HH3コメンタリー Loyalty １  ２  ３  ４  ５ Duty    １  ２  ３  ４  ５	NEW!! 2006/07/01 Horatio Hornblower:The New Adventure Transcript from Extra Feature Commentary DUTY Voices of Producer Andrew Benson & Director Andrew Grieve with John Mollo, costume designer. ホーンブロワー３『ナポレオンの弟』オーディオコメンタリー（米国版ＤＶＤ収録） 声の出演：アンドリュー・ベンソン（プロデューサー），アンドリュー・グリーヴ（演出）， ジョン・モロー（コスチューム・デザイナー）
	Part1 of 5 VOICEOVER

DUTY OPENING CREDITS BENSON: Well, welcome to this the 8th film of the Horatio Hornblower series, titled Duty. I'm Andrew Benson, the producer, back again. And also with me is Andrew Grieve, the director, but we're joined on this film by eminent costume designer, John Mollo, who also acted as an extremely valuable and reasonably priced historical advisor. John- MOLLO: Um, Yes. Indeed, Free I would think probably more than reasonably priced. BENSON: Well, that's what I meant by reasonable priced, Yeah. MOLLO: Yes, well my sort of role earlier, was to sort of read through the script as it appeared, and make what I thought, was helpful comments. About factual things, or about the way people spoke to each other, how they used their ranks and things like that. BENSON: And this, before we started casting, you obviously moved on to designing all the costumes and uniforms. MOLLO: Yeah, what I do, is start a little bit earlier and go through the scripts, the script we have, and um, do a breakdown of what I think are principles and I work out a price of what I think the thing is going to cost. And we take it all from there, but of course the scripts change, the casts change, the crowd numbers change. So it's a bit of a movable feast.

WEDDING SCENE GRIEVE: And the period changes as well, so you've had to change things. It's not just recycling the costumes from the first episode.

MOLLO: That's true. I mean we've had, uh, changes in naval uniforms, we've had changes in marines. This is the first time I think we saw Ioan in his commander's full dress uniform. GRIEVE: With one epaulet on his left shoulder. MOLLO: That is right, and it's the same uniform worn by a captain. A captain, a junior captain has one epaulet on the right side and the senior captain has two epaulets. So you can tell who they are according to their rank, their epaulets. BENSON: But this costume is made especially for this production. MOLLO: Yes. Indeed, Yes, yes. GRIEVE: A bit of a departure in this sequence, John we actually had more ladies costumes to design than in the past. MOLLO: Indeed, and we didn't really know what weddings were like of the period. They were much simpler than they are today. And I don't think white wedding gowns actually came in till the next century. And I think girls just wore whatever decent frock they had and Mariah is not very wealthy. GRIEVE: Not very wealthy.

MOLLO: So she's got on her best frock. Mum in the background is rather better dressed for the occasion. She's putting on a bit of a show. GRIEVE: That's her character. They do look very alike though, don't they? Mum and daughter? MOLLO: Yes.

GRIEVE: And whose department is that..wig? (referring to the vicar) MOLLO: That's quite interesting. They got terribly worried about what wig was going to be put on this chap. GRIEVE: On the vicar. MOLLO: On the vicar, because of budgetary and all sort of other reasons. So I said why doesn't she give him a disorderly clerical wig? Which was a sort of stock item actually. GRIEVE: We called it Rover (LAUGH) -(That's a dog's name) MOLLO: Yes, it is the sort of thing that clergymen wore in those days.

BENSON: Now that's interesting how we shot this church inland, just outside the south of London, and we hoped it would convince everyone that it was actually by the sea and that was a green screen shot with the sea added at a later date. Scene where they get inside the wedding carriage.

GRIEVE: This is good fun to do. The guys pulling the carriage along. MOLLO: This all actually happened in the book didn't it? GRIEVE: Yes it does. MOLLO: They've got their HOTSPUR hatbands on for the first time. GRIEVE: You notice there's something very anxious... MOLLO: Well, it's just the sort of cheers things up a bit. And they did start doing that. MOLLO: I think this location is very lovely. That this location exists on the East End of London. GRIEVE: It's got very little change, just the canopy of THE GEORGE (hotel) put there, but otherwise it's as it is. BENSON: And the color of those doors, which was blue and is now changed to brown. MOLLO: Yes, we were not allowed to paint on them. BENSON: We had to paint them electronically, so they didn't look like a blue screen in the background. MOLLO: Am I wrong in thinking that the art department had a lot of posters stuck up on the wall, which they shouldn't have done? And they had to scrape them... BENSON: We were not doing anything we were not supposed to be were we?

(LAUGHTER) BENSON: I can't recall. GRIEVE: Would they have had a cake, John? MOLLO: I honestly don't know. So little is known about weddings, I think it's fair enough ... to say they'd have a spread (lots of party food) of one sort or another. BENSON: What's always interested me, in looking back over some of the early films and even the last two that we did, is always a danger if you do anything with military uniforms in making everybody look the same. Like all the four lieutenants in the last films all dressed differently. Um, how did you decide upon it. MOLLO: Well, the basic uniform is the same, but it could be worn in different ways. It could be worn buttoned over, or it could be worn with the lapels sort of folded back. And there is permutations and combinations. There all basically the same coat just worn in a different way. BENSON: And that way, we can distinguish between them. MOLLO: We did the same with the captains and the court martial in the last series.

6:37 Scene where Horatio speaks with Pellew at wedding party. GRIEVE: But some of them had Hessian boots on and some of them had shoes. MOLLO: Yes. They were quite lax, in some ways. BENSON: As long as Robert always looks the best, that's the most important thing, isn't it John? (LAUGHTER) GRIEVE: Is that a new uniform for him as well, as he's gone up a step in rank? MOLLO: That's the one he wore last time. GRIEVE: When he was commodore. MOLLO: When he was in-where did we shoot before, Menorca. BENSON & GRIEVE: Yes, yes. GRIEVE: But he was a Commodore, wasn't he then?

MOLLO: The uniform is basically the same as a Rear Admiral so the uniform has basically the same thing. GRIEVE: That's right. Commodore isn't a rank, it's a position. MOLLO: Yes. GRIEVE: Captain is not a rank it's a position, Post Captain is a rank. MOLLO: Yes. GRIEVE: Captain is just the commander of a vessel, he could be a lieutenant or commander of whatever the case. MOLLO: Yes. BENSON: Which is one of the difficulties in explaining that. Because we sometimes call Hornblower Captain because he's captain of a Hotspur. But his rank is not Post Captain which is what he gets promoted to at the end of this. Which is a little bit difficult for a lay-person to understand. MOLLO: Yes, it was a courtesy for anyone who was in charge of a vessel to be called captain. If a lieutenant is in command of a ship he is referred to as captain. BENSON: Of course all these actors we've worked with, particularly and obviously Ioan and Robert over the years, how do you---and of course I always give you plenty of time, to actually design the costumes for them, John? It's an ample opportunity...

8:05 Scene of a wedding party. GRIEVE: Three days! MOLLO: Yes, we seldom need more than three days. LAUGHTER MOLLO: It's seldom more than four days for these things. Sometimes we need a bit longer. Yes, casting is a subject which, um, which is always our particular problem because we're hanging around trying to get things done and waiting for somebody to be cast. And it does mean that things have to be done rather quickly in the end. But we do understand the problems. BENSON: You were reminding me earlier of Ian MacNiece who um, who we cast in the second of the early films. Who came out to the Ukraine without a costume. And he's...I don't think he would mind me saying so...he's a rotund gentleman. What did you do about that, John? MOLLO: We were slightly forewarned about that, so we took a bolt of calico out with us, and it was supposed to be a rather hot season, we got the lovely Ukrainian wardrobe ladies to make him a suit out of calico. GRIEVE: A luminous suit. MOLLO: A luminous suit! And it took about a day and a half to make it. Anyway, we got started on that one.

9:44 Scene of Horatio looking out Hotel window in the morning GRIEVE: That's an interesting shot, because that ship is nowhere near that window. I suppose that's kind of par for the series, now, that's what we do. MOLLO: As someone who is not directly involved with that side of it, I do think those shots are marvelous. BENSON: Because that window overlooks a London rooftop. MOLLO: Yes. BENSON: But by all intensive purposes, we're by the sea. MOLLO: Yes. BENSON: I think the Hornblower Mariah scenes worked particularly well. We were nervous about translating it onto film, from the novels. I think they are actually some of the more successful scenes of the film.

MOLLO: I think they were and it's good to have it in this sort of gung ho series, isn't it? GRIEVE: Tenderness. MOLLO: Yes, Tenderness.

10:18 Scene on Hotspur-raining MOLLO: Oh, look it's actually raining. GRIEVE: No, it's not. It's hoses. In order for a film rain to show, you have to actually pour it down. So that's all hoses and rain machines going. I think we were helped by the weather that day though. MOLLO: GRIEVE: It's certainly raining on the window. I don't know if it was raining when you were filming.

BENSON: Now, once again, the famous gloves. GRIEVE: Oh, the famous gloves. BENSON: Which we established in the first film and now we re-establish in this film because they are going to be very important later on. And they came directly from Forester. MOLLO: Have you discussed the history of the gloves? GRIEVE: We discussed that you made a pair that were rather elegant but they went back to the drawing board. MOLLO: Well, eventually, having the first ones rejected as it were, we were down in Falmouth by then, and we actually found a woman who knitted. And uh, she drove some distance so we could see her. And agreed that she would make several pairs of these gray woolen gloves. And Barbara was told that they were not be very well made. And this woman was rather worried that um, she was going to have to produce something that was not up to her usual standard. And several times during their construction she rang up and said, she was worried that they were going to be too good, but uh... GRIEVE: Such a small item. Took an awful lot of time. BENSON: That's so true, John. In filmmaking, every prop, every piece of costume, everything has to be selected-uh-with great care. GRIEVE: Do you remember those costumes we made that were back to front? So that we could shoot reverses and flop the film over, when we were in positions where we couldn't put people in the right background? MOLLO: That was a sound idea. But the basic problem was cocked hats, because you basically had to change the gold loop and cockade from one side to the other. And of course when you took it off, it left a large hole, moths---which had to be filled in. GRIEVE: Period moths. LAUGHTER

13:00 Scene: Doughty arrives MOLLO: Ah- this is- GRIEVE: The arrival of the Ron cook. MOLLO: This is my favorite. GRIEVE: Favorite actor. BENSON: Favorite character, or favorite actor, John? MOLLO: Favorite actor. GRIEVE: Yes, he's so nice. He's such a good actor. BENSON: He's one of my favorite characters as well. This is interesting because this is a case of working backwards, in order to work out the story which one frequently does. We knew we had this Doughty character joining us in the film on the part of the steward. And we knew he had to form some kind of relationship of animosity with one of our regulars. And so working backwards, we put Styles in as the cook in the first films so that his nose in now out of joint having been replaced by the real thing. So in that way, you can actually start from the end and work your way backwards in trying to work out your story rather than start the logical way, from the beginning. Because the Doughty character is a Forester construct and a great one, and I think the cook is marvelous. GRIEVE: It's wonderful the way the relationship between them builds up. How Hornblower dismisses him at the beginning, but quite gently. But there's already a relationship from the beginning. Styles in between them. MOLLO: He's also a very interesting character to dress, really because he comes from Pellew's service which is pretty rich, I would think. And he's now sort of come down a bit to work for Hornblower. I decided that he would have a sleeved waistcoat. You know the 19th century footman have these stripped waistcoats which wasn't sleeved, which was more a 18th century thing. So he's got his sleeved waistcoat and you can't see in the film that his buttons which I found in a box in the costume room, has all got coronets on them. GRIEVE: Oh, John, How nice. LAUGHTER GRIEVE: If I had known, I'd have gotten a close up of it. BENSON: Well, we are about to go on deck. And I know John, that you always read with dread in the script when it says THERE IS A STORM RAGING. Duty    １    ２    ３    ４    ５  特集コーナー HOME