which is so much more dramatic and elegant,
and then to move the light as a torture device
that the vampires used on Ryan's character.
And that's a very bold choice, because...
Which... which dictated the entire scene, which was great.
Again, you see those sort of lights moving around, but...
But I... Again, I think...
lovers of cinematography and lovers of interesting lighting
are gonna absolutely cherish this... this moment
because the light is bold, it's there, moves.
It's in the frame.
You don't have to justify it, it's in the frame.
And only with very few directors, you could do that.
And in very few films, you can do that,
because I think it's so dramatic, the moment, and... and interesting.
We had a roomful of people who loved to ad-lib.
Yeah. It's true.
Between Parker and Ryan, it was like an improv.
... fuck off the end of my dick?
And how about everyone here not saying the word "dick"...
Can I just say look at that body!
Are you talking about Ryan?
Yeah.
Basically, we wanted to stop the light once Parker sits down in the chair.
The scene starts to turn more dramatic.
You know, the beginning of the scene's quite funny,
and we made the decision emotionally,
to have that kind of lighthouse, you know, look,
with the light rotating around inside the lighthouse,
to pause once this scene becomes more grounded.
Exactly. And... and, you know, that's part of how you play
and you make the lighting also be part of the story.
And... and what is very interesting here is it looks like it's one source of light.
It is not. It is not.
We had to very careful that we picked up certain areas.
For instance, detail.
We wanted to see the heel being... hitting the wound.
We wanted to see the eyes.
We wanted to see... And one source of light in the middle of nowhere
was not going to achieve that.
So you have to re-create that single source feeling.
And so it still looks like it's one source,
but you got a bunch of tiny little lights that are picking up little details.
- Correct. - We're... we're sculpting it.
And then when you just go wide,
and you see that source on itself, it's just fantastic.
This was also the first scene I wrote in the script.
A lot of times I write out of order.
And I hadn't even fully come up
with, um, you know, what the story was going to be,
but I knew that I wanted to involve Hannibal King,
and the comic book's Hannibal King is a vampire.
I decided to make him, uh, have been cured at a certain point
'cause I thought two good vampires running around
was maybe a bit too much.
The point is sometimes when I'm writing,
I will do an exercise and I will write a scene,
uh, to just try to get the juices running
and often, that scene may not necessarily even be in the film,
and I wrote this scene first before I'd even plotted out the whole movie,
almost in its entirety.
And I was able to find the voices and the tone of the movie with this scene,
and, um, it provided the pathway for the rest of the movie for me.
You see how good Parker is
because she turns the scene from joking and silly to scary
and from camp to real all in one paragraph.
The way that David always described Danica to Parker
was someone who was used to being at the top of the food chain,
who was fully of swagger, comfortable in her decadence,
and as Lynn was saying earlier,
was both threatened and intrigued by the idea of someone like Drake
coming into the world, coming into her world.
But she has nothing but disdain for a human like Hannibal King.
This is where Chuck the archery trainer was just beaming with joy.
His prize student.
He would've let Jess shoot an apple off of his head.
Definitely.
This telejib that, uh, one of our grips invented... Paul, right?
Mm-hmm.
It's like having a mini-crane right here where you retract,
and... and I love retracting the camera
and then revealing another character as we retract.
So we're going from a relatively tight shot of Wesley
retracting out to a wide shot that includes Jessica, in that case.
I like using that kind of, uh, motion.
And as long as it's there...
Also, with directors I work in films,
they have forgotten that filmmaking has got a special language.
It's not film theater, it's not television.
Filmmaking is all about using the camera in a very creative way
in order to tell a story.
It's fascinating. It's so entertaining and so wonderful,
as opposed to those films
in which the camera just serves the purpose to photograph the action.
Depending on the scene, you make different choices.
In the interrogation scene with, you know, Parker Posey and Ryan Reynolds earlier,
there wasn't that much... many trick shots or angles,
but in this scene, this montage, we move the camera all over the place
because we were trying to convey a different experience.
One day, we completely grabbed David Goyer,
the whole crew, and we...
Whipped cream and pies.
Fifteen of you grabbed me and trapped me in a stairwell
and... and covered me head to toe in whipped cream
and shot it in my underwear on the Phoenix Towers.
Oh, my God. You spent so much money
making those little camera guns, Chris.
That was a request of the director.
I know, and we barely showed them.
I almost got fired for spending that money.
Oh, and, uh... Not from me.
But I... I remember at the time, uh,
I was playing one of the Metal Gear Solid video games,
and I love those little camera guns that were all over...
See, this shot, for instance, you notice all these pools of light.
And Jeff Upton and I just created those pools of light.
And they were not exactly in line,
and I said, "Don't worry about that. It's the aesthetic of imperfection."
Which is a way of, uh, saying, "Ah, we screwed up."
Yeah. We fucked up. But, I mean, that was great.
I mean, as they were walking, the light was coming in.
Pow, pow. They were absolutely beautiful.
One of the subtle things that we did with sound here...
In the beginning of the scene, Natasha, who plays Sommerfield,
her voice is treated
so it sounds like it's being processed through all these filters
as if you're hearing it off a bad recording,
and progressively over the course of the film,
we lessened that treatment
so that her voice becomes a bit more realistic,
and it's something that happens very subtly,
but I believe that it kind of draws the audience in a bit more,
so right now her voice is being processed far less that it was
at the beginning of this scene.
And, you know, that's just an example
of some of the nice things you can do with sound.
We were trying to do our work,
being a very serious film about vampires,
and then he will have all this glass... synthetic glass that we use...
- Rubber glass. - Rubber glass, which looks like real glass.
And he will use them to... as projectiles, and he was throwing to us the whole time.
So you were trying to concentrate on something...
I was having meaningful discussions with my gaffer
about the position of the light and suddenly, poom!
A little glass struck my face.
And who was that? That was my director.
The high lord of goth and gore.
We had to stop shooting for about half an hour
because I was so covered in whipped cream,
I had to shower and get cleaned up.
And then it goes back to New Line
that it was the art department's fault that we're behind schedule.
And the director taking a beauty shower 'cause he's such a prima donna.
What you don't know is that when you do this Hollywood film,
every five minutes they are reporting to the studio
everything that we do there.
And all we did, Gabby and I, was cover Goyer's ass.
- Oh, shut up. - Taking bullets left and right.
I couldn't tell you how many times I was called to the principal's office
"Why... why are we building this million-dollar..."
You guys are so busting my ass.
Like an industry guy.
Okay, only about like 10... 20% of what they're saying is true.
They added maybe 38%.
Come on, Goyer, tell the truth.
It was actually very sweet shooting this scene
because Dom has a bunch of kids,
so it was actually really helpful in the way he could relate to her
without scaring the crap out of a child actor.
She's a tough little girl, but still.
It's an interesting choice that we made to have Drake,
our ultra-heavy, be so empathetic with her.
Yeah.
This is the kind of thing
that a studio always tries to get you to cut from the schedule.
They say, "Wait a minute, you're gonna spend two days
"just shooting shots of people pulling out their guns
and close-ups of bullets and whatnot."
But it's one of those scenes in a film that's all about mood.
It sets up the confidence that they have.
This one. I love those mythic shots.
And then this is really beautiful as we push in as he swings his sword around.
This is the beginning of your commercial directing career.
- Exactly. - Exactly, yeah.
This had nothing to do with the movie.
This was just me crassly trying to create a reel
so that I could go on and direct commercials.
It'd be much more lucrative.
But I like using extreme angles.
I like being really low sometimes, I like being really high.
And there's another beautiful shot that we did
where we're, you know, perched above Wesley... coming up here.
And he points the camera... points the gun right at camera.
I love that.
Yeah, that was fun.
That was literally a study on lenses, on composition, camera placement.
Look at that.
And every single shot, it was just really funny.
It was like "How are... how are we gonna...
What's the best way to tell this beauty shot of this weapon?"
Yeah. Truly, truly like a commercial.
No... no... no... Each camera...
each camera position was very meaningful.
That's a little neat piece of editing
where Wesley turns his head to the right
and then it's almost as if his head turn
is what brings us to the two of them jumping on the motorcycles.
But look at those... those sets, you know?
I mean, we were being able to run with motorbikes and move about
and they were great.
Aw. Poor Ryan.
He could take a punch.
But that's where Triple H is so great,
'cause he understands all of that,
and the final fight between King and Grimwood
was staged as...
- That's a WWF Smackdown. - Exactly.
Again, we've got the moving light.
There's one point in this sequence where we stop moving the light
and then when Blade comes in, we move it again.
This is a great sequence.
Ryan is just showing a huge amount of range
between humor and pain.
In both of these sequences.
In a dramatic scene, you can get away with sometimes showing less of a face,
but for whatever reason psychologically, in a comedic scene,
you need to see much more of the face
in order to get the joke.
I don't know why, but it's just the way it works.
This set we built was a stacked three-story set.
In order to get practical geometries between the action...
where people were gonna come from and things like that...
you see pieces of the window above their head.
It helps to establish the geography of a set
in order for us to understand what's going on.
And there... there's constant tension.
Do we do this, do we do that?
And you... you constantly have to make decisions.
We tried to use all the really great shots,
but sometimes if the shot is a great shot and it doesn't tell a story,
it's on the cutting room floor.
I guess that's really kind of your...
really textbook bitch slap.
That's right.
Did we get... did we get "cock-juggling thundercunt"?
Always one of my favorite lines.
- No, that's in here. - Excellent.
Enough!
It's not funny anymore!
No, it's not, you horse-humping bitch!
A line the MPA let us use.
When we first shot this scene, Hannibal King goes through his bit
and says, "Okay, the fat lady should be singing right about now."
And originally, Blade crashed through the skylight right then and dropped in.
And Conrad had an idea.
"Wouldn't it be funny if Hannibal King says, 'Right about now'
and then there's just this horrible dramatic pause and nothing happens?"
Which means the fat lady should be singing
right about now!
And we said, "Damn it! That would be funny.
Too bad we already shot it."
But I liked the idea so much, that I went back to the studio and said,
"We need to reshoot that scene."
So a couple weeks later, we shot it as is,
and it makes for a very funny moment.
This is also one of those things that sort of evolved
because Wes has very specific ideas about what Blade should and shouldn't do.
So, originally scripted, Blade comes in and frees King,
and Wesley, who has very good instincts about what Blade would do...
Blade comes into the scene and his only thought is getting to Drake,
so he leaves King there,
which actually works with the dynamic that had developed between the characters.
It's always sort of fun when you get to the end of a... of a shooting schedule
and you start to destroy the set you've been in for a really long time.
We broke a lot of glass in this movie.
Yes, we did.
In this sequence.
Historically, we would rehearse these fight scenes beforehand.
In this one, we didn't really have the opportunity to.
And so a lot of it was playing catch-up on the day,
which was a challenge.
In this sequence, you will see a lot of shots
that Howard and Conrad and I digitally sped up.
You'll also see a lot of added camera shakes that weren't there...
sometimes when characters are hitting the ground
or where there's a very large impact.
That little move that Jess pulled was her gymnastics background coming out.
She was so happy to do it and not have her double do it.
I think her stunt double got a little bored on the movie.
Yeah, no, Jess really did practically everything.
One of the things I wanted to do in this sequence coming up
is have three things happening at once.
First, it's Abigail and Blade, and then later on,
King is integrated into the sequence as well.
One of the biggest battles on this film was how to light this set.
This set was a pain in the ass.
We spent a lot of time and money lighting it.
It was always a controversy.
This set was giant. It required a tremendous amount of light,
especially because we were shooting a lot of this in slow motion,
and when you shoot in slow motion,
you need to pump in much more light.
The way this sequence was designed
was that the bottom floor where they enter is manned by familiars,
so all those people that Abigail fought were familiars who wouldn't ash.
The vampires are sort of on the higher floors,
and all the guys that Wes is encountering on his way up.
He worked his way through the familiars and now he's up to the vampires.
So we have the people who ash
and the bodies that are littered about on the bottom floor.
The panels that you see in the background,
we wanted to light them very strongly.
By not being able to do it,
because it would've been an incredible prohibitive amount of money,
we have to define the exposure of the rest of the set
based on those panels.
And that was the kind of situations that they were really difficult to put up with.
Sometimes when you have a set as magnificent as this set is,
and if it doesn't have the budget to light it,
then it's like a... defeats a tiny bit the objective.
We should've had more money to put more lights inside that set.
And have more separation between the characters in the foreground...
And have more separation.
We didn't quite do you justice, here, Chris.
But you'll see... On the day, we colored this very differently than this.
It doesn't... it doesn't look like this.
Yeah. No, it looks fantastic.
And then when we decided to switch the lights off in the whole set
after this scene,
we managed to get a different texture which we took advantage of...
Which is great, because we're here so long...
The sails on top of it, which are a wonderful feature.
The one thing about this set and why, uh...
besides the script describing the vampires living in a steel and glass, uh,
you know, atrium kind of space, penthouse, uh...
We chose a stage that was really tall.
It was the effects stage at the Bridge Studios.
But it was very narrow and tall,
so it... it forced us to make a narrow long set and very tall,
which was a strange proportion for... for filming, like, action sequences.
Yeah, normally, you would go for a wider...
A wide set and we forced ourselves into this other...
just to get the height.
It was tallest place in Vancouver.
And, uh, so it made for an interesting design choice.
It took a long time for us to edit this.
It was designed to work completely as individual fights.
When we started integrating everything and cutting back and forth,
it was both a challenge and a lot of fun.
God, these dogs were a pain in the ass to shoot.
But a great sequence.
Fantastic sequence.
First, poor little Bam-Bam has to suffer the wrath of his brethren...
And then...
Whoops! Put on the brakes.
- That's green screen. - That's green screen.
All of those backgrounds were digitally composited in.
No dogs died in this film.
No actual dogs.
Vampire dogs suffered greatly,
but no actual dogs were harmed in the making of this film.
Now, that's an example of a special effect that you don't realize.
That metal beam didn't break the way we wanted it to,
so we digitally made it.
Here's a formidable fight.
I have to say that this fight coming up
was probably the single most fun I had during the entire shoot.
Ryan is doing absolutely everything in this fight.
That actually was the one that hurt him.
He was horrifically bruised.
The reason why she shoots the lights off in this sequence is...
There is no story reason.
A) We were in this set for a long time and we wanted to give it a different look,
and B) This sequence, we were going to use Wesley's stunt double a lot.
I would say, in this sequence, Wesley's only in it 25% of the time.
And in order to hide that fact, Gabby suggested that we make it darker.
This is all the work that Dom really did so beautifully.
All of the sword work is him.
His double was ready and prepared and knew how to do it,
but this was all Dominic.
We had a lot of conversations about how this coat came off.
Yes.
And there it is. It just comes off.
That's right.
'Cause when a guy's ready to sword fight, he's gotta take off his coat.
Obviously, that's Wesley. That's not...
David wanted to have simultaneous fights going on
at the same time, so in some places, you'll see, um,
you know, Jessica in the background of Blade's sword fight or vice versa,
trying to connect everybody.
- But it was difficult to... to... - To block that.
Yeah. This was a giant sequence
and you know, if we had...
Shot over weeks and weeks.
If we had Blade, you know, in one...
in the low angle of one shot and another character in a high angle,
it was difficult to, you know, coordinate all of that.
Then here we are going outside the cage again.
And the reason we're going outside of the cage is
'cause it wasn't as intimate a scene,
but also, as Gabby suggested, we need to reestablish the geography
for the gag that's gonna happen at the end of this fight sequence.
Yeah. Which is a great gag.
It was actually hard to watch them do this.
Oh, this was so much fun, doing this fight.
We preserve two different color palettes
for the outside and for the inside of the cell.
And that was also an intentional and a creative decision.
We went more golden for inside the cell and more silver for outside.
If it were two stunt doubles at the same time,
it would be very hard to keep the sword fight going as long as we do on-screen.
Ryan and Hunter were just so... so game,
and it was just one of the most enjoyable sequences in the movie.
Now, there's one shot in this entire fight that isn't Ryan.
This is all Ryan.
And it is this slam right here.
That's the only time we used a double in this fight.
Now, coming up here is another example
where we're using the telejib, which is this retracting arm,
and again, I like using these shots a lot.
Right here where we pull back to reveal more information.
We built a steel frame
and it had retractable nylon ceiling panels,
which, you know, represented the top of the penthouse
but we were able to actually pull 'em back like a... like a... a window shade
to allow for rigging points, for lighting and stunts.
And also, for, uh, for the camera that was on the, um...
- The cable cam. - The cable cam.
Yeah, that was a... a cheap version of the cable cam, what I did.
We... we didn't have... I mean, it would've been prohibitive, again,
to try to have the... the cable cam or the...
Oh, look at this shot. This is the shot.
That... Yeah, that is the punch line to being outside the cell,
where we have Triple H ashing
and sort of like Wile E. Coyote getting cut like a...
you know, a cheese cutter or something like that.
It's very funny.
And who knew Parker Posey would love firing off automatic weapons
as much as she did?
We didn't actually swing the actor through the air like that.
What we did was the actor was in place and we moved the camera around him.
So basically, what we did was we used the roll vision
with the, um, little 3C-cam, uh, Arricam, and that's it.
And that's basically, every time that we needed to be suspended in mid-air...
- It was remotely controlled. - Remotely controlled.
And it was really good.
I mean, it was one cable suspended from one cable.
Rodney, my, uh, rigging grip suspended it on one cable,
and... and that... that was perfect.
That was absolutely the way to do it and, um, without the cost.
Another... another retracting shot.
Yeah, yeah.
I have to say, all these Drake transformations
I was terrified about,
but when they finally got completed, they looked great.
Now, this is a tricky situation any time you have a...
Actor phoning it in.
No, I was referring to the other actor in the suit, in the beast suit.
It's difficult to light without it looking like a guy in a foam rubber suit,
and I remember that the studio was always very concerned about him
and we kept on saying. "Just wait till we get the timing right
in the digital intermediate,"
and right up until we did our final color timing,
they were very worried, and they saw the final color timing
and they, "Oh, it looks great, it looks great."
But we knew all along how we were going to light it because we'd done tests.
Exactly. I mean, what happens is
you see the blue veins are lit with UV lighting.
These fluorescent highlights.
Which they painted the creature with UV... UV paint,
and I just have some UV lighting pointed at him.
And all those elements will come together when we do the digital intermediate.
The gentleman in the suit there is not Dominic,
but a man named Brian Steele, who does this for a living.
He's a creature performer.
He played a number of characters. He's sort of the guy...
The problem is it takes about five hours to put someone in that suit.
We weren't sure that Dominic would be able to handle it.
'Cause Brian does it for a living, he's used to it.
The beast costume, not so comfortable.
Brain Steele has nerves of steel.
He's been many beasts in many uncomfortable costumes in his days.
Nerves of steel.
How long did it take to put him in that costume? Four hours?
Oh, at least.
The following shot,
which is the spread of the virus through the building,
also my favorite shots in the film.
And a tricky shot, very tricky,
which originally, we actually ended up cutting in two for story reasons,
but originally, it was only one shot, and it took an entire day to shoot.
These effects were done by a company called Cafe Effects who did a nice job.
We had a really smooth time between editorial and visual effects.
We had a great visual effects editor and the visual effects team,
the producing team, were fantastic.
This shot is all a single shot.
We're racking focus into the macro world to see the individual bugs of the virus.
And then we're... we're sweeping up, you know.
Sweeping up. We move over.
We reveal Jessica.
What we're also doing is not only speeding up and slowing down,
but racking focus from foreground to midground to background,
and we're dropping down again one shot, pushing through.
We're having somebody on the side open the door for us,
shifting over here.
He was on the Steadicam, the crane with the Steadicam.
Our Steadicam operator was literally in the bucket of a crane.
So he came... We cut to this one, unfortunately.
But in a moment here, we're picking up.
That was still part of the original shot and what happened is
our Steadicam operator got in the bucket of another crane,
and that crane's carrying him along, and then it lowers down,
and then he steps off the crane and starts walking forward.
And again, we jumped forward again.
Well, yes, jumped forward a bit, but, I mean, basically the same shot.
One shot.
- Poor Danica. - I know.
It's a terrible thing to do to your complexion.
Yeah, it wasn't a good look for her.
What's nice about that, that was all done digitally after the fact.
She had no creature effects make-up on or anything like that.
This side of the scene on Dominic
was shot months and months after the side of the scene on Wesley.
And it was difficult to make them match,
and if you look closely, you can tell that they were shot at two separate times.
So we had to recreate the set there.
We had very different conditions.
He went back to Vancouver with David.
He shot this close-up, too.
We changed some dialogue.
Szalay, a wonderful cinematographer,
just went with the spirit of the piece.
It matches perfectly well with what we were doing.
But in that case, though, shots were not shooting on the set any longer.
We just reproduced a tiny little piece of the set behind and matched it all in.
We called this area the Hulk pit,
because it was after the Hulk smash that we saw before.
I... I had always described that effects shot as being like the Hulk smash.
And that line is a recall from Blade's mother in the first film.
"The thirst always wins."
Here, I had to produce a tremendous amount of light.
I couldn't get the soft sun, the hundred kilowatts.
The biggest light in Canada.
We got the biggest light in Canada.
I got the xenon light, a 7K xenon light.
And, uh, and we got... we had like two of them.
And they were... 'cause we wanted this set,
which we'll see in a few moments,
to be effectively lit from only one giant, giant source of light,
which was supposed to represent the sun,
and you... we'll see what that looked like in a minute,
but it required this tremendously gigantic...
See, all of this was effectively lit by this one giant sun gun.
Or two giant sun guns, rather, as you said.
I decided to shoot this entire sequence in slow motion
and not have any dialogue that was in sync.
And it's a bold decision, because if it doesn't work, you're stuck.
You can't go back. Fortunately, it worked.
Ramin, who is one of our composers,
did a beautiful piece of music for this that just builds and builds.
That... that's a cable cam shot right there.
Yeah, that's a cable cam shot.
That was the... the roll vision in a very single... single wire suspension,
which is... is very good.
The reason why we had to use a cable cam there is
that particular portion of the set,
we couldn't get the size of a crane in there that we wanted to.
It... it actually wouldn't fit.
So the solution led us to go for the cable cam shot.
Now, this is a real shot that stitches into a computer-generated shot.
And we have real doves or pigeons, rather, also composited in
and... and real smoke and things like that.
Great shot.
We needed Wesley to open his eyes in this scene,
and he didn't,
so we took his eyes from another shot and digitally composited them in.
It works awfully well.
That's the alternate ending.
Yes. In which it looks like he feeds.
It's the darker ending. It's the Empire Strikes Back ending.
It was a bit controversial.
We tested it for the audiences.
Some people in the audience really liked it.
They thought it was the bold way to go.
Other people felt that Blade had betrayed his roots.
This was a pretty cool scene.
And it was doubly cool because it was shot without Wesley's involvement,
which was hard to pull off, but pretty credible.
The version that you have in the theatrical version...
- We still did the body switch. - Yeah.
There were a lot of rumors that Blade dies in the film.
He never did die.
There were different endings that we shot to be sure,
but we never did have an ending where he died.
The way that we did decide to go was that Blade escapes
and warrior that he is, goes off in search of more vampires to kill.
He'll wander the earth and pop up somewhere.
Yeah, 'cause we, you know,
we didn't kill off all the vampires, for God's sakes.
No. DayStar's not that strong.
This sequence was done by Imaginary Forces,
which is Peter Frankfurt's company.
I didn't want titles at the beginning of the movie,
just those few presentation cards.
The end credits are usually just a boring roll.
I believe it was your idea, Howard,
to pay an homage to the Sergio Leone spaghetti westerns with Clint Eastwood,
where they have the character come out and freeze frame
when they're doing the credits.
And that was something you came up with, wasn't it?
Yeah.
But it also gave me the opportunity, in some cases,
to toss in some shots that I really love that we couldn't use.
- Oh, there you are again, Gabby. - Yeah.
How's that?
Great, great. Thank you for my close-up, Mr. Goyer.
Yeah. No problem.
But anyway, it gave me the opportunity to use some shots
that we couldn't work in earlier
because even though they were beautiful shots,
they didn't sort of work within the context of, you know, that specific scene.
And one of those shots is coming up.
And it's one of the 10mm lens shots when Blade steps out of the fire
and it's also a shot when we ruined another camera.
Mm-hmm.
Because it ended up getting flooded by water.
This, uh, this shot right... here.
I love that shot!
That's actually one of my favorite shots.
And we didn't make it into the body of the film.
Here's another shot that wasn't in the body of the film,
but I thought it was a nice moment to pick Kris Kristofferson.
So for most of the actors, I tried to pick something,
you know, a kind of beauty shot to introduce them.
So, Mr. Goyer, where does the Blade series go from here?
I... You know, chances are this'll be the end.
Uh, it's certainly the way we envisioned it.
Originally, Wesley did not wanna do more than a third film.
He's sort of gone back and forth.
I don't know what story I would tell with Blade after this.
You know, it's possible we could do a Nightstalkers movie.
We'll... we'll just have to see.
I... I know that as far as vampires go,
I feel like I've said everything I could possibly say, I don't know.
I'd be hard-pressed to figure out more creative ways to kill vampires.
I guess if someone put a gun to my head, I could figure it out.
Yeah, well, listen.
I heard from somebody who saw a preview of the film that said,
"That bastard Goyer. He reserved the best script for himself."
That... that's very good. I know I'm very fond of...
I was incredibly happy with what I did in Blade 2,
but this one is very, very special, truly special.
Well, thank you.
All of these people were vital in the making of the movie.
God, at any given point, we had five, six hundred people working on the film,
quite a few people.
The process itself took about a year and a half, from start to finish.
Gorak, pleas say something.
Oh, I'd like to talk about, uh, Laura Jean Shannon's work... LJ.
How she worked in with the palette of the film...
her costume design and things like that.
She did a great job.
I think she was part of the collaboration.
Chris, do you have anything to add to that?
We had a lot of languages on set.
There was Canadian, there was actually Vancouveran.
- Esperanto. - Esperanto.
There was Mexican, 'cause of Gabby.
Gabby language.
Gabby language was like "Pah-pow! Ha!"
- Pah-pow! Yeah. - There was a lot of that.
Motherfucker, for example.
Lots of motherfucker. Motherfucker language.
Well, that's Goyer's language. He's all motherfucker.
'Cause he's from the hood, man. He's 8 Mile.
- Telegraph Road. - That's him.
At the very end of the credits, it says "word."
You know, "in the beginning was the word."
At least, that's what it says in the Old Testament.
That is certainly how all films begin as well,
and I thought it was appropriate to end that way,
so all of my movies end with the word "word."
So that completes the end of our commentary.
This has been David Goyer, the writer director.
And Howard Smith, one of the editors.
Chris Gorak, production designer, Blade Chewbacca.
Blade Chewbacca.
And Canadian. I'm the concept artiste.
My name is Gabriel Beristain,
and I was the director of photography of Blade: Trinity.
It's been real nice chatting with you.
This has been Peter Frankfurt.
And Lynn Harris.
We've enjoyed talking to you.
Real fun. Thanks, Petey.
Thanks, Lynn. See you in the next one.
Okay.
All right, guys. I wanna thank you for coming down,
and I'll see you on the next movie.
- Thank you. - Thank you.
Oh, high lord of goth and gore.
All right, bye.
And we thank you for watching.
Make sure you listen to the other commentary,
which will be myself, Ryan Reynolds, and Jessica Biel.
That one I'm sure will be a bit more off-color than this one was.
Can we drink, can we drink, my friend?
Don't be scared, baby
Can't you see I'm thirsty?
And I'm back, and I'm back again
Allow me a parting gift.
But remember this.
Sooner or later,
the thirst always wins.
And I'm back, and I'm back again