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Equilibrium Commentary
Kurt Wimmer &
Lucas Foster
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5. A New Morning
Transcription
by Libby
Lucas: Er...Preston's wife, who he betrayed.
Kurt: Yeah, it's a... sort of interesting, in the way
that Studios will sell films... and they say it goes on all the time,
but they chose to sell this film not in terms of the Dystopic world,
but in terms of a man who is betrayed, in this scene specifically when,
the system comes and takes away his wife, without real justification.
That's a revenge film. It's really surprisingly not what the film's
about, but it's how they chose to sell it.
Lucas: We shot some of that stuff, by the way, we shot
some of the video stuff like what you just saw on video, we never
actually shot it on film. We shot it on video because it was gonna be,
was, needed to look like video and there was no reason to post process
it into video. We could just shoot it on video and essentially put it
in the tele-cine process.
Kurt: Yeah, we had a ramp update where we shot
something, a couple of things on digital video, like Preston's wife
being taken away, not this shot but the later scenes and Mary O'Brien
being taken away.
Lucas: And also when she's in interrogation and she's
sitting in her interrogation cell.
Kurt: Yes, exactly, that's right. And yeah, it was
going to be digital on screen, so that was the only reason to spend the
extra money.
Lucas: There's another one of those little crane,
mini-crane shots of Kurt's that...
Kurt: Yes. This was the first shot of the film,
actually, first shot, first day and you know, Dion basically was front
and centre and everybody's watching, you know. And this was sort of
unfamiliar territory. Me, I was unaware that the entire crew stands by
to make their assessment, you know, of all the unknown quantities,
Director, DP, etc. and that first day, or even the first scene. And you
know, this poor guy, he had to work the wheels and nail...um...
Lucas: ...the complex move.
Kurt: Yeah, relatively complex move at the first shot,
first day. But you know I learned a lot from Dion in making this film.
I think this was actually his first mainstream film. I'm proud that we
hired him for it. We knew he was very talented from his reel, ah, but
he's a very quiet guy and sometimes he's difficult to engage,
especially when you don't know him, when you first meet him.
Lucas: A lot of people felt like he wasn't doing
anything or he was not moving fast enough or whatever and, you know,
it's just he has a different process, you know. It sure looks good on
film. It was absolutely beautiful and we would look at the dailies and
go "Wow! That's amazing!" Although people did think it was too dark.
And the biggest objection that the Studio had, and some of the other
people, like Jan [de Bont] had, was that it was too dark and
that was a big issue that we debated in the first week or two of the
film.
Kurt: I actually, I always loved it. You know, actually
what I learned from, from Dion - and you better put your hands
over your ears, Lucas - is that when people say things to you, you just
sort of, you know, nod, with that same look that your dog has when you
put the phone to his ear and then you go ahead and do exactly what you
were doing anyway.
Lucas: That's...that's not news to me. That's...that's
the Producer's, you know, existence, but...er...
Kurt: But I didn't want you to know that I was exactly
conscious of that...
Lucas: Yeah...
Kurt: I just wanted you to think I was stupid.
Lucas: This is actually the back of the
Berlin...this...that's digital, but the lower part of this is the back
of…
Kurt: Starting right there...
Lucas: ...the Berlin Stadium
Kurt: Yeah, the Glockenturm. Yeah it's all...most of
that frame is practical.
Lucas: When we saw this on the location scout, we
absolutely loved it. We were just like "Oh, my God!" We loved
this...the outside. And we used the interior of this, where that guard
is standing up there, for a scene later on, with Preston, when he's
talking to DuPont....
Kurt: Right.
Lucas: ...and we just loved it. We saw it and we
thought "My God! This is made of granite and stone and limestone and it
seems permanent and we…we want to get this on film."
 Kurt: We
liked...we liked anything we could use from multiple locations. I
mentioned on the other track, how Taye had just learned to drive and he
almost killed some people…
Lucas: Yeah. He almost ran over a Grip and…um…
Kurt: ...it didn't seem to bother him much, though. Not
the Grip, but Taye.
Lucas: Yeah.
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