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）
	Part3 of 5

34:27 Scene of Admiral Pellew in his cabin BENSON: But Robert Lindsay was ok because he was safely... GRIEVE: ...tucked up in the studio. LAUGHTER GRIEVE: That was a good shot of his ship in Plymouth don't you think? It does work very well.

BENSON: And this scene is where it introduces Jim Carter as Mr. Etheridge. We were rather fortunate that Jim came on board. He and Greg Wise, who was in the previous film, are next door neighbors. And Jim was actually away filming in Malta when we sent him the script. And his wife popped next door and said...oh, you're doing Hornblower, oh, do tell him to do it, it's great fun. So she rang him, and he said, normally I would need to read the script, but if he said it was fun, he'd do it. And that's how we got Jim Carter. And a lot of the American viewers will know him from the original Dinatopia mini series. And he came in and did a couple of days, and it was rather splendid. Another character, John, who is not of conventional size. MOLLO: No, we were very lucky, um, we found something off the rail which fitted him perfectly. A few slight adjustments. GRIEVE: How tall is he? 6 foot 4? MOLLO: He's quite tall, very tall. And he's got a 46 inch chest or something like that. Big chap. GRIEVE: Not your average kind of coat size. BENSON: Not easy to do a two shot with Robert Lindsay. GRIEVE: There's something we do to shoot interiors. Lights outside are going up and down. In order to create movement, so the shadow on the walls are moving. And outside the windows of the ship is a rigging which is going up and down all the way through this. It's not quite obvious because it's quite dark outside. BENSON: If you do look at the candle there, Andrew, it's also moving. GRIEVE: There's somebody tweaking it with a bit of fishing line or piano wire to make it move.

36:30 Scene with Doughty and Bonapartes. MOLLO: Bonapartes again. BENSON: With the clothes rescued from the shipwreck. GRIEVE: She didn't come with any valise, she didn't come on board with any luggage, so where did all these clothes come from John? MOLLO: It was in the original script. LAUGHTER GRIEVE: She'd appear in something different every day.

MOLLO: She had a trunk. GRIEVE: Yes, but the trunk never came aboard with her. MOLLO: He had a naval uniform. BENSON: This was another interesting thing, John, we brought in. That sailors were deeply superstitious. And we thought Styles would be the perfect character to vent such superstitions. MOLLO: Yes, indeed.

37:16 Horatio and Bracegirdle are in Horatio's cabin. BENSON: What do you think that came from originally? GRIEVE: Jonah and the whale. LAUGHTER MOLLO: I think you're probably right. GRIEVE: It is right though. They are incredibly superstitious. You're not supposed to whistle unless you want wind, and you have to scratch your back-stay if you want to encourage wind. MOLLO: And they didn't like having parsons on board. GRIEVE: They certainly didn't like women. MOLLO: Women, Parsons, Cats. Did they like cats? I'm not sure. BENSON: Why didn't they like parsons? GRIEVE: The reason we still don't like parsons! MOLLO: Because they stopped them from doing all the things they wanted to do. BENSON: Ah! GRIEVE: They used to do all sorts of naughty things in port though, didn't they? They were given license to do whatever they liked. All a woman had to do was say she was somebody's wife, and she was let on board. You might have a vessel of several hundred and you'd have a hundred women on board. And they'd all be in hammocks, only 24 inches apart. So, it was a bit like, a vision of Hades, or it depends on your point of view I suppose. It could be Heaven. LAUGHTER BENSON: Not a great deal of space belowdecks for general living. GRIEVE: Very little. They operated a system where the hammocks were interspersed, where one watch would be on deck, which would give you 48 inches of room, but if everybody was below, you'd have only 24 inches which is hardly the breadth across your shoulders. It would be very, very crowded. MOLLO: And of course, the hammocks were brought up every morning, and, put in rows of netting along the side along the bulwarks to act as additional protection against cannon fire. And then they'd be sort of strung up, when they came off duty. MOLLO: There were also women on board, quite officially. Sometimes the gunner's wife, or the merchant's wife. And sometimes on a big ship, there would be about two or three women on board all the time. GRIEVE: There have been some noted events about how women had babies on board during battles. I think it was Trafalgar, or the Battle of the Nile. And I think there is a woman buried on an island in Albequia Bay.

MOLLO: Yes. BENSON: And here we are with it raining, which is always hard which hides a multitude of sins. If you have to shoot on an airfield, rather than doing greenscreen to create the other backgrounds the night hides an awful lot. If you were diligent, you might spot a distant sodium lamp towards the rear of the vessel. GRIEVE: That's when we're up on deck. This is a set, isn't it? MOLLO: In the studio.

GRIEVE: There's the bee, the famous bee! The locket. Did you have that made John, or is that props? MOLLO: That's props. LAUGHTER BENSON: Now explain to me, what differentiates between a prop and costume. MOLLO: Um, well it's sort of a matter of negotiation, I think. Really. And budget. BENSON: So if you could possibly shift the cost on to another department you would do so, as long as they could hang on to your design principles. MOLLO: Unless you feel very strongly about it, in which case, you would want to do it yourself. You, you keep it yourself. GRIEVE: But the sword is a prop and a sword belt is... MOLLO: A sword is a prop and a sword belt is usually wardrobe. GRIEVE: Right. MOLLO: Jewelry falls neatly between the two. Watches are usually props. Bandages are always props. LAUGHTER MOLLO: Bloodstained rags are props. GRIEVE: And bloodstained shirts? MOLLO: That's costume, yes. It's really, you know, a matter of negotiation. GRIEVE: Perhaps we were very fortunate to have that locket with a bee on it in the end. That's a very diligent art department. MOLLO: Yes, indeed.

41:40 Scene out in the rain on deck at night. BENSON: Here we are on the set on the airfield, and some more rain... MOLLO: And more hats going squat. LAUGHTER GRIEVE: I do remember a hat we had in the Ukraine. The hat had to look as if it had been beaten up. And the only way I could think of, was to jump on it. You caught me doing it. MOLLO: Kicking it, I suppose. GRIEVE: And you looked at me inside the door, and sighed. BENSON: Well that was an interesting location because I remember we were trying to make it look like Gibraltar, in the second film. In fact it was the palace used for the Conference at Yalta. GRIEVE: The Signing of the Yalta agreement. BENSON: Yes. And indeed, that day I needed an office to work in, and they gave me Stalin's old office to use. I don't know if that was some kind of comment. LAUGHTER GRIEVE: Type Casting!! BENSON: The closet I wanted to get to Stalin, I think.

42:44 Scene-Wolfe down belowdecks. MOLLO: Mr. Wolfe reappears. BENSON: Is he in the same costume, or is this a new one? MOLLO: I think he liked this one. It's the same. He was happy in this one. GRIEVE: The hat and the boots were fun, but he does look well in it. MOLLO: Oh, yes. GRIEVE: He was very diffident. He approached me about your reluctance to give him anything else. He showed me what he looked like, and he did look like a complete Whally! LAUGHTER MOLLO: So I'm glad you succumbed.

43:15 Scene fighting with Wolfe belowdecks. BENSON: Now we're not that far advanced in the story to allow Wolfe's recapture or death, so we have to come up with an ingenious way for him to actually escape, and fight another day. And you're about to see, how he manages to escape. Via, open gunport, and we see him swim to the shore. GRIEVE: And there's a very nice splash by the sound effects people as he goes over the side. It's like a sack of coal being dropped in the water. LAUGHTER GRIEVE: This is the famous Mexican Standoff. They actually got quite rough with each other here. They were really bashing into each other. There was swords and it really was quite confusing because they kept clashing with the deckhands and things like that. BENSON: Which was indeed, what would have happened. Not much room to swing a sword around. GRIEVE: Not much room to swing a cat. It makes it quite dangerous when you're arranging things like that because it has to be done quite quickly. And they are whacking each other with these swords and there's a lot of room for things to go wrong. We've been lucky so far.

BENSON: Now this is an interesting dilemma for Bush here. He's given a direct order which of course, he must obey. But he knows in obeying that order, he's putting Hornblower's life in jeopardy. So he chooses to disobey the order. Um, we will later find out what Hornblower later thinks of that. Which is not too favorable. It's an interesting added element to the dynamic of their relationship. GRIEVE: Yes, because it's really a court martial offense that Bush is committed to..to not fulfill a direct order. Um, because of their friendship, that's not going to happen. It's a very fine line they are walking between friends and officers in Her Majesties Navy. BENSON: In fact one of the interesting things we did was in public, they always address each other in the correct terms. It's only occasionally when it's the two of them that we allow Hornblower to call Bush by his first name. GRIEVE: Yes, I think that's what it would have been like. They would have addressed each other formally. Even when I was at school, we only used to call each other by our surnames. It does sound ridiculous now, but nevertheless it's true. They would certainly not called each other by their Christian names, unless they were very intimate situations, would they John? MOLLO: Yes, I think that's absolutely right. Yes. GRIEVE: Only husbands and wives would use Christian names? MOLLO: Yes. BENSON: In fact, we had talked about how he would in fact, address his mother in law. That he would call her mother, or missus, or... GRIEVE: Or some other rude word. LAUGHTER BENSON: Or some other rude word because of what kind of character she is. Yeah.

46:21 Scene in Horatio's cabin with Bracegirdle. BENSON: Of course now, the crew is aware of who the passengers are, they have on board. John, do you want to talk a little about Bonaparte? MOLLO: Yes, well, Bonaparte is, the date is a little unclear at the moment. Of course he made himself Emperor in 1804, after which he became Napoleon the First. But before that, he really rose to power purely through his generalship and the fact that he sort of stopped the reign of terror, taking charge of the military coup in Paris. And um, he's really not quite clear how wide his intentions were, as a world power. He certainly was early on. He did an expedition to Egypt, which was not very successful. In which people thought he was just trying to get to India. And then he came back after the Egyptian expedition and took power as a Vice Counsel. And then he commanded in Italy. So he was doing a lot of fighting at this time, and quite successfully. But it wasn't really until after he became Emperor that he started to turn toward Europe, really.

47:40 Scene of Etheridge and Pellew in cabin GRIEVE: But would it be, that English people would have thought of him, as people think of Hitler during the second world war? MOLLO: Uh, Yeah, I think certainly. He was known as the Corsican Ogre and the papers were full of wonderful caricatures and the horrible things he was getting up to. GRIEVE: So having his brother aboard a British ship would be like having Hitler's brother on board. MOLLO: Yes, not unlike him. It would be a great propaganda coup. GRIEVE: So the civil service there, Etheridge, would be very interested in what was going on. MOLLO: Absolutely. BENSON: But we had a number of discussions about where we were going to place Etheridge because the civil services and the war offices of today, didn't exist, so put him in the diplomatic service. MOLLO: Yes, that was all fairly hazy. I think each government department employed his own spies and things like that. But it wasn't very clear, like the civil service today. GRIEVE: But was there a department of the army? MOLLO: Well, there was the Admiralty. Which was known as the horse guards. GRIEVE: Which was known as the war office. MOLLO: And that was the chief, sort of war office. But I don't think they had many civilian staff. GRIEVE: Etheridge was in the diplomatic service. MOLLO: Yes, diplomatic comes as BENSON: Spy! MOLLO: Yes, Spy. A sort of Spin-Merchant. (That means like an advertiser/marketer-selling ideas or propaganda...) BENSON: No change from today, then.

49:59 Scene of Beach landing, climbing on rocks. GRIEVE: That's more wet feet. MOLLO: Yes, more wet feet. Wet feet are very bad on the shoes of course. We do go through the shoes, somewhat. GRIEVE: But they're quite flimsy anyway. I mean, look at those little buckled shoes that they climb those rocks in. It seems extraordinary now. MOLLO: And of course in those days, they were the same for each foot.

50:12 Scene of Bracegirdle, and the guys climbing the cliff. GRIEVE: I love this scene, they're about two feet off the ground here. Just the magic of the movies. BENSON: And that shot...is all manufactured, after the event.

BENSON: Now this is rather interesting, technically here, because we're actually on our set, on the airfield. So all of that is greenscreen. GRIEVE: What were you pointing at there, John? MOLLO: His buttons. LAUGHTER. GRIEVE: Doughty's buttons. I'm going to have to have a look at those again. Look at them! Well done! LAUGHTER GRIEVE: It's amazing the detail, but we can actually pick them up all over the deck. Whenever there was a fight, there would be hundreds of buttons.

51:16 Scene-Green Cliff scene-climbing BENSON: You can tell the weather is not exactly identical. Shot weeks apart. MOLLO: That must have been one of the only good days we had shooting in Cornwall. BENSON: Now, how did you dress all those hundreds of troops John? MOLLO: With difficulty. GRIEVE: There was only ten of them there, and then we multiplied them. LAUGHTER MOLLO: It's fun what you can do nowadays. Duty    １    ２    ３    ４    ５  特集コーナー HOME