Equilibrium Commentary Kurt Wimmer & Lucas Foster 18. End Credits Transcription by Walldude   LF:  And there are the titles. KW: That's right. LF: Wow that went by fast. KW: It did, Sue did a great job thank you Sue. LF: Sue Baden-Powell KW: ...and there's Andrew Rona who walked point on this film for us and Bob [Wienstein] who was kind enough to pay for it, and Nenon [Tantet] was also my post-production supervisor and did a great job supporting me and Dion [Beebe] who I've already flattered enough. LF: and Wolf [Kroeger] who was a little cranky but unbelieveably talented. KW: Right.  You know the thing I should say about Wolf is he's uh.. and there's William [Yeh]...he's about 65 years old and he works harder than anybody else. It's like he's got the hounds of hell persuing him to leave his legacy on this earth.  It's quite something. LF: Wolf is always in the office on Saturday and sometimes on Sunday.  He's just... KW: He was hard at work.  He must have walked off the film... LF: ...at least 3 times... KW: ...at least 3 times and I would go run after him and beg him beg him to stay.  He was a master at sort of manipulating the system, and what his end goal is is to get as much money out of the production as possible to build... LF: ...the biggest sets he posibbly can... KW: ...in the world.  He will give you his soul to make them good but... LF: The casting directors, we have to mention them.  They really served us pretty well especially Lucinda Syson. KW: Yeah, that's right, especially London casting.  And there's Digital Firepower who did a lot for very cheap.  The explosions at the end, you know they're not the best explosions by any sense that you've seen on film I could have spent another 350 or 400 thousand dollars to make them good explosions but at the end of the day it didn't propell the story foward and I thought the money was much better spent elsewhere on the characters. LF: Dominic Purcell who's now on a big television series. KW: That's right.  I spoke about him on the other track.  The irony of, they wouldn't hire him at the time. LF: Man they killed us on that. KW: But now they would hire him in a flat second I'll bet ya. Hey the rebel victim (Played by Kurt Wimmer), Florian Fitz, all these uh familiar names all of our uh... LF: Mehmet Kurtulus, there he is, that's uh, a inside joke for Kurt and I. KW: Right and that's uh, Annette Booreman did our German casting ... LF:.. and she was great... KW: She was great.  She did a great job. LF: She helped us a lot.. Andrew, the second assistant director who really kicked butt. KW: That's right LF: ....and Jim Glander who helped us a lot at Miramax.  Who was their production executive, physical production executive.  Pam Alch... KW:...who was my... LF:... script supervisor... KW: ...script supervisor.  Eric Olsen who um, did a lot of work too in finishing some of these sets. LF: Paul Hayes...that guy saved us. KW: Yeah he was... LF: That guy was the secret weapon. KW: That's true. He... LF: He built all the sets. KW: That's right.  He was in charge of building it at a price and he did a great job.  It was amazing.  He was using a journeyman British builder. LF: We brought him in as a foreman and we promoted him to a coordinator and boy he took care of us. KW: He certainly did... Jack and Victor... KW & LF: ...the accountants. KW: Something very important on a movie. LF: I like people who pay me, always. KW: Friederike Von Rauch who was our location scout.  Man was she tireless.  She was a real queen too you know.  She was very regal.  She has a regal name and she was very regal too. LF: Her location photos were literally like works of art.  She presented them in these books that were like.. the care with which they were prepared. KW:Absolutly very thorough, Michael Lindsley on-set props saved my ass many times. LF: Steve FLick KW: I didn't reconize his name, Stephen Hunter Flick, but yeah Steve is a guy who's got an oscar or 2 on his shelves.  Very, very talented guy, very enthusiastic about the movie and doing his best.  We had a lot of people like that and he was just one of them. LF: He was the post-production sound mixer. KW: Right, thats right...sound editor.  The effects on the film were done by a number of studios like Post Logic and Riot and Digital Firepower. It's tricky business with these visual effects because you kind of lose some of the control.  There's my brother Jann Wimmer and Sandy Hasting who was in.. and Mark Martin, we cannot overlook Mark Martin.  He was just a production assistant but you'd be amazed at the proportions. LF: ...We used him for everything... KW: That's right... that these characters... LF: ...He spoke several languages... KW: ...and he became much more than that for us. LF: Harvey Harrison and Ian... KW That's right...and his crack team. LF: ...ran the second unit. KW: They came in and they were basically an English killing squad.  They came in and, you know, got killed and did their job. The Italian crew Anso, and Luca and Vita, thank you. LF: Amazing how many people we had on this movie. God... KW: Yes, it's interesting... LF:...did I pay for all of these people? KW: I think so...it's interesting... LF: Really? Why? KW: ... when you sit down in your office and you have a blank page or screen and you start to type, not really stopping to think that a year or two years down the line you're going to be employing a lot of people and paying their rent for a certain amount of time.  I mean a lot of people and it's kind of a good feeling interestingly enough.. Andrea Verthine. LF: She helped us a lot. KW: Yeah a lot of support.. and these are all the places we shot, Deutchlandhalle, Walther Bau.  They were renovating the Olympic Stadium, a very expensive renovation, extensive negotiations which Lucas handled obviously in terms of... LF:...to get us in there. KW: ...securing that place.  A very tight window. I'm glad we got it. So there we go.  That's our film.  It'll be up to posteriety to see whether it was worth it. LF: Yeah, thanks for listening... KW: Right on... Chapter 17 | Commentary Index