HH3コメンタリー Loyalty １  ２  ３  ４  ５ Duty    １  ２  ３  ４  ５	NEW!! 2004/03/14 Horatio Hornblower:The New Adventure Transcript from Extra Feature Commentary LOYALTY Voices of Producer Andrew Benson & Director Andrew Grieve. ホーンブロワー３『二つの祖国』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）
	Part1 of 5 VOICEOVER

LOYALTY OPENING CREDITS AND VISUAL of IRISH SEA BENSON: Welcome to this seventh film in the Horatio Hornblower saga. My name is Andrew Benson, I am the producer of Hornblower. And sitting next to me is: GRIEVE: Andrew Grieve, I am the director of Horatio Hornblower. MOVIE SCENE: Mathews looking through telescope. GRIEVE: Here we are at sea, off the coast of Cornwall, and not the coast of Ireland at 'tall. BENSON: That's like all the filming really though, Andrew, isn't it? What you see is not necessarily a reality, it's a dramatic reality that we create. GRIEVE: Yes, and pretty dramatic, some of the scenes coming up in the opening sequence. I remember that we went out on a Sunday. And we try to get these two ships together and it was virtually impossible and very, very early and we nearly ran one into another. There's a shot coming up in a minute where you see the bowsprit of one of the ships passing close to the hat or helm of the other one. But it will be coming up soon.

MOVIE SCENE: Shows the Hotspur and ship Horatio, Styles and Matthews are on. CREDITS still roll. GRIEVE: That's where I nearly died. ( I think he means he was very afraid of what was going to happen.) (WE HEAR LAUGHTER OF BOTH) BENSON: Well, it's rare that we have the opportunity to put together two real ships at sea. Um, as you can see here....

MOVIE SCENE: Shows two ships very close to each other. (WE HEAR MUSIC on movie audio track) BENSON: These are not models, they are real ships. GRIEVE: And this is highly dangerous too because if they bump into each other they can loose rigging and god knows what. This was a moment when we were able to rack up two ships together because if you're at war and you lose spars that's ok, but when you drop one on an actor's head, you're likely to be in a lot of trouble. BENSON: Yeah, we shouldn't forget that although these scenes are well rehearsed and intricately planned, we are at sea and there is always the element of danger. GRIEVE: Ioan, I think, is the only one who has fallen in the water. The very first film we made in the Crimea (RUSSIA). BENSON: Interestingly enough, Andrew, knowing that we were coming in here to do this today, I dug out the call sheet from six years ago this week and this six years ago today was done was the third day of filming in the Crimea on the very first film. GRIEVE: I don't know if I want to be reminded of this. (LAUGHTER) BENSON: We've certainly come a long way since then. A lot of what we attempted in these films, we just couldn't have done. GRIEVE: No, the models and technology and so forth. And I think one of the things we've managed is the transition between real ships and sets. Because that is a set that we're on at the moment. (What is shown in film scene.) And in a second, we're going to go to a real ship. And what I think Robin Harris, the designer has done is a fantastic job of melding the two together. You would never imagine for a moment that that was a set. Having gone straight from the sea scenes. BENSON: Built on an airfield in Oxfordshire. GRIEVE: That's right.

BENSON: It's as far as you could get from the sea in the whole of the United Kingdom. GRIEVE: That of course, is a set. He jumps off into the water on a set and winds up in the water in Cornwall. Off a set in Oxfordshire. BENSON: I remember something we did way back, when we shot a scene on the deck of the real Grand Turk and then decided we wanted to change something and we picked up a remainder of that scene in Portugal six months later, edited it together and no one knew. They were shot in two completely different countries, six months apart. (The Grand Turk／HH1でインディファティガブル号を演じた帆船）

MOVIE SCENE-PORTSMOUTH GRIEVE: This is an interesting shot Andrew, because none of those ships are there, of course. They are all models which you put on afterward on a real set. The other thing is that there was crew rowing on the right and they seem to have vanished. I don't know what we did with them. (LAUGHTER)

MOVIE SCENE-STREET-HORATIO WALKING TOWARD SHOP BENSON: Ah, well that's the joy of CGI and green screen, isn't it? Things come and go that were never there in the real world. GRIEVE: That's right. BENSON: But this is a real shop, and is a real street. Uhh... GRIEVE: Where was that? Was it in Plymouth? BENSON: Down in Plymouth, yes. Yes, this building is very old historical building which Rob Harris skillfully turned into a pawn broker's shop. GRIEVE: It was a museum, wasn't it? BENSON: Yes. There's very little of those buildings left like that because so many of them were bombed during WW2.

MOVIE SCENE: WE SEE MARIA Looking THROUGH WINDOW GRIEVE: And there is the beautiful Julia Swahala. BENSON: Now this was always interesting for us, the Mariah storyline. Those people who are familiar with the Hornblower books-uh-know that Forester very deliberately found a partner for Hornblower who was far from ideal. Uh-and indeed it was something we struggled with to try and give a romantic hero the wrong wife.

MOVIE SCENE: WE SEE BUSH AND HORATIO MEET ON STREET GRIEVE: Yes, but wasn't it because in the books, um, Forester wrote his meeting with Barbara Leighton before he did the meeting with Maria, so when Hornblower meets Maria he had to get rid of her somehow, so she couldn't be too attractive. Something like that anyhow. BENSON: Absolutely. And also, I think it's very predictable to give your hero the most wonderful wife. It's far more interesting to give him someone who is far from idea and watch him squirm and show him making mistakes. As we shall see when this film progresses.

MOVIE SCENE: BUSH AND HORATIO, MRS MASON INSIDE BOARDING HOUSE GRIEVE: It was quite difficult in casting terms because I mean, Julia is a very attractive woman and you need someone the audience can relate to in some kind of way. In the book, she's actually written as quite dumpy, fat and plain. And Julia is far from that. But there's something that I think we found in her character that makes Hornblower slightly nervous of her. I suppose it's because she's too forward. But it was an interesting balance to try BENSON: It was. Now this is one of those interesting pieces of casting for both of us. From the beginning we wanted Julia, and she is the actress that encapsulates the things we were trying to do. And it's rare that someone we set out to get, we don't change our minds. GRIEVE: That's right. BENSON: Paul McGann for example, we had a long, long list of potential Bushes. GRIEVE: We did. But I'm glad we got Paul because he's been really good. He's really a sort of solid foil for Ioan. Ioan, you know when Ioan came in all those years ago, because his first interview, he was-the thing about him was he looked so much like Hornblower's description in the books to the life. If you read the descriptions in the novels he's exactly like that. But then again, he did a fantastic reading. And-- um, there was no question about who we should use. BENSON: And I think the interesting thing was, that when we first worked with Ioan he was just 23, and just out of drama school and suffered the same nervousness and foibles that Horatio Hornblower had at that age. And so, as Ioan has grown up, so has the Hornblower the character. GRIEVE: Yes, but this is his first command. And I think there was a whole relationship with the actors in this which was new for him because suddenly, he was the person who was driving all the scenes instead of Robert Lindsay, or someone else driving them, he had to drive the whole thing. Although he's been the center of the films from the beginning, this is the first time he's issuing the orders instead of just taking them. And here is...dear Robert.

SCENE: LONGHOUSE (GENTLEMAN'S CLUB-GAMING ROOM) BENSON: As you say, Ioan was one who reacted to events rather than push the events forward. It was very difficult in a scene with Robert and not be the reactor.

SCENE: CLOSE UP OF ROBERT LINDSAY (BELLY LAUGHTER) BENSON: He does tend to grab at something and run with it. GRIEVE: He does. I remember the first time he appeared in the Crimea. And he came rushing onto the set and began snarling at the camera. And I said to myself, oh my goodness. It's going to be that kind of a film. (LAUGHTER) GRIEVE: It's worked out really well. He's wonderful to have around. BENSON: The great thing about Robert, is that he's been in all eight films. And whenever he walks onto a set and you feel that-um---energies might be flagging at all, he's the sort of captain who brings everyone to life. (LAUGHTER) GRIEVE: He does. All he needs to have is a cat-o-nine tails, and that would be perfect. BENSON: But now, here's a real contrast in acting styles, you have here.

SCENE: GAMING ROOM, BUSH, HORATIO, HAMMONDS and PELLEW BENSON: Paul McGann as Bush. Paul's a great actor, he's so still. He does very little, and he holds your attention. He's a fantastic screen performer. And he has those qualities that we wanted from the book Bush. But he's also added a bit of humour-um-and a bit of warmth to that. So that now, I think the relationship between Bush and Hornblower is one of the great relationships of the series. GRIEVE: I think so as well, and it has to be because in the books, if we ever got to ADMIRAL HORNBLOWER (LAUGHTER). BENSON: Well, we live and hope. (LAUGHTER) GRIEVE: He is his best friend. Bush becomes his best friend, in fact. Which is a strange thing for two officers to arrive at, one being a superior officer. BENSON: And what we are about to see, is the ranks effectively reversed because when they first meet, in the previous two films, um-Bush was Hornblower's superior. GRIEVE: That's right. And in this one, he accepts the job as second in command. BENSON: I remember you saying something when we were planning these. You said...and it really encapsulates that, is that, Bush recognizes something in Hornblower, in fact, someone with infinite skill, skills and powers that he will never possess. And is more than happy to serve as his second in command. GRIEVE: That's right. BENSON: Which is an interesting concept in our modern world. GRIEVE: Yes, and that's straight from Forester as well. Bush sees that Hornblower is on of those exceptional officers. And as you say, something he will never be.

10 minutes: SCENE: CLOSE UP OF HAMMOND AT CARD TABLE BENSON: Now here you see someone we are always pleased to see. GRIEVE: McElhinney. BENSON: Now we've done this with other characters. We do like to bring people back. GRIEVE: We like to kill them too. (LAUGHTER) BENSON: Don't give too much away. (LAUGHTER) That's a very important point, because killing a character, an extra who nobody knows nothing about is pointless because the audience has not invested anything in them. If you have a character that people care about, and quite often in the books we've been forced to trying to dramatize an action sequence where nobody of importance was involved. And what we have done with the story is to make sure that all the action and drama takes place with a character the audience knows. GRIEVE: Yes, I think people get bored with seeing just a lot of banging and crashing and saber fighting. I think it gets pretty boring very quickly unless your heroes are involved in it. BENSON: Preferably, in jeapordy. GRIEVE: Yes.

11:44 minutes: SCENE: Back at Mrs. Mason's boarding house. GRIEVE: Mrs Mason appears here, doesn't she? Dear Barbara Flynn. BENSON: Oh, this is a wonderful performance for somebody that could have been quite a stereotype part and she really brought it to life. GRIEVE: Yes, she's a fantastic actress. BENSON: Always someone I've wanted to work with and never managed to before. She has a very distinguished career in the theatre in England and also film and television. Uh-and came in to do a small part, but did it splendidly. GRIEVE: Pivotally. BENSON: Ah, this is a joke. Whenever we've offered parts that...let us say were not huge, I write a letter-oh, I shouldn't give the game away-that although that although this part is not large, this part is PIVOTAL to the plot. And it works, I'm pleased to say. GRIEVE: It does--Because it's all a bit of fun. BENSON: We've had some great people work with us, and the fact that people keep coming back time and again, not only the actors, but a fantastic crew just shows that it's a bit of a family. I know that is a cliche, but it really is true. Six years we've been hammering away at this now, (LAUGHTER) GRIEVE: Six years of our lives, but it is good fun. And it's so great just to get out and about with them all again. It's a kind of hierarchy that falls into place with the actors that is really nice. They appear again, like Styles and Matthews.

13:06 minutes--SCENE: CAPTAIN PELLEW's CABIN. GRIEVE: Now here's an interesting shot. That's models floating in the sea with a bit of real seashore. And this is a set that we're in, and then they look out the window and out the window which is green-screen we have the port, and the reflection which was put on afterwards. Remember? BENSON: Yes, I remember Mording doing that, very talented young man.

GRIEVE: There was no reflection in the windows, so he stole of bit of something and put it in there, didn't he? BENSON: In fact that set, uh-was erected not far from where we are sitting today, wasn't it. GRIEVE: Yes. And the view out the window is in Falmouth. That was very good, scene of a ship one morning. We do a lot of model shots. And so you have a real ship sitting among a lot of models.

14:04 SCENE: Greg Wise (COTARD) Enters cabin. BENSON: Now, you have Greg Wise enter. GRIEVE: Yes (LAUGH) That's a difficult, difficult role. Playing a Frenchman, it's so difficult to keep it from being---having a silly French accent. I think he did really well. BENSON: That's exactly so. I was in France this summer, and I heard a lot of Frenchmen torturing the English language that sounded just like that. Perhaps---but it is difficult, we took a decision early on that Frenchmen speak English with a French accent, but if we did that we would have an awful lot of subtitles. GRIEVE: Yes. BENSON: Which is not a good thing for televison, so we took a decision early on that all Frenchmen, Spaniards and any other assorted characters would speak in English. GRIEVE: Often we had those that were French. Like the fellow from the first film, who manned that lugger. BENSON: He was French, and spoke perfect English. GRIEVE: And Estelle Skornick, who is the young woman in Frogs and Lobsters-which had a different title in America. BENSON: It's called--Wrong War. GRIEVE: That's right. She was French, and had a genuine French accent and that helped but in this case Greg is English, or is he Scottish. For I heard he got married to Emma Thompson recently, in a kilt. BENSON: Oh, did he really get married? GRIEVE: He did, in a kilt. BENSON: Oh, so, it would suggest that there's some Scottish heritage there. GRIEVE: Or there's just Emma. (LAUGHTER) GRIEVE: Anyway- Loyalty    １    ２    ３    ４    ５  特集コーナー HOME