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）
	Part4 of 5

54:44 SCENE-HAMMOND! Learn your signals, you little-GENTLEMAN! GRIEVE: This is a bit of a technical scene. The young gentleman is failing to recognize the flag signals which is vitally important for him to do. And we did our research, and I hope that we got the right flags up. I think we did.

BENSON: This is a real rowing boat on a real sea. But they are rowing toward nothing. A real ship has to be staffed by real rowing crew-uhm-and it's expensive. GRIEVE: The one behind them is a model. BENSON: It is. And we only had limited access to the real ship. We had two weeks on the real ship. So it had to be judiciously planned to shoot on the set, or on the ship, like these scenes in the cabins belowdecks.

GRIEVE: And that's an actual chart of Brest Harbor. And Robin and I went to Brest to make a match of all the scenes-and when we got back, we drove around Corwall harbor and we thought the roads are far too narrow, we'd never get film crews up and down them. We didn't quite get to Falmouth, we went to Scotland, France, to Spain and all over the place. Then we got back and drove a few miles and discovered the perfect place. BENSON: Isn't that the way...that there's an awful lot of hard work goes on before and after the film that a lot of people never see. And we don't just turn up one day, and everything is miraculously there. 4-5 months of preparation. GRIEVE: Well, the very first one, we had to build a ship, the Grand Turk in the Ukraine, which isn't the ship we're using in this one. And it had to be built by scratch, and the very first time I saw it, it was a pile of timber on a beach in Turkey and everbody was promising it would be ready in 6 months. BENSON: And then 6 months later, it was still a pile of timber. I mean, that was a huge operation. Building that ship in Turkey, and then sailing it through to Yalta where we were already filming on sets that had been constructed there. I was mightily relieved when I saw it coming round the headland. GRIEVE: And it had to be finished before it could be sailed. People were saying "why can't it go now" and "we'll finish it off in the Ukraine" and well, would you fly an airplaine to New York to London that hadn't got it's wings on yet? Oh-I see what you mean. (LAUGHTER) BENSON: Yes, we look back on it now and we laugh, but I wasn't always too much at the time. GRIEVE: Great stories going on, about how the ship had sunk and all sorts of things. It was very dramatic. But not for us, we were sitting out there in the Ukraine, biting our nails wishing it would arrive. BENSON: Interesting that you mention the Ukraine, Andrew, as I was looking at what I have in front of me (list) 20 cows, two donkeys, 3 cow wranglers, GRIEVE: For a nautical picture. BENSON: Absolutely. And then we had 72 extras -I can't remember the exchange rate-and then we had 30 Iran citizens for the princely cost of $20 dollars a day. GRIEVE: 20 dollars! BENSON: 20 US dollars, because they had to come all the way from Sim---stople, and film with us, so it was a huge operation. It cost us a little bit more in England. GRIEVE: Ten grivners must be something like 2 cents or something. BENSON: it didn't buy an awful lot, I know that. We had to make every penny count, I know that.

Now of course, Wolfe here is uh-is appearing to be absolutely upright and true, but that is all part of his subterfuge. GRIEVE: And the Irishmen are all going to go off together. There's always the disguise of which Irishman was going to be the one ---we lined the story with all sorts of Irishmen/ BENSON: We originally, the character of Orrock was not Irish. One of those lovely bits of serendipity that happens when you're making a show. One of the actors who came in to see us was Irish. BENSON: Jonathan. He came in and read in an English accent. We said, can you try reading in an Irish accent. And out of that came the Irish-that he becomes a red herring.

GRIEVE: This is of the scenes that was shot in Devon. Shot in bright daylight, and no fog and we put the fog on afterwards, for reasons that will become apparent. BENSON: Well, absolutely because, where we are about to go ashore was absolutely fantastic promentary with a view. And the day we came to shoot, Andrew, was not so lovely. GRIEVE: You couldn't see your foot in front of you. BENSON: So once again, as needs must, in filmmaking, you can't just hang around until the fog lifts for two or three days, you have to build it into the narrative and adjust the script accordingly. GRIEVE: But it worked very, very well. If it hadn't been almost dusk with lots of fog people would have seen them coming anyway. So it worked very well as it usually does. It's all for the best in this impossible world. BENSON: I remember a particular instance, when we were filming the WRONG WAR where Estelle Skornick jumped out of a window and uh-fell and injured her ankle. Now in the script, she was meant to land perfectly and run off with Hornblower and run for the bridge and run before she was shot. With her badly injured ankle, she could hardly walk let alone run. So once again, we changed the script so she could hobble. Helped by Hornblower.

Now this is interesting because the Semiphores were models added later. CGI modeling actually. But this is a real building. GRIEVE: Had it been a lovely day, we would have seen half the coast of England. BENSON: So that fog here, is real GRIEVE: You can see faint outlines in the background. I always liked that scene where that woman came out and flattened Styles. (LAUGHTER) GRIEVE: It's called The Director's Revenge. (LAUGHTER) BENSON: Well, of course, frequently we have to alter things because of the situation, like here, there was a line that said "We'll take advantage of the fog" and the changes we make are well considered and well thought out for dramatic reasons but sometimes it's accidents and we have to react to the circumstances around us. GRIEVE: It's also to do with the locations we found. If we find a location that is particularly good, we can write lines in to explain why we're going to do that. This is young Hammond about to display his cowardice as I recall.

BENSON: This is also an interesting juxtaposition of locations because the run down the hill is in a different county. I particularly like this rocket. GRIEVE: It's brilliant. It's a very, very effective rocket.

(LAUGHTER) BENSON: And it just shows what a marksman Styles is. GRIEVE: And how quick-thinking Hornblower is. And there is a teeny weeny explosion there. I love the way they light those things with their pistols, it really makes life easy. BENSON: It will not surprise you that we added in that explosion in later. Also, that rocket, Styles isn't that good a marksman. I'll give the game away to say that it's painted in afterwards.

GRIEVE: And back on the beach, Matthews is defending the shoreline. This was shot during bright daylight, wasn't it? We made the whole thing day for night feel so that you would believe that they wouldn't be seen by the enemy. BENSON: Now that's something we do in post production after the filming has taken place. We have the ability now to grade every single shot separately. So that maybe things that are filmed weeks apart that matches. The sophistication of that equipment is enormous.

GRIEVE: More sophisticated than these pistols, when you point them, they don't go off. That is the bane of my life. The number of misfires we have. He is a good shot though, isn't he? (COTARD). The English tend to be very good shots, but then he's French and on our side. I notice that the French firing back can't hit a barn door. BENSON: It's always useful if they don't shoot Hornblower as well. GRIEVE: Yes. I do remember Jamie Bamber picking someone off the top of a tower in one snap shot-in the previous film. (Retribution) BENSON: Well, as I've said previously, Andrew, we always have to remember that however accurate they are, this is fiction. Not a documentary. GRIEVE: Yes, but it's fiction based firmly on fact. Forester was very, very good at going to the sources to get his facts right. BENSON: Yeah, he had the advantage of being able to read the Naval Chronicles of the time, which published events great and small, of all the things that were happening in the Navy at the time. He did a great deal of research to not only get the context right but the putting in real events with his fictional characters. But what I think we must always be weary of is being too pedantic about detail if it conflicts with the story we are telling. I hope that we got that balance right. GRIEVE: I think so. And one of the things that you read about in the Naval Chronicles is that you could never dream them up. They are so crazy, some of these exploits of these men. Some of the things they did would make you gasp. It's like fiction but it's fact. BENSON: Our hero, of course, and we are about to see in this sequence here, can come up with some of the most ingenious plans to escape from some of the most difficult of circumstances. Because if he didn't, there wouldn't be another film. GRIEVE: That's the point of Hornblower, he actually uses his head. Bush uses his brawn and also his seaman-like knowledge but Hornblower is always thinking and coming up with schemes to enable him to fulfill his ambition.

BENSON: And now, a reveal. We didn't know who the real traitor was, and now we are going to discover..and even Hornblower is surprised for once. GRIEVE: I remember we had to add the line "WOLFE" just in case anybody didn't recognize him in his hat. I was always of the opinion that we would but...it was just a safety thing. It's all in the name of good story telling because the last thing you want people saying is...Whose that? BENSON: Absolutely. Particularly, because the audience gets to see what Wolfe's motivation has been-all along. Of course for a British audience, the conflict in Ireland is something that is very real and we've all been taught at school but for an American audience it's not quite so well known that this conflict goes back many hundreds of years. To William of Orange. GRIEVE: Bearing in mind that a quarter of the men in the fleet were Irishmen, so although there was tremendous conflict there was tremendous loyalties among lots of Irishmen and that continued until the first and second world wars where many Irishmen fought for the British Empire, in fact. Which is a strange thing, when you think many others were fighting against us. BENSON: Which I think, we try to allude to in this film. Indeed, Pellew says, has a conversation with Hornblower later on, about the nature of loyalty, and Hornblower says it is better to earn loyalty than to be forced upon you. GRIEVE: Than demand it. BENSON: And I really think, in a way, that really is the crux of this story. It's called Loyalty. And it is about the conflicting loyalty. Hornblower's loyalty to the woman who is to become his wife, his loyalty to his men, his country and then the conflicting loyalties of Wolfe and captain Hammond. GRIEVE: It's one of the attractive things about doing this series, you are able to bring up issues like that, which are important, and bring them into a big adventure story. But because it's based on fact, you can bring up these real issues. BENSON: Which I think makes it more intriguing than just an action adventure story. GRIEVE: Well it's working on more levels.

1:09 SCENE between PELLEW and BUSH in Cabin BENSON: Absolutely. Now there's an interesting ancecdote here. That this is the first scene played by Paul McGann and Robert Lindsay in Hornblower together, it's also the first scene that these two actors have been in for twenty years. And how do I know that? Because I was actually working on the original production that they worked on 20 years ago. GRIEVE: Can you remember the name of the production? BENSON: I can, I can. It was called "Give us a break" and a very, very young Paul McGann played an aspiring Snooker player (Pool-Billiards) and Robert Lindsay played his manager. GRIEVE: And they've never been on the set... BENSON: They've never been on the set since then. They may have may have been on productions together, but they never had scenes together. So that was the first time in 20 years. I, of course, look exactly the same as I did 20 years ago. They look a little bit older. (LAUGHTER)

GRIEVE: This is where Hornblower has to start using his brains to get them out of jail. It's a bit like those Sunday night cliff hangers they used to have when I was a kid. Where with one bound, you would see how he became free again. And it's always a something to try and get them out in an interesting and intelligent way instead of just bludgeoning their way out. BENSON: Well, yes, I saw uh-Pirates of the Caribbean a few weeks ago and they had a similar dilemma and literally it just cut from them being in trouble out of it and it's such a cop out. We spend hours working how they are going to get them out of the place. GRIEVE: Point something out here. I don't know how many people we have here. But they all have to be drilled, none of them are soldiers, and what you see are them coalescing out of complete chaos into a really neat formation. None of those guys are soldiers. They've all been trained by a man called Jeff Peacock, who is now dead. Absolutely brilliant, to get all these men to march in step and point their rifles in the right way. The other thing that was interesting was getting all those people onto those boats. And lining them up and getting them ashore. Because to get them all in there with all their equipment without them all falling in the water was quite an effort. I'm rather proud at the way this worked. BENSON: I once again should point out that there they are at dawn and in fact we shot that in bright blue sunlight -uhh-and that's been graded (color corrected) to adjust that it's early morning. GRIEVE: The other thing is that there are no footprints on the beach. When they arrive, which is quite difficult to accomplish. I think we did it on a falling tide, and we had ropes up forbidding anyone from going toward that end of the beach. And everyone had to walk down a stream into the water, so they could then be on a stretch of beach that was footless.

And off they go, all in step. Well, pretty much. (LAUGHTER) I don't know if the Royal Marines now, do it better, but it's not bad. BENSON: Well as you say, Jeff had only a few days to drill these men before you needed them on the set. GRIEVE: And teach them how to fire muskets and to load the pieces and um, which is all very complicated. The same way as with the gun crews all have to be taught to man the guns, so that they don't run their feet over or get scorched with the powder going off-and like that. BENSON: And also they look realistic. All these guys behind Matthews have been trained as guncrews by gunnery experts-which is the son of the man we had out in the Ukraine. GRIEVE: That's right. I can't remember his name. BENSON: I can't off the top of my head. Isn't that appalling! It will come to me later on. Of course now I remember who it was. It was Martin Bibbings and his son Ben. GRIEVE: I don't know how you remember that, there must have been 700 people who worked on that production. BENSON: I only remember 699. GRIEVE: Well, that's not bad. This was that lovely location in Devon again. The beach that you shot on when you were a young man. It worked terribly well for us. BENSON: And with careful juxtaposition of extras, there's a couple of hundred on the beach. It should be remembered that every one of these people has to be costumed, made up, wigged, trained, they have to be able to use those firearms safely, and be able to march, so it's not just people turning up in the morning and being the crowd in the square. It's a big operation. GRIEVE: I think it's something that happens quite a lot in feature films, people are used to the idea of endless time being used in pre-production. But in televison it's rare to get that time, and we have to do it quite quickly.

And here's that fantastic cat's cradle. Here's Hornblower's thinking. He thinks up this amazing cradle of blocks and tackles, none of which would have ever worked. How he ever got them all hooked over all that in the first place I have no idea. BENSON: But we shouldn't look too closely into that. (LAUGHTER) Except as Hornblower's ingenuity. GRIEVE: Very, very ingenious man. I think we sat and wrote that together didn't we? (LAUGHTER)

BENSON: I think we did. Ah-rockets into the sky. Now it's easy to fire a rocket, but how do you see it explode in the sky. And the right color. GRIEVE: And out the window. BENSON: That's of course, a green screen. And that shot is all added later in post production. Loyalty    １    ２    ３    ４    ５  特集コーナー HOME