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）
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1:14:51 Scene where Horatio gets them free from jail. BENSON: And that's them free. GRIEVE: I thought it was pretty ingenious, Andrew. Better than banging a guard over the head. BENSON: And who would be the one person you would want to put down a toilet? GRIEVE: Yes! It's Styles. And that's the second rocket, which means the fleet must come in, isn't it?

BENSON: And very shortly, we'll be with Admiral Pellew aboard his flagship. Now we only had Robert Lindsay for a limited availability. His schedule did not correspond with the time that we were at sea. So once again, Rob Harris, our brilliant designer had constructed a small section of deck inside the studio and all the scenes with Robert are shot in the studio. GRIEVE: And this loo, was shot all over the place wasn't it? One bit in one place and a tunnel in the other place. Some by the seaside. It was broken up into about 5 different places. BENSON: So we had to put Sean Gilder down in the muck some more times. GRIEVE: That hole that he goes into, was only up to his waist and you couldn't go anywhere down there. And then there was another one which led out to the sea which was an entirely different location. I think this one was near London, wasn't it? BENSON: yes, just south of London. A very good location. Actually in a school. GRIEVE: And then he crawls around a corner, and he's down in Cornwall. And Hornblower is somewhere entirely different. BENSON: We are talking about all these different places that are put together, and all these have to be planned, and these sequences all have to story boarded, Andrew. Do you want to talk about what that actually means to story board a sequence. GRIEVE: Well, you have to actually visualize the thing before you shoot it so that every single element has to be visualized and the great thing about that is that when you shoot it, you don't forget what you are going to shoot in the future. BENSON: And all of that has to be painstakenly drawn shot by shot. So that everybody who has a small part to play in that hole, knows exactly what they are doing. So the modelers know what they have to do, and the CGI people know what they have to do. GRIEVE: It's very, very handy these days. But it's much more time consuming than people think. Very often you have story board artists, and in fact we do on this to a certain extent. Not as much as you would have on a feature film. But it works terribly well.

MORE CGI talk. （1:18:00 この前後の会話は多少抜粋されています。） GRIEVE: I think it's very interesting that all the sound is put on afterwards. Every single piece of sound is put on afterwards. BENSON: Everything is added. If we have wind and rain machines we have to replace all that dialogue. In fact, a lot of the dilaouge is the original dialogue we filmed on location. I would think, 89-90 percent of it. GRIEVE: 90 percent is a very high percentage. Everything else is put on afterward.

BENSON: That's a big job. That punch for example. It's a bigger sounding punch than it was in reality. That is one of the great things you can do with sound. GRIEVE: The sound effects fills a lot of gaps. BENSON: And then to add to this, we have a terrific score added by John Keane whose worked with us through all the Hornblower films. And that music really does make a huge difference. GRIEVE: It does, it ups the excitement. BENSON: Although sometimes we ask him to help us out of a few troubles. And he says, you mean you want me to make it more exciting? You should have made it more exciting yourself. GRIEVE: This is a real fort. Is it Henry the VIII built it? Its much earlier than this period anyway. BENSON: I can't remember. But it's at least 200 years earlier than our period. And once again Robert is in the studio. He was a little bit disappointed because he loves going out to sea and wonders why can't we do this on a real ship? I explained to him it wasn't available unfortunately. GRIEVE: This was always very difficult, looking out to sea to get the perspective right. BENSON: Another explosion coming up. GRIEVE: Yes, I like this scene. (LAUGHTER)

BENSON: I know for some Hornblower afficianados they are aware that he can speak French, and here it appears that his French doesn't appear to be as good as it was in the past, but our reasoning for that was that his colloquial French was not quite as good. And that could betray him. GRIEVE: he was also taken aback by the fact that somebody actually answered his knock on the door. (LAUGHTER) BENSON: And we have to have something for Cotard to do at this point. To try and prove finally to Hornblower that actually he's on our side. GRIEVE: This was rather a fun explosion to do. All the special effects guys packing up all the masonry to fall down. Took them a long time, but it was simply done. And all covered by an enormous bang. BENSON: And if you look at Hornblower, you see the semi recognition that he sees Hammond standing behind Wolfe.

1:22:55 SCENE Explosion of fort BENSON: And that of course, is completely real. (LAUGHTER) GRIEVE: That ancient monument, gone forever. I thought it was extremely good the way they laid the explosions in front of the real location. It was also very a bit of something to get people to trust us - BENSON: to not blow anything up. That once again, is the skill of---to make something look real, but make sure it's safe and doesn't damage any real property or people. Or they wouldn't have us back in a hurry if we destroyed their ancient monuments. GRIEVE: They are actually very big explosions aren't they? Petrol? BENSON: Yeah. Once again, we have this fantastic beach and nobody around. GRIEVE: It's always difficult, to keep footprints off. BENSON: You were saying earlier, about the problems of the tide which we didn't have on the films we shot in the Ukraine. The Black Sea isn't tidal. Nor is the Mediterranean. It's certainly something you have to contend with. GRIEVE: It's a huge problem because in the course of half a shooting day, the tide goes out on that beach about 200 yards. So if you're not careful you can have scenes where the sea is way out, and then way in again. And there were times where we nearly got cut off from the tide. Up against the cliffs. And we were racing against time to the extent that we were grabbing the camera and rushing through waist high water to get away. It all adds to some excitement to an otherwise, dreary day. (LAUGHTER)

BENSON: Now, this I know that none of the audience will be surprised that we chose Hammond senior as the villain of the piece. There were several reasons for that, in the original drafts of the script he wasn't. he wasn't the villain. But one of the things we always thought was that the spies are the ones that you least expect. Of course, the perfect example of that in Britain is the Cambridge Spies. Blunt worked for the Queen as the keeper of the Queen's pictures. So on that kind of thought, we thought that whose the least likely candidate? The person one would least expect of the characters we established? With an Irish connection. GRIEVE: Particularly because he had been in two other films. He was in Fireships, and he was also in the Court Martial one. BENSON: In Retribution, absolutely. There's always been a bit of a niggle between he and Hornblower which is useful but...never before did we suggest that this was the reason behind it.

Now I love these particular scenes where people come to the rescue out of nowhere. Fantastic. Bush, redoubtable Bush is there- GRIEVE: Storming ashore. He enjoys these scenes. He runs in like a good'n. BENSON: I think they all suddenly become like young boys again. Cowboys and Indians in the background. GRIEVE: They're fun to do. Then of course, we never really have enough time. BENSON: But you did a lot of hand held stuff on this sequence. GRIEVE: Yes, it's um, there's a couple of cameras going . We discovered a way of doing it which is effective and done reasonably and all the moves have to be done by stuntmen. I know this is not unusual for feature films it's just that we don't have that much time to do it in. Every single thing has to be pre-planned. So that people don't get hurt.

BENSON: And because these are real swords. And they could get hurt. GRIEVE: People do get bangs on the fingers and cuts and things like that but we've never had any bad things. BENSON: All the extras have to be trained and choreographed as well as the stunmen who have more specific action. GRIEVE: We did break one marine's hand, didn't we? He was very game. A Cornish bloke, I recall. BENSON: And perhaps too game. Considering all the action sequences we filmed we haven't done too badly. I remember the light was going by the time we got to the end of this sequence and of course that's the other problem for the director and photographers. The sun is moving, the sea is coming in, the shadow are lengthening. But you have to get it all filmed within the time. GRIEVE: But it also adds to the atmosphere if you're filming quite late and the sun is below and when we're filming that sequence when Hammond dies the light was going and you were standing behind me and looking anxiously at your watch. (LAUGHTER) GRIEVE: And here the Irish , the resolution of the whole Irish theme. Which is very interesting, I found very interesting actually.

BENSON: I think also that the fact that young Hammond redeems himself at he last by showing some courage. And realizing that he has been wrong. GRIEVE: I wanted to have him hurl himself in front of Hornblower and receive the fateful bullet that way, but you vetoed it. Probably you were right. BENSON: I want to say, that I hope that the audience will also be shocked by Hammond senior taking his own life. Because I know that a lot of people don't like it when we kill off much loved characters. But-it is a time of war and death is part of that process. GRIEVE: Have you ever got a body count for the series? It's not actually that high, is it? BENSON: It's not that high. GRIEVE: If you don't count-we've massacred thousands of Frenchmen. BENSON: Well, that doesn't really count. GRIEVE: No, well, we don't really sell in France. (LAUGHTER) BENSON: But we do have to-to make a death really tell in a way that would really tell to people's friends and family of the time that he audience has invested time and emotion in it. GRIEVE: And also, that Hornblower has. Because the story is all told through him. Yes, the sun was definitely going down at this particular moment. (LAUGHTER)

BENSON: WE did have an additional problem that if you put a pistol to your head there will be an enormous amount of mess. Once again, there is a limit to what we can show on prime time television-so, there's a whiff of smoke, if you look very carefully there you'll see some blood and brains appearing to the right of the screen which is put on afterwards. GRIEVE: I do remember that the pistol misfired four times. BENSON: And the light levels were going down more and more. GRIEVE: and the spark on the pistol was put on afterwards. So that is the pressures of filmmaking which very often goes wrong.

BENSON: Now this is something which we now include in every film, which is a sort of wrap up scene between father and son. I should say...surrogate father and son, because they are not really in the characters. But it is a fatherly relationship. GRIEVE: Yeah. They are always good scenes because there's always some moral that you can bring out. The thing in real life, is that they are quite fond of each other as well. So that comes across in the playing of the scene. BENSON: Well I think it's always so interesting, of course, Robert was a very established actor when he started in Hornblower and Ioan was a youngster just starting out and I think there was Robert easing Ioan into things. GRIEVE: It must have been frightening for Ioan to be working with some of those actors in the first series. BENSON: Absolutely, but I think now, the boots on the other foot. There's a certain amount of pride on the part of the older actors who have seen him mature.

GRIEVE: He's done some absolutely wonderful stuff now besides Hornblower. But I think this was the thing that really got him started. There's some lovely music by John Keane. It think it's very evocative. BENSON: And now the difference now is that Hornblower's got the- GRIEVE: Robert's nearly crying. BENSON: Yes, he is. He's got the maturity to actually question Pellew's judgement. I's a lovely scene, beautifully played.

GRIEVE: And there's the resolution of the other theme. Which is dear Mariah. BENSON: Now, we originally planned for a little like in the book. The meeting and the marriage would happen in the early part of this episode, but we both felt that this moved the story along too quickly, and as Forester had split the marriage and proposal across two books effectively, we chose to split them across two episodes which I think works very well. GRIEVE: Makes you have something you want to come back for. Because there is a tremendous amount of doubt in Hornblower's face when he realizes what he has done. BENSON: Yes, he's doing the right thing, he believes it's the right thing but immediately having done so, he thinks GRIEVE: What have I done that for? BENSON: What did I let myself in for? GRIEVE: Because none of us had ever been in that position before. BENSON: No, certainly not. (LAUGHTER) GRIEVE: You've only been married once. BENSON: Well, if you recall, after having written these scenes, I only just proposed to t my wife. GRIEVE: You had. Where as, I'm a three-time Loser. (LAUGHTER) BENSON: SO, it came very much from the heart. GRIEVE: Yes, well, I was much more cynical. BENSON: Of course, I was in love with my wife-AM still in love with my wife. So I was in much more a fortunate position than Hornblower. GRIEVE: Yes. BENSON: I think he's very fond of Mariah. But I think it's a sense of Duty. GRIEVE: It's just an unsuitable marriage. He realizes it. She's not intellectually on the same level. She's a nice girl, he's very fond of her, but she's not his intellectual match. And I think he's suddenly realized that he's got to have more than just---liking somebody. Or just a physical attraction, that there's got to be a meeting of minds. She just doesn't really have that.

But I mean, there's a real emotional brown out going on here. I think any man might find himself in an emotional quandary faced with this situation. BENSON: And of course, once he does propose, he is bound by his honor. GRIEVE: Oh, there would be no going back there. No divorce either. He just wouldn't of been able to get divorced. It's kind of-for life. I think in the books, he's got some sort of experience, a past. Um-he certainly goes off in Jamaica with Bush and spends a lot of money. I don't think it was just on Rum. BENSON: No, No. And also, I think you have to remember he's not the seventeen year old youth we met in the first films, he's not completely naive. GRIEVE: And sailors, when they go ashore, they usually have fun. I can vouche for that, having been one. (LAUGHTER)

1:36:36 SCENE-Horatio asks Mariah to marry him. Hugs. BENSON: But now we see the trepidation. BENSON: What has he done? Watch the next film.

ENDING CREDITS

BENSON: Well I hope you enjoyed these comments from Andrew and myself on this, the seventh film. And you'll listen for more, and we'll have new things to tell you, on the next film. Um-and I hope that's helped you understand a little bit more about the process. Thank you very much from me, Andrew Benson. GRIEVE: And me, Andrew Grieve. BENSON: And I should say, we're both available for weddings, barmitzvahs and after-dinner speeches. Just contact our agents. GRIEVE: LAUGHTER. End of LOYALTY Commentary. Loyalty    １    ２    ３    ４    ５  特集コーナー HOME