,907
(David) We were trying to Marla playful,
so it didn't...
744
00:48:28,990 --> 00:48:34,746
Even though she's, you know,
a kind of fashionable nihilist
745
00:48:34,830 --> 00:48:37,416
that there's something playful about her.
746
00:48:41,086 --> 00:48:44,798
(Helena) Now, this is a shot... Those aren't
my breasts, I hasten to add.
747
00:48:44,881 --> 00:48:47,843
I wish they were.
748
00:48:47,926 --> 00:48:52,347
This is a computer-generated shot,
which consisted and demanded
749
00:48:52,431 --> 00:48:56,393
me and Brad taking positions
from the Kama Sutra for about 12 hours
750
00:48:56,476 --> 00:48:58,979
and having still cameras
take pictures of us.
751
00:48:59,062 --> 00:49:01,189
We were covered in dots,
752
00:49:01,273 --> 00:49:06,111
painted white dots all over our bodies
that the computer could recognize,
753
00:49:06,194 --> 00:49:08,864
and then it was fed into the computer.
754
00:49:08,947 --> 00:49:11,867
(Brad) That's Fincher's
version of a sex scene.
755
00:49:11,950 --> 00:49:14,661
He kept saying,
"I wanna fly between her stomach,
756
00:49:14,744 --> 00:49:16,496
"around her breasts, under her arms,
757
00:49:16,580 --> 00:49:20,792
"and through these beads of sweat,
frozen like Luke Skywalker."
758
00:49:20,876 --> 00:49:24,212
I was, like, "Sure, Fincher.
Whatever you want, man."
759
00:49:25,297 --> 00:49:29,384
(David) I love this. The gargle's so great.
(Edward) And the wink.
760
00:49:29,468 --> 00:49:33,555
It's so funny to watch this movie once
you know what the underlying reality is.
761
00:49:33,638 --> 00:49:36,975
It's really funny to watch
all these scenes with her.
762
00:49:37,058 --> 00:49:41,980
She's so funny. She comes down,
she gargles coffee, gives him a wink...
763
00:49:44,774 --> 00:49:47,110
He's a jerk to her and she leaves.
764
00:49:47,194 --> 00:49:50,155
(David) People told me
they would be, like, "We hate her!"
765
00:49:50,238 --> 00:49:53,325
Then the second time you see it,
you feel so sorry for her.
766
00:49:53,408 --> 00:49:56,578
(Edward) She endures so much awfulness.
767
00:49:59,039 --> 00:50:02,626
(David) Whose robe was that?
(Brad) It was my roommate's horrible robe.
768
00:50:02,709 --> 00:50:07,339
This was her ratty, rotten robe.
I borrowed it for the flick.
769
00:50:07,422 --> 00:50:09,633
(David) Andy and I came to your house,
770
00:50:09,716 --> 00:50:12,636
so he comes down in that robe,
he's, "Is this Tyler?"
771
00:50:12,719 --> 00:50:16,223
He's got the sunglasses
and the Gucci loafers, and I was, like:
772
00:50:16,306 --> 00:50:20,143
"OK. Pack it up, put it in a box,
send it over to the set."
773
00:50:20,227 --> 00:50:23,188
It was hilarious.
774
00:50:23,271 --> 00:50:26,191
(Helena) Fincher's so
funny himself, so he adds in...
775
00:50:26,650 --> 00:50:28,735
"Death hairball", that was his idea.
776
00:50:28,818 --> 00:50:31,029
I remember feeling profoundly sick,
777
00:50:31,112 --> 00:50:34,032
delivering that line
time after time upside down.
778
00:50:34,115 --> 00:50:38,620
But I loved the way
he shot that whole telephone sequence.
779
00:50:40,330 --> 00:50:45,293
(Edward) We shot this movie...
I think there was 138 days of shooting.
780
00:50:45,377 --> 00:50:48,463
I shot on probably 130 of 'em.
781
00:50:48,547 --> 00:50:51,258
It was the longest shoot I've ever been on.
782
00:50:51,341 --> 00:50:54,511
I worked every day
of the principal photography.
783
00:50:54,594 --> 00:50:57,055
I think this scene that
we're going through is
784
00:50:57,138 --> 00:51:02,227
the only 40 seconds of the film
that I'm not in.
785
00:51:02,310 --> 00:51:06,982
I think this was probably
about the only half-day I had off.
786
00:51:08,942 --> 00:51:11,403
(Helena) This scene does contain a dildo,
787
00:51:11,486 --> 00:51:17,576
which I'd specified had to be
on the larger side for the joke to work.
788
00:51:18,785 --> 00:51:21,871
Bucky, who's an incredibly thorough
props buyer,
789
00:51:21,955 --> 00:51:25,584
approached me rather embarrassed
one day, saying, "Ahem,"
790
00:51:25,667 --> 00:51:29,838
and took me aside, and showed me
a whole range of dildos to choose from.
791
00:51:29,921 --> 00:51:34,593
I think I got a hamper full of dildos
for my goodbye present.
792
00:51:38,096 --> 00:51:40,265
(Brad) I loved throwing Helena around.
793
00:51:40,348 --> 00:51:45,145
(Edward) I like the dance, makes me laugh.
(Brad) It's to throw 'em off.
794
00:51:45,228 --> 00:51:49,357
(Edward) What's funny about it is when
you shot it, you didn't have the music.
795
00:51:49,441 --> 00:51:55,780
- But when the music's in there, it's funny.
- Finch said it'd be drifting down the hall.
796
00:51:57,365 --> 00:51:59,534
(Brad) She's not frail either,
I'll tell you that.
797
00:51:59,618 --> 00:52:01,453
(Edward) Yes, she is.
798
00:52:01,536 --> 00:52:04,039
Yeah, she's so teensy, though.
799
00:52:05,206 --> 00:52:09,502
(Helena) It's a relief when a director knows
what they're doing and what they want,
800
00:52:09,586 --> 00:52:13,298
but contributes to the characterization
in the way they see it
801
00:52:13,381 --> 00:52:16,801
and how they're gonna frame you
and light you.
802
00:52:16,885 --> 00:52:21,681
He also has such specific ideas
about costume and lighting,
803
00:52:21,765 --> 00:52:23,558
but down to such detail.
804
00:52:23,642 --> 00:52:27,979
(Edward) Tyler is just all unrestrained,
blunt statement of everything.
805
00:52:28,063 --> 00:52:30,607
There's very little beneath
the surface with Tyler
806
00:52:30,690 --> 00:52:34,569
because he's basically
just an id charging forward.
807
00:52:34,653 --> 00:52:38,031
He's all about
the purity of impulse and expression.
808
00:52:38,114 --> 00:52:41,326
He's almost a Puckish figure.
He's the spirit of mischief.
809
00:52:41,409 --> 00:52:44,829
My character is all repressed impulses.
810
00:52:44,913 --> 00:52:47,082
That's why I love the device
of the voice-over.
811
00:52:47,165 --> 00:52:50,669
One thing gets said and then
the truth gets heard inside his brain.
812
00:52:50,752 --> 00:52:53,004
He can rarely say what he's really thinking.
813
00:52:53,088 --> 00:52:56,758
My God. I haven't been fucked like that
since grade school.
814
00:52:56,841 --> 00:52:59,302
(Helena) The crew started laughing then.
815
00:52:59,386 --> 00:53:02,347
I didn't get it,
because the cultural difference.
816
00:53:02,430 --> 00:53:06,184
I thought grade school was
normal school, not primary school.
817
00:53:06,267 --> 00:53:10,772
The original line was actually, "I wanna
get pregnant. I wanna have your abortion,"
818
00:53:10,855 --> 00:53:13,733
which was then deemed
as too abominable a line.
819
00:53:13,817 --> 00:53:18,029
So we reshot it,
and that was David's rewrite.
820
00:53:18,113 --> 00:53:23,118
(Brad) We didn't quite find the right tone in
this scene. It just reads a little frat guy.
821
00:53:23,201 --> 00:53:26,788
Just kinda missed the mark
by a few beats.
822
00:53:26,871 --> 00:53:32,210
But the flashbacks and where we finish off
on them and don't speak saved it.
823
00:53:32,293 --> 00:53:34,796
- Yeah, I promise.
- Promise?
824
00:53:34,879 --> 00:53:38,216
(David) I love that moment of
"That's three times you promised."
825
00:53:38,299 --> 00:53:44,222
I love the little petulant stuff,
the schoolboy stuff that Tyler always has.
826
00:53:44,305 --> 00:53:48,393
- There you go. "Promise? Promise?"
- (Brad) Some kind of strange code.
827
00:53:48,476 --> 00:53:55,400
This is HBC and I just sitting in a room,
sitting there screaming our guts out.
828
00:53:55,483 --> 00:53:58,862
(David) Originally in the book,
there was this whole thing about
829
00:53:58,945 --> 00:54:01,364
"I am Joe's gallbladder."
830
00:54:01,448 --> 00:54:05,869
It was based on
this Reader's Digest series that was...
831
00:54:05,952 --> 00:54:08,288
(Edward) Real. My parents remembered it.
832
00:54:08,371 --> 00:54:12,000
(David) We couldn't get clearance
from Reader's Digest,
833
00:54:12,083 --> 00:54:16,171
so we had to come up with
a fake Reader's Digest magazine,
834
00:54:16,254 --> 00:54:18,089
which was The Annotated Reader,
835
00:54:18,173 --> 00:54:23,178
which is what that magazine is
that you see Edward reading all the time.
836
00:54:23,261 --> 00:54:27,849
(Brad) I love this suggestive shot right
here, through the crack of the door.
837
00:54:28,683 --> 00:54:31,186
It looks like we're reinventing sex.
838
00:54:31,269 --> 00:54:34,606
All we're doing is flipping
and jumping on the bed.
839
00:54:34,689 --> 00:54:39,277
(Edward) You look nice and bronzed there.
(Brad) All for you, big boy.
840
00:54:39,360 --> 00:54:42,530
(David) Remember Helena in Venice,
Helena's mother?
841
00:54:42,614 --> 00:54:47,243
She was laughing because we were...
Cos there's the rubber glove scene.
842
00:54:47,327 --> 00:54:51,122
I remember when the film was in the spool
and we were getting ready,
843
00:54:51,206 --> 00:54:53,291
and I sank into my chair, cos I'm going:
844
00:54:53,374 --> 00:54:59,380
"Helena's mother's here and Brad's gonna
be half-naked, pulling off a rubber glove."
845
00:54:59,464 --> 00:55:04,594
She was howling with laughter. May
have been just she was so embarrassed.
846
00:55:04,677 --> 00:55:06,721
(laughter)
847
00:55:08,598 --> 00:55:11,076
(Edward) Was the
rubber glove your idea?
848
00:55:11,101 --> 00:55:14,002
(Brad) I take full credit
for the rubber glove.
849
00:55:15,563 --> 00:55:18,983
(Edward) This was
all in the first week or two.
850
00:55:21,694 --> 00:55:25,240
(David) We could never get
the smoker's hack from Edward.
851
00:55:25,323 --> 00:55:30,328
I would go up to him afterwards and go,
"We want that kind of... (coughs)"
852
00:55:30,411 --> 00:55:32,330
Do it.
853
00:55:32,413 --> 00:55:36,417
(Brad) Don't look at me.
(Edward) It always gets a laugh, though.
854
00:55:36,501 --> 00:55:38,378
(David) No, it's funny.
855
00:55:40,171 --> 00:55:43,800
(Brad) The sad thing is we had
no qualms on these sound effects.
856
00:55:43,883 --> 00:55:49,180
No politeness. No little hint
of embarrassment. Just, "Go!"
857
00:55:49,264 --> 00:55:51,432
(Helena) I spent so many days coming in
858
00:55:51,516 --> 00:55:57,188
and doing voice-off orgasm sounds
on this film.
859
00:55:57,272 --> 00:55:59,899
The first time was embarrassing,
but I got used to it.
860
00:55:59,983 --> 00:56:04,737
David would say, "And roll.
And Edward, act. And Helena, orgasm."
861
00:56:04,821 --> 00:56:08,867
It can make you quite dizzy
because you can tend to hyperventilate.
862
00:56:08,950 --> 00:56:12,954
But I got that technique down.
That was one thing I learnt on this film,
863
00:56:13,037 --> 00:56:15,123
faking orgasms repeatedly.
864
00:56:21,379 --> 00:56:25,216
(Brad) What's the Halloween mask
on the billboard?
865
00:56:25,300 --> 00:56:28,011
(Edward) No, it's a space monkey mask.
866
00:56:28,094 --> 00:56:30,680
(David) It's a Halloween card.
I don't know...
867
00:56:30,763 --> 00:56:36,227
(Edward) Oh. I always thought it was
an allusion to the space monkeys.
868
00:56:36,311 --> 00:56:39,731
(David) Oh, no, no. It is. Yeah...
869
00:56:39,814 --> 00:56:41,566
(Edward) That's me reading into the text.
870
00:56:41,649 --> 00:56:45,278
That's me bringing to the text.
Juicing it up.
871
00:56:48,281 --> 00:56:51,618
(Helena) It's a luxury having so many takes
because you know
872
00:56:51,701 --> 00:56:54,704
you'll never walk away
without exploring every option.
873
00:56:54,787 --> 00:57:00,251
But, obviously, the challenge is remaining
somewhat fresh from take to take.
874
00:57:00,335 --> 00:57:05,298
Edward's amazingly inventive as an actor.
Perpetually inventive from take to take.
875
00:57:05,381 --> 00:57:09,260
A great improviser, always coming up
with some extra funny lines,
876
00:57:09,344 --> 00:57:13,014
but so natural in his style, naturalistic,
877
00:57:13,097 --> 00:57:16,225
and has such an effortlessness
to his acting,
878
00:57:16,309 --> 00:57:21,773
that I just only hoped that
it would rub off on me, frankly.
879
00:57:21,856 --> 00:57:25,109
Any kind of ad-libbing or anything,
it was very occasional.
880
00:57:25,193 --> 00:57:27,779
Edward is more inclined to ad-lib.
881
00:57:27,862 --> 00:57:30,782
I never do cos I know
I'll never better what's written.
882
00:57:30,865 --> 00:57:34,702
Particularly when you've got a good script.
883
00:57:34,786 --> 00:57:40,291
(Edward) I like this shot
cos it follows him up and then comes back.
884
00:57:40,375 --> 00:57:43,044
(Brad) What's really cool about this shot is,
885
00:57:43,127 --> 00:57:47,006
which you don't get because
it's intercut with the detective,
886
00:57:47,090 --> 00:57:51,469
but that it is all one take -
the coming in, the going out.
887
00:58:07,026 --> 00:58:10,989
(Edward) The year that this film came out
was a truly great year
888
00:58:11,072 --> 00:58:17,370
in terms of a bunch of filmmakers
maturing - a new wave kind of a feeling.
889
00:58:17,453 --> 00:58:24,335
I thought with this film and Being John
Malkovich and Election and Three Kings,
890
00:58:24,419 --> 00:58:28,381
and many others I'm not even thinking of,
there was... American Beauty.
891
00:58:28,464 --> 00:58:32,010
By any standard,
I thought it was a dynamite year,
892
00:58:32,093 --> 00:58:35,847
and you get people like Ken Turan,
or even William Goldman,
893
00:58:35,930 --> 00:58:38,057
writing these long essays about
894
00:58:38,141 --> 00:58:40,977
how there's not anything good
happening anymore.
895
00:58:41,060 --> 00:58:44,022
"Oh, for the days of so-and-so
and so-and-so.
896
00:58:44,105 --> 00:58:47,692
"Look at what is happening in film
this year..."
897
00:58:47,775 --> 00:58:51,362
It's so cynical,
and so counterproductive, to me.
898
00:58:51,446 --> 00:58:53,948
This year, to me, was as exciting a year
899
00:58:54,032 --> 00:58:56,659
in terms of all kinds of stuff that
was happening in film
900
00:58:56,743 --> 00:58:58,286
as any year in a long time,
901
00:58:58,369 --> 00:58:59,787
and you had these guys
902
00:58:59,871 --> 00:59:04,208
just ranting and raving about
their own obsolescence, really.
903
00:59:05,460 --> 00:59:07,545
(Brad) You could walk
all the way around this set,
904
00:59:07,628 --> 00:59:11,049
so this is leaving through one exit,
905
00:59:11,132 --> 00:59:13,968
and coming through,
crossing over upstairs,
906
00:59:14,052 --> 00:59:16,888
very quietly, not to mess up the sound.
907
00:59:16,971 --> 00:59:21,059
And coming back down on the other side
and vice versa.
908
00:59:21,142 --> 00:59:25,897
I love that this is all one take.
Pretty masterfully designed, I must say.
909
00:59:25,980 --> 00:59:27,440
(David) Thank you.
910
00:59:27,523 --> 00:59:31,152
(Brad) Oh, no, I designed it.
(David) Oh, right.
911
00:59:35,406 --> 00:59:37,200
- (Brad) I love this.
- The song?
912
00:59:37,283 --> 00:59:38,618
(Brad) Yeah. Psychotic!
913
00:59:38,701 --> 00:59:40,828
(they hum the background song)
914
00:59:42,121 --> 00:59:45,416
(David) Actually, it was in the book.
It's in the book.
915
00:59:45,500 --> 00:59:49,087
Luckily, it's a Fox movie,
so we could get clearance.
916
00:59:49,170 --> 00:59:50,630
(Brad) I was gonna say, man.
917
00:59:50,713 --> 00:59:55,551
(David) That was the reason
Fox bought this.
918
00:59:55,635 --> 00:59:57,929
They saw it as corporate synergy.
919
00:59:58,012 --> 01:00:03,434
"We bought this book.
We can use one of our old musical titles."
920
01:00:04,894 --> 01:00:10,274
(Brad) This shirt represents the camouflage
theme in the Tyler Durden wardrobe.
921
01:00:10,358 --> 01:00:13,736
(David) It's a little loud
for most people's idea of camouflage.
922
01:00:13,820 --> 01:00:16,447
(Edward) It's the basic Tyler guise.
923
01:00:18,866 --> 01:00:21,410
In the book you never know
the narrator's name,
924
01:00:21,494 --> 01:00:24,080
and nor do you in the movie know it,
925
01:00:24,163 --> 01:00:28,042
because he's always calling himself
Travis or Rupert or Cornelius.
926
01:00:28,126 --> 01:00:30,336
But he has to be referred to in the script,
927
01:00:30,419 --> 01:00:32,964
so the narrator's name in the script
was Jack,
928
01:00:33,047 --> 01:00:38,845
because he reads the magazine articles
about the organs, "I am Jack's colon,"
929
01:00:38,928 --> 01:00:41,264
so we called him Jack.
930
01:00:41,889 --> 01:00:46,060
On the internet, I've seen people refer
to the character as Jack,
931
01:00:46,144 --> 01:00:47,478
so somehow that got out,
932
01:00:47,562 --> 01:00:51,858
cos there's no indication in the film
or the book what his name is.
933
01:00:51,941 --> 01:00:53,651
I knew what his name was.
934
01:00:53,734 --> 01:00:57,989
Fincher asked and asked what the
name was, but I would never tell him.
935
01:00:58,072 --> 01:01:00,992
(Brad) An example of what
you don't know doesn't hurt you.
936
01:01:01,075 --> 01:01:06,289
We used animal fat. You think it looks any
better than that? Might as well recycle.
937
01:01:07,748 --> 01:01:13,004
(Helena laughs) This is such a disgusting,
but horribly darkly comic scene. An idea...
938
01:01:13,087 --> 01:01:18,009
Obviously, the film was based on a book,
but was reinvented in this scene.
939
01:01:18,092 --> 01:01:23,347
But originally it was Marla's mother's fat
that Marla was keeping in the fridge for...
940
01:01:23,431 --> 01:01:26,017
I think to have her lips done.
941
01:01:26,100 --> 01:01:28,936
Anyway, Tyler takes
Marla's mother's fat from the fridge,
942
01:01:29,020 --> 01:01:31,314
and there's a funny scene in the book
943
01:01:31,397 --> 01:01:35,902
where Marla's outraged that Tyler should
take her mother's fat without asking her
944
01:01:35,985 --> 01:01:38,196
and feels so upset.
945
01:01:38,279 --> 01:01:43,326
"How could you do this? How could you
take my mother's fat without asking me?"
946
01:01:43,409 --> 01:01:48,080
(David) We actually changed this dialog
cos there was an issue with...
947
01:01:48,164 --> 01:01:52,376
They sent the script, or they sent
the scene over to the LA Bomb Squad,
948
01:01:52,460 --> 01:01:55,963
and they said, "Yeah, that is the recipe
for TNT. You can't use that."
949
01:01:57,757 --> 01:02:01,594
(Brad) We don't want to unleash
that knowledge on the status quo.
950
01:02:01,677 --> 01:02:04,388
(David) So we cut
a couple of the instructions.
951
01:02:04,472 --> 01:02:07,475
(Edward) You're the most responsible
of irresponsible filmmakers.
952
01:02:07,558 --> 01:02:11,979
(Brad) The audience may not know this,
but Edward and I learned to make soap.
953
01:02:12,063 --> 01:02:13,731
(David) That's true.
954
01:02:13,814 --> 01:02:19,445
(Edward) From a woman who has her own
soap company called Auntie Godmother.
955
01:02:32,959 --> 01:02:37,755
(Edward) With everything else being
so washed out, that green suddenly pops.
956
01:02:37,838 --> 01:02:41,968
- It's crazy.
- (Brad) I love the Noah Webster reference.
957
01:02:42,051 --> 01:02:44,220
Searing flesh.
958
01:02:47,139 --> 01:02:48,683
...searing of flesh.
959
01:02:49,475 --> 01:02:50,768
(Brad laughs)
960
01:02:58,359 --> 01:03:01,320
(David) You see in this next shot
of Edward and Helena,
961
01:03:01,404 --> 01:03:04,740
where his right hand
disappears into her crotch.
962
01:03:04,824 --> 01:03:07,118
(Edward) No, it's not!
963
01:03:07,201 --> 01:03:09,954
(Brad) Could be.
(David whispers) It isn't.
964
01:03:10,037 --> 01:03:12,915
(Brad) Don't ruin the myth, man. Let it run.
965
01:03:14,375 --> 01:03:17,044
(David) I love the goggles.
The idea of playing a scene...
966
01:03:17,128 --> 01:03:20,006
(Brad) Hey! Safety first, I always say.
967
01:03:20,089 --> 01:03:21,299
(David laughs)
968
01:03:26,387 --> 01:03:29,390
(Brad) We were talking about Joe Black
and that was a problem.
969
01:03:29,473 --> 01:03:34,103
Forlani and I, we fell into the same
rhythms and it made the thing drag.
970
01:03:34,186 --> 01:03:36,731
Here, we're both holding strong.
971
01:03:40,109 --> 01:03:42,903
(Edward) This is a scene
that in rough cut form...
972
01:03:42,987 --> 01:03:46,449
To convince my mother
that she didn't wanna see this movie...
973
01:03:46,532 --> 01:03:51,829
(Brad) I was particularly worried about this
scene and my parents viewing this scene.
974
01:03:51,912 --> 01:03:54,707
(David) I showed my mom this scene
and she went, "Hm."
975
01:03:54,790 --> 01:03:57,168
She looked like
she smelled something bad.
976
01:03:57,251 --> 01:03:59,837
She was, like,
"I won't go to the premiere of this."
977
01:03:59,920 --> 01:04:04,008
(Edward) This is one of my
father's favorite scenes.
978
01:04:04,091 --> 01:04:06,594
- Your father's...
- He's a ground-breaker.
979
01:04:06,677 --> 01:04:10,097
(Edward) Well, he's only 37.
(David) Well, there you go.
980
01:04:17,229 --> 01:04:20,608
(Brad) Hey. Give me credit
for that flip into the lamp.
981
01:04:20,691 --> 01:04:23,611
It's truly amazing.
Not many actors could pull that off.
982
01:04:23,694 --> 01:04:27,698
(Edward) That and the smoke ring
that comes out of your mouth at the end.
983
01:04:27,782 --> 01:04:32,078
(Brad) First smoke ring I've ever done.
(Edward) It's amazing.
984
01:04:34,163 --> 01:04:37,583
- I like this woman.
- (David) The woman in the background,
985
01:04:37,666 --> 01:04:40,044
we had to keep moving her in position
986
01:04:40,127 --> 01:04:42,338
cos she made the same pass
at the same speed
987
01:04:42,421 --> 01:04:47,510
and we always wanted to make sure that
she was in frame when the voice-over said:
988
01:04:47,593 --> 01:04:50,179
"We were selling rich women
their own fat asses back."
989
01:04:50,262 --> 01:04:54,058
So we'd continually move her mark back
so she would be right there.
990
01:04:54,141 --> 01:05:00,106
(Edward) I have an interesting perspective
on this scene. I'd like to hear Fincher's...
991
01:05:00,189 --> 01:05:03,359
When we did this,
this was the first week of shooting.
992
01:05:03,442 --> 01:05:06,654
(Brad) You reshot this one, didn't you?
(David) We did, yeah.
993
01:05:08,531 --> 01:05:10,074
We reshot and then threw out the reshoot.
994
01:05:10,157 --> 01:05:12,076
(Edward) Exactly. We did it,
995
01:05:12,159 --> 01:05:14,036
and it was Wednesday,
996
01:05:14,120 --> 01:05:18,958
cos we spent that Thursday and Friday
entirely shooting me beating myself up.
997
01:05:19,041 --> 01:05:23,087
And we shot this,
and we did it and we did it and we did it,
998
01:05:23,170 --> 01:05:28,050
and you kept telling me different things,
different notes, and I was getting lost.
999
01:05:28,134 --> 01:05:29,927
It was the first week.
1000
01:05:30,010 --> 01:05:33,973
I had this perception
that you were going, "Oh, fuck!"
1001
01:05:34,056 --> 01:05:37,101
"This is not going well," or something.
1002
01:05:37,184 --> 01:05:43,649
I felt it was the first week and everybody's
getting in the groove, you know,
1003
01:05:43,732 --> 01:05:45,860
and we kept doing this, and I thought:
1004
01:05:45,943 --> 01:05:50,781
"I feel like we have some good ones, ones
I'm happy with." But you seemed unhappy.
1005
01:05:50,865 --> 01:05:56,787
(David) What it was was there was a...
neutrality to it. It wasn't as threatening.
1006
01:05:56,871 --> 01:06:00,082
Cos I always wanted this to be
the Travis Bickle moment,
1007
01:06:00,166 --> 01:06:03,878
where the boss realizes
that this guy is truly fucked up.
1008
01:06:03,961 --> 01:06:08,466
(Edward) Which I think you do.
(David) But the thing that happened
1009
01:06:08,549 --> 01:06:10,634
after we did the reshoot,
1010
01:06:10,718 --> 01:06:14,597
which I like a lot better
cos it's really cold and really deadly,
1011
01:06:14,680 --> 01:06:17,308
was that Columbine happened.
1012
01:06:17,391 --> 01:06:19,602
So when we tested it with the reshoot in,
1013
01:06:19,685 --> 01:06:24,398
which was much more dangerous and evil,
1014
01:06:24,482 --> 01:06:27,026
all of a sudden, it was...
1015
01:06:27,109 --> 01:06:30,112
If we were trying to make people laugh
and get a laugh out of it,
1016
01:06:30,196 --> 01:06:32,198
which we were never able to do
1017
01:06:32,281 --> 01:06:36,243
because people didn't think
it was funny after that...
1018
01:06:36,327 --> 01:06:39,747
So we went back to the original one,
which was more neutral,
1019
01:06:39,830 --> 01:06:44,752
you make up your mind -
is he really deranged, or is he pretending?
1020
01:06:54,136 --> 01:06:58,182
(Helena) Obviously, you view Marla
in a completely differently way
1021
01:06:58,265 --> 01:07:04,480
once you see the rest of the film and know
exactly what their relationship actually is.
1022
01:07:05,606 --> 01:07:10,027
Seeing it the first time, you think
1023
01:07:10,110 --> 01:07:14,990
what a lost and two-timing character
she is, and not that sympathetic.
1024
01:07:15,074 --> 01:07:20,329
But now you realize that
he's the one who's acting strange.
1025
01:07:22,581 --> 01:07:28,254
This can be seen as a sort of ploy
to lure Edward's character,
1026
01:07:28,337 --> 01:07:30,381
but it stems from a genuine...
1027
01:07:30,464 --> 01:07:36,971
Fincher and I agreed that it stemmed
from a genuine fear that she had a lump.
1028
01:07:40,891 --> 01:07:43,561
(Brad) I got in
an argument with a journalist.
1029
01:07:43,644 --> 01:07:45,896
I was trying to tell him this is a comedy.
1030
01:07:45,980 --> 01:07:49,233
I got nowhere with him.
1031
01:07:49,316 --> 01:07:52,945
- (Edward) It's a dark comedy.
- It's a pitch-black comedy.
1032
01:07:53,028 --> 01:07:55,739
(Edward) I referenced these various movies,
1033
01:07:55,823 --> 01:08:00,578
but why is this any darker as a comedy
than Strangelove, which is about...
1034
01:08:00,661 --> 01:08:05,416
(Brad) The end of the world?
(Edward) The nuclear bombing of the world.
1035
01:08:05,499 --> 01:08:10,629
How could you rate this movie
more violent than... Where do you begin?
1036
01:08:10,713 --> 01:08:14,800
- (Brad) Doing the splits above the bullet.
- We were talking about The Matrix.
1037
01:08:14,883 --> 01:08:19,597
(Brad) He does the splits to dodge a bullet.
1038
01:08:19,680 --> 01:08:22,349
(Edward) Did you see End of Days?
1039
01:08:22,433 --> 01:08:25,561
The gratuitous
completely-for-entertainment
1040
01:08:25,644 --> 01:08:26,645
carnage in End of Days.
1041
01:08:26,729 --> 01:08:28,480
Or even The Matrix,
1042
01:08:28,564 --> 01:08:35,112
a stylish, techno experience in which the
violence is literally video game violence.
1043
01:08:35,195 --> 01:08:41,744
It is violence as aesthetic, violence
as pure consequenceless entertainment.
1044
01:08:41,827 --> 01:08:45,789
(Brad) But also, you saw things
in that film you'd never seen before.
1045
01:08:45,873 --> 01:08:47,791
I'm not ragging on it.
1046
01:08:47,875 --> 01:08:51,837
(Edward) I'm saying even within the context
of the films that came out this year,
1047
01:08:51,920 --> 01:08:56,925
it surprises me that people
picked on this one as violent per se.
1048
01:08:57,009 --> 01:08:59,803
(Brad) I think the title Fight Club
didn't help us any.
1049
01:08:59,887 --> 01:09:03,140
(David) It should have been Glee Club,
you were right.
1050
01:09:03,223 --> 01:09:06,977
(Edward) I mean, comparably Raging Bull...
1051
01:09:07,061 --> 01:09:13,317
Comparably, Raging Bull
has as many explicit shots
1052
01:09:13,400 --> 01:09:16,028
of faces beaten up by fists.
1053
01:09:16,111 --> 01:09:18,447
(Brad) One of the greatest
movies ever made.
1054
01:09:18,530 --> 01:09:24,995
(David) But that helped, that it was
one of the greatest movies ever made.
1055
01:09:25,079 --> 01:09:28,415
(Brad) If you ask me,
I'd say the same about this.
1056
01:09:28,499 --> 01:09:34,338
(Edward) Braveheart has incredible
gore in it. Way more than this.
1057
01:09:34,630 --> 01:09:38,217
(Brad) But they ripped out his entrails
at the end, so it was OK.
1058
01:09:38,300 --> 01:09:40,761
(Edward) Just once,
we should have had Brad go:
1059
01:09:40,844 --> 01:09:44,848
(Scottish accent) "You came to fight
as free men, and free men you are."
1060
01:09:44,932 --> 01:09:48,227
(Brad) I loved that movie too.
(Edward) I did too.
1061
01:09:48,560 --> 01:09:49,520
I'm not picking on any movie,
1062
01:09:49,603 --> 01:09:52,648
I'm comparing
and contrasting other good films
1063
01:09:52,731 --> 01:09:57,569
that had much much more violence
that nobody even raised a peep over.
1064
01:09:57,653 --> 01:10:02,157
(Brad) I don't think that's any of it.
The film attacks a way of life.
1065
01:10:02,241 --> 01:10:07,621
It attacks the status quo
that men have given 40 years to,
1066
01:10:07,705 --> 01:10:11,542
and they can't roll over now.
People can't roll over now.
1067
01:10:11,625 --> 01:10:15,379
(David) But it's also,
film is fashion, let's face facts.
1068
01:10:15,462 --> 01:10:18,298
The fact is that it depends on
the time of year your movie comes out,
1069
01:10:18,382 --> 01:10:20,384
it depends on...
1070
01:10:20,467 --> 01:10:23,595
- The climate...
- (David) Where mass consciousness is.
1071
01:10:23,679 --> 01:10:28,308
(Edward) I think Brad's right.
It's also the fact that it was,
1072
01:10:28,392 --> 01:10:30,394
without showing any violence,
1073
01:10:30,477 --> 01:10:35,190
just saying certain things that have
the kind of cultural violence...
1074
01:10:35,274 --> 01:10:39,069
(David) Yeah. It's an assault.
1075
01:10:39,153 --> 01:10:43,782
(Helena) This is the central manifesto
of Tyler's vision.
1076
01:10:43,866 --> 01:10:47,411
And it describes a generation,
which is not just male,
1077
01:10:47,494 --> 01:10:54,418
that has an utter lack of direction
and has no sense of proper purpose.
1078
01:10:54,501 --> 01:10:59,256
But this applies to the women
of this generation as well as to the men.
1079
01:10:59,339 --> 01:11:05,095
Although I would say that
the solution that they find in fighting
1080
01:11:05,179 --> 01:11:08,223
is obviously more of a male one
than a female one.
1081
01:11:08,307 --> 01:11:11,059
But that's just to say that the fighting
1082
01:11:11,143 --> 01:11:17,941
is just a symptom of a much greater,
underlying malaise in our society
1083
01:11:18,025 --> 01:11:21,111
that the film is showing up.
1084
01:11:28,911 --> 01:11:32,956
(David) What was your first connection
to this? When you read the book?
1085
01:11:33,040 --> 01:11:36,126
(Edward) You sent me the book
and the script. I read the book first.
1086
01:11:36,210 --> 01:11:38,545
(David) You read the book? Yeah.
1087
01:11:38,629 --> 01:11:41,465
(Edward) Maybe not the script,
but I read the book.
1088
01:11:41,548 --> 01:11:45,677
I think the first time I talked to you
was after I read it.
1089
01:11:45,761 --> 01:11:48,013
We were talking
and I could feel you going,
1090
01:11:48,096 --> 01:11:50,265
"Did you think it was funny too?"
1091
01:11:50,349 --> 01:11:54,186
I went, "Yeah, definitely."
And you went, "OK. Good."
1092
01:11:54,269 --> 01:11:59,650
It's almost like, "Gotta make sure
I've got collaborators in my perversity."
1093
01:11:59,733 --> 01:12:03,612
(David) Exactly.
(Edward) "As long as you think it's funny."
1094
01:12:03,695 --> 01:12:06,156
"Funny in a sick way,
but as long as you think it's funny."
1095
01:12:06,240 --> 01:12:10,661
(Brad) Edward and I met up in New York.
(Edward) That's right.
1096
01:12:10,744 --> 01:12:13,664
(Brad) To see if we were
shooting for the same thing.
1097
01:12:13,747 --> 01:12:16,500
(Edward) Again, the first time
we talked about it,
1098
01:12:16,583 --> 01:12:21,922
we were mainly talking over the things
that made us laugh. You know?
1099
01:12:25,467 --> 01:12:29,471
(Brad) Nice punch.
(David) On that punch, cos the reaction...
1100
01:12:29,555 --> 01:12:32,140
That was actually a visual effects shot.
1101
01:12:32,224 --> 01:12:35,519
When Edward reacts
when you get punched in the wide shot,
1102
01:12:35,602 --> 01:12:41,483
we actually split-screened Edward out
and put in his reaction from another take
1103
01:12:41,567 --> 01:12:46,196
because in that one
he didn't react to the punch.
1104
01:12:46,280 --> 01:12:48,782
So we split him out and put him back in.
1105
01:12:48,866 --> 01:12:55,414
It was digital technology,
used for completely ridiculous purposes.
1106
01:12:55,497 --> 01:12:57,541
- (Brad) I hate this music cue.
- Really?
1107
01:12:57,624 --> 01:13:01,044
(Brad) Yeah. Cos I love
the smacking sounds
1108
01:13:01,128 --> 01:13:04,715
when it's the tie shot
and he's drilling him in the face.
1109
01:13:04,798 --> 01:13:07,092
- It's so brutal.
- (Edward) You still get 'em.
1110
01:13:07,175 --> 01:13:10,470
(Brad) But to me,
I feel like it gets muddled here.
1111
01:13:10,554 --> 01:13:14,558
(Edward) There's no music.
(Brad) Yeah, it picks up here.
1112
01:13:14,641 --> 01:13:17,811
Then really takes off.
Like we're supposed to take notice now,
1113
01:13:17,895 --> 01:13:20,981
and I don't want 'em emphasizing it,
making more out of,
1114
01:13:21,064 --> 01:13:23,984
"You'll pick a fight and lose."
1115
01:13:28,488 --> 01:13:29,489
(Edward) God!
1116
01:13:29,573 --> 01:13:35,078
(Brad) The shots are great. That was
a stunt guy and I could feel the breeze.
1117
01:13:35,162 --> 01:13:38,749
- (Edward) Lou was a stunt guy?
- No, the guy who's off-camera.
1118
01:13:38,832 --> 01:13:40,667
(Brad) On the close-ups, it was a stunt guy.
1119
01:13:40,751 --> 01:13:43,587
He would drill right into my face
and pull 'em.
1120
01:13:43,670 --> 01:13:49,843
(Edward) I love... Brad, the laugh in
this scene is one of my favorite things.
1121
01:13:49,927 --> 01:13:52,638
I think the laugh is so funny.
1122
01:13:52,721 --> 01:13:56,433
(Brad) We get ourselves in trouble
with the guy in the back holding us up,
1123
01:13:56,516 --> 01:13:59,019
cos he'd be pounding us too.
1124
01:13:59,102 --> 01:14:01,396
(Edward) No, he's trying to pull you off.
1125
01:14:01,480 --> 01:14:08,445
(David) You gotta get the guy off the boss
who's barfing blood into the boss's mouth.
1126
01:14:08,528 --> 01:14:09,863
(Brad) He capitulates early.
1127
01:14:09,947 --> 01:14:13,492
I thought that's why we cut,
cos he couldn't hold him so long.
1128
01:14:13,575 --> 01:14:17,454
(Edward) You wanted to cut this?
(Brad) It was trimmed a little.
1129
01:14:17,537 --> 01:14:21,333
There was more that we got out of him,
like light bulbs and towels,
1130
01:14:21,416 --> 01:14:26,421
but we always had that question behind us
of the thug with the gun, so...
1131
01:14:26,505 --> 01:14:29,841
I just thought Lou capitulated
a little early.
1132
01:14:29,925 --> 01:14:33,470
(David) He actually does,
he capitulates pretty quickly.
1133
01:14:33,553 --> 01:14:37,975
- Pretty much from the time you dribble...
- (Brad) Blood down his throat.
1134
01:14:38,058 --> 01:14:41,144
I gotta say, he was brave
cos that shit went in his mouth.
1135
01:14:41,228 --> 01:14:45,649
(David) He was amazing.
The snottiest, most viscous fluids
1136
01:14:45,732 --> 01:14:48,485
came out of Brad's
mouth and nose and ears
1137
01:14:48,568 --> 01:14:52,614
and splattered onto his teeth.
1138
01:14:52,698 --> 01:14:55,951
And we'd shot, like, 18 takes.
1139
01:14:56,034 --> 01:14:57,703
(Brad) It was nasty.
1140
01:15:01,039 --> 01:15:05,335
(Edward) Stuart Blumberg, salesman.
(Brad) I love this. The timing Holt has is...
1141
01:15:05,419 --> 01:15:08,505
With the spray...
When we get to the...
1142
01:15:08,588 --> 01:15:11,591
(David) That's actually an untimed cross.
1143
01:15:11,675 --> 01:15:15,637
- (Edward) Watch the shoe. I love the shoe.
- He learned how to do that.
1144
01:15:15,721 --> 01:15:19,182
(Brad) Both these are Edward's friends.
(Edward) Matt Winston.
1145
01:15:19,266 --> 01:15:21,893
(Brad) Right here, the timing
on the second spray.
1146
01:15:21,977 --> 01:15:24,855
"Hey, man! That's fairly..."
1147
01:15:24,938 --> 01:15:26,398
(David) The camera
starts to bounce
1148
01:15:26,481 --> 01:15:30,318
because the camera
operator started laughing.
1149
01:15:32,237 --> 01:15:34,531
(Edward) Once he went, "That's the Bible!"
1150
01:15:34,614 --> 01:15:38,744
(David) That's exactly the take,
we just cut the dialog out.
1151
01:15:38,827 --> 01:15:41,872
(Brad) This is Dusties as well?
1152
01:15:41,955 --> 01:15:47,377
(David) They found this music from...
(Brad) Fiddler On The Roof?
1153
01:15:47,794 --> 01:15:49,713
A Jewish folk record by these sisters.
1154
01:15:49,796 --> 01:15:53,800
It was, like, the Jewish folk music version
of the Andrews Sisters.
1155
01:15:53,884 --> 01:15:55,427
We couldn't get the rights to it.
1156
01:15:55,510 --> 01:15:59,306
No one could find who had the estate,
cos they'd been dead for years.
1157
01:15:59,389 --> 01:16:02,142
So we had the Dust Brothers rerecord it.
1158
01:16:02,225 --> 01:16:06,772
That's their voices.
They're all male voices.
1159
01:16:06,855 --> 01:16:10,233
(Brad) It doesn't get much better
than this scene.
1160
01:16:10,317 --> 01:16:12,819
There's always been voice-over
up until then,
1161
01:16:12,903 --> 01:16:16,156
until,
"I am Jack's complete lack of surprise."
1162
01:16:16,239 --> 01:16:20,410
(Edward) This was a major change,
cos this scene used to be later in the film.
1163
01:16:20,494 --> 01:16:23,872
(David) We moved this.
(Edward) You moved this forward.
1164
01:16:23,955 --> 01:16:25,373
(Brad) No, it used to be earlier.
1165
01:16:25,457 --> 01:16:32,089
(Edward) No, later! We had this debate...
Brad and I were... Because after this...
1166
01:16:32,172 --> 01:16:35,342
- It used to be...
- (David) No, this came earlier.
1167
01:16:35,425 --> 01:16:38,720
(Brad) It came before Lou's.
(David) Lou's came after this.
1168
01:16:38,804 --> 01:16:42,432
(Edward) What?!
(David) This used to come before Lou's.
1169
01:16:42,516 --> 01:16:46,728
Then you come home and say,
"I quit my job."
1170
01:16:46,812 --> 01:16:48,396
He goes, "We gotta take it up a notch."
1171
01:16:48,480 --> 01:16:51,358
(Edward) But I thought the notch
that it went up was to Project Mayhem,
1172
01:16:51,441 --> 01:16:53,276
not to Lou.
1173
01:16:53,360 --> 01:16:56,071
(Brad) No, it led into Lou's.
1174
01:16:56,154 --> 01:17:00,951
(David) And then he lets Lou beat him.
And then at the end of it, he goes...
1175
01:17:01,034 --> 01:17:08,041
So when we moved this to make it seem
like it's one of the homework assignments,
1176
01:17:08,125 --> 01:17:11,878
you had this dramatic tension coming
into it when he says, "We have to talk."
1177
01:17:11,962 --> 01:17:15,215
You're there going,
"Will he pick a fight with this guy?"
1178
01:17:15,298 --> 01:17:21,138
(Edward) I was mistaken on the order.
(Brad) This is one of your finest hours.
1179
01:17:21,221 --> 01:17:24,808
(David) Jerry Lewis is not dead.
(Brad) Yeah!
1180
01:17:24,891 --> 01:17:28,228
(Edward) I did go through those tables
and bookshelves myself.
1181
01:17:28,311 --> 01:17:29,855
(Brad) Like a champ.
1182
01:17:29,938 --> 01:17:32,232
(Edward) There is
a Jerry Lewis quality to it.
1183
01:17:34,359 --> 01:17:37,612
Or, as we were commenting earlier,
Harold Lloyd a little bit.
1184
01:17:37,696 --> 01:17:42,742
This part makes me think Harold Lloyd,
the arm yanking him up.
1185
01:17:42,826 --> 01:17:45,537
Cos it really looks like there's a string.
1186
01:17:45,620 --> 01:17:49,833
That. That's the very Jerry Lewis moment.
1187
01:17:49,916 --> 01:17:53,336
(David) I love Jack's face.
(Brad) I love looking back.
1188
01:17:53,420 --> 01:17:57,340
(Edward) Here's a clue. Why does it
remind him of his first fight with Tyler?
1189
01:17:57,424 --> 01:18:02,179
Because he was beating himself up.
1190
01:18:02,262 --> 01:18:07,184
My arms stayed up, so you had to cut
to get them to drop. I see that.
1191
01:18:07,267 --> 01:18:12,272
Yeah, those hits are really good.
1192
01:18:12,355 --> 01:18:15,233
The first time you watch a movie,
or at least the first time I watch a movie...
1193
01:18:15,317 --> 01:18:17,444
The glass on the hand is great.
1194
01:18:17,527 --> 01:18:19,952
I just took a little
off the floor and stuck
1195
01:18:19,977 --> 01:18:22,348
it to the fake blood
on the edge of my hand.
1196
01:18:22,407 --> 01:18:24,868
It gets such a scream
every time it appears.
1197
01:18:24,951 --> 01:18:26,828
(Brad) Nice squirt on the fall.
1198
01:18:26,912 --> 01:18:29,039
Really good squirt, my friend.
1199
01:18:29,122 --> 01:18:32,876
(Edward) The point is,
the first time I watched this...
1200
01:18:32,959 --> 01:18:36,213
The first time ever I watch a movie,
1201
01:18:36,296 --> 01:18:39,758
you are always analyzing it
within the context of the changes
1202
01:18:39,841 --> 01:18:42,510
that have been made
from how you remember it.
1203
01:18:42,594 --> 01:18:45,055
It's not, for me,
until the second time I see something
1204
01:18:45,138 --> 01:18:47,682
that I can watch it on its own logic.
1205
01:18:47,766 --> 01:18:51,561
When we saw it in Venice,
that time with the crowd,
1206
01:18:51,645 --> 01:18:53,521
it was the first time it clicked for me
1207
01:18:53,605 --> 01:18:56,775
on how well it worked
to move that scene there
1208
01:18:56,858 --> 01:18:59,527
because the audience laughed,
1209
01:18:59,611 --> 01:19:02,572
because once it's set up in the context of
"pick a fight"...
1210
01:19:02,656 --> 01:19:05,283
(David) There's the tension.
(Edward) Yeah.
1211
01:19:05,367 --> 01:19:09,913
I walk in the door and everybody thinks
he'll pick a fight with the boss.
1212
01:19:09,996 --> 01:19:12,666
It got a huge laugh.
It was such a great move.
1213
01:19:12,749 --> 01:19:16,336
There's these two guys fighting.
1214
01:19:16,419 --> 01:19:19,631
That's the Cadillac salesman
and the seminarian.
1215
01:19:45,115 --> 01:19:47,117
(Edward) I was just thinking,
1216
01:19:47,200 --> 01:19:53,915
this is one of the only movies I've been in
that I like watching.
1217
01:19:53,999 --> 01:19:57,961
There's so much in it, you just forget.
1218
01:19:58,044 --> 01:20:01,298
You forget all the little things
that were in it.
1219
01:20:01,381 --> 01:20:05,427
And, uh... it's so visually interesting.
1220
01:20:07,429 --> 01:20:10,807
There's so much funny stuff going on in it.
1221
01:20:34,914 --> 01:20:36,833
The first car we slammed was
a Range Rover,
1222
01:20:36,916 --> 01:20:39,919
and the second was a BMW,
then at the end,
1223
01:20:40,003 --> 01:20:44,007
it's a new Volkswagen Bug.
1224
01:20:44,090 --> 01:20:46,051
(Brad) I'll let Edward talk about that.
1225
01:20:46,134 --> 01:20:51,473
(Edward) I saw it in a crowd in LA,
where that actually got a laugh.
1226
01:20:51,556 --> 01:20:55,352
Because the idea was that
they're going along and they're whacking
1227
01:20:55,435 --> 01:20:59,189
every conspicuous-consumption
luxury car -
1228
01:20:59,272 --> 01:21:01,358
Range Rovers and BMWs,
things like that -
1229
01:21:01,441 --> 01:21:05,320
and skipping the Hyundais and Chevys
and things like that.
1230
01:21:05,403 --> 01:21:07,364
Then we were gonna have -
I can't remember what
1231
01:21:07,447 --> 01:21:09,324
- and Brad and I were talking,
1232
01:21:09,407 --> 01:21:14,204
and I said, "I hate those new
Volkswagen Bugs." He said, "Me too."
1233
01:21:14,287 --> 01:21:16,664
So we said, "Let's put a Bug in,"
1234
01:21:16,748 --> 01:21:20,377
and we asked Fincher if we could
throw that in at the end.
1235
01:21:20,460 --> 01:21:26,383
Our spin on it, vis-à-vis
all this other generational war stuff,
1236
01:21:26,466 --> 01:21:29,177
is that if the VW Bug was the ultimate
symbol of youth culture in the '60s -
1237
01:21:31,137 --> 01:21:34,849
or the democratic car,
the car for everybody -
1238
01:21:34,933 --> 01:21:38,228
now that generation
has sold out all those values
1239
01:21:38,311 --> 01:21:41,189
and all become advertising executives
1240
01:21:41,272 --> 01:21:45,944
and repackaged the symbol of their own
youth movement and are reselling it to us,
1241
01:21:46,027 --> 01:21:51,658
Brad and I felt the Volkswagen Bug
was the perfect example of our generation
1242
01:21:51,741 --> 01:21:55,954
having '60s youth culture marketed to us
as something we should aspire to.
1243
01:21:56,037 --> 01:22:01,543
Instead of our own car, we have to...
It's like repackaging Bob Dylan.
1244
01:22:01,626 --> 01:22:04,587
It's from the generation
that cannot understand Nirvana
1245
01:22:04,671 --> 01:22:10,260
and doesn't understand why we don't
listen to all the good music of the '60s.
1246
01:22:10,343 --> 01:22:13,972
So we figured we'd throw the Bug in
just to whack on it.
1247
01:22:14,055 --> 01:22:16,182
(Brad) I've reversed my stance
on the VW Bug.
1248
01:22:16,266 --> 01:22:21,646
- (David) You like it now?
- It's a great reworking of a classic design.
1249
01:22:21,729 --> 01:22:24,941
(Edward) Nah. It's more
the principle behind the thing.
1250
01:22:25,024 --> 01:22:28,361
(David) It's the whole "flower power" thing.
1251
01:22:28,445 --> 01:22:33,366
(Edward) It's the flower vase
molded into the dashboard now.
1252
01:22:33,450 --> 01:22:37,120
It's the baby-boomers
selling us their youth culture...
1253
01:22:37,203 --> 01:22:40,290
(Brad) I say it's completely reinvented
and it's fun.
1254
01:22:40,373 --> 01:22:44,794
(Edward) OK, OK. I'm not cynical.
It's a nice car.
1255
01:22:44,878 --> 01:22:48,465
(Brad) You'll notice in the background here
product placement.
1256
01:22:48,548 --> 01:22:50,758
(Edward) No, no!
(Brad) Wait, shh.
1257
01:22:50,842 --> 01:22:52,510
Whenever there is product placement,
1258
01:22:52,594 --> 01:22:57,682
there is also always guns, violence,
somebody crying.
1259
01:22:57,765 --> 01:22:59,476
(David) This is our Pepsi product placement.
1260
01:22:59,559 --> 01:23:03,480
Pepsi gave us these vending machines
that we put everywhere.
1261
01:23:03,563 --> 01:23:06,858
There's always a Pepsi machine
cos we wanted to have that
1262
01:23:06,941 --> 01:23:12,739
ubiquitous logo-fest happening
in the background always.
1263
01:23:12,822 --> 01:23:16,910
(Brad) But it's only in scenes of violence.
(David) Horrible scenes of violence.
1264
01:23:16,993 --> 01:23:19,162
(Brad) And I think that's appropriate.
1265
01:23:25,168 --> 01:23:29,130
(Edward) I went to the Cinerama Dome
on the opening Friday night.
1266
01:23:29,214 --> 01:23:33,301
(David) What was that like?
(Edward) Stood in the back. It was a riot.
1267
01:23:33,384 --> 01:23:35,678
It was a great crowd to see it in.
1268
01:23:35,762 --> 01:23:38,139
Run, Forrest, run!
1269
01:23:38,223 --> 01:23:41,267
- Did you make up "Run, Forrest, run"?
- (Brad) That was you.
1270
01:23:41,351 --> 01:23:44,229
(Edward) I don't remember.
(David) It was you.
1271
01:23:44,312 --> 01:23:47,482
(Edward) I think that was you.
1272
01:23:47,565 --> 01:23:50,360
I think you just did it.
1273
01:23:50,443 --> 01:23:52,612
(Brad) No, that was your reference.
1274
01:23:54,614 --> 01:23:57,200
(Edward) I was at a concert
after the movie opened.
1275
01:23:57,283 --> 01:24:04,165
There, and in other places, I've had people
walk up and doing the Fight Clubber wink.
1276
01:24:04,249 --> 01:24:06,834
Walk up and go, "Excellent movie, sir."
1277
01:24:06,918 --> 01:24:08,545
(laughter)
1278
01:24:20,098 --> 01:24:26,729
(David) I thought this scene -the push-in on
Tyler as he's coming up with his doctrine -
1279
01:24:26,813 --> 01:24:30,066
should have been the trailer.
1280
01:24:30,149 --> 01:24:33,403
The guy with his crotch in flames, saying:
1281
01:24:33,486 --> 01:24:36,197
"You're not your job.
You're not how much..."
1282
01:24:36,281 --> 01:24:39,367
(Edward) Is this done CGI, essentially?
1283
01:24:39,450 --> 01:24:42,328
(David) Yeah, Connie just
wiggled the camera.
1284
01:24:42,412 --> 01:24:47,083
(Edward) The camera was being shaken.
(David) Then we comped the perfs in.
1285
01:24:47,166 --> 01:24:49,586
- (Edward) So that's CGI, the perfs?
- Yeah.
1286
01:24:49,669 --> 01:24:54,757
Just so it looks like
the film's coming out of the gate.
1287
01:24:54,841 --> 01:24:58,886
(Edward) I do remember Connie...
(Brad) "You're not your fuckin' khakis."
1288
01:24:58,970 --> 01:25:01,097
(Edward) Conrad Hall, Jr.
1289
01:25:01,180 --> 01:25:04,642
(David) That was our Gap reference.
1290
01:25:04,726 --> 01:25:09,606
(Brad) Lashing out at the Gap.
But now they're on leather, so...
1291
01:25:09,689 --> 01:25:11,858
(David) Are they?
(Brad) Yeah.
1292
01:25:15,194 --> 01:25:18,990
(Helena) This is an important scene
in their relationship.
1293
01:25:19,073 --> 01:25:21,909
This is where they're trying to have...
1294
01:25:21,993 --> 01:25:25,788
It's the first time he actually begins
a conversation or attempts some contact.
1295
01:25:25,872 --> 01:25:27,290
But it's at cross-purposes
1296
01:25:27,373 --> 01:25:30,793
because he thinks that
she's having a relationship with Tyler,
1297
01:25:30,877 --> 01:25:32,337
his best friend,
1298
01:25:32,420 --> 01:25:36,966
and as we find out later, Marla
is only having a relationship with him
1299
01:25:37,050 --> 01:25:39,260
and doesn't know that Tyler exists.
1300
01:25:39,344 --> 01:25:41,929
So the person
she was sleeping with upstairs
1301
01:25:42,013 --> 01:25:45,350
was the same person as Norton
in the kitchen.
1302
01:25:45,433 --> 01:25:49,103
She's got into the habit,
realizes that in bed, he's fine with her.
1303
01:25:49,187 --> 01:25:56,194
As soon as she gets to the kitchen,
he behaves very oddly and wants her out.
1304
01:25:56,277 --> 01:25:58,196
(Edward) This was the scene where...
1305
01:25:58,279 --> 01:26:03,743
You know how we always talked about
people coming up and saying:
1306
01:26:03,826 --> 01:26:06,037
"I knew what was going on,"
and you would say:
1307
01:26:06,120 --> 01:26:11,084
"Bullshit, cos it's not a mystery,
there's nothing to have clued you into it"?
1308
01:26:11,167 --> 01:26:17,507
This is the first scene, I think,
where conceivably... maybe...
1309
01:26:17,590 --> 01:26:21,844
an honest person could say,
"Something weird is going on here."
1310
01:26:21,928 --> 01:26:26,099
(David) Yeah. The shoe is starting to drop.
1311
01:26:26,182 --> 01:26:31,229
(Helena) These are two people talking
at cross-purposes. That is to say...
1312
01:26:31,312 --> 01:26:33,606
If you see the whole film then review it,
1313
01:26:33,690 --> 01:26:38,319
you'll work out that
Marla is talking to her lover.
1314
01:26:38,403 --> 01:26:42,699
ie, when he refers to "us",
she has no idea who he's talking about,
1315
01:26:42,782 --> 01:26:47,203
because to her, the only person that exists
is Edward Norton's character.
1316
01:26:47,286 --> 01:26:52,875
Whereas, at this point, Edward Norton's
character, as well as the film viewers,
1317
01:26:52,959 --> 01:26:56,295
think that Tyler exists.
1318
01:26:56,379 --> 01:26:59,507
(Brad) A complicated scene.
1319
01:26:59,590 --> 01:27:04,095
It's so misleading at first viewing,
so obvious at the second viewing.
1320
01:27:04,178 --> 01:27:08,850
(Helena) This is a perfectly reasonable
question to ask your boyfriend,
1321
01:27:08,933 --> 01:27:11,853
and he's outraged. (laughs)
1322
01:27:33,458 --> 01:27:38,337
(Brad) I love how the character,
the narrator, never has time to keep up.
1323
01:27:40,089 --> 01:27:42,675
We're always a step ahead of him.
1324
01:27:56,981 --> 01:27:57,940
(David) I read a thing -
1325
01:27:58,024 --> 01:28:01,944
I don't remember who it was,
it may have been Amy Taubin -
1326
01:28:02,028 --> 01:28:06,574
but they said they would have included
Fight Club on their list of best movies
1327
01:28:06,657 --> 01:28:09,285
if only the filmmaker's cardinal sin
1328
01:28:09,368 --> 01:28:12,121
- hadn't been...
- (Edward) Violated?
1329
01:28:12,205 --> 01:28:16,918
(David) Yeah. Which is, you can't have
two actors playing the same character.
1330
01:28:17,001 --> 01:28:19,462
- (Brad) What book is that from?
- I don't know!
1331
01:28:19,545 --> 01:28:20,880
I read this and thought,
1332
01:28:20,963 --> 01:28:23,966
"OK, well,
that's the conceit for the movie."
1333
01:28:24,050 --> 01:28:28,596
(Edward) Peter Sellers can play three
characters, but two actors can't play one.
1334
01:28:28,679 --> 01:28:34,185
(David) Yeah. It was amazing to read.
I thought that seems a little...
1335
01:28:34,268 --> 01:28:38,356
(Edward) I'm not sure I think that's true
anyway. I bet that's been in other films.
1336
01:28:38,439 --> 01:28:41,651
For instance, Steve Martin
and Lily Tomlin in All of Me.
1337
01:28:41,734 --> 01:28:42,902
Yeah!
1338
01:28:42,985 --> 01:28:45,571
(David) Good point.
(Edward) How about that?
1339
01:28:45,655 --> 01:28:47,990
- (Brad) But they weren't on the list.
- Exactly.
1340
01:28:48,074 --> 01:28:51,369
(David) They wouldn't have made
Amy Taubin's ten best list.
1341
01:29:02,088 --> 01:29:07,093
(Brad) I like this. Coming out like MacArthur
or something, some demented MacArthur.
1342
01:29:17,061 --> 01:29:20,314
(Edward) When we were shooting
down in San Pedro, we had those...
1343
01:29:20,398 --> 01:29:23,860
There's these great new lighting systems.
1344
01:29:23,943 --> 01:29:27,697
What are they called?
The floating balloons?
1345
01:29:27,780 --> 01:29:31,784
There's these helium balloons now
with light sources on the inside of them
1346
01:29:31,868 --> 01:29:34,412
that you can float up
and tow them on a string
1347
01:29:34,495 --> 01:29:37,081
and put them almost anywhere you want.
1348
01:29:37,164 --> 01:29:42,044
(Brad) I want one in my yard.
(Edward) They'd be great for a party.
1349
01:29:42,128 --> 01:29:45,673
Cos Chinese lanterns are such a cliché.
1350
01:29:45,756 --> 01:29:48,718
Don't you remember the cops came by
1351
01:29:48,801 --> 01:29:51,888
because the San Pedro Police Department
got reports of UFOs?
1352
01:29:51,971 --> 01:29:55,057
(David) No! I didn't know that.
(Edward) Yeah.
1353
01:29:55,141 --> 01:29:56,142
We had two.
1354
01:29:56,225 --> 01:30:01,230
We had a bigger one, and a smaller one
floating up higher over the house.
1355
01:30:01,314 --> 01:30:02,523
A couple of people called in.
1356
01:30:02,607 --> 01:30:04,775
My driver told me that...
1357
01:30:04,859 --> 01:30:10,406
Teamster guys told me that the San Pedro
police guys who were cruising by...
1358
01:30:10,489 --> 01:30:14,827
(Brad) See that smack? This scene,
I was first clued into Fincher's sadism.
1359
01:30:14,911 --> 01:30:18,831
He said, "Harder.
I want you to really smack him."
1360
01:30:18,915 --> 01:30:22,376
- It is Eion, so...
- (Edward) "I don't wanna Foley a slap."
1361
01:30:22,460 --> 01:30:25,546
(David) Exactly. If we get one really
good one, then we can use it for that.
1362
01:30:33,137 --> 01:30:35,264
(Brad) We'd been shooting all night
1363
01:30:35,348 --> 01:30:38,517
and the sun came up
and we had to get this last shot,
1364
01:30:38,601 --> 01:30:43,522
and wanted to have that
Chinese propaganda rhetoric feel
1365
01:30:43,606 --> 01:30:44,774
when they're driving around in the Jeeps
1366
01:30:44,857 --> 01:30:49,111
and it's being blasted
over the loudspeakers.
1367
01:30:49,195 --> 01:30:52,531
We had a scene with extras,
so you were on the megaphone all night.
1368
01:30:52,615 --> 01:30:56,535
- So we borrowed the megaphones...
- (Edward) Like a re-education camp.
1369
01:30:56,619 --> 01:30:58,537
Here's a really subtle clue.
1370
01:30:58,621 --> 01:31:02,416
See, I'm carrying one of the green folders.
And a camera.
1371
01:31:02,500 --> 01:31:05,878
We threw this in just at the last minute.
1372
01:31:05,962 --> 01:31:09,840
I'm carrying one of the folders that later
are the files of the buildings we blow up,
1373
01:31:09,924 --> 01:31:14,804
cos, of course, I've really been on this
demolition expedition with these guys.
1374
01:31:14,887 --> 01:31:19,809
But I'm coming in from having scouted
the building. See, there's the green folder.
1375
01:31:26,857 --> 01:31:32,989
There's a lot of little things I like. Watch
Jared Leto's reaction to me. It's totally...
1376
01:31:33,072 --> 01:31:37,535
It's a good reaction to Tyler.
He's, like, "Oh, let me get those."
1377
01:31:37,618 --> 01:31:40,955
"Let me get those, sir," you know?
1378
01:31:41,038 --> 01:31:44,500
(Brad) The narrator's got
a whole other thing going on.
1379
01:31:44,583 --> 01:31:48,129
(David) He's the guy
who's been left out of Animal House.
1380
01:31:48,212 --> 01:31:50,297
(Edward) Stuart will
kill me if I don't say this.
1381
01:31:50,381 --> 01:31:52,842
But when he says,
"What did you guys do?"
1382
01:31:52,925 --> 01:31:56,220
they think he's testing them.
1383
01:31:56,303 --> 01:31:58,681
- See how Stu almost laughs there?
- Why?
1384
01:31:58,764 --> 01:32:05,021
(David) Cos he was so excited that he did
the no-look catch, he almost broke out.
1385
01:32:05,104 --> 01:32:07,314
I've known him such a long time.
1386
01:32:07,398 --> 01:32:09,692
Remember he kept missing
then finally he caught one,
1387
01:32:09,775 --> 01:32:10,860
but when he caught it, he was so excited
1388
01:32:10,943 --> 01:32:14,321
he started to smile
so he had to bite it back?
1389
01:32:28,169 --> 01:32:30,796
(Edward) The smiley face is CGI?
(David) Yep.
1390
01:32:30,880 --> 01:32:37,470
They wouldn't let us paint the outside
of this building, so we had to track this...
1391
01:32:37,553 --> 01:32:40,097
- artwork onto the...
- (Edward) But the shot's moving.
1392
01:32:40,181 --> 01:32:42,558
- Yeah.
- (Edward) That's tough.
1393
01:32:42,641 --> 01:32:45,352
(David) No expense was spared.
1394
01:32:45,436 --> 01:32:49,648
(Edward) You must have had
an open account with these guys.
1395
01:32:49,732 --> 01:32:52,735
- They charged you for every little thing?
- (David) Yeah.
1396
01:32:52,818 --> 01:32:57,323
(Edward) I can't believe that.
(David) It was brutal. Every little thing.
1397
01:33:00,785 --> 01:33:04,580
(Edward) I like this guy. He's so stiff.
1398
01:33:04,663 --> 01:33:07,583
(stiffly) "Streets will be safer."
1399
01:33:07,666 --> 01:33:09,960
(David) He was great.
(Edward) Awesome.
1400
01:33:10,044 --> 01:33:14,048
(Brad) I loved our news coverage too.
It was so accurate.
1401
01:33:14,131 --> 01:33:20,179
(David) She's a real news reporter.
(Brad) Yes, but still, it's very real.
1402
01:33:20,262 --> 01:33:23,140
(David) I love the custom size 60 tuxedo.
1403
01:33:23,224 --> 01:33:28,896
(Edward) Can you imagine if you looked up
and saw Bob waiting on you?
1404
01:33:28,979 --> 01:33:32,775
You'd be like,
"I'll just have milk... Water! Water."
1405
01:33:39,698 --> 01:33:42,451
(David) Pat McNamara.
(Edward) Stunt man?
1406
01:33:42,535 --> 01:33:46,163
(Brad) No. Not happy about
getting thrown around the bathroom.
1407
01:33:46,247 --> 01:33:52,128
(Edward) Oh, I thought he was a stunt guy.
(Brad) No. But he signed up for one.
1408
01:33:52,211 --> 01:33:53,379
(David) We told him what the scene was,
1409
01:33:53,462 --> 01:33:56,632
but he was shocked at
how much abuse he got.
1410
01:33:56,715 --> 01:33:59,885
(Brad) That's where I bust my rib,
landing on the knee.
1411
01:33:59,969 --> 01:34:02,779
(Edward) Oh,
you did the exact same thing.
1412
01:34:02,804 --> 01:34:05,874
(Brad) It was early in,
first couple of weeks.
1413
01:34:05,933 --> 01:34:08,227
(Edward) Remember
when they threw that pot
1414
01:34:08,310 --> 01:34:13,149
and it broke the bottom
of one of those sinks?
1415
01:34:13,232 --> 01:34:16,735
Hopefully, no one at the Biltmore Hotel's
listening to this.
1416
01:34:25,494 --> 01:34:29,165
(David) I love how Brad's face comes in
just as you enter the room.
1417
01:34:29,248 --> 01:34:32,793
It's like, boom,
then he comes in to give his spiel.
1418
01:34:36,755 --> 01:34:41,552
And I love the idea
of the militant group of waiters.
1419
01:34:41,635 --> 01:34:46,182
(Edward) In Elvis wigs.
(David) Those are Clark Kent wigs.
1420
01:34:46,265 --> 01:34:49,351
(Edward) Is that what they are?
(David) Yeah.
1421
01:34:49,435 --> 01:34:54,690
Holt McCallany on the right,
he really has that Clark Kent look.
1422
01:35:12,625 --> 01:35:14,543
(David) Now watch Meat Loaf.
1423
01:35:14,627 --> 01:35:18,923
His pants are down around his ankles
and he's pulling them up.
1424
01:35:19,006 --> 01:35:21,717
But we couldn't find a take
that was better.
1425
01:35:21,800 --> 01:35:25,888
(Edward) Nobody notices, anyway.
Anyway, Bob would be doing that.
1426
01:35:25,971 --> 01:35:29,600
(Brad) He goes on and no one notices.
(Edward) I like that shot.
1427
01:35:29,683 --> 01:35:35,940
- That was a slightly undercranked?
- (David) A little bit yeah. 40 frames or so.
1428
01:35:52,331 --> 01:35:56,252
(Edward) I was saying before,
this scene, if you break it right down,
1429
01:35:56,335 --> 01:36:00,256
is much less explicitly bloody or...
1430
01:36:00,339 --> 01:36:04,260
One of the only reasons people thought
this scene was as graphic as it was -
1431
01:36:04,343 --> 01:36:08,764
cos it's certainly no more graphic
than many a Rocky movie -
1432
01:36:08,847 --> 01:36:10,766
is the sound.
1433
01:36:10,849 --> 01:36:16,397
(David) I think there's that,
but it's also the context of it.
1434
01:36:16,480 --> 01:36:19,024
The British film censors
came back and said:
1435
01:36:19,108 --> 01:36:23,612
"We find that the scene
where Angel Face gets beaten up
1436
01:36:23,696 --> 01:36:25,531
just goes on a little too long."
1437
01:36:25,614 --> 01:36:27,866
Well, that's the point.
1438
01:36:27,950 --> 01:36:32,162
The point of the scene is that
you've set up the rules of Fight Club
1439
01:36:32,246 --> 01:36:35,332
and you've set up
how people are supposed to react,
1440
01:36:35,416 --> 01:36:37,793
and this guy breaks the rules.
1441
01:36:37,876 --> 01:36:41,046
(Edward) The people in the club
think it goes on too long, too.
1442
01:36:41,130 --> 01:36:45,968
(David) Yeah, they're horrified.
(Brad) And Rocky was fighting for Adrian.
1443
01:36:46,051 --> 01:36:49,805
(David) Rocky was fighting for democracy.
(Edward) Exactly.
1444
01:36:49,888 --> 01:36:55,394
I also think this little piece of spice
you added of Jared's face gurgling
1445
01:36:55,477 --> 01:36:57,146
didn't help matters.
1446
01:36:57,229 --> 01:37:01,150
(David) They didn't ask us to take
that one out, just the punches.
1447
01:37:01,233 --> 01:37:05,321
(Edward) I think, watching it in this context
without sound, a big part of...
1448
01:37:05,404 --> 01:37:08,657
I'm just saying I think
part of what makes the violence...
1449
01:37:08,741 --> 01:37:10,951
That shot is the one that causes problems.
1450
01:37:11,035 --> 01:37:17,166
But I think it's also just the sound.
The impact, it's making it sound...
1451
01:37:17,249 --> 01:37:19,752
(David) Awful.
(Edward)..awful.
1452
01:37:24,798 --> 01:37:27,634
Don't worry, Mr. Durden.
Airport parking. Long term.
1453
01:37:29,928 --> 01:37:33,223
(Brad) Great clue there, though,
cos of the eye line.
1454
01:37:33,307 --> 01:37:37,895
- When he addresses Tyler Durden...
- (Edward) He looks at me and says:
1455
01:37:37,978 --> 01:37:41,273
"For you, Mr. Durden."
And I say, "After you,"
1456
01:37:41,357 --> 01:37:43,525
and you say, "No, no, after you."
1457
01:37:43,609 --> 01:37:46,195
(David) Very poignant.
1458
01:37:46,278 --> 01:37:47,738
(Brad) This is one of the first scenes
1459
01:37:48,197 --> 01:37:50,866
that the studio wanted to cut,
which, to me...
1460
01:37:50,949 --> 01:37:53,410
(Edward) The studio wanted
to cut this scene?
1461
01:37:53,494 --> 01:37:56,622
(David) The car crash.
"Doesn't it go on too long?"
1462
01:37:56,705 --> 01:38:00,667
(Edward) My God! It's one of the central
things between the two of them.
1463
01:38:00,751 --> 01:38:04,546
There's a thing you do in this
that I like a lot,
1464
01:38:04,630 --> 01:38:06,548
when you say you have to rethink
1465
01:38:06,632 --> 01:38:09,093
what you know about life,
about friendship,
1466
01:38:09,176 --> 01:38:13,389
and definitely about you and me,
which I always thought was funny cos...
1467
01:38:13,472 --> 01:38:18,394
(David) There's also a great little laugh.
(Edward) There's a laugh to it that's like:
1468
01:38:18,477 --> 01:38:22,272
"You don't even know how crazy you are."
1469
01:38:22,356 --> 01:38:28,404
Technically, this was interesting,
because this was on a sound stage
1470
01:38:28,487 --> 01:38:32,866
and everything going by those windows
is on a rear projection
1471
01:38:32,950 --> 01:38:36,995
- but thrown at least 40 yards there, right?
- (David) Yeah.
1472
01:38:37,079 --> 01:38:42,418
(Edward) I mean, that was
being thrown from far far away.
1473
01:38:42,501 --> 01:38:45,796
It just looks so good, though.
1474
01:38:45,879 --> 01:38:47,423
(David) We learned our lesson on Se7en
1475
01:38:47,506 --> 01:38:53,053
about driving around
with those rain towers.
1476
01:38:53,137 --> 01:38:55,264
(Edward) Following a car?
(David) No. Just...
1477
01:38:55,347 --> 01:38:57,933
Every time you turn a corner, the sun...
1478
01:38:58,016 --> 01:39:01,270
You can never get anything
to match outside...
1479
01:39:01,353 --> 01:39:05,315
We were like, "OK, if we do this car thing,
it'll be rear projection."
1480
01:39:05,399 --> 01:39:10,904
(Edward) You mean if you do it in the rain?
(David) It's a nightmare, shooting car stuff.
1481
01:39:12,865 --> 01:39:15,742
(Brad) This starts out like a guy
jealous of his friendship,
1482
01:39:15,826 --> 01:39:22,499
or jealous that his dad's paying attention
to the other brother or something.
1483
01:39:22,583 --> 01:39:28,797
(Helena) I know we very briefly explore
similarities between Tyler and Marla.
1484
01:39:28,881 --> 01:39:33,427
They both certainly have
a very particular dress style.
1485
01:39:33,510 --> 01:39:36,388
Both challenge the main character,
1486
01:39:36,472 --> 01:39:42,769
but basically, Tyler, as he says,
is the person that he feels he wants to be.
1487
01:39:44,438 --> 01:39:47,274
The man.
1488
01:39:47,357 --> 01:39:50,444
(Brad) I love the seat belts here.
(Edward) Yeah.
1489
01:39:50,527 --> 01:39:54,740
This is a big scene.
I can't even imagine cutting this scene.
1490
01:39:54,823 --> 01:39:56,450
I love these guys
looking at each other like,
1491
01:39:56,533 --> 01:39:59,119
"This guy is seriously crazy."
1492
01:39:59,203 --> 01:40:01,497
(David) "Why is he arguing with himself?"
1493
01:40:01,580 --> 01:40:05,209
(Edward) He does
a great Brad Pitt imitation.
1494
01:40:14,468 --> 01:40:16,845
(Brad) I love this, inside the car.
1495
01:40:16,929 --> 01:40:19,806
We've seen wrecks how many times?
Every other film?
1496
01:40:19,890 --> 01:40:22,184
And Finch wants to go inside the car.
1497
01:40:22,267 --> 01:40:25,771
"Let's experience a wreck
from inside the car." So...
1498
01:40:25,854 --> 01:40:30,859
(Edward) I know how a roast turkey feels
from doing this shot.
1499
01:40:30,943 --> 01:40:33,111
Here we go, watch. Boom.
1500
01:40:33,195 --> 01:40:37,199
Half of this Lincoln Town Car is on a spit,
with us rolling around on the inside.
1501
01:40:37,282 --> 01:40:40,786
(David) With broken glass.
(Edward) With rubber glass.
1502
01:40:40,869 --> 01:40:43,914
Which I swallowed at least
a quarter pound of.
1503
01:40:43,997 --> 01:40:48,043
And airbags that can explode, which...
1504
01:40:48,126 --> 01:40:51,922
As we're rolling over and over,
we can hear Fincher going, "Fire!"
1505
01:40:52,005 --> 01:40:54,049
Boom! And the airbags go off.
1506
01:40:54,132 --> 01:40:56,552
"Again!" Boom!
1507
01:40:56,635 --> 01:40:58,554
(Brad) One of the most beautiful...
1508
01:40:58,637 --> 01:41:04,560
(Edward) It's beautiful. I just can't order
a rotisserie chicken sandwich anymore.
1509
01:41:04,643 --> 01:41:08,063
(Brad) You squirted your pants.
(Edward) I did not.
1510
01:41:08,146 --> 01:41:13,902
If anyone wants to truly get subtle, Brad
is pulling me out of the driver's side there.
1511
01:41:13,986 --> 01:41:19,032
(David) I was telling a story that when
we did it, the Dolby guy came up...
1512
01:41:19,116 --> 01:41:21,868
They approved the whole thing,
the Dolby guys...
1513
01:41:21,952 --> 01:41:25,247
- Found a mistake?
- About the continuity?
1514
01:41:25,330 --> 01:41:26,498
(David) "There's a continuity problem."
1515
01:41:27,666 --> 01:41:32,129
I was, like, "Really?" He said,
"Yeah. He pulls him out of the wrong side."
1516
01:41:32,212 --> 01:41:36,383
"He pulls him out the driver's side
and Brad was the driver." I said, "Huh."
1517
01:41:36,466 --> 01:41:39,595
"You might want to wait a few reels."
1518
01:41:42,347 --> 01:41:45,851
(Brad) I love this. It's cut like a dream.
1519
01:41:45,934 --> 01:41:52,274
(David) Yeah. I was trying to find
that dreamlike thing because otherwise...
1520
01:41:52,357 --> 01:41:57,237
Listen, we got lambasted enough
about being preachy,
1521
01:41:57,321 --> 01:42:00,324
but I love Tyler's vision of the world.
1522
01:42:00,407 --> 01:42:05,329
(Brad) You saved my ass here, because
it was a little flat, a little dead-on,
1523
01:42:05,412 --> 01:42:08,248
this drifting in and out.
1524
01:42:08,332 --> 01:42:12,586
(David) You think it needed a little
of that point of view, of that wooziness?
1525
01:42:12,669 --> 01:42:17,090
You've just been in a car wreck and
somebody's telling you this whole thing.
1526
01:42:17,174 --> 01:42:23,430
(Brad) Fading in and out, you don't know
what's subconscious, what is conscious.
1527
01:42:42,824 --> 01:42:49,081
(David) This is the first time you've seen
Tyler's room and it's all nice and neat.
1528
01:42:52,417 --> 01:42:55,170
(Brad) Someone's been busy.
(Edward) All these human sacrifices.
1529
01:42:58,799 --> 01:43:01,677
Remember that guy
who was getting slapped walked out?
1530
01:43:01,760 --> 01:43:04,429
(Brad) What? By Evan?
1531
01:43:04,513 --> 01:43:07,265
(Edward) Evan was slapping
an extra who quit.
1532
01:43:07,349 --> 01:43:11,687
He was, like,
"I'm not getting hit anymore," and he left.
1533
01:43:11,770 --> 01:43:15,440
(Brad) Good for him, man. 40 bucks a day...
1534
01:43:16,608 --> 01:43:18,068
You know how much ether...
1535
01:43:18,151 --> 01:43:22,781
(Edward) That's a very obscure line there.
(Brad) I figured that was Fincher's.
1536
01:43:22,864 --> 01:43:27,786
(Helena) I love Marla.
I think she's a wonderful...
1537
01:43:27,869 --> 01:43:32,541
One key to her that we discussed earlier
on was the fact that she had a big heart.
1538
01:43:32,624 --> 01:43:35,711
She would have to have a big heart
because she has to forgive
1539
01:43:35,794 --> 01:43:39,589
Edward Norton's character
time and time again.
1540
01:43:39,673 --> 01:43:44,469
I didn't want to have to be
coming back to him out of...
1541
01:43:44,553 --> 01:43:49,391
I didn't want that to spring
from a victim, or need for...
1542
01:43:49,474 --> 01:43:54,354
I think she's self-destructive, but she is
only self-destructive on her own terms
1543
01:43:54,438 --> 01:43:58,567
and draws a line when others abuse her.
1544
01:43:58,650 --> 01:44:02,112
So the only thing I could operate from,
or the key to her,
1545
01:44:02,195 --> 01:44:06,241
was somebody that genuinely
wanted to almost save...
1546
01:44:06,324 --> 01:44:11,538
or recognize in Edward's character,
Tyler or whatever you want to call him,
1547
01:44:11,621 --> 01:44:15,375
that there was potential for a relationship,
that he was worse off than she,
1548
01:44:15,459 --> 01:44:18,253
and that there was an instinct to save him.
1549
01:44:18,336 --> 01:44:20,922
So she's somebody
who's intensely generous.
1550
01:44:21,006 --> 01:44:28,013
Strong, because she finally draws the line
and opts for self-preservation, finally.
1551
01:44:29,181 --> 01:44:34,311
Just before the end, that is,
before she comes back to him.
1552
01:44:34,394 --> 01:44:37,189
I think what helped me
stay in the character,
1553
01:44:37,272 --> 01:44:38,982
or remind me of her, was the accent.
1554
01:44:39,065 --> 01:44:41,443
I think if you've got something
as helpful as that,
1555
01:44:41,526 --> 01:44:44,738
a physical touchstone for the character,
1556
01:44:44,821 --> 01:44:48,658
as soon as you start speaking differently...
1557
01:44:48,742 --> 01:44:51,870
Speaking with a different sound
brings out a different part of you,
1558
01:44:51,953 --> 01:44:54,164
and I think that helped.
1559
01:44:54,247 --> 01:45:00,045
Then you just remind yourself. It depended
on how much time one had in between...
1560
01:45:00,128 --> 01:45:05,717
The scheduling, when I asked early on,
had been done quite sensitively.
1561
01:45:05,801 --> 01:45:07,260
On the whole
I was employed for blocks of time,
1562
01:45:08,053 --> 01:45:09,805
like two weeks,
then I'd have three weeks off,
1563
01:45:09,888 --> 01:45:13,934
so it was made as easy as possible for me.
1564
01:45:14,017 --> 01:45:16,311
It was a very actor-friendly shoot,
1565
01:45:16,394 --> 01:45:21,983
and a lot of care and thought
had gone into making our jobs easier.
1566
01:45:22,067 --> 01:45:25,529
(David) That Venice screening, that was...
(Brad) Surreal.
1567
01:45:25,612 --> 01:45:28,073
(David) I was ready to take my own life.
1568
01:45:28,156 --> 01:45:31,827
(Edward) You were much more so.
Brad and I were ecstatic.
1569
01:45:31,910 --> 01:45:33,829
(David) I just remember...
1570
01:45:33,912 --> 01:45:40,919
I never thought we'd be carried out
on the shoulders of the Venice audience.
1571
01:45:41,002 --> 01:45:44,130
Don't get me wrong. It wasn't like...
1572
01:45:44,214 --> 01:45:46,675
But I remember
sitting there and just going...
1573
01:45:46,758 --> 01:45:51,596
It was kind of like too serious
an environment. It was too...
1574
01:45:51,680 --> 01:45:56,101
(Brad) It was a film festival.
(David) I'd never been to one.
1575
01:45:56,184 --> 01:46:00,397
I was expecting people to go, "Great,
let's see somebody take some chances."
1576
01:46:00,480 --> 01:46:02,148
And there was just this, like,
1577
01:46:02,232 --> 01:46:06,194
"Get them outta here.
Get them on the next boat."
1578
01:46:06,278 --> 01:46:09,030
(Edward) I didn't feel
that as intensely as you.
1579
01:46:09,114 --> 01:46:12,742
(David) What about the next day
at the press stuff?
1580
01:46:12,826 --> 01:46:14,786
(Edward) That was...
(Brad) The firing squad.
1581
01:46:14,870 --> 01:46:17,372
(David) Yes, exactly.
1582
01:46:17,455 --> 01:46:21,835
I felt that vibe carrying into the next day.
1583
01:46:23,086 --> 01:46:25,380
(Edward) This scene right here was...
1584
01:46:25,463 --> 01:46:30,218
In some of these very, I thought,
glib and lazy critiques
1585
01:46:30,302 --> 01:46:33,138
that were throwing the word
"fascist" around,
1586
01:46:33,221 --> 01:46:35,599
I was like,
"If you ever wanted the one scene
1587
01:46:35,682 --> 01:46:40,061
that makes the critique of the whole thing
explicit, it's this one."
1588
01:46:40,145 --> 01:46:46,401
Because the guys in black shirts and boots
doing stupid things are such morons.
1589
01:46:46,484 --> 01:46:50,822
(David) Isn't that the tenet of fascism?
(Edward) What? Exactly.
1590
01:46:50,906 --> 01:46:55,911
(David) Isn't it the first tenet of fascism -
corral the morons?
1591
01:46:55,994 --> 01:47:00,415
(Brad) But he's saying the narrator's...
(Edward) That's what I mean,
1592
01:47:00,498 --> 01:47:05,170
how could you look at that assortment
of people and call it pro-fascist?
1593
01:47:05,253 --> 01:47:07,464
(David) No, I never understood that.
1594
01:47:07,547 --> 01:47:10,425
(Edward) It's so obviously
about what goes wrong
1595
01:47:10,508 --> 01:47:15,263
when a bunch of frat boys
start taking themselves too seriously.
1596
01:47:15,347 --> 01:47:20,769
When a bunch of undergraduate, fraternity
guys who have read too much Nietzsche
1597
01:47:20,852 --> 01:47:24,105
start shaving their heads the same
and wearing the same uniform.
1598
01:47:24,189 --> 01:47:28,485
But the whole way that this morphs
around him into his nightmare of sheep
1599
01:47:28,568 --> 01:47:33,823
just chanting their lunatic,
ridiculous mantras of...
1600
01:47:33,907 --> 01:47:37,827
(David) Durdenisms.
(Edward) Yeah. If you ever wanted a...
1601
01:47:37,911 --> 01:47:42,123
It's like Milos skewering
the communists in The Firemen's Ball.
1602
01:47:42,207 --> 01:47:46,336
If you ever wanted to rag on
the Blackshirts, the Brown Shirts,
1603
01:47:46,419 --> 01:47:48,672
it's the best way to do it, I think.
1604
01:47:48,755 --> 01:47:53,176
(Brad) I love how they build their rationale
to support whatever they want.
1605
01:47:53,259 --> 01:47:55,011
(Edward) They take a cry of "This is over,"
1606
01:47:55,095 --> 01:47:57,889
and turn it into
"His name is Robert Paulsen."
1607
01:47:59,015 --> 01:48:01,851
It's really interesting when you see
1608
01:48:01,935 --> 01:48:05,480
censoring-type reactions
coming from the left.
1609
01:48:05,563 --> 01:48:10,527
We experienced this on Larry Flynt, with
Gloria Steinem writing this piece about it.
1610
01:48:10,610 --> 01:48:11,653
It's the same kind of response.
1611
01:48:11,736 --> 01:48:14,572
It's not coming
from the censoring right wing,
1612
01:48:14,656 --> 01:48:18,076
it's from the left, where they're saying,
"This disturbed me,
1613
01:48:18,159 --> 01:48:23,581
therefore I declare it an invalid subject
to have been made into a film."
1614
01:48:23,665 --> 01:48:27,585
Which is the most reactionary argument.
It's like...
1615
01:48:27,669 --> 01:48:31,881
(Brad) Bullshit, man!
(Edward) Yeah. It's really amazing.
1616
01:48:31,965 --> 01:48:34,592
(David) It's from the most surprising place.
(Edward) It's really regressive.
1617
01:48:39,931 --> 01:48:44,853
(Brad) Any critiques that were against us
were hitting the back end of our film,
1618
01:48:44,936 --> 01:48:49,190
which... To me, I can't
see it going any other way.
1619
01:48:49,274 --> 01:48:56,197
(David) Again, I think it's when you start
with a book that's... If you like the book...
1620
01:48:56,281 --> 01:48:59,701
(Brad) I don't think it's coming
from people who have read the book.
1621
01:48:59,784 --> 01:49:04,664
(David) There's often criticisms
where people say:
1622
01:49:04,748 --> 01:49:09,961
- "I thought the story should go..."
- (Brad) Love that shot.
1623
01:49:10,045 --> 01:49:11,421
I was completely envious.
1624
01:49:11,504 --> 01:49:15,759
(Edward) We parked there
right under the landing pattern at LAX.
1625
01:49:15,842 --> 01:49:19,929
We had the tower telling us
what kind of plane was coming in.
1626
01:49:20,013 --> 01:49:22,807
He was going,
"This is gonna be a big one."
1627
01:49:22,891 --> 01:49:25,560
(Brad) That's power.
1628
01:49:25,643 --> 01:49:29,731
(David) We didn't have control over it.
(Edward) No, no, no, no, no.
1629
01:49:29,814 --> 01:49:33,151
(David) Grab the 747s.
Get the small stuff on the other runway.
1630
01:49:33,234 --> 01:49:38,406
(Brad) "We can't do that for you, sir."
(David) This, to me, was...
1631
01:49:38,490 --> 01:49:44,370
- I thought it could have used more finesse.
- (Edward) It's very kinetic.
1632
01:49:44,454 --> 01:49:49,584
(David) It's got that going for it.
(Edward) And these guys are such twits.
1633
01:49:49,667 --> 01:49:53,171
(David) I think the people who
assail the back half of the movie
1634
01:49:53,254 --> 01:49:58,843
are working forward from the idea of
where would they want to see this go,
1635
01:49:58,927 --> 01:50:03,264
- as opposed to working backward...
- (Brad) I never heard an answer.
1636
01:50:03,348 --> 01:50:06,935
(David) There were a lot of people who said,
"The beginning is so original,
1637
01:50:07,018 --> 01:50:11,064
then it becomes this chase thing."
But that's where the book goes.
1638
01:50:11,147 --> 01:50:16,778
- So we're working backwards...
- (Brad) But I see so much more than that.
1639
01:50:16,861 --> 01:50:20,657
(David) Well, I'm not agreeing with them.
1640
01:50:22,075 --> 01:50:26,913
(Edward) I saw some great thing about the
number of critics who panned Raging Bull
1641
01:50:26,996 --> 01:50:31,167
and had it on their "ten best films of the
decade" list at the end of the eighties.
1642
01:50:35,421 --> 01:50:37,841
(David) We tried to cast
guys that looked like they
1643
01:50:37,924 --> 01:50:41,469
were in that picture of Robert Kennedy,
on the floor at the Ambassador.
1644
01:50:41,553 --> 01:50:43,805
(Brad) I love this guy. Who's he?
1645
01:50:43,888 --> 01:50:46,266
(David) This is Michael.
1646
01:50:46,349 --> 01:50:50,186
- He was a guy that we found late...
- (Brad) "Is this a test, sir?"
1647
01:50:50,270 --> 01:50:53,439
(David) Yeah. We wanted to find...
1648
01:50:53,523 --> 01:50:59,863
We were trying to find a guy who could
pull off that sort of Overlook Hotel.
1649
01:50:59,946 --> 01:51:03,741
(Edward) Lloyd, the bartender.
(David) You know, in The Shining.
1650
01:51:03,825 --> 01:51:06,161
"It's good to have you back, sir."
1651
01:51:06,244 --> 01:51:09,998
Kind of get that? He's so stoked,
he'll never give anything away.
1652
01:51:10,081 --> 01:51:15,295
(Edward) Do you remember how the screws
in his head weren't holding to his head?
1653
01:51:15,378 --> 01:51:20,091
So he kept making it tighter and tighter
on his head until he's slurring his lines.
1654
01:51:20,216 --> 01:51:22,218
(laughter)
1655
01:51:22,302 --> 01:51:25,805
- Until his foot went to sleep.
- Into his frontal lobe.
1656
01:51:25,889 --> 01:51:29,684
(Edward) His personality changed
about halfway through the shooting.
1657
01:51:29,767 --> 01:51:32,562
(David) As he would move
you would see the halo rig on...
1658
01:51:32,645 --> 01:51:37,025
It was, like, "Gotta get that tighter."
So they were in there with the...
1659
01:51:37,108 --> 01:51:38,151
(imitates drill)
1660
01:51:38,234 --> 01:51:41,654
(Edward) I like Helena's hair.
(David) Her Satan?
1661
01:51:41,738 --> 01:51:45,992
(Edward) Yeah.
(David) The two horns of Satan.
1662
01:52:27,867 --> 01:52:32,413
(Edward) This is when Tyler
becomes an alien.
1663
01:52:32,497 --> 01:52:36,417
(David) What I like is that
he comes back as Bono.
1664
01:52:36,501 --> 01:52:41,256
He comes back as Bono
crossed with Michael Hutchence.
1665
01:52:41,339 --> 01:52:44,175
I love the idea of Tyler
returning as a rock star.
1666
01:52:44,259 --> 01:52:48,972
"I've been thinking about some new things.
These are my new accessories."
1667
01:52:49,055 --> 01:52:51,432
The glacier glasses.
1668
01:52:51,516 --> 01:52:54,269
(Brad) I always thought
turning it more into a monster.
1669
01:52:54,352 --> 01:52:59,816
(Edward) I think that's what I thought too.
(Brad) I love this schizophrenic...
1670
01:53:01,943 --> 01:53:03,486
(Brad) Flashbacks. What'd you do?
1671
01:53:03,569 --> 01:53:06,447
(all talk at once)
1672
01:53:06,531 --> 01:53:08,324
Jim Haygood figured this out.
1673
01:53:08,408 --> 01:53:12,954
He came in one day, because we had done
this fragmented thing, and he said:
1674
01:53:13,037 --> 01:53:15,456
"I think I can get this down really short."
1675
01:53:15,540 --> 01:53:19,585
I came back in and he showed me
this thing and I was, like, "That's cool."
1676
01:53:19,669 --> 01:53:23,965
(Brad) It's so cool.
(Edward) And it still encompasses...
1677
01:53:24,048 --> 01:53:28,261
Instead of saying...
If you have A to Z to go to,
1678
01:53:28,344 --> 01:53:33,016
it still says we're gonna go A to Z but
we're gonna skip letters along the way.
1679
01:53:33,099 --> 01:53:36,311
So you cover the front point
to the end point but you...
1680
01:53:36,394 --> 01:53:39,314
(Brad) But it's more as the mind
would work too,
1681
01:53:39,397 --> 01:53:43,484
in that you get flashbacks,
you get images, you get moments.
1682
01:53:43,568 --> 01:53:45,486
Whatever I did we had to stick Edward in
1683
01:53:45,570 --> 01:53:49,157
not knowing what was gonna
be needed for the flashbacks.
1684
01:53:49,240 --> 01:53:51,075
(Edward) Yeah.
1685
01:54:09,010 --> 01:54:13,139
(Edward) In this scene I was nervous that
if at least once we weren't explicit,
1686
01:54:13,222 --> 01:54:14,182
you know?
1687
01:54:14,265 --> 01:54:19,145
If you didn't step outside into
an objective perspective at least once...
1688
01:54:19,228 --> 01:54:25,693
Cos we knew we were gonna do it
with the security video later.
1689
01:54:25,777 --> 01:54:28,571
But if you didn't...
1690
01:54:28,654 --> 01:54:31,115
Even though he's saying it very explicitly...
1691
01:54:31,199 --> 01:54:34,702
I love the look on the face there.
"Am I having sex with Marla?"
1692
01:54:34,786 --> 01:54:38,164
(David) "My God, I am
having sex with Marla."
1693
01:54:38,247 --> 01:54:42,752
(Edward) It's the guy who's looking back
on it actually in the moment going,
1694
01:54:42,835 --> 01:54:43,836
"Is this me?"
1695
01:54:58,643 --> 01:55:01,396
(Brad) I was most worried about,
when the nickel drops,
1696
01:55:01,479 --> 01:55:03,481
if we would pull this off or not.
1697
01:55:03,564 --> 01:55:06,567
I'm most happy with watching it again.
1698
01:55:06,651 --> 01:55:08,236
(David) You thought it would be a problem?
1699
01:55:08,319 --> 01:55:12,407
(Brad) Well, no, I was just hesitant.
(David) Yeah.
1700
01:55:12,490 --> 01:55:14,033
(Edward) I remember when
we were working in the office
1701
01:55:14,117 --> 01:55:19,163
you were very skeptical of
the detailing of how the thing worked.
1702
01:55:19,247 --> 01:55:20,456
Having Tyler say,
1703
01:55:20,540 --> 01:55:24,585
"Sometimes you're watching me.
Sometimes you're watching..."
1704
01:55:24,669 --> 01:55:28,089
You were saying,
"Do we really wanna get that explicit?"
1705
01:55:28,172 --> 01:55:29,590
But I think it worked out well.
1706
01:55:29,674 --> 01:55:34,720
(Brad) Yeah. It's 'Nam flashbacks,
is what that is.
1707
01:55:34,804 --> 01:55:41,144
(David) The phone number there is CAA.
(Brad) Definitely worried about exposition.
1708
01:55:41,227 --> 01:55:42,687
(David) He's been calling Brian Lourd.
1709
01:55:42,770 --> 01:55:46,190
(Edward) I wouldn't know.
I'm not a slave to those punks.
1710
01:56:01,747 --> 01:56:04,292
(Brad) Love that.
1711
01:56:04,375 --> 01:56:09,380
(Edward) What's wild about
those sequences is it does change...
1712
01:56:09,464 --> 01:56:11,966
You need very, very little.
1713
01:56:12,049 --> 01:56:16,179
Maybe it's just the more and more
we're used to
1714
01:56:16,262 --> 01:56:19,640
being presented with images
that are streaming across,
1715
01:56:19,724 --> 01:56:23,936
our capacity for
shorter and shorter images is increasing,
1716
01:56:24,020 --> 01:56:27,148
but you realize you can see things.
1717
01:56:27,231 --> 01:56:31,277
I mean, that can't be more than...
that can't be more than...
1718
01:56:31,360 --> 01:56:34,655
That's gotta be less than 24 frames
of stuff you're seeing there
1719
01:56:34,739 --> 01:56:36,324
and you're picking it up.
1720
01:56:36,407 --> 01:56:39,035
You absolutely get it, you know?
1721
01:57:01,140 --> 01:57:05,686
(David) Remember our original premise
of borrowing from Buddhism?
1722
01:57:05,770 --> 01:57:09,565
(Brad) Under that, I see no other ending.
(David) Yeah.
1723
01:57:09,649 --> 01:57:11,234
We're starting from a place
1724
01:57:11,317 --> 01:57:14,403
where we're supporting
where we wanna take this journey.
1725
01:57:14,487 --> 01:57:17,240
A lot of people
are watching the movie based on,
1726
01:57:17,323 --> 01:57:21,577
"I'd like to see it go here," but it doesn't.
1727
01:57:21,661 --> 01:57:25,414
(Brad) But again, I never heard a "here".
A specific "here".
1728
01:57:25,498 --> 01:57:28,042
(David) Yeah. Me, either.
1729
01:57:28,125 --> 01:57:34,298
(Edward) That's Ed Kowalczyk, from Live,
doing his first film cameo.
1730
01:57:36,717 --> 01:57:39,303
(David) He was really a sport.
1731
01:57:39,387 --> 01:57:42,682
(Edward) He came back twice, right?
Cos we redid this.
1732
01:57:42,765 --> 01:57:47,645
(Helena) This is when I always feel
faintly relieved we got to,
1733
01:57:47,728 --> 01:57:50,231
because I feel at least the audience
is on my side now,
1734
01:57:50,314 --> 01:57:55,111
or at least they know Marla,
and finally see me for what I am,
1735
01:57:55,194 --> 01:57:59,073
ie, somebody who's been having
a relationship with one person,
1736
01:57:59,156 --> 01:58:05,621
and with him and not Tyler, or Brad.
1737
01:58:05,705 --> 01:58:08,624
So you can appreciate her predicament.
1738
01:58:11,544 --> 01:58:13,754
(Edward) There's a good little...
1739
01:58:13,838 --> 01:58:16,382
I do like when she says,
"You're great in bed."
1740
01:58:16,465 --> 01:58:17,842
(laughter)
1741
01:58:18,551 --> 01:58:22,555
- A little wince, like, "Oh!"
- (David) I always wanted to get that in.
1742
01:58:22,638 --> 01:58:25,766
From the first draft,
where she talked about him,
1743
01:58:25,850 --> 01:58:28,644
I was, like, "She's gotta say that he's..."
1744
01:58:28,728 --> 01:58:31,314
(Edward) You used to always say that.
"You're spectacular..."
1745
01:58:31,397 --> 01:58:34,817
And he's, like, "Huh?"
1746
01:58:34,900 --> 01:58:37,445
(David) "If only you hadn't
said that it would..."
1747
01:58:37,528 --> 01:58:39,030
(Edward) I was feeling so romantic.
1748
01:58:39,113 --> 01:58:40,364
(David laughs)
1749
01:58:42,867 --> 01:58:46,621
(Edward) See, I always thought...
I mean, you know...
1750
01:58:46,704 --> 01:58:51,250
I can't remember when we were talking
about it, but we were talking about it is...
1751
01:58:51,334 --> 01:58:55,546
This scene is all about
the realization that...
1752
01:58:55,630 --> 01:58:57,298
at a certain point,
the realization that, like:
1753
01:58:57,381 --> 01:59:00,051
"OK. This has all been really sexy,
1754
01:59:00,134 --> 01:59:03,471
"but I don't want to be
an uncompassionate person."
1755
01:59:03,554 --> 01:59:07,892
Or, "If it's gonna involve the hurting
of somebody I actually secretly like,"
1756
01:59:07,975 --> 01:59:11,062
then that's the point at which
it shifts for him.
1757
01:59:11,145 --> 01:59:15,107
(David) You gotta draw the line.
(Edward) I think that's part of what does it.
1758
01:59:15,191 --> 01:59:19,654
It's not just the plot, it's that Tyler says,
"We might have to take care of Marla,"
1759
01:59:19,737 --> 01:59:22,698
that becomes the line across...
1760
01:59:22,782 --> 01:59:27,578
It becomes the line
that Jack is saying to himself:
1761
01:59:27,662 --> 01:59:34,001
"OK. I can define myself by saying, 'That's
not a line I wanna go across."" You know?
1762
01:59:38,547 --> 01:59:43,094
There's the Seven Years in Tibet sign
on the...
1763
01:59:43,177 --> 01:59:44,178
If the bus wasn't there,
1764
01:59:44,261 --> 01:59:47,848
you'd see The People vs. Larry Flynt
and The Wings of the Dove.
1765
01:59:47,932 --> 01:59:52,186
Now, I want the out-take
where the bus hit me.
1766
01:59:52,269 --> 01:59:55,189
(David) You wanna put that on the DVD?
(Edward) Can we?
1767
01:59:55,272 --> 01:59:57,024
(David) We can try and find that.
1768
01:59:57,108 --> 01:59:59,860
I think
there's an element of cruelty to that.
1769
01:59:59,944 --> 02:00:03,447
(Edward) Do you remember it?
(Brad) Did it knock you over?
1770
02:00:03,531 --> 02:00:08,452
(Edward) It came in, and I became aware
that it was coming harder at a later point,
1771
02:00:08,536 --> 02:00:13,958
and I just put my hands out, so fortunately
it hit my hands, and then I jerked back,
1772
02:00:14,041 --> 02:00:16,127
but it made a sound.
1773
02:00:16,210 --> 02:00:18,838
I turned around after it hit me
1774
02:00:18,921 --> 02:00:22,299
and Fincher was up over the monitors
with his hand over his mouth.
1775
02:00:22,383 --> 02:00:25,970
(David) But the hilarious thing
is that when it happens,
1776
02:00:26,053 --> 02:00:31,267
when you hear this thud and I looked up,
I could hear over my com set,
1777
02:00:31,350 --> 02:00:36,522
I could hear the wireless on Helena
and she immediately burst into laughter.
1778
02:00:36,897 --> 02:00:42,987
She just immediately starts cracking up.
And I was, like, "There's a good sign,"
1779
02:00:43,070 --> 02:00:45,698
Helena just laughing her ass off.
1780
02:00:45,781 --> 02:00:49,827
(Brad) I love her last line there.
1781
02:00:49,910 --> 02:00:52,538
"You're the worst thing
that ever happened to me."
1782
02:00:52,621 --> 02:00:54,874
(David) How many times
have we wanted to say that?
1783
02:00:54,957 --> 02:01:01,380
(Edward) Is it true that these three cops
are named Andy, Kevin and Walker?
1784
02:01:04,842 --> 02:01:07,636
(David) We've been through this
so many times with the Writers Guild,
1785
02:01:07,720 --> 02:01:13,601
cos Andy rewrote The Game
and the Writers Guild will not even...
1786
02:01:13,684 --> 02:01:17,354
You can't even put "special thanks to",
it's a Guild thing.
1787
02:01:17,438 --> 02:01:21,233
- So we spaced it on the titles.
- (Brad) Which makes no sense to me.
1788
02:01:21,317 --> 02:01:26,113
(Edward) His contribution was huge.
(David) Don't start me on the Writers Guild.
1789
02:01:26,197 --> 02:01:28,449
So we decided to bury his name.
1790
02:01:28,532 --> 02:01:34,288
So it's Detective Andrews,
Detective Kevin, Detective Walker.
1791
02:01:34,371 --> 02:01:36,415
That was our way
of getting his name on the...
1792
02:01:39,543 --> 02:01:41,712
Our little act of sedition.
1793
02:01:46,801 --> 02:01:51,639
(Edward) We shot this downtown, right?
(David) We shot this at the Unical building,
1794
02:01:51,722 --> 02:01:54,809
downtown LA.
1795
02:01:54,892 --> 02:01:59,480
That was a long day. I originally thought
this was gonna be much simpler,
1796
02:01:59,563 --> 02:02:02,191
but it was obvious
when we started blocking it that...
1797
02:02:02,274 --> 02:02:05,653
(Brad) Ain't that the way it goes?
(David) Always.
1798
02:02:05,736 --> 02:02:08,739
(Edward) There was a lot of coverage.
(Brad) You're a brave man, sir.
1799
02:02:13,494 --> 02:02:15,329
He's beautiful.
1800
02:02:25,422 --> 02:02:28,759
(David) This was a scene
a lot of critics had a hard time with.
1801
02:02:28,843 --> 02:02:32,346
(Brad) I think it's so funny.
(David) Me too.
1802
02:02:32,429 --> 02:02:34,974
(Edward) I always laugh at it.
1803
02:02:35,057 --> 02:02:39,353
(David) A lot of people thought,
"That could never happen."
1804
02:02:39,436 --> 02:02:43,232
(Edward) But the whole point is
that it's a nightmare.
1805
02:02:44,984 --> 02:02:50,573
I mean, if you're gonna get realistic, would
your khaki pants come off over wing tips?
1806
02:02:50,656 --> 02:02:53,117
No, but...
1807
02:02:54,368 --> 02:02:58,163
(David) Right here,
right when you start struggling again...
1808
02:02:58,247 --> 02:02:59,832
(Edward) The best part is that he's silent.
1809
02:02:59,915 --> 02:03:02,501
I love that he stays quiet
cos they tell him to.
1810
02:03:02,585 --> 02:03:05,504
Then when the door shuts,
he's, like, "Wait a minute!"
1811
02:03:05,588 --> 02:03:09,466
(David) "That was my chance to be saved."
I like it when Van picks up this knife.
1812
02:03:09,550 --> 02:03:14,847
I was so worried. Even though this was a fake
knife, it was still sharp on the point,
1813
02:03:14,930 --> 02:03:18,392
and your legs
are constantly moving around.
1814
02:03:18,475 --> 02:03:21,395
I thought, "He's gonna
get stabbed in the kneecap."
1815
02:03:21,478 --> 02:03:27,234
(Edward) This is my favorite ad-lib in
the movie -my favorite ad-lib of my own.
1816
02:03:27,318 --> 02:03:30,487
(David) In rehearsal we were, like,
"We gotta keep that."
1817
02:03:30,571 --> 02:03:33,157
And then
it was trying to talk everybody into it.
1818
02:03:33,240 --> 02:03:36,327
"He can't say 'lead salad', that's stupid."
1819
02:03:36,410 --> 02:03:38,996
(Edward) I ran out the door
and came round the corner
1820
02:03:39,079 --> 02:03:43,626
and Fincher and Dina were both laughing,
our script supervisor.
1821
02:03:43,709 --> 02:03:45,669
I was, like, "I think I'm on to something."
1822
02:03:48,047 --> 02:03:54,094
(Brad) I just love your schizophrenic partner
setting you up to be castrated.
1823
02:03:54,178 --> 02:03:58,682
(Edward) He set himself up.
(Brad) "You said you'd say that, sir."
1824
02:04:01,352 --> 02:04:06,732
(David) That's a good match with Damon.
(Edward) He's only in there for one shot.
1825
02:04:06,815 --> 02:04:09,151
(David) For that one.
(Edward) Yeah.
1826
02:04:09,234 --> 02:04:13,656
That's the one where I tried to loop going,
"Sorry, sorry, sorry, sorry, sorry."
1827
02:04:13,739 --> 02:04:18,494
(Brad) How did you slow that down?
(David) We used this Panavision box
1828
02:04:18,577 --> 02:04:23,791
that allows you to change the stop
and the camera speed at the same time.
1829
02:04:23,874 --> 02:04:28,462
- So we could go from regular speed to...
- (Brad) Nice touch, mon frère.
1830
02:04:28,545 --> 02:04:31,715
(David) Thank you very much.
1831
02:04:31,799 --> 02:04:34,718
(Edward) This is a great shot. This one
comes across from the running,
1832
02:04:34,802 --> 02:04:37,930
lands there, whips over there,
1833
02:04:39,223 --> 02:04:41,141
comes back,
1834
02:04:41,225 --> 02:04:43,769
the pan goes to the trash can and away.
1835
02:04:43,852 --> 02:04:45,270
(David) Well...
(Edward) Huh?
1836
02:04:45,354 --> 02:04:49,441
(Brad) Well choreographed.
(Edward) It's great. I love that one.
1837
02:04:49,525 --> 02:04:53,362
(Brad) My brother visited in this next scene,
where we hook up, and he goes:
1838
02:04:53,445 --> 02:04:56,907
"Why is Norton in his underwear?"
1839
02:04:56,991 --> 02:05:01,328
I said,
"Cos he was about to get castrated."
1840
02:05:01,412 --> 02:05:04,331
"Well, then why are you
in the buffalo robe?"
1841
02:05:04,415 --> 02:05:07,751
"Oh, cos I'm him."
"Well, then why are you...?"
1842
02:05:07,835 --> 02:05:09,753
I couldn't explain it.
1843
02:05:23,142 --> 02:05:27,187
(David) That shot was
one of those things where...
1844
02:05:27,271 --> 02:05:30,941
We were trying to make Brad disappear,
we were gonna do it in the cut,
1845
02:05:31,025 --> 02:05:35,863
and then when we saw it on the tape,
it was, like, "He covered Brad perfectly."
1846
02:05:35,946 --> 02:05:40,034
When he bends over, Brad's obscured
so we can cut to this other thing.
1847
02:05:40,117 --> 02:05:42,703
It's one of those
moments of happenstance.
1848
02:05:42,786 --> 02:05:45,080
(Brad) Serendipity.
1849
02:05:45,164 --> 02:05:48,208
(David) Happy accident is our friend.
(Brad) Bigger than all of us.
1850
02:06:04,975 --> 02:06:10,397
(David) This was one of those scenes that...
(Edward) We ended up...
1851
02:06:10,481 --> 02:06:13,067
(David) I was worried
about how this was written,
1852
02:06:13,150 --> 02:06:16,653
but I liked the way it played.
It played much better.
1853
02:06:16,737 --> 02:06:20,365
(Brad) I had a problem with this that night.
Kept trying to muck it up.
1854
02:06:20,449 --> 02:06:26,246
(Edward) It was the only time
you yelled at me the whole shoot.
1855
02:06:26,330 --> 02:06:31,085
You guys were talking, and I didn't really
have an idea. I was just coming over,
1856
02:06:31,168 --> 02:06:34,963
and as I stepped towards you,
you went, "Just give me a second!"
1857
02:06:35,047 --> 02:06:38,717
And I just turned around
and went back and sat on the bumper.
1858
02:06:38,801 --> 02:06:41,887
(Brad) No, but looking at it,
you were dead-on right.
1859
02:06:41,970 --> 02:06:46,600
The simplistic tact was dead-on.
1860
02:06:46,683 --> 02:06:50,020
(David) It was something that when
you saw the thing play out in the two-shot,
1861
02:06:50,104 --> 02:06:52,189
you're, like, "Yeah, this could work."
1862
02:06:53,774 --> 02:06:56,610
And I love that
it's a defuse-the-bomb scene
1863
02:06:56,693 --> 02:06:58,237
that's not so much about the bomb.
1864
02:06:58,320 --> 02:07:04,618
It's always about this other stuff.
"Wait a minute, think about this."
1865
02:07:04,701 --> 02:07:06,286
(Edward) Is that CGI?
(David) It's all CG.
1866
02:07:06,370 --> 02:07:10,624
(Brad) God, man, that looks really good.
Nice, nice, very nice.
1867
02:07:10,707 --> 02:07:13,794
(David) Cos I find myself in movies
where people defuse a bomb
1868
02:07:13,877 --> 02:07:15,796
really not giving a shit.
1869
02:07:15,879 --> 02:07:18,173
(Brad) Cos you know they'll defuse it.
(David) Yeah.
1870
02:07:51,331 --> 02:07:56,378
(David) And I always love this take.
There is that...
1871
02:07:56,461 --> 02:07:59,882
I always thought of Tyler...
1872
02:07:59,965 --> 02:08:03,135
He gets shot at and he gets pissed off,
but he's trying to explain,
1873
02:08:03,218 --> 02:08:05,971
then when you did that thing
where you lost it.
1874
02:08:06,054 --> 02:08:10,517
"Goddammit! Don't you... How many times
do I have to go over this thing?"
1875
02:08:10,601 --> 02:08:14,354
(Edward) This is a great shot.
How many times did we do this?
1876
02:08:14,438 --> 02:08:19,109
(David) Three or four.
(Edward) No! Try 14 or 15.
1877
02:08:21,278 --> 02:08:24,698
The ones where we did the whip-pan
where you clothesline me.
1878
02:08:24,781 --> 02:08:26,825
(Brad) I was trying to think, where did
1879
02:08:26,909 --> 02:08:31,205
the Bruce Lee tribute/parody/tribute
come from?
1880
02:08:31,288 --> 02:08:33,582
(David) We took it out after The Matrix.
1881
02:08:33,665 --> 02:08:40,172
(Brad) No, just the whole karate thing.
(Edward) You started doing that.
1882
02:08:40,255 --> 02:08:42,299
(David) In rehearsals you started becoming
Bruce Lee. You were...
1883
02:08:42,382 --> 02:08:43,759
(imitates Bruce Lee)
1884
02:08:48,180 --> 02:08:51,767
(Edward) Did we shoot this in two days?
Two days, right?
1885
02:08:51,850 --> 02:08:54,311
(David) Well, yeah. We ended up
not having a lot of time.
1886
02:08:54,394 --> 02:08:56,980
We only had two days to shoot it.
1887
02:08:57,064 --> 02:09:01,151
(Edward) A lot of these hits I took for real.
(David) Except for that. Damon...
1888
02:09:01,401 --> 02:09:02,945
(all talk at once)
1889
02:09:06,156 --> 02:09:09,576
(Edward) I hit my head
on the underside of the car.
1890
02:09:09,660 --> 02:09:11,119
(Brad) Genius?
1891
02:09:13,163 --> 02:09:16,041
(Edward) This hurt a lot.
This was the shot.
1892
02:09:16,124 --> 02:09:20,003
Remember? We did this one 37 times,
and Brad refused to do it because he...
1893
02:09:20,087 --> 02:09:22,589
(Brad) Gave out.
(Edward) That was me.
1894
02:09:22,673 --> 02:09:26,885
(Brad) Yeah, that was you!
The stunt guy here, no pads on the legs.
1895
02:09:26,969 --> 02:09:29,346
(Edward) I've never been more scared.
1896
02:09:29,429 --> 02:09:33,725
(Brad) Because he does it the first time,
everyone's amazed.
1897
02:09:33,809 --> 02:09:38,063
Those stairs are hard. Everyone's clapping,
and then we hear, "Once again."
1898
02:09:38,522 --> 02:09:41,775
(Edward) And he did it eight times.
(David) No, 12.
1899
02:09:41,858 --> 02:09:46,488
(Edward) 12?! No!
(Brad) And what take did you use?
1900
02:09:46,571 --> 02:09:51,410
(David) I used take number one.
(Edward) No!
1901
02:09:51,493 --> 02:09:53,870
(David) I love the argument at the end.
1902
02:09:53,954 --> 02:09:57,291
I love the fact that he makes him
take responsibility.
1903
02:09:57,374 --> 02:09:59,835
(Edward) Yeah, that was great.
1904
02:09:59,918 --> 02:10:03,630
- We struggled with this scene.
- (Brad) I say we got it.
1905
02:10:03,714 --> 02:10:07,676
(David) It's good because there's
so many things that need to be kind of...
1906
02:10:07,759 --> 02:10:10,387
- (Brad) Covered.
- We need to have done the legwork
1907
02:10:10,470 --> 02:10:17,436
to be able to say, "This is what his
responsibility is, this is where he's going."
1908
02:10:17,519 --> 02:10:21,273
I love the fact that Tyler's just waiting
for him to finally go,
1909
02:10:21,356 --> 02:10:23,317
"OK, bravo, do your thing,"
1910
02:10:23,400 --> 02:10:26,778
and he never does,
and Tyler gets more and more frustrated.
1911
02:10:26,862 --> 02:10:32,492
"I've thrown you down the stairs, smashed
you into a mirror. When will you give up?"
1912
02:10:32,576 --> 02:10:36,580
(Edward) And that's what I was saying.
1913
02:10:36,663 --> 02:10:40,167
The distinction that he's drawing here
that he hasn't in the rest of the movie.
1914
02:10:40,250 --> 02:10:41,960
He hasn't said no
1915
02:10:42,044 --> 02:10:44,713
when it's ratcheted up into other people,
1916
02:10:44,796 --> 02:10:47,841
into blowing things up,
into the commissioner.
1917
02:10:47,924 --> 02:10:50,010
He hasn't drawn the line over any of them.
1918
02:10:50,093 --> 02:10:54,473
He draws the line when Tyler says,
"We have to do something about Marla."
1919
02:10:54,556 --> 02:10:58,852
It's pretty much on that point that he says,
"No, I choose not to be that,
1920
02:10:58,935 --> 02:11:01,563
and in that I define myself
as separate from you,
1921
02:11:01,646 --> 02:11:07,194
and I want to claim myself back, because
I acknowledge that I do care about her. "
1922
02:11:07,277 --> 02:11:10,030
- The thing about that...
- (Brad) Kill the teacher.
1923
02:11:10,113 --> 02:11:12,609
(Edward) I was just
saying I think it's good
1924
02:11:12,634 --> 02:11:15,160
that he... I like that he...
In essence, he...
1925
02:11:15,243 --> 02:11:17,371
Cos something gets revealed in it...
1926
02:11:17,454 --> 02:11:18,872
In some ways, for all of Tyler's
1927
02:11:18,955 --> 02:11:22,542
philosophizing
and all his seduction of ideas,
1928
02:11:22,626 --> 02:11:27,839
in a lot of ways all Jack was looking for
out of Tyler was some kind of an intimacy,
1929
02:11:27,923 --> 02:11:30,467
which is the source of their conflict,
1930
02:11:30,550 --> 02:11:33,887
cos he says, "I thought this was our thing,"
he says, "No."
1931
02:11:33,970 --> 02:11:38,642
And once Tyler's moved away from him,
and once Marla gets threatened,
1932
02:11:38,725 --> 02:11:41,395
he transfers his desire for connection
1933
02:11:41,478 --> 02:11:43,855
back to where it should have been
in the first place.
1934
02:11:43,939 --> 02:11:47,234
(Brad) I think there's
numerous other elements.
1935
02:11:47,317 --> 02:11:52,030
That you can control your own life,
you don't have to be washed around.
1936
02:11:52,114 --> 02:11:55,909
(Edward) Finishing up what
I was saying about her is...
1937
02:11:55,992 --> 02:11:59,454
The thing is I always want...
I always bel...
1938
02:11:59,538 --> 02:12:01,415
This is the first time in the movie
I believe him
1939
02:12:01,498 --> 02:12:04,626
when he makes any claim about himself.
1940
02:12:04,709 --> 02:12:08,422
When he says, "I'm really OK,"
I think he actually...
1941
02:12:08,505 --> 02:12:12,008
(David) Means it.
(Edward) He means it.
1942
02:12:12,092 --> 02:12:17,931
He had to blow up the world to do it,
but he figured something out.
1943
02:12:18,014 --> 02:12:21,518
(David) You guys saw the first cut
at the same time.
1944
02:12:21,601 --> 02:12:25,814
(Edward) No, no. Brad saw one before I did.
1945
02:12:25,897 --> 02:12:30,318
I came back, uh... for the Oscars in March,
1946
02:12:30,402 --> 02:12:33,447
and I saw your first cut on a...
1947
02:12:33,530 --> 02:12:38,326
(David) The video projector here at Fox.
(Edward) A video projection of it, yeah.
1948
02:12:38,410 --> 02:12:43,790
It was probably two hours and 40 minutes
maybe? Does that sound about right?
1949
02:12:43,874 --> 02:12:46,585
(David) 2:35.
(Brad) What's it down to?
1950
02:12:46,668 --> 02:12:51,798
(David) 2:15. Four minutes of titles,
so 2:19 all in.
1951
02:12:51,882 --> 02:12:56,803
Which is... I don't know...
We got a lot of flak for it being too long.
1952
02:12:56,887 --> 02:13:00,807
(Edward) I hardly think that's a long movie.
(David) I don't...
1953
02:13:00,891 --> 02:13:04,978
I think Peter Bart wrote in Variety
something like:
1954
02:13:05,061 --> 02:13:09,107
"Why is it that a movie like this
has to be two hours and 15 minutes
1955
02:13:09,191 --> 02:13:12,152
when it's just
your run-of-the-mill thriller?"
1956
02:13:12,277 --> 02:13:14,905
(laughter)
1957
02:13:14,988 --> 02:13:20,785
(Edward) Yeah, I read that. I don't think
he even specifically said this, he said:
1958
02:13:20,869 --> 02:13:27,000
"Even your action movies
are clocking in at over..."
1959
02:13:27,083 --> 02:13:28,126
Ugh!
1960
02:13:28,210 --> 02:13:32,797
(Brad) Screensaver.
(Edward) A screensaver?
1961
02:13:32,881 --> 02:13:37,177
(David) We were gonna do the gun going...
(Edward) Watch the smoke ring.
1962
02:13:37,260 --> 02:13:42,349
(David) We were gonna do the gun going off
in your mouth as a screensaver.
1963
02:13:42,432 --> 02:13:47,521
(Edward) Look at that smoke ring.
(Brad) I've never been able to do that.
1964
02:13:47,604 --> 02:13:50,690
There's a tribute to Gary Oldman.
1965
02:13:50,774 --> 02:13:55,737
The Gary Oldman death scene -
no one dies better than Gary.
1966
02:13:57,656 --> 02:14:02,869
This is one of the first times I actually
did not care what anyone thought,
1967
02:14:02,953 --> 02:14:07,249
cos I was so ecstatic
with the final product.
1968
02:14:07,332 --> 02:14:11,336
What we were shooting for and
what was there was beyond expectations.
1969
02:14:11,419 --> 02:14:13,880
It was what I wanted to see
and I just did not care.
1970
02:14:13,964 --> 02:14:19,302
I understood that there'd be a lot of people
that would have problems with it.
1971
02:14:19,386 --> 02:14:24,057
It was dead-on for me so I was unfazed.
1972
02:14:24,140 --> 02:14:26,059
(Edward) I would not have thought...
1973
02:14:26,142 --> 02:14:30,105
When we set out to do it,
I probably said to many people:
1974
02:14:30,188 --> 02:14:35,402
"If we get even 70% of the feel of this
up there, it'll be pretty wild."
1975
02:14:35,485 --> 02:14:39,239
(Brad) Let's not forget, you had
as many people on the other side going:
1976
02:14:39,322 --> 02:14:42,325
"This is the most original thing
I've seen in..."
1977
02:14:42,409 --> 02:14:45,537
(David) No, no. We definitely got...
1978
02:14:45,620 --> 02:14:47,998
(all talk at once)
1979
02:14:48,081 --> 02:14:50,083
(Brad)..just fixate on the evil.
1980
02:14:50,166 --> 02:14:55,046
(David) It's amazing, cos when you watch
this movie with a younger audience,
1981
02:14:55,130 --> 02:14:59,175
they actually laugh at the absurdity
of a guy who's shot himself...
1982
02:14:59,259 --> 02:15:01,094
(Edward) And is still talking.
1983
02:15:01,177 --> 02:15:06,099
(David) There is a real defining age barrier.
Some people over a certain age go:
1984
02:15:06,182 --> 02:15:10,353
"Fuck you, you can't do that.
That's just awful."
1985
02:15:10,437 --> 02:15:12,439
(Helena) I had a long discussion
with Fincher about this scene,
1986
02:15:12,522 --> 02:15:14,357
where I come back.
1987
02:15:14,441 --> 02:15:18,987
He's got a lot of explaining to do
since he's just betrayed my trust yet again
1988
02:15:19,070 --> 02:15:23,074
by putting me on a bus
full of space monkeys.
1989
02:15:23,158 --> 02:15:26,661
I'm pretty angry, as you can see.
1990
02:15:26,745 --> 02:15:30,707
I said, "I don't wanna go all Florence
Nightingale given what he's done."
1991
02:15:30,790 --> 02:15:33,001
He said, "Don't underestimate
what it's gonna look like,"
1992
02:15:33,084 --> 02:15:35,462
and the makeup was realistic.
1993
02:15:35,545 --> 02:15:39,132
But, of course, when I first saw it,
I was really appalled.
1994
02:15:42,469 --> 02:15:43,803
It's so deliberately ironic
1995
02:15:43,887 --> 02:15:50,018
and an in-joke that
this is Century City that we're blowing up.
1996
02:15:50,101 --> 02:15:53,647
(Brad) Love the Pixies coming in.
(Edward) That was a great piece of music.
1997
02:15:55,815 --> 02:15:59,819
(Brad) And also, after all
the Dusties' techno vibe.
1998
02:15:59,903 --> 02:16:01,488
We've been all around the world
with the Dusties
1999
02:16:01,571 --> 02:16:05,784
and then come in with this raw guitar.
2000
02:16:05,867 --> 02:16:08,578
(Edward) It's great cos
it's a great millennial...
2001
02:16:08,662 --> 02:16:13,583
like "We'll Meet Again" at the end of
Strangelove or something, you know?
2002
02:16:17,504 --> 02:16:18,505
(David) Quality Control,
2003
02:16:18,588 --> 02:16:22,801
"Did you know there's a six-frame
splice of penis at the end?"
2004
02:16:22,884 --> 02:16:25,679
(Edward) You're kidding.
2005
02:16:27,722 --> 02:16:30,392
(Brad) Tyler lives on.
2006
02:16:32,268 --> 02:16:36,106
(David) I gotta say kudos to Fox.
They really totally backed us.
2007
02:16:36,189 --> 02:16:42,112
(Edward) Yeah. In fact, the first time that
I saw your first long cut of it or whatever -
2008
02:16:43,279 --> 02:16:44,948
you guys weren't there, Andy was there -
2009
02:16:45,031 --> 02:16:49,911
we walked out and were standing
in the bright sunshine on the Fox lot,
2010
02:16:49,994 --> 02:16:54,040
and neither of us said anything for a while
and the first thing Andy said was:
2011
02:16:54,124 --> 02:16:57,210
"You know,
my immediate reaction to that is
2012
02:16:57,293 --> 02:17:00,422
that the most amazing thing about it
is that it ever got made."
2013
02:17:00,505 --> 02:17:04,843
But I will give them credit too,
2014
02:17:04,926 --> 02:17:08,555
in saying that all the major people
involved from the studio
2015
02:17:08,638 --> 02:17:12,976
stand by the fact that they believe
they made a really great film out of it.
2016
02:17:13,059 --> 02:17:16,396
- I don't think any of them backed off...
- (David) Not one.
2017
02:17:16,479 --> 02:17:19,399
(Edward)..the idea that it was good.
2018
02:17:19,482 --> 02:17:21,776
(Brad) Specifically Bill Mechanic.
2019
02:17:21,860 --> 02:17:24,571
And the battles on this thing,
the marketing battles,
2020
02:17:24,654 --> 02:17:28,324
to try to keep this individualized
and support what the film is,
2021
02:17:28,408 --> 02:17:33,496
instead of falling into some kind of...
2022
02:17:33,580 --> 02:17:37,417
selling it like some silly movie
that's been done a million times.
2023
02:17:37,500 --> 02:17:41,296
I mean, even when this thing came out,
2024
02:17:41,379 --> 02:17:45,925
I knew there was gonna be flak,
and I had this idea.
2025
02:17:46,009 --> 02:17:47,761
You look back at Clockwork
2026
02:17:47,844 --> 02:17:51,890
and these films
in your favorite stack of lasers or DVDs
2027
02:17:51,973 --> 02:17:56,102
and what they did opening week
and it's pretty much par for the course.
2028
02:17:56,186 --> 02:18:00,440
On the other hand,
I had this idea in my head
2029
02:18:00,523 --> 02:18:02,776
that it would find its life now,
2030
02:18:02,859 --> 02:18:08,072
that it was apropos
and people were ready for it.
2031
02:18:08,156 --> 02:18:14,412
So there was still a little surprise
and disappointment on that level,
2032
02:18:14,496 --> 02:18:18,124
but I go, "That's what I expect.
I knew that going in."
2033
02:18:18,208 --> 02:18:22,045
The thing I always hang on to
is when we first sat down with this,
2034
02:18:22,128 --> 02:18:25,799
you talked... you weren't so much
talking about this one specifically,
2035
02:18:25,882 --> 02:18:27,425
but you said,
2036
02:18:27,509 --> 02:18:30,470
you were interested in making films
that would be around in 20 years,
2037
02:18:30,553 --> 02:18:34,182
that have a life, and...
2038
02:18:34,265 --> 02:18:39,229
I mean, time will tell, but I think
that's exactly what we've done here.
2039
02:18:47,445 --> 02:18:50,740
- Who's it in memory of?
- (David) Scott Makela is the title designer
2040
02:18:50,824 --> 02:18:52,492
who went on a trip to South America
2041
02:18:52,575 --> 02:18:55,995
and he got a viral infection in his lungs
and he died.
2042
02:18:56,079 --> 02:18:59,249
Raymond was a development guy at Fox
2043
02:18:59,332 --> 02:19:03,503
who found the book and gave the book
to Laura Ziskin and died shortly after.
2044
02:19:03,586 --> 02:19:05,171
He wanted to see it
made into a movie and never did.
2045
02:19:05,255 --> 02:19:06,256
English - US - SDH
2045
02:19:07,305 --> 02:20:07,845
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