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）
	Part3 of 5

33:12 SCENE: Ship at sea--Semiphores BENSON: Now this is an interesting shot here, now that's an actual ship at sea, but everything just above the yellow line is actually built by Rob Harris the production designer so the stern gallery of the captain's cabin is fake and added, as you said earlier, the Poop deck. Uhm, and it's a considerable amount of construction but it's got a sail. GRIEVE: It's got to be strong enough to put up with being at sea. BENSON: And pass the rigorous test of safety. For a designer, it's not just the mere case of making it look right, but it's got to be safe at sea, as well. Big job there, and I think they did a fantastic job.

SCENE: Styles and Wolfe. Wolfe helps dress Styles' wounds. GRIEVE: Here's the brown paper I think from the Jack and Jill who went up the hill. BENSON: Unfortunately not giving a real sting to the actor, but perhaps we should have used real vinegar on real wounds. (LAUGHTER) GRIEVE: Oh, he's lovely, he's all right. BENSON: Now this character, the Wolfe character has always been useful for us, because one of the things we've always tried to do in the stories is to give Hornblower someone he can react against, and of course now that's he's the captain of the vessel effectively, anyone who stands to argue with him, against the rules and regulations -we had to have an enemy in common. Otherwise there's no drama, there's no tension between him and any of the other characters. Certainly no conflict. So that's really the reason for the Wolfe character here. Now this is a particularly difficult sequence.

GRIEVE: This is a nightmare. I'm not sure we should have done it but-the ship approaching was put on afterwards. Perhaps we should have done more by adding another vessel. That would have been incredibly expensive. BENSON: You can see, this is the real sea, on a real vessel. And it's quite a blowey day. And to try to maneuver two vessels, people tend to forget, particularly writers forget, this is not a car with an engine, and you can't (laughter) put your foot on the gas, and you can't steer it in the same way . To maneuver with wind powered vessels is quite a feat. GRIEVE: To get them exactly where you want them. BENSON: It makes you wonder at the skill of the sailors at the time. How they did manage to maneuver these vessels. GRIEVE: But they were brought up to it. I mean, they went to sea when they were boys and they learnt the ropes, and that's where that expression came from, and so for them it was absolutely natural. Here's a nice shot, we go whizzing across the set and out the gunport. And that's all put on afterwards. And I think it's quite effective. And they would have been brought up to it. But we have a crew of 10 sailors, ten maximum? Is that right? BENSON: Yes. GRIEVE: And they would have had a hundred, so you have to make all these sails go up with very few people. Certainly not enough for two ships. So, here's our CGI ship approaching.

36:23 SCENE of SALUTE TO LOIRE ship. GRIEVE: It's pretty good I think. It took a lot of work to get it to this. And we put the men on the ship separately, on the other ship. BENSON: Yes. That's absolutely right. Which is a very difficult technical achievement to get the movement of the ship and people at the same time.

GRIEVE: Yes, People were put on that afterwards. BENSON: So, just a simple little sequence like this has an awful lot of different elements all of which have to be brought together. It always makes me laugh Andrew, when we finish the final filming, and the actors inevitably say to us, what are we going to do next as if the whole process was over. GRIEVE: We say, this, this, and this. BENSON: Because for us it's maybe, another five months of post production. 4 and a half weeks of modeling, 12-14 weeks of CGI and affects and plus of course the music, the sound editing , affects editing and the editing of the picture itself. GRIEVE: Still, it's a lot less than if you were making a Hollywood film. BENSON: Sure, that's true of everything we do, uh-I was asked a few weeks ago if I was jealous at all of the money that Hollywood films have and I said, I am only jealous of their ability to buy more time.

37:00 SCENE: BUSH AND HORATIO In CABIN BENSON: Bush would love to go on this expedition, but of course, he can't. And at the same time, he's thinking that Hornblower is taking an unnecessary risk. And that's an interesting position that a subordinate officer feels able to voice those opinions to a superior. GRIEVE: Yes, I think it's because of their previous relationship. They are friends as well.

38:00 SCENE of COTARD AND HORATIO ROWING AWAY FROM HOTSPUR GRIEVE: Those kinds of shots are difficult to get. And it looks as if they are rowing badly and indeed they are, but that's because the Frenchman is not supposed to be a sailor. They are rowing badly on purpose in case anybody - BENSON: Ioan, of course, we are extremely lucky that Ioan is physically so capable. GRIEVE: Yes, unlike Hornblower who is described as not being physically good. He's rather clumsey but Ioan is certainly not clumsy, he's very energetic. BENSON: I remember that once we got him to ride a horse in the Wrong War and the character Hornblower can't ride a horse. Ioan of course, is an excellent horseman. And I think he was rather embarrassed at having to appear not. There was also a shot where we put Ioan and others on the top mast of the Grand Turk. GRIEVE: We did, and then a helicopter pulled up right when they were standing on the top mast. They were well tied on, the stunt men tied them up there. And I think they found it rather fun. BENSON: It was a fantastic shot and I as a producer remember that the fog was in and a helicopter flown in especially from Lisbon. We had a cameraman that flown in from Madrid and I was terrified that all that money was going to be wasted. But I held my nerve and -said we should be abandoning this shot. And sure enough we got everything in once the fog lifted in the afternoon. GRIEVE: I remember going round and round that ship and wanted to go back to land and the camera operator said "No, no, go round again, go round again" and I was just about to be sick, but I hung on. BENSON: Well I think it's extraordinary all the months and months we'd been at sea and you hadn't been sick once. I wish I could say the same thing. But the only time you'd ever felt sick was up in the helicopter. GRIEVE: Yes. BENSON: I'm ok on ships, it's fine.

40:19 SCENE-Longshot-Green landscape--Mansion GRIEVE: This is a beautiful house. In the English countryside. Owned by some noble Lord. And all those tents are put on afterwards, CGI. And I think that works really well. A huge encounter, which you could never afford on television. You might be able to do it on a feature film, but to put those up would have been impossible with the staff we had. BENSON: Well, I think in general, Technology has been moving forward in the last 6 years since we've been making these films to such an extraordinary pace, that not only the expertise but the computer software is a price that we can now afford. This film we are not looking at, has an excess of 300 CGI shots. Some of them you may be able to spot, but a lot of them I'm sure the audience will not be able to spot and indeed, one of the things about doing special affects now the ones you can spot are the failures, and the ones you can't spot are the successes. Because it just looks completely natural. GRIEVE: Just one of those shots we saw, there was an electrician crossing the background if you remember. BENSON: I do. GRIEVE: Carrying a ladder. We had to take him out so nobody noticed it. BENSON: Yes, we only noticed it when we came to the editing process and somehow a 2003 electrician with a ladder shows up. It wasn't really part of the period. It's gone now, due to the wonders of modern science. GRIEVE: But you'd never notice it at all, would you?

41:47 SCENE Back on Hotspur with BUSH GRIEVE: Anxiously waiting for the guys ashore. We shot all that stuff on that beautiful beach you found. This beach, the one you found in a previous film. BENSON: Yes. I'd worked there 23 years ago on a film that Brian Forbes directed and I remembered this beach because it is one of the few private beaches that is closed to the public and hasn't been spoiled by modern development. It's part of a private estate. I won't say where as it would get far too many visitors. GRIEVE: Yeah. It was absolutely fantastic. GRIEVE: And I think the only reason they could close it, is because it is technically inside an estuary and had it been a few miles away from the river, it would have been in the public domain. I think you can only own the land up to the high watermark. BENSON: But it certainly was a great boon to us having the estuary and the beach and the coastline. Uhmm, we did a considerable amount of work there. GRIEVE: The tide was always a bit difficult there. We'll talk about that later. This-this sequence is a very, very tricky sequence to do.

43:01 SCENE: Loire coming round the bend. GRIEVE: Because in the book, it's an attacking battle between two ships and what we had to do is to do it simply enough for people who were not sailors, or had sailed to understand what was going on. And if you remember, we had diagrams to show which way the models had to go and which way the ship had to go and we were filming at sea and all the people on the quarterdeck of the ship were not in fact looking at anything. I was just saying "you just gotta look over there and point" and they would ask, "what am I pointing at" and I would say "Never mind what you're pointing at, just point." BENSON: This is all a construct, that and the rowing boat. You know, Andrew, having come from a sailing background and having spent many years in the Merchant Navy I came to this show knowing absolutely nothing. It's quite a good combination because if you can explain this to me, hopefully the audience will be able to follow it also. GRIEVE: That's right. BENSON: I remember you always saying that you had a bit of a time explaining this to film editors who had been with us for many years. (Laughter) They had absolutely no idea what these vessels were supposed to be doing. GRIEVE: We just had to go through it, blow by blow and say "look, cut there, do this, do that." But he is a fantastic editor. He's won an Emmy. BENSON: The very first one from the Hornblower films. But even with these models and you sitting there patiently with models and trying to explain it on a piece of paper -What works with this I think is on two levels the sequence. If you are a sailor, then once again the technical details is absolutely accurate and correct. If on the other hand, you know nothing about sailing there is drama within the sequence which is enough to carry you through. And I hope it will always work that way for the audience. You shouldn't be worried about what all the technical terms mean. GRIEVE: It's not like reading the books, where you gloss over the terms and add to the flavour of it. We know that they are as right as we can make them. And I'm sure we make mistakes, but I know we try very, very hard not to. What is so good about the actors, is yo have to get them to look at a certain spot, so they all have to look at the same spot when they turn around. And then you put in a shot which is done months later with a model. BENSON: Those models we shoot in a tank at Pinewood studios, an exterior tank the size of a football field. It has a blue screen backing and we can add to it whatever we want. Sea, sky, coastline, beach-umm-and so it's quite a lengthy process. That headlamp doesn't exhist. GRIEVE: That's right.

46:08 SCENE Two ships on horizon. BENSON: Those are both models. GRIEVE: And there's Hornblower turning to look over his shoulder. There's nothing for him to see, but we had to tell him now you've got to look over your other shoulder because at that moment, the other ship is passing behind you. BENSON: So it's quite difficult for the actors, isn't it Andrew? GRIEVE: Yes, it is. To be able to get their performance right between their acting in a vacuum. And because they have been working with us for so long, they begin to trust me that I actually do know what I'm talking about. BENSON: Certainly with Ioan and the other regulars it's somewhat more difficult for the newcomers to get the hang of exactly what we're doing. It is a little bit like school, in fact isn't it, that there are new boys at school who the old boys put a friendly arm around their shoulders and teach them the ropes the first few times. GRIEVE: Yeah. BENSON: Particularly if they get seasick. GRIEVE: They say, he's completely mad, just do what he says and you'll be all right. BENSON: Going back to Andrew Tiernan... GRIEVE: He was sick in a line boat! BENSON: (Laughing) In a flat calm sea, if I recall. GRIEVE: Tied to the jetty. Its true. He was. But Hornblower was seasick in Spithead, wasn't he? BENSON: So, it does happen. GRIEVE: Yes, it certainly does. And I remember a young actor who was violently sick and was supposed to be the most dashing captain in the navy.

BENSON: And that was also out in the Ukraine. Now this is two models-because however much we want to, we can't blow up the real ship. GRIEVE: And all the other men in the other ship are firing at nothing, of course. It is a very complicated putting together of elements. BENSON: Now what about this, which we are about to see now. GRIEVE: This is Wolfe trying to blow everybody up by dropping a light match, (Laughter) We had to fire some blood and gore at this young man. (Hammond) It's fire from some kind of catapult thing. It's quite effective. BENSON: It's not real blood. But there's other matter in there. GRIEVE: There's gunk and brains, it was supposed to be, isn't it? It did make people go YUK, when we actually did it. BENSON: I think this also encapsulates something we've always tried to do, within an action sequence, you have to have characters that the audience is involved with. Otherwise it's just blowing up dummies and it's meaningless. Action then, just becomes activity. And Hornblower has to be at the forefront of all of this. GRIEVE: That's right. You really have to engage with him.

Now there's a little model in the background, and everyone seems to be looking in the right direction. Now it changes to turn round and look at another model. (LAUGH) BENSON: Yeah, that cast is a computer amalgam. That's really low tech. GRIEVE: Three weeks earlier. But that's what you have to remember when shooting a scene, to chuck the back of the water. What's going to happen in three weeks. I think that works really well, putting the ships in the harbor.

49:17 SCENE Longshot of Portsmouth BENSON: Because that is a real harbor. And we painted out some modernity and the ships were added. GRIEVE: But we used to shoot out to sea, because we couldn't use CGI and the land effectively. Things have moved quite a lot in the last 5 years. 6 years. BENSON: Certainly when that happened, and I think everybody's expertise has increased in that time because it's always a learning process. GRIEVE: Yes, just getting the perspective of ships at sea is something the special affects people are much, much better at now. BENSON: I must also say that we have two special affects teams. We have the physical affects that happen on the set, the cannons firing... GRIEVE: The blood and gore... BENSON: The blood and gore and we'll see smoke and things like that. And then we have- GRIEVE: And the cannons recoiling... BENSON: Yeah, as you said earlier, we couldn't do early on because we were on a real ship and it was too dangerous. And we also have a large team that comes in after the events so to speak to do the CGI, the matting and sit at computer screens for 12 hours at a time. Something that would drive me mad. Fortunately I don't need to do it. GRIEVE: You just need to go along and say-No, not like that. (LAUGHTER) Do it better! It's a very long process, isn't it, trying to get the perspective of ships. BENSON: It is. And I think also what I think what we're trying to do with our special affects is create reality. And a lot of special affects work on say...science fiction . No one wants to tell you what the third moon of Saturn really looks like, what we're trying to do is say...this is real. And creating reality is always harder than creating a false environment. GRIEVE: You almost need a marine artist, to look at some of the plates to say, this is right, no this is not.

BENSON: It is, very difficult. Now this is an interesting sequence. We were faced with quite a thin narrative in the book on this Mariah Hornblower storyline. Also a relationship that happens via letters between the two of them and there's nothing more boring on film than to have people reading letters. What we want is the characters to interact. So we created this part of the story line which dramatizes their relationship and it think it works rather well. GRIEVE: That's right. There's no debtor's prison in the book., is there? BENSON: No. GRIEVE: I think it's a very valid reason for changing something. So you can meet the characters again, rather than just hearing from them. BENSON: And I think it also shows Hornblower again as someone who is an inherently good person. You see somebody in difficulty who has been kind to him and the roles are reversed. And he pays off their debts. GRIEVE: Yes, but what a mess it gets him in. (LAUGHING) BENSON: Well, all of us has gotten into at some time in our life. GRIEVE: Yes, I suppose so. BENSON: I'm helped again, by some excellent performances by Julia and Barbara.

GRIEVE: They are two very fine actors. The other thing which is so very nice about them is they have a sort of similar look and you can really believe that they are mother and daughter. BENSON: You never are really quite sure what Mum's motives are. GRIEVE: Money. (LAUGHTER) BENSON: Cause, in the end, of course, he thinks she probably thinks he might be quite a catch. Of course the Hornblower in the books, never really has much money in these early stories. GRIEVE: But he has prospects. BENSON: But he always seems to miss that prize money, by an inch or two, doesn't he Andrew? GRIEVE: Yes, he does. BENSON: And of course, there were a lot of wealthy people in the navy. GRIEVE: Well, the whole basis of pay was Prize Money. If you captured a vessel, it would be sold off and the money would be distrubted between the crew and the officers to a certain percentage. And the Frigate captains would have more opportunity for trading vessels and because they were not in the way of battle, they were off on different kinds of missions, and they went off on their own. And they would make an absolute fortune. Too today's standards they would be multi-millionaires. BENSON: So it was a lucrative profession to go into. GRIEVE: If you were lucky and were on the right ship. Even some of the ordinary seamen could win a year's money. And at Portsmouth Harbor, they would cook their watches in order to attract women. It wasn't that they didn't know how much watches were worth, it was just that they were completely profligate. BENSON: They had so much money. But Hornblower would frequently say, at the beginning of this film, that he is down on his luck. One of the difficult things is showing people looking a bit shabby on television. GRIEVE: A bit threadbare. Very hard. BENSON: Because the camera has a habit of cleaning things up inordinately it's always a difficult thing to do. Loyalty    １    ２    ３    ４    ５  特集コーナー HOME