Making THE ROYAL TENENBAUMS (with Wes Anderson & Robert Yeoman)

i feel like whatever feeling a bully has comes from a bunch of preconceived ideas about something the visual the music the way the actors will play the scenes but the actual way it what it adds up to be is sort of always a surprise you know even if you planned everything when you add it up it's never what you exactly expected because you never could quite fully picture it this is the hero1 here it is this is the hero moment it's happening right now yeah that's great good job benny oh i thought we just finalized that color today we were just in brooklyn picking the colors and here it is this is not the color yet that's gonna be great right it is great yeah i like the amount of stuff that has to be made because the more stuff that's made means the more likely the more it is stuff that's never been nobody else has done no that's pretty unique i mean yeah margo's room is definitely yeah there's not that before well that just comes from a restaurant down the street yeah every room in this house is a little bit surreal you know but the walls are colored it's not really like real life right when you walk into this house there's something exaggerated it feels more of a saturated yeah more saturated it's nothing like this i know and we're trying to get away from this because it's like just too dead yeah this is totally dead this is perfect well it's amazing wonderful this house is going to be incredible i also feel like when the actors come into this house that we've got that we've all created you know you can't couldn't help them more if they're in if they're interested you know they're going to just feel like it's all here great it's wonderful it really is going to exist i just ring this around the burr flies around he starts watching me and as the bird flies he'll turn towards me and i'll toss this up and he'll come and try to catch it and he'll bring him in here i grab it exactly that's what he does he starts trying to grab it each time he flies i make it a game and every so often initially i let him grab it you know so he catches it once and he knows that once he catches it he's going to get food he'll be fine he can just hover above us he's going to be doing all kinds of stuff so i want to have the camera guy i don't know that's your job yeah you know what i mean yeah you know be ready because he sometimes he'll go directly up and he might just hesitate and turn right back down it'll be some real good stuff that you'll be able to edit if he's coming into my face we've trained him to come in on the fist will he come in and then hover for a second before he lands he'll probably come right to your face boom boom lock on and then he'll probably act like it's a kill he'll probably bring his wing down and start to cover the prey cover the fists that's what they normally do and then local just bring them in like this sure yeah that's good but we can't can we can you train him to take like a beat right before he lands in or they don't really do that [Music] well wouldn't it look amazing to have him flying and then go for a second and then set up but we don't have to do that we will make it too complicated the royal tenenbaums were just about this family where the father left the family and the family then kind of disintegrated and everybody has all these kind of different problems and so the story is 20 years after this introduction where we learn when they peaked and then it tells us that after that things went way downhill stories about the family kind of coming back together 20 years later and the father trying to get his way back into the family that he left and the effect that has on everybody you know i had my brother do these drawings we kind of figured out this sort of different events and the family's history because one of the things was we want to tell this whole family history on the walls oh it's a good falcon thanks okay that's a good one actually dude you didn't do a guy on a ski lift well that's what those are on the distance aren't they oh i see oh i see okay well this is going to be a great wall this is a picture i saw at the uh whitney so i copied it off of the picture like just the pose and stuff and switched it to royal and ritchie here i'll draw i'll show you when i have okay i could show you something on the hair uh let's see my recent thing was to draw i mean i wish i just had the thing here because i could i could draw it better if i had the picture right here something like this kind of that's the way i've been doing it lately does that give something different well it feels totally different to me i mean that's that's it's quite different right this but this doesn't look like gene hackman either but neither does this well that one i could see the job done on hack when i felt like which one you want my drugs to be i don't know what it's going to look like anyway once we actually see it but i think we can work on this chance a little because the hair does this funny thing but i think it could just be a little extra work on it let's refer the original and see because that's very similar to what you did but it's just something in the hair closer to the ears maybe i think maybe if it bring if you bring the hair down on the sides a tiny bit right it'll be more like okay we're just looking at chest and maybe just a little uh if it comes down to his ears a little bit you know i think that might be more of a shag yeah yeah that's right he has more he has like kind of a what's the father and the brady bunch tom mike mike yeah mike do you remember that right okay yeah it's kind of curly all around right without the burns but yeah but he's 12. so it's supposed to be ben stiller if i color in the hair all with a sharpie is that okay to make it even to make it match that's fine it'll all be black but it's fine as long as you don't mind it being black will it well here i'll do the edges and then tell me what you think i ought to do after that i was going to do this i'm doing it so do this do this do you think i had to just color it in yeah if you want to all right why not that's good that's about what this hair is going to be like in the movie so okay yeah [Laughter] it looks really good now we just show that to the hair and makeup people i tried to be kind of a little bit relentless about getting all the details exactly exactly as we planned them so i think when people see it they say well this is the script that was written and it's all in here um because before you know i did i had stuff where there was some stuff planned and then some sort of say well this will be just as good but then i feel like you know let's just do what was planned because sometimes i'll even forget why i wanted to do this wanted to do something an exact way and later i realized oh i wanted to do it that way because it ties into this thing at the end of the movie or something like that so this one i just tried to make it just the rule to be as close to the plan as possible not i mean that but that but then the actors do something you know it's always different you know that you want to be surprised by what the actors do and the way it adds up together is always different guy can't stand that shot there you know for most most people it'd probably be nice you want to be here yeah i want to be there like this take a look at this shot right now right here i know what you're saying i wonder how what it would do for us if we had a different approach to this house which was we we hand hold stuff see i always thought the way we'd shoot all the scenes in this house would be the camera would always be on a dolly right and all it'll be moving around but there's no place to move it yeah the only way i can't seem to figure out how you're moving you know we ought to look at we ought to look at boone well you know the way the camera moves in the boone well movies is they're always just in rooms groups of people in rooms having conversations and he doesn't shoot coverage he shoots it in pieces that cut end to end kind of let's look anyway let's do a boonwell session and see what he always does the thing like he starts the scene on the plate of olives and moves to this and they talk and then it goes out to the two shot and they talk about like this big term or the bourgeoisie yeah or they and all the way through to the anyway at least starting with the the the ones after he was back from mexico i don't know oh man what you want to be is over here right no not really i don't know i don't know i don't i don't know how we ought to do this one i think we got to just let them go and see what we end up with but then we'll just end up with some shots that i don't really like here's the tricky part sneaking into the house [Music] you climb up here but he didn't let's see well it looks it looks scarier than it is that you throw a leg over like this and you and then you kind of act like you're pulling something you throw it open and you climb in that was sam's thing that he did i i haven't tried it if you can do that it looked pretty good when sanded it but i mean it i just find it's kind of difficult but it look but if you like walk right up and do it like you've done it a million times you just or you can just wait till the day see what happens on the day see if it even works for you i think he should go in and then yeah and then he kind of like just dove through the window more or less how would you hit it that's good hey it's time to shoot this i sam i think we i think it's about the right time well the sky's like this okay good let's trim everything we can out for that first one you know i had more experienced actors on this movie than anything i've ever done the one thing i see so many of them do is they do a couple of takes do their rehearsals and you can sort of see them like figuring out how they're gonna attack you know i'm gonna pick this up and do this and say this they figure out like their approach to it they're sort of like sculpting it and then they start just kind of running it and you know the other actors i've worked with it's a little more it's not more like mechanical in a way and then more just totally spontaneous i'll show you scene with her and hackney big scene with her enhancement which was just like that scene i've never been as nervous before doing a scene and during the thing i just felt like i was just stepping back and watching it roll you know the whole thing just went down the street it's this long walk fast thing and once it starts going it just goes and and you know you can't believe that they're managing to keep them in the shot you know it's going so fast and they're stopping and turning back everything in it but you know they got it they're both and they're both really i think they're both really great in it but so dan did we have the sound now yeah let's take a look got a minute what are you doing here uh i need a favor i want to spend some time with you and the children are you crazy wait a minute dammit stop following me baby i'm dying yeah i'm sick as a dog i'll be dead in six weeks oh i'm sorry what's the prognosis take it easy where's the doctor just wait a second now okay listen i'm not dying but i need some time a month or so okay i want to i want us to to to you damn that's all are you crazy i thought baby i am dying does that make sense you fell yeah oh good but that makes sense what's happening that he's saying he's dying then he's saying okay i'm i was lying and then she goes and he said i am dying right yeah okay good if it makes sense aren't they good the tricky thing is she's got to motivate him to say he's got a game plan he says i'm dying and she's got to motivate him to then say okay look i'm not dying which is a big deal for him to step back off it to change his game plan that much at that point is like suicide and she's gotta freak out enough for him to do it and she does you know she loses it enough to where it makes sense for him to do it he does a little look out to see if like people are watching them when she starts crying which are like and he also does this thing like this and she comes back to him like he's she really hits him in that one i mean you can hear it that's we didn't put any sound on that she hit him at the end of that take she says oh my god i really clipped you on that when i'm so sorry and he's going yeah but she kind of she caught him but it was the best one have this be dark then have white labels uh nearly as deep as as high as this with playwrights in alphabetical order i gave carl the list you know so it just says o'neill you know williams because there'll be a shot that has a title on it library of plays so it'll be this whole space and then it'll be her here reading okay long day's journey and tonight you know and it feels like all right so we'll do in and inside and out dark brown that would be ideal is eric up there the red touch this time it's a concept it's gonna be great yeah it'll be fun with just going to you know see what it's doing wow me and dad on the grass courts at windsor field yeah i hope gina hangman doesn't look at this and say well i'm not going to wear my hair like that but we've been in some discussion of that already but he's uh he's resigned right i think he's okay with it yeah this room's gonna be really something the thing that matters is is the behavior of the actors and making those moments real and that's what that's what really an audience connects with in the biggest way the other stuff is something that i feel like is my personal interest in in those things but that's not what makes a movie work kind of you know i mean all those things are important but i i used to be that was all i wanted to talk about was the directors of photography and the art direction and all that stuff and now i just that doesn't seem as interesting to me even though i know i respond to it the same way i always did um it's the it does feel like the easier thing to do in a way um so i don't know but in the case of this movie you know it's sort of hard to make that case because we it's so flooded with all this kind of stuff you know with all these different it's got like 300 different sets you know scenes that last for one line we have to build the set just for that one scene you know and um literally one line you know um many of them like that um and some scenes with no lines you know we built so we have some sets where they know people on the set um so i don't know i guess that i'm contradicting myself you don't see my feet no no see 136 take one okay here we go when we take boxing and self-defense class i'm not talking about dance lessons i'm talking about putting a brick through the other guy's windshield i'm talking about taking it out and chopping it up what do you mean good okay let's roll back we're doing that good good here we go we take boxing and self-defense class i'm not talking about dance lessons i'm talking about putting up brick through the other guy's windshield i'm talking about taking it out and chopping it up what do you mean okay good alright let's do one last one but we take boxing and self-defense class i'm not talking about dance lessons i'm talking about putting a brick through the other guy's windshield i'm talking about picking it up and chopping it up oh what is that supposed to mean he hasn't done that moment yet has he take boxing i'm not talking about dance selections i'm talking about putting up brick through the other guy's windshield i'm talking about taking it out and chopping it up but what does that mean this is good i think um in relation to making films i don't know kind of like everything's changed so i don't know i don't know how to think of it um it's such a totally different endeavor and um now um you know the only thing that's the same is the this weird thing of really feeling required to just work on this thing to work on this on a project you know just having that be to be single-minded about making it you know that's the only thing that hasn't changed really you know that and looking through a little viewfinder and seeing what the picture is but everything else is different this is kind of a heavier one really hold him by his the end of his tail okay that's why he's going to check yeah because he'll whip up on you okay you ready yep 300 left rolly come on man turn to the left a little bit just a little bit of air pretty good you're good right you almost doing something okay good very good there it is that's the shot right there right yeah maybe not as lively you

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Length: 27min 5sec (1625 seconds)

Published: Sun Feb 07 2021