Well, that depends who you ask because, clearly, this dog has a bigger dick...
I love this line 'cause it's so goofy and...
And when the fuck did you see my dick?
I'm such a goomba or whatever. I'm just gonna caveman speak.
Parker was great in this.
I just... I could've done this scene for a hundred years.
This... this was a blast, doing these scenes.
I loved working with her.
Give me that chair.
I like this scene because it transitions from being really funny and ridiculous...
- To deadly serious. ...to being deadly serious.
And I like being able to take the audience
through those transitions within a single scene.
Have you tried lake trout?
Mackerel?
And so much of the dialog here is just inspired off of what was happening.
- Like her hairdo being ridiculous... - Yeah.
I mean, it was.
I loved her hair.
She improvised that line, "How 'bout nobody saying 'dick' anymore."
I love that. "It provokes my envy."
I know that I ruined a number of takes because I was laughing.
Tell us about Blade, King.
What's this weapon he's been planning?
I can tell you two things.
One, your hairdo is... ridiculous.
Two, I ate a lot of garlic.
And I just farted.
Silent but deadly.
God, my neck looked like I was in some sort of, like, S&M...
Did he really squeeze your neck hard? He really did.
He always hit me hard. He's a wrestler. He doesn't know any better.
- He can't even help it. - Yeah.
If he smacks me or throws me, he's doing it.
Oh, I know. It was real.
There were a number of times when I said, "Oh, my God. We just killed Ryan."
- Yeah. - We just paralyzed Ryan.
He just throws me across that room. Oh, the beating. The beating.
There's a little shot here that I just like. I know it's totally minor.
But you see a little piece of dog fluff flying up from the Pomeranian.
Look how he's holding him.
That Pomeranian was terrified!
Oh, my God. Of course it was.
But Parker has such disturbing contact lenses in this scene.
They're my favorite ones.
You don't wanna go back to being one of us...
... do you?
I'm gonna bite you again, King.
And I'm gonna leave you here while you turn.
I'm going to watch you day after day
as the thirst keeps building. and building.
And then...
- There's the little Pom. - I love that.
I'm really proud of you guys, you and Parker in particular, for this scene.
It's just... it's a really memorable scene.
I think it's one of my favorite scenes I've ever shot.
Would you like that, King?
Would you enjoy taking her life?
- Her little face. - Oh, I know.
She's a cutie.
Did you ever see The Dark Crystal?
Doesn't she look like one of those little people that lives...
- Oh, my God. Yes. - Those little elfin people.
Yes. Isn't that a crazy...
- She totally does. - She does.
Or one of the Whos from Whoville.
Ah, that's true, too.
- Oh, my God. This took forever to shoot. - The is the scene... yeah.
This is the scene that mirrors the scene
in which Karen's talking to Blade in the first film.
Oh, right. Right.
You know, when she's talking to Blade, and Blade's all emotionally shut down.
How cool.
But again I like that Blade says, "Are you all right?" but he's not, you know...
he's not giving her a hug or anything like that.
It's just you gotta be tough, you know.
If you're not tough, you can't survive in this world.
Ever since I can remember, I've had this...
... I've had this knife of sadness in my heart.
And as long as it's there... you know, I'm strong and I'm...I'm untouchable.
But... the moment that I take it out...
I'll...I'll just die.
Ramin, one of our composers, did a nice transition
from the orchestral score into this, um...
- I like this music. ...Crystal Method song.
I love this sequence. I think this looks really cool.
Yeah, I like this sequence too. It's fun because this is one of those moments
that's purely cinematic.
It's not really advancing the story, and it's not explaining anything.
It's just purely about a character's internal, you know, state.
What's going on inside their head.
But it... you know... that's what filmmaking is all about...
is being able to do sequences like that.
I remember Chuck her... her instructor for archery
told me that she could actually compete professionally if she wanted to.
He, uh... was an amazing, amazing coach.
I mentioned this on... on the other commentary track.
That actor is a local actor in Vancouver
named Chris Heyerdahl who's a really cool guy.
And, uh, I was talking to him,
and before we started filming, I asked him if he could do any accents,
and he said, "Well, I could do a Norwegian accent."
And I said, "Really? Let me hear it."
And he did it, and I said, "Okay, here's my challenge to you.
"You can do this part with a Norwegian accent,
but you have to talk with a Norwegian accent even when we're not filming."
- I remember that. - Oh, my God.
And he said, "Okay, I will." And, to this day, Wesley thought he was from Norway.
Yeah.
'Cause, you know, when we were at lunch... everything...
he talked with a Norwegian accent.
I didn't know, either, though, until halfway through.
Until halfway through working with him, David said, "He's not from Norway.
He's from like," you know...
Washington, or wherever he's from. Delaware.
I wonder if I didn't know, either. I don't know. I don't remember.
Yeah.
Now, are those real tears or are those fake tears that we squirt in your eye?
Those be real. I don't use none of them fake tears!
See, that's what you get when you come up from the WB. You get real tears.
That's right.
If you'd been UPN or FOX, they would've been fake tears.
Yeah, exactly.
I'm sorry. We just didn't have enough time to properly test it.
- So...
"Shall we take a look at the plague arrow?"
He's like... Ingmar Bergman or something.
- It's a great accent, though. - It's so good. I love it.
I love it, too.
I was able to outfit it.
"A compressed gas arrow."
This thing was the biggest pain in the ass, that arrow.
- Yeah... - Yeah, because it...
I know.
You had to shake it, and all the green goo would settle,
and it would never get all cool.
Unfortunately, I wanted those little globules to be floating around.
Like cells?
Like it's not floating right now. It's just kind of...
Between every take, we would shake it and shake it and shake it
like it was a little lava lamp and, you know what? We weren't moving along.
It never moved.
I remember you shooting one sequence with it, and we could never get it to...
Never get it right. I know.
Ah.
The Gnome King. How sweet.
Tell me, child... do you want to die?
I love what she says at the end of this scene.
Me, too.
There is no heaven, no God, no angels.
The only thing in your future is nothingness.
But what if you could change that?
What if you could remain a child forever?
Wouldn't you like that?
Wouldn't you accept that gift?
My friends are coming to kill you.
This is another sequence that I remember the studio was saying,
"Do you really have to spend all this time shooting these guns
and shooting these bullets, and come on..." I mean...
But, uh, you know, when it was all cut together, they really liked it.
But, again, it's another one of those sequences
that's sort of purely cinematic.
And it doesn't specifically advance the story forward, but...
That was the hardest thing to shoot in the whole movie... that computer.
- Why? - You weren't there! We were shooting...
- Well, I was on the other stage. - Right. We were shooting second unit.
- Right. - And that...
Just... oh! It was just... the camera to perfectly focus on the songs,
and then to get my fingers... it was, seriously... we did so many takes.
You haven't heard this music track, have you?
- I haven't. - I don't know.
This was... yeah. It was written for the movie.
- Oh, by the new guy. - Yeah.
It's cool.
Love that.
Who is it?
- It's a... it's a band called "Black Lab." - Oh, they're great.
- It's very Nine Inch Nails. - Yeah.
It's great.
What I like about the sequence is that every single weapon
you see them loading up with they use... or you guys use, you know,
in the sequence to come.
This looks cool with a much longer version.
- Yeah. - I like it.
Yeah, this is longer.
Your real tattoo looks like a vampire glyph sometimes when you go right past it.
It kind of does. You're right.
Damn, you're doing a good job riding that motorcycle.
I know. I'm amazing.
It's not really me.
- The cool rig we had for, uh... - Towing the motorcycle?
Was awesome. That was fun.
This kick coming up... every time I see it,
it looks like he's really kicking you in the face.
This whole thing was so much fun, but it hurt so much.
Oh...
And that's a guy named Callum Keith Rennie... a great actor.
Great actor.
Again, one of those guys that I wish we had found more for him to do in the film.
Because... I gotta write another part for him in another movie.
- I grew up watching him. - Really?
Yeah, in Vancouver he's like a legend.
He's one of these great Canadian actors that's done so many great films.
I know he was in Memento. Chris Nolan directed it.
Chris and I had talked about him when we were working on Batman.
Chris said, "There's this great actor up there. You gotta see if you can get him.
Callum.
See, when one of us goes missing...
... the others, they just dial up the satellite
which is in space.
I don't know why that's funny, but it is.
It's one of those things that everyone laughs, and...
there's just something about the delivery.
Go fuck yourself.
I like that, too.
And I got this idea from the, uh, that moment in Chinatown
where Fay Dunaway is slapping her, uh, niece.
Right? Isn't it Faye Dunaway that's, like, slapping her niece
saying, "She's my mother, she's my sister."
- Really? - "She's my sister and my mother."
I love that.
Seriously, just pull down my tighty-whities and see for yourself.
Parker was a little wild with her kicks, though.
Really? Did she hit you a couple times?
She hit me many times.
- Did she slap you for real? - Uh-huh. Once.
Right on.
You see, that tickle that you're feeling in the back of your throat right now...
But she's a skinny girl, so how much did it really hurt?
- Not much. - Did you see those shoes she's wearing?
- I know. - Damn, stay away from those.
Thundercunt!
I can't believe the MPAA let us get away with saying that line.
I know. "Thundercunt." Wow.
- They're loosening up, you know. - Don't say it again! Don't say it.
I like that fireball that comes out of his mouth.
- You do? - Yeah.
- All right. - Now!
Okay, this scene we originally filmed a completely different way.
Originally King says, "Right about now,"
and Blade just crashes through the sky. Boom, he's there.
And it was only after editing for a few weeks...
It was one of my editors... Conrad had the idea of...
What if... what if he says "Right about now," and nothing happens.
Then we said, "Oh, my God. Okay, let's go back and reshoot that."
See, there's... again, Wesley just totally selling the action.
- Yeah. So great. - He's so good at it. Nobody does it better.
I love that he doesn't let you out.
Yeah.
A little help here.
Oh, this is awesome.
Yeah, this is one of my favorite sequences.
We were determined in this movie to have a lot more fighting
than we had in the other Blade films.
In some of the other Blade films, Blade essentially does that
and then just moves on to the final villain.
And we said, "No, no, no, no. We need two or three more chapters
after this moment before we get to the final villain.
And that was the stunt that you wouldn't let me do at first... the flip-around.
- Yeah, you kicked ass at it, too. - And then I got to do it.
- Loved it. - You did a better job than the stunt double.
And what we were also able to do in this film that we couldn't do in the other film
is intercut between three different things happening at the same time.
- There's three storylines going. - Yeah.
You have Abbie's, Blade's, and King's.
And this is where the shoulders are really kicking. I swear I really miss them.
We shot this very near the end of the film, so you...
- All of this is at the end, yeah. - You were fully ripped by then.
This was so much fun.
I had such a good time shooting this stuff.
- Yeah. - Loved it.
I remember we shot for 14 hours.
For 14 hours, you were beating people up,
and I wanted you to do one more take, and Lynn said, "No. I refuse."
I forbid you. You're gonna kill her."
And I walked up to you and said, "It's your choice."
And you said, "I'm gonna do it. I'm gonna do it."
Totally. I loved it.
- So great. - The stunt guys were so awesome.
They took it so well.
They just... they totally sold it.
The crew was just blown away, though, by your physical ability here, Jessie.
I'm telling you, it's Chuck. It was Chuck. He...
Hey, don't deflect.
- He made me... - All right? Receive it.
- Thanks, Ryan. - This is a fun sequence, though.
- It's great. - It was just mayhem.
I mean, I know it had to be cut 'cause it looks great going back and forth.
- But what people don't know is we shot... - It all continued.
All continuous.
- You literally took... - That's my stunt double.
- That's my stunt double you just killed. - That's right. Yes, I did.
It is amazing 'cause you did shoot that sequence in its entirety in single takes,
but I think cinematically it works better, you know, cut. Yeah.
- Back and forth. - Yeah.
Love that.
We tried to do a lot more with the ashings in this film, too,
which is have ashings in slow motion, and, you know, just have...
- This guy was out of control. Amazing. - Larry Lam.
- Larry Lam. That's right. - He's like a famous guy, right?
- Yeah. - People know who he is. Yeah.
This is such a kick-ass sequence. Are you kidding me?
Now, people don't realize it, but in this shot coming up, we did face replacement.
We digitally put Wesley's face
on the stunt double for those shots.
- Oh, wow. Really? - Yeah.
If you go through it frame by frame, you can kinda tell.
Oh, wow. You'd never know when it's just going through.
This is original scene. It was cut.
We thought for pace that we would cut it out.
And after we'd shown it to a couple audiences, they said
boy, I really wish that UV arc would come back.
- So you put it in. - So we put it back in.
- That's great. - I love this.
Do you remember what was happening
that the Pomeranian wouldn't stay on its mark?
Oh, these fuckin' dogs. Kids and dogs.
These were incredibly painful days to shoot because, you know,
the dogs would... they'd just do what they do. You can't reason with them.
We couldn't get the Pomeranian to stay on its mark.
He would walk and start coming forward.
Finally they said, "Just give us a few minutes, take a break."
I came back, we shot the scene,
the Pomeranian perfectly stayed on its mark.
I said, "How'd you do it?" They brought me over to the Pomeranian.
They'd tied fishing cable... like monofilaments to its feet.
And then tacked the monofilaments to the floor so he couldn't move.
Then we couldn't get the dogs to go through the glass.
- They were supposed to... - I love it.
Yeah. Bam-Bam... the dog Bam-Bam wiped out there.
But all that glass is CG glass that we added after the fact.
My wrist still hurts from doing that. I don't know why.
I pulled something there.
Did something permanent.
There's the big square-jawed look you get if you're... this was so much fun,
filming this, 'cause we just kept on adding all these little filigree.
Like flipping them off and falling back in where you started.
Right where I started.
We had so much fun doing this sequence, and Hunter was great, too.
- Dickface, you seen my dog? - David's line.
Have you tried the lobby?
Great line.
But, you know... Hunter really is throwing you there.
Yeah. On cement floor. We couldn't change the floor 'cause it slid.
You need the cement slide.
We sometimes had a rubber floor that we would put in,
but we needed the slide, so you took those lumps for real.
Oh... the worst.
One of my favorite exchanges in the movie.
Blade... ready to die?
I was born ready, motherfucker.
Now, we had this giant controversy on the movie
because I wanted Wesley to take his coat off...
...but the way the scabbard worked,
you had to take the scabbard off before you took off the coat.
And he said there's no way you can get me to take off the coat.
And I said, "I guarantee you I can do it."
And we did in those two shots, and it worked.
Oh, yeah. You got it. I'd never seen it, actually, till now.
And this is the Crystal Method doing a new version
of "Weapons of Mass Distortion," from the soundtrack... which works.
- That looks great. - Yeah.
But we had a lot of fun with this, though.
And all of those sparks that are happening we put in after the fact.
That's something that we digitally added.
The amazing thing about this swordfight is that Wesley isn't doing all of it.
He's doing maybe half of it.
- Dom did it all. - But Dominic did it all.
He did every single... there's not a stunt double in that sequence.
We studied that forever.
That's... that's kind of cool about everyone in this movie.
We barely used them at all. Only for not being able to dive through glass...
A lot of times it was when we were involving crashing characters through glass.
This was gross.
Ugh.
But, again, the intention that, you know, Wesley gives
to all of his moves is... he just has this stuff down pat.
And it really is... when he's doing the action, it's a joy to watch him work.
Yeah, it's really fluid.
See, we... we extended this a little for the, uh, DVD.
Oh, okay.
- Okay, here... - Oh, this one.
- This is the only stunt you didn't do. - Yeah.
- Right... this shot. - But you guys showed it to me...
You showed it to me and said, "Look what Ryan did!"
- I know. - And you can't tell.
You can't tell.
Oh, man.
Yeah, I was not gonna have Hunter land on top of me.
That's when you probably would've just shit your pants.
- Yeah. - All the pressure.
It would just be immediate explosive... complete intestinal evacuation.
So this part's longer, or...
I love that right there.
That's a nice move that they did.
- Was that Clay? - Uh... that was Clay.
Who's Wesley's stunt double with his back to us. Yeah.
Generally in the action sequences in the really long shots
we're using Clay instead of Wesley.
And coming up... this is what I call the "Wyle E. Coyote moment."
'Cause I wanted him to ash in a very cartoon way.
Love that. That's really great.
And that is the end of Triple H.
End of Triple H.
Now, that... those shots from behind weren't you
because that was the exploding glass.
Oh, right. Right.
Now, after Blade II, we used quite a few digital stuntmen in the movie,
and I know that some people had taken issue with that,
so all of these shots are... we did with real actors
and then composited them into the set
as opposed to having a digital actor do it.
This movie's way more raw that way.
What we tried to do is have more immediacy to the action
because there's very little in terms of the action that's digital.
The only part that's digital of this shot is right at the end.
We start off with a real shot, then stitch digital cement in to that.
And then this is a good example of the way that I like to use visual effects...
is take a real actor and then add digital elements, you know, to his face.
Coming up, we're getting close to the place where... you hurt yourself here.
- God, that hurt. - Yeah.
We're getting close to the place where you destroyed the camera.
That's right.
- You're getting whooped on by a girl. - I know. I love it.
When we see this in the theater, this looks very different. You'll see.
'Cause the colors are all very different.
This is fun. We call this the "Hulk out moment."
So, coming up here, uh, Jessica's character Abigail
has to fire the plague arrow.
And we wanted a shot where she's shooting directly into camera.
So we put up a bunch of safety Plexiglas around the crew
and the only thing that wasn't covered was a little two-inch square area
right over the lens of the camera...
And from that shot, you ended up shooting directly into the camera,
and destroying a $300,000 camera.
Yeah! That's what I'm talking about.
In the outtakes, when you can see Jessica laughing after that moment,
that's because she just destroyed this camera
And then we had to tell New Line, "Oops!"
- Yeah. - The greatest. Good.
Well, you guys said... I remember Gabby saying,
"It's okay. Shoot into the camera." I said, "I don't know, Gabby.
I don't know. I don't want to shoot into the camera."
And, like, up way up high. And I said, "I don't know about that."
And he goes, "Do it." And then my trainer Chuck... the other Chuck...
said, "Just go for it." All right, boys.
- First shot, bang. - I love it.
- Right down the lens of the camera. - You know what that is?
You've set a bar now. Every movie, you have to destroy a camera.
- Yeah. - How'd Cameron Crowe feel about that.
- With a bow and arrow. - Yeah. Just walk up on set.
This makes no sense at all.
Ugh.
This effect was done by a company called Cafe Effects.
They did a really nice job.
I have to say, for months and months and months,
we had no idea what this was gonna look like, and I was quite worried.
I mean, I had story-boarded it like this, but I thought,
"This is gonna be difficult."
Wow, this has really come a long way since the last time I saw it.
But it's also one single shot
where we're just racking in and out of focus.
Oh, yeah.
Give it up.
Nice little intimate moment between King and Parker.
Give it up.
The funny thing is Parker would be so off-color and funny,
and then, just as soon as we were rolling, be immediately in character. Yeah.
And then we would cut and, bam, she would be back to fucking around again.
And then this line that you say, we recorded...
just about two months before the release of the film.
Hang in there, kitten. I'll get help.
We just thought, "It's an opportunity to be funny again."
A little ending line.
Funny, isn't it?
All this time, my people were trying to create a new kind of vampire...
... when one already existed.
I don't need...
This is the set up for the darker version of the ending.
On the extended DVD, we went for a different ending.
One that's, um, not as happy.
And these lines which the Drake character is recalling from the first film,
when Blade's mother says, "The thirst always wins."
The thirst always wins.
This is kind of a setup. The point being that even if Blade survives,
he may still end up kind of doing what the vampires wanted,
which is propagating their race.
Is this the theatrical version?
This version right now is the DVD version.
Okay, but he still says that line in the theatrical version?
He does, but the ending is different, as you will see.
I... I was quite happy with this shot. I just think it's a pretty shot, where we...
mixed intervelometer, which is a sort of high-speed work with real time.
And I thought Digital Dimension, which did the ashings in the film...
I thought they did a really lovely job of that effect right there.
And then here's you two knuckleheads running in looking all...
- Oh, that's right. - Looking all earnest at the end of the film.
Yeah.
What are you thinking at this moment?
Golly gee whiz, Blade. Are you okay?
I'm thinkin' ice pack.
You give these looks to each other.
'Cause I remember we'd be on stage and I'd say, "This is a hallmark moment."
This is like at the end of one of those Hallmark TV movies
and one character's died of cancer... this is what you should do in this moment.
Remember when we shot my close-up and you said,
"Tickle Gabby," and he goes, "Oh, stop it! Oh, stop it. Stop it!
"Stop it, David. No!" Gabby... Gabby, our director of photography,
was... was, um, operating the camera in that scene, and he was right below you.
He said, "I want to operate the camera."
Yes. Yes, 'cause he wanted to be near your amazing presence, and so I said...
as soon as we start rolling, Gabby has this very heavy 35-pound camera
that he's holding, and he's on his back below you,
and you're kind of straddling him, and I said, "Just start tickling him."
And if Gabby drops the camera, you know, it's almost a half a million dollars.
- And he's stuck there. - "Oh, stop it!"
"Brother, don't do that, David. Come on. Tell Jesse to tickle me again."
Yes.
Oh, the doves.
You know it's the ending of the film 'cause the doves are flying.
- That's very John Woo of you. - Very Prince of me.
Yeah.
"Purple Rain."
Now, the other thing that happened in this scene
is that we needed Blade to open his eyes
and on the day, Wesley did not open his eyes.
So, through the miracle of modern technology,
we took his eyes from another shot and...
- Why didn't he open them? - He just didn't.
And we 3-D wrapped them onto Wesley here.
- No way. - So if you look carefully...
maybe if the audience frames by frames, they'll be able to tell.
That looks pretty good.
- I'd never know. - Those are his eyes...
from the sequence when he's being interrogated in the police station.
Yeah.
You could put me in a porno and I'd never know, right?
We did.
You could just take the body and just cut it right off.
There's all sorts of crazy things we end up doing.
Have you seen the stuff on the internet
when they just put your head on somebody's double-triple-F breasts body?
I actually do that.
- I know. - That's me doing that.
- Alec Baldwin. - Alec Baldwin.
- Wait, did he say that? - Yeah.
Oh, oh. I thought you had said something like "Duh, duh, duh, duh."
- "Alec Baldwin." - Alec Baldwin...
stars in the next Blade."
I like that.
Okay. End credit sequence.
- Oh, this is new. Is it? - Cool.
Yeah, you haven't seen this.
Because we didn't have credits at the beginning of the film,
we thought it'd be fun to actually do a credit sequence at the end of the movie.
So it's sort of like a "greatest hits" of the movie.
- Oh, this is great. - Some of them are kind of "in" jokes.
Depending on what's going on.
That's cool looking.
- Yeah. - Yeah.
Peter Frankfurt's company... one of our producers...
his company "Imaginary Forces" did this.
And, coincidentally, then... there's Gabby our director of photography with his credit.
That's great.
- And we tried to make the moments... - Yeah, yeah.
Like Chris Gorak is our production designer.
We tried to make that in the image that was very production-y.
Costume designer... here are the costumes there.
Man, that's awesome.
And this is, uh, you know, visual effects, so we put up Joe Bauer.
- Who's in the building. - Who's in the building.
What you're hearing... the soundtrack is the RZA
redoing the old Velvet Underground song.
- Is that RZA? - That's RZA.
- That's great. - Yeah.
Here's a shot coming up, too, that we didn't make it... I love this shot.
It's one of my favorite shots in the film, and it's not in the film
because it just didn't work in the continuity of the sequence.
So I was able to rescue some shots throughout the movie
and put them into the title sequence.
I like that you do credits like this, though,
'cause people stay for it then, you know.
- That's cool. I like that. - That's awesome.
- Look at yours, Ryan. - I thought Bam-Bam was next.
And people should stay for the very end of the credits 'cause there's
a little kind of... another Easter egg where you see Blade one more time
after the whole credit roll.
- I like this song. - Me, too.
Yeah, this will be one of the singles from the, uh... from the soundtrack.
So, any last things you guys wanna add?
Would you ever come back and do another Blade movie or Nightstalkers film?
- Damn straight I would. - Yeah.
Just with more padding this time.
If the fans request it?
If the fans request another Blade film and/or...
- Nightstalkers. - Whatever, I'm, uh, I'm in.
- You're there? 100%? - I'm in. Definitely.
I can honestly say it was the most fun I ever had.
Yeah, I've gotta say I had a blast.
I had such a good time just kicking ass all day, every day.
And not having to say so many lines was fabulous.
And when we wrapped, you cried.
I bawled like a five-year-old little girl.
I know.
I bawled my eyeballs out until I was swollen shut.
Do you remember, though, the last few days we had those spud guns?
Oh, my God. You were out of control with those things.
One of the people in our special effects department
brought in these little plastic guns that you punch into a raw potato
and... and with the air you end up shooting these little pellets of raw potato.
And for the last three or four days of filming, we had those on the set
because we knew we had the movie in the bag,
and everything was gonna be fabulous.
And, just in between takes, we were shooting at each other all the time.
And sometimes during takes, we'd be shooting at you.
Or... or a chunk of rubber glass would come flying out of nowhere.
All the broken glass is just rubber, and we would throw it at each other
all of the time.
I'd look up and see David's smiling face hanging over the side of the pit,
throwing this shit at me in the middle of, like, a scene.
And I've just had the shit kicked out of me.
I've had a Triple H land on me 340 times,
and there's David throwing rubber glass at me just for that extra bit of annoyance.
And I'd say, I really wanna go home now.
And you'd just look at me and go, "You know you love it."
- Every time, that's all you'd say. - He would say that.
But then, everybody got you back because they got all that whipped cream...
- What was it? - It was whipped cream.
Whipped cream and they just destroyed you
and covered you with whipped cream.
The camera crew trapped me in the stairwell with about 15 guys.
Each had a can of whipped cream, and covered me from head to toe.
Don't fuck with the director, though, because you had... you had...
- I got everyone back. - You got everyone back.
But they put it in your bigger... your blow horn thing.
Didn't they stick it in your thing 'cause you like to use that all the time?
David likes to use a bullhorn. It's really annoying.
I use a bullhorn sometimes. One big sets.
When a lot of craziness is going on.
I've seen you use it in closets.
You just like to do the little... that sound.
Every once in a while, I would run up behind you guys
and let off the air siren when you weren't expecting it.
But we had... there were a lot of practical jokes on the film.
I remember one of them... our first assistant cameraman
who is the guy that kinda conspired to put together the whole whipped-cream thing,
he had this Sebring that he was renting while we were filming.
And he loved that Sebring. He used to call it, "My Bring. My Bring."
Yeah.
It was this, like, pimp-mobile or something that he loved.
- Al Cohen? - Al Cohen.
So I had, uh, a bunch of the, um, the P.A. s... it had snowed that evening...
and they... they brought out this snowplow.
And I had them take this snowplow and bury his Bring in about 20 feet of snow.
- And we laughed... - You buried the Bring.
There's just this mountain of snow covering the Bring.
Covering the Bring.
All right, that has been our commentary for Blade Trinity.
We hope it was interesting or educational or, you know,
not too disgusting and insulting.
My name is David Goyer.
And Jessica... you wanna say, "Bye"?
Bye. What do you say?
You say, "Bye." You say thanks for coming.
Bye, everybody. Thanks for watching.
I hope you enjoy the DVD, I hope you enjoy our commentary.
What about your, Ryan?
This is Ryan Reynolds here, and I wanna thank everybody
for watching Blade Trinity along with us. It was a pleasure to be here.
All right, guys. Thanks a lot.
- Thanks. - Thanks.
- Okay. Bye. - Bye.