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）
	Part4 of 5

51:32 Scene of Styles dancing MOLLO: Here's a bit of lowlife, belowdecks. Singing and dancing, etcetera. BENSON: And, how much of this would have been fueled by alcohol? GRIEVE: They stored it up, didn't they. MOLLO: Yes. It was used as currency. People who, the few who didn't like it would sell it to the ones who did. BENSON: And certainly, water was something that they would not have drunk. MOLLO: When they had a scuttle-but on deck. BENSON: They always used to drink watered-down beer, didn't they? MOLLO: Yes. GRIEVE: But the rum was watered down quite a lot. It had lime juice in it, didn't it? MOLLO: Yes. GRIEVE: Which is why we're called Limeys. MOLLO: Well, the lime juice was to prevent scurvy of course. GRIEVE: It was called grog after Admiral Groggerie or something, wasn't it? MOLLO: Yes. GRIEVE: But that's always the interesting thing, that there was scurvy in the navy. But it's pretty well inaccurate. MOLLO: I think it was pretty well reduced by now. The later part of the 18th century they started using lime. I think Cook, used lime on his expeditions to end scurvy. GRIEVE: But I think they had more scurvy ashore, than they did at sea at that time, and Nelson used to send off for gallons of juice when he was off in the Mediterranean. I think the Royal navy forgot about it, because Scott 's expedition to the South Pole, they all suffered from scurvy on that. So they kind of forgotten the lesson they've learned.

53:25 Scene Wolfe, Horatio and Bush in the Barn BENSON: Now here's an interesting location that...is not all that it seems, is it Andrew? GRIEVE: No, it was not. It was a very beautiful location, but it didn't fit what we were trying to do at all.

53:54 Scene -Bush, Horatio in barn GRIEVE: If they were to jump down they'd jump down about an inch. BENSON: Yeah. And they fall into a different barn. GRIEVE: It was an interesting thing because nobody knew what was going on. I had it in my head and nobody could quite capture what I was trying to do. So everytime I said, Look that way, they said surely, I should be looking somewhere else. And so it drove me mad. LAUGHTER GRIEVE: You have to say, Please, just do it.

BENSON: And of course, we had to duplicate all these cannons. GRIEVE: Yes, the same cannons but around the other way. BENSON: And using Rob's mirrors to make it look like there were more of things, than less. There's all sorts of tricks in this sequence. GRIEVE: But it makes it all that much more interesting when you don't have that much money to do things, so you have to be ingenious. That's what's fun, coming up with solutions to things and making them work. MOLLO: There's all smoke and mirrors. GRIEVE: YES! But that's the fun of it.

BENSON: And there of course, Bracegirdle is there to discover what is really happening while the audience isn't supposed to find out for a little while. So we had to find a way of not passing this information on to the audience. But of course, we have the sequence from Forester's book which we wanted to incorporate, the exploding Howitzer shell. And that's how we melded those two together. So that the Howitzer is going to be going at poor old Bracegirdle any minute now. GRIEVE: We had to separate him from his crew, didn't we? Because we didn't want to kill Matthews. I remember endless discussions about how on earth were we going to get Matthews out of the boat. So you sent him as a messenger on to Hornblower. LAUGHTER GRIEVE: Which caused me horrible problems. BENSON: Yes, which was the north side, the back side, southside and who was on which bit. And Paul Copley likes to know exactly why and where he is at all times. And I said, in order for you to be in the next films, you'll go there...and then he shut up. GRIEVE: He did. BENSON: None of them want to be killed off because that means the end of their Hornblower career. GRIEVE: He also wants to know whether he should have his coat on or off. I tell him, if you ask me once more I'm going to kill you. Laughter!

56:22 Bracegirdle running to shore, Horatio looking through spyglass. MOLLO: Ah, gloves. GRIEVE: The gloves, the famous gloves. Coming back into their own. GRIEVE: Doughty has managed to get Hornblower back into his gloves! BENSON: Yes! And this was a boiling hot sunny day that we shot it. And he's got to put his gloves and coat on to keep warm. GRIEVE: Lovely model of the ship at sea, which was put on afterwards. MOLLO: Yes, very clever. BENSON: And everybody's long hair, isn't really long hair. The vast majority have hair extensions woven into their real hair. Although right in the very beginning the Jack Simpson character had very, very short hair. Too short to weave anything into so we had to get him a full wig. GRIEVE: And there had been one or two characters that had been bald. Like the Master. BENSON:And John felt that some of the older characters could have a full wig. MOLLO: Oh yes. We're just coming up to a period where they stop having pig tails. They had them tied in a queue and ribbon. BENSON: And that went out of fashion soon. MOLLO: Yes, that went out of fashion 1806, 1807. GRIEVE: After Trafalgar. MOLLO: It went out really because...

GRIEVE: The death of Bracegirdle. Gone, Gone. BENSON: And if you look very carefully you'll see the flash of red in his eyes when the explosion went off. GRIEVE: It must have cost you a lot of money to remember that. BENSON: It certainly did. I never forget shots that cost me a lot of money. And that's an interesting use of the Howitzer, which we haven't seen before. This comes directly from the book, from Forester. The putting out of the shell by Hornblower, using the gloves given to him by his wife. So finally the gloves... GRIEVE: Are about to make their mark. GRIEVE: But you know that shell didn't fit into the barrel of the cannon. So we had a piece of black tack stuck on the cannon and you can't see that it doesn't go down the cannon. BENSON: And it didn't roll away from us. GRIEVE: We couldn't make it land in the right spot. So it was much easier to roll it from us and then reverse it. If you look closely, you can see the sparks are all going the wrong way. Back into the fuse. But that's the kind of thing you do to make things work. That's a green screen background because we ran out of time with the ship and we had to shoot on the set.

59:00:21 Hornblower in his cabin. Bush pays him a visit. BENSON: Now this is one of my favorite scenes. It's taken pretty faithfully from Forester's book, but I think the performances are terrific and it really shows Hornblower's character. He is the last person to want to take praise for his actions. In fact, rather embarrassed, Andrew, at the thought that he might be commended in this way. GRIEVE: Yes, I think it's just that kind of thing when it becomes kind of English, not to want to put yourself forward. It's kind of vanity, as well. Because I suppose secretly you hope that you will be notice by your superiors. But the last thing you want to do is point it out to your superiors yourself. And there's a tradition of not putting yourself forward in this country isn't there? Saying...look at me, how good I am! And you just hope that somebody will do it for you. So in a way, it's pretty hypocritical. But that's the way we are. LAUGHTER. BENSON: And the truth is, of course, because of their relationship, it does allow a bit more honesty of feelings. GRIEVE: But it's not something that ever would have happened in the book and it's one of those problems we've had to face with this character. That a lot of it is internal monologue if you like, and um, he questions himself. It's very hard on film to have him question himself. He has to question himself TO someone else. So he can only do it to his very best friends.

1:01:11 Meeting with Pellew BENSON: So the character of Bush is really important to us, because it's the only way it allows us to hear his inner thoughts. GRIEVE: To express his inner fears. BENSON: In the past we used Jamie Bamber's character to do the same thing. GRIEVE: That's right. BENSON: And I know that to a lot of fans disappointment, we uh got rid of Kennedy, but there was a very good dramatic reason for that. Unless Kennedy went, there was no room for Bush. GRIEVE: That's right. BENSON: And anyway, Jamie led a charmed life. LAUGHTER GRIEVE: At the end of the first episode we killed him, basically, he floated off in a boat, never to be seen again (laughter) and then we discovered him again in jail in Spain. BENSON: He had a good ending. GRIEVE: He had a jolly good ending. BENSON: Originally, there was no intention of having the Kennedy character more than the first film but.. GRIEVE: That's right. BENSON: We thought he was rather good, and we thought the character was extremely useful. And so we brought him back. GRIEVE: And he was good too. BENSON: Yes. He was. I'm very fond of Jamie. But in the end, I think the character had run it's course. And also, it was time for Jamie to move on and do new things. GRIEVE: Absolutely. LAUGHTER GRIEVE: And anyway, we get to play god. BENSON: We do. MOLLO: So he can't reappear? GRIEVE: Well, we could say that he had a nasty disease and that the doctor said he got over it. Laughter GRIEVE: I don't know whether that would wash with the audience. I suspect it wouldn't. BENSON: But I think it is, it is weird, the Bush Hornblower relationship was the new relationship. And it was hard enough to try and write a relationship when there were all three of them of equal rank. But as soon as you promote Hornblower, it becomes very difficult for him to open up to anyone who isn't the same rank. GRIEVE: That's right. BENSON: Which is not a problem you have in the novel, where people can speak about themselves, but you can't really do that in a drama.

1:03:00 Mariah and Horatio at home in bedroom. GRIEVE: He expresses ambitions and things to Pellew, but he certainly can't express his internal thoughts. But Mariah was an opportunity for him to do it, but their relationship really isn't as close as it is with Bush. BENSON: Which is ironic, really. GRIEVE: But he doesn't want it, I think. BENSON: No. BENSON: This sequence we are about to see, absolutely dramatizes that. BENSON: He can't bring himself to talk about what he's really been doing and what his thoughts and fears and worries are. And he's totally incapable of doing that. I think that makes the Hornblower character more interesting, that he isn't an obvious Romantic hero. GRIEVE: I think one of the other things that is interesting about this is-not that I've ever been in a battle in my life, but I don't know if this is true. When you speak to veterans they say that it's impossible for you to understand what it's like to be in battle unless you've been in battle. I believe that's absolutely right. And I think he feels this when she asks him what he's been doing. He finds it impossible for him to explain to her, because he knows that it is impossible for her to understand what it means to see and smell your friend being blown to pieces. BENSON: And Forester in the books is always saying that he is at pains never to never let Mariah know what he truly felt and what danger he was in. So he always belittles any possible danger. GRIEVE: That's his character to do that, isn't it?

Scene 1:04:38 Styles, Matthews in the ship, at a table. GRIEVE: He never truckles, when he should. He's quite cross and cross grained I think as Forester describes him. MOLLO: It's very difficult to transfer a book into film terms. GRIEVE: They are two very different things. MOLLO: Charles Wood, a playwright, is a friend of mine and he says you can never make a good film, a good script out of a really good book. You can only make a good script out of a slightly...not a world classic. That's why I think Jane Austen doesn't come off as I think they should. BENSON: I think novelists, and Forester is a prime example. Forester wants to write about situations and characters. He's not particularly bothered about not having a thorough narrative. And of course, that is what film demands. Particularly when it's on television inundated by commercial breaks. GRIEVE: But he was a film writer. BENSON: But it's interesting that he wrote differently for the medium he was writing for. GRIEVE: Although some of the books read like a film scripts because he cuts from scene to scene very quickly. In a way that you do in film. But I think that it is a problem that you always have, when a character is trying to express his own thoughts, when he wouldn't do that in normal events. BENSON: Of course the first four films were all based on short stories, from the same volume, Mr. Midshipman Hornblower. I think the biggest problems that we had was fleshing those stories out to a film. I'm thinking particularly of the Duchess and the Devil. It was a very slim story. But perhaps what was even slimmer, was what formed the fourth film, The Wrong war which was a 17 page short story. Ten pages which were about marching around in squares. So we had a very short story which we had to make work. It was down to fleshing out the characters. We had the Duchess, played by Cherie Lunghi who afforded us a bit of humour and a relationship with Hornblower. GRIEVE: With Anthony Sher, that was a fantastic cast in that.

Scene 1:07:11 Admiral Pellew in his cabin. BENSON: We were talking about accents before. Anthony, French accents didn't come naturally at all with him. GRIEVE: He didn't. But curiously, his accent is one of the best, in fact in the whole series. An attempt at a French accent, by someone who isn't French. I thought it worked terribly well. I thought there were one or two others in the film, who were not as good, but I won't mention their names. BENSON: General Charette of course, had idiosyncratic ideas about his costume John, if I recall. GRIEVE: I remember he thought he should be a guerilla. MOLLO: Yes, he was difficult to keep on the straight and narrow, but we invented something for him. BENSON: I thought it was something more to do with wigs and makeup. Some actors come up and say...I think I should have a scar across my face. GRIEVE: Anything to distinguish them from the others. John Shrapnel's wig in that film was pretty amazing. It's partly my fault, because the hairdressing dept. asked me to go to him and say that it was too much. By that time, about the costume and everything else, I gave in. His wig was quite wild. But you know, he's different from the other characters and stands out and such. It's curious at how these decisions get arrived at. It's not always for the best possible motives. BENSON: Anthony Sher was a particular coup, to get him because he's such a reknown stage actor in this country, in England and indeed he's opening a play that he's just written on the West End stage. Another one we are very pleased with is the one who played the captain...David Warner. GRIEVE: David Warner. Yes, that was wonderful. I remember when we were casting, I said, I've got a brilliant idea and you said WHO? WHO? And god, I forgot his name but I know what he looks like. And you said "Oh, for heaven's sake!" Then I had to go rushing back in...and I said It's David Warner! And you said Yes, of course. BENSON: And then as luck would have it, he was actually over in London from where he lives in Los Angeles and we met up with him and managed to persuade him to join us. And he had a fantastic time, I'm pleased to say. And we were filming those episodes in Menorca and indeed, he and his wife fell in love with the island and bought a house there and decided to move back to Europe from LA. So that may all be our fault Andrew. GRIEVE: It might. It was a lovely location. One of the best locations was one we were never able to shoot in, that National park. We tried to get permission forever and for some reason, they wouldn't let us. BENSON: They didn't want anything that could possibly startle the wildlife. And we said any explosions we would put on, after the event. But they were not too keen on it. But there were some terrific locations. We've been very fortunate. We've had some very lovely locations in Portugal, for the Wrong War and Duchess and the Devil. In recreating for all,.. GRIEVE: That's where we built that bridge. Well, we didn't build it. It was built by Rob Harris and his wonderful department. That bridge across the river that had to be blown up, but also have 50 or 60 people on it at the same time. BENSON: But it had to be strong enough to carry horses and carriages as well. GRIEVE: That's right. BENSON: Now this is an interesting scene we're looking at now.

Scene: 1:11:05 Doughty carrying food, Styles watching. BENSON: Which for those people who recall, we're introduced to Styles in the first episode by a rather interesting game involving rats. And here, we have a rat. So there is a bit of a poetic link for those people that recall. GRIEVE: And a bit of a disgusting link as well. LAUGHTER BENSON: But in the book, it's not Styles who he has this fight with, but it was essential for us to make it one of our essential characters. GRIEVE: And also, that Doughty should hit the officer by mistake because that is a court martial offense. Hitting Styles is not a court marital offense. And we had to make it look like it happened by accident to make it look like there was an injustice involved. So he hits the young midshipman (Orrock) quite by accident. And realizes that means he's going to hang. And there will be no other sentence involved for doing that. There's nothing that can be done about it. BENSON: Hornblower basically has no choice. GRIEVE: No choice at all. That is the penalty for striking a superior officer. And a midshipman, although much younger, is a superior officer. So Doughty knows he is completely condemned. He knows what the outcome of the court marital will be. There is nothing he can do about it. BENSON: And why Andrew, would there not be an immediate court martial here? GRIEVE: You had to get together, um, a certain number of captains to be on the court martial. MOLLO: So you had to go back to some sort of a base, didn't you? GRIEVE: Or if the fleet was at sea, if you could get together five, or something, wasn't it? In order to have a court marital. BENSON: So Hornblower only has to meet up with the rest of the fleet again, before inevitably there will be a court marital and he will be hung. GRIEVE: Because the whole issue of discipline among the rest of the crew was at stake. Because if he were to pardon his own servant, it would be a license for him to begin misbehaving. It would send a precedent. There are a couple of fine young actors in this scene we really haven't spoken about.

Scene: 1:13:28-Horatio down in hold, talks to Bonaparte's brother. GRIEVE: David Birkin and Camilla Power. David of course, is from a long line of actors and directors. His father is a director, Andrew Birkin. And his aunt is Jane Birkin. Camilla I don't know much about her family, but she's also very fine. BENSON: Funny enough, Andrew, we later found that she's related to Tryone Power. GRIEVE: (Laugh) Is it true? BENSON: Absolutely. So she's from an old acting family as well. GRIEVE: But I think they both did very well. And David, is completely fluent in French and talking about accents, I think his accent is pretty good. But he is an absolutely fluent French speaker. BENSON: I also think he is totally convincing as a member of the Bonaparte family. MOLLO: Absolutely. I think he is completely convincing. GRIEVE: He's got a very interesting face, doesn't he? It's not very Anglo-Saxon. MOLLO: His clothes...had a lot tucked away didn't he? GRIEVE: The magic box. BENSON: Now this is where we did take liberties with the story because in reality, they landed in France and he went straight to his brother, and indeed he acquiesced to his brother's wishes and married the girl that was selected for him. But we continued that for the romantic theme. Which I think is quite legitimate. GRIEVE: But they are separated, aren't they? So he gets sent off .. MOLLO: I think Betsey comes back to England for a bit. And he becomes King of Westphalia. GRIEVE: King of Westphalia? BENSON: Of course that is not uncommon for people to make their relatives governors of the outlying empire. BENSON: So once again, not much has changed in the last two hundred years.

1:15:46 Scene-Betsey wakes to find her husband missing. BENSON: Perhaps we could stop and talk about areas of post production that we haven't mentioned to date. GRIEVE: We haven't talked much about Keith Palmer, the editor who makes a brilliant job of all the battle scenes, but also about the other aspects. BENSON: Well I think , as ever, there is an enormous amount of material and several takes of each shot. Keith's job is to analyze all of that, and to chose and select the best of the pieces and put it together so that dramatically the scene works in the best way. And it is not always straight forward, is it Andrew? Because people don't always do the same thing twice. GRIEVE: No it isn't straight forward. Somebody turning at a slightly different moment from one take to another, from one shot to another means that it is impossible to cut. So you get forced into a choice of takes because somebody is moving, which is very annoying. It doesn't happen if you have continuity problems with costume because people are generally not watching too closely in close ups. I don't think you would notice if the clasp on Ioan's neck was different. But you certainly notice if he moves his head at the wrong time and you cut round into the other shot and his head is moving. So it is a very difficult and skilled job that editors have. BENSON: Also hand movements, when they raise a cup to their lips, corresponds from one shot to another. And when that allows you cut. Good actors that are good with continuity are a great help. GRIEVE: Yes, they can help a huge amount. Very much often, they have so much else to think about. That the continuity girl, the continuity person needs to help them a bit. Duty    １    ２    ３    ４    ５  特集コーナー HOME