[man] All right.
[indistinct talking]
[man] I got it.
[machine whirring]
[Lynch] Close-up with Cooper.
- [whirring] - Oh.
Okay.
[man] Oh, we're pulling back?
[man] I'm just showing David some sizes.
Keep going, Tim.
Keep going.
Hold that.
[soft indistinct talking]
[man] Okay.
[man] Everybody set? Peter, you good?
- [Peter] Good. - [man] Rolling.
[buzzer blares]
[woman] Rolling.
[man] Sound is speeding.
- Mark it. - [man] Take two.
[man] Set.
And... go.
[speaking backwards]
- [stammers] - That's right.
[speaking backwards]
Okay, yeah, that's what I need to work on.
And go.
[speaks backwards]
[indistinct talking]
[Carel on phone, backwards] Do you remember'?
- Oh, that's fantastic. - Yeah.
- Fantastic. - [speaks backwards]
Okay. Yeah.
[man] Grid is lowering.
- [soft chuckle] - [man] Grid coming down.
[man] Light grid.
- [speaks backwards] - [man] Set.
[Lynch] Okay, just hold that look above the lens.
Slow move in.
[soft indistinct talking]
[man] Great.
[buzzer blares]
[man] Sound is speeding.
[woman speaks indistinctly]
[Lynch] Action.
Action.
[speaking backwards] "er-mem-eer-oo-ute"
[Lynch] Stop and turn, and face the curtains.
And the curtains disappear.
And you look deep into that darkness.
Cut it.
Very good.
[Lynch] Lock-off.
Lock-off on hand.
[man] No, this one.
This one is a lock-off.
[man] This one [indistinct].
[soft laugh] It's a lock-off.
[laughter] Just kid-
Okay. Um.
You want to lock that off?
- [laughter] - What is it?
[man] Fine, and you?
[laughter]
[man] No, the one with [indistinct].
Done.
[indistinct talking]
[man] All right, here comes a rehearsal.
[man] Switch, is that what he said?
[indistinct talking]
Take two.
[man] Set.
[Lynch] Action, Al.
Oh.
[Lynch] Ah, okay, good. Do another.
I bumped into the table.
[Lynch] Just t-turn and look.
- Yeah. - [Lynch] Okay.
[Lynch] Just go back and try it once more, Al.
Yeah.
[Lynch] While we're still rolling.
[Lynch] Okay?
- [man] Ready, and... - [Lynch] Backing in.
[Lynch] Al goes in slow, gets the ring.
[man whispering] Doesn't seem to be a lot of girls in this.
[Lynch] Scampers back.
[man] Tim.
[man whispering]
Three, two, one, and...lock.
Cut it.
[man] Oh, Wild in the Country
with both Hope Lange and Tuesday Weld.
[David speaking indistinctly]
That's a pretty-pretty good one-two punch right there.
And Gary Lockwood.
[indistinct talking]
[Kyle] All right, I'm gonna get a coffee.
I'ma get a coffee and a...
Get that-get that, Kale.
And enjoy every bit of it.
[Kyle] All right, thanks, David.
[Lynch] No, he set up at 5:02.
No, I got up at- I got up later than that.
[man speaks indistinctly]
Uh, I got up at...
6:37.
- 6:37. - [woman] Wow, you slept in.
- [man] 37? - Mm-hmm.
- [man] Not 35, but 37? - [man] That's a good time.
6:37. Six and three is a nine.
And seven is 16. One and six is a seven.
So they got to add up to seven, my numbers.
Like, yesterday I got up at 5:02.
- [man laughs] - And it's a seven.
[man] You do this automatically or-
- No, I- - [man] Is it you set it?
- [man] You set it? - I set it.
[indistinct talking]
- [man] You know it's rehearsal? - [Lynch] Huh?
[man] Rehearsal?
[Lynch] Yeah, we'll have a rehearsal.
[man] All right, rehearsaPs up.
- Do you want them? - [man] No, I'm good.
As soon as 25,000 people clear the frame, we'll rehearse.
[soft mush]
[woman] Needs to put on a little weight and see what happens.
[Lynch] Stop with the turn.
The BB has got to be on the chair,
where he's gonna pick it up.
[indistinct talking]
The BB's gotta be on the chair
at the beginning of this.
Now, the position for the thumbs up
is kind of critical.
That's against your white shirt.
[Lynch] That's better.
To the right-right there.
[man] The same angle towards him,
just bring it in like that.
Okay. Like that? That okay?
[man] Hold the work. Nice and quiet.
[man] Roll sound.
- [indistinct shouts] - [man] Rolling!
[man] So when he raises his arm, we'll have lightning, right'?
Oh, yeah, yeah, yeah, yeah.
[man] Set.
Okay, you see the beautiful new Cooper
right there, it's a good thing.
[Lynch] Yeah, you see the beautiful new Cooper.
Now you're watching the Cooper unfold, unfold.
[Lynch] Unfold and moving around.
And you see now the BB down there.
[Lynch] And then you cover your eyes.
And you take the lightning.
[loud electrical crackling]
[Lynch imitates whooshing] And you lower your hand.
And he's gone, and there's a gold BB on the chair.
[Lynch] And (he wide shot of Dougie
is only gonna play for the dialogue here at first.
And then we're gonna cut in close,
like we did with Laura.
[Kyle] Mm-.
[woman chuckles]
Put my teeth in.
[indistinct talking]
- [woman] Got it? - Yep.
[woman] All right. You want- you want some eye drops?
Give me the left side, yeah.
- [woman] Okay. - Thank you.
[smacking lips] Mmm, mm.
My grandfather had a partial.
[man] Kyle, you have a...
Now I know how he felt.
- [Lynch] Do a lineup for... - Ready?
Going in.
Is there chair gonna be, uh, strong enough to support me?
- [man laughs] - [man] I doubt it.
[man laughs]
Yeah. Yeah, yeah.
This is...
[Lynch] Action.
Vii-what's happening?
Someone manufactured you.
W] For a purpose.
But I think now...
That's been fulfilled.
[Lynch] And then, you see the gold BB.
And you see the green ring has dropped to the ground.
You go get the green ring.
[Lynch] And you get the BB.
[ring clinks]
[Lynch] That's- that was a pretty good one.
- [ring clinks] - [Lynch] Drop n in.
[man] It's in. [laughs] I guess that was bad one.
[ring clinks]
- [Lynch] Go for it. - [man] Boom, boom.
That's-very sweet.
[man] Try one more?
Well, we-[stammers]
[man] Five-thousand drops later.
Yeah. That's-
[man] Well, you want to- we certainly could
give it a couple tries for variation.
Okay, we're gonna give it ten more tries.
If it doesn't happen, we're going to go to lunch.
- [woman] Going to Hell. - [laughter]
- [man speaking indistinctly] - [clapping]
[ring clinks]
[Lynch] Now you get the BB.
[Lynch] You stop, looking at the beautiful BB.
And then you look there, and you're thinking.
And now you sort of look around
and-up in the air, and you feel something.
[QFOans]
[speaks backwards]
[Lynch] And you're looking around.
- And now you lower your hand. - [speaks backwards]
And you're just- you're just-
you're just in-in limbo.
[speaks backwards]
Cut it.
[indistinct talking]
[man] So how far along the floor?
- [man] Way back there? - [woman speaks indistinctly]
- [man] Okay. - [man] Shit.
[man] Peter?
- Peter? - [Peter] Yes?
So when we shoot, we're gonna do-
we'll roll up on the floor,
come to our mark, lock off,
shoot some so we have our clean plate.
Then we're gonna set George in to this mark...
- [Peter] Yep. - And make our pool of blood.
- [Peter] Yes. - [man] Okay.
- [Lynch] Give me that blood. - [man] Yes, sir.
[man] Right here. You can pour this.
- Or you have a brush? - [Lynch] I'm gonna pour this.
Ray, I'm gonna have- raise your head up.
And you're gonna get- you're gonna get bloody, pal.
[woman whispering indistinctly]
[man] You can spread from there, so...
[Lynch] Lower your head in there.
- [man] No, it's not a match. - [woman] Okay.
[man] He's gone into another world.
This is a different pool. He's got a different, uh, blood.
- [woman speaks indistinctly] - [man] I know.
[indistinct talking]
[man] People obsessing about which way his feet are pointing.
- [Lynch] Now that is... - [man] Yes.
- [man] It's not done. - [Lynch] Okay.
[man] I just don't want to get it in his...
[man] That's good, just...
[Lynch] That-that part right up there.
[man sniffs]
' [man] Hey, Cori? - [Cori] Yeah?
[man] Make that wet there. Do you have a spritzer?
[woman] Yeah, I just gotta add blood first.
[man] All right, okay, cool.
[man] Here.
[soft indistinct talking]
[man] Let me just get one more photo.
[Lynch] Fifteen seconds.
[woman] And...
[Lynch] Cut n.
Do you want to do that now?
I would like to.
Um, do we have the house blood?
- [woman] House blood? Yeah. - Yeah.
We could take a picture of her with the house blood.
- [woman] Mm-hmm. - Um.
Full figure. Against the red.
Top-tip to toe, with her hands up in the air.
[woman] Mm-hmm.
And, um...
- in her high heels. - [woman] Okay.
- Let's take that photo. - [woman] Okay.
[woman] Are we gonna distort...
Look at how beautiful those curtains look-.
- [Lynch] Look at that. - [woman] Sabrina?
Look at that, so beautiful.
[woman] We can distort her in...
Yeah, I know. I know we can do it.
So we might be able to do this at home.
- [woman] Okay. - In our garage.
Let's just get this- lefs just get this photo.
[inhales and screams]
[indistinct talking]
[Sabrina] Ohh.
Such a great picture of you. Who did this?
The photographer. Let me see, let me see.
So we'll stop by on the way home from something.
- Right. - [indistinct talking]
[indistinct talking]
[Lynch] Action, Kale.
[Lynch] And we got the close-up,
and then off you go to your right,
to the next flap.
[Lynch] Okay, Kale, come back to this mark.
And be-to your mark there.
And just looking at the- deep into the darkness.
And this time just snap to Gerard,
and go out following him.
Okay, you're d-looking.
Now, snap to-see Gerard.
And get going.
[Lynch] Fast.
[indistinct talking]
[man] Let's rehearse one. Here we go, everybody.
[Lynch] Action, Kale.
- [man] Rolling, rolling. - [man] Rolling!
[buzzer blares]
- [man] Sound speeding. - [woman speaks indistinctly]
[Lynch] Action, Kale.
[woman] Well, do you want to say,
"Find Laura" front-ways,
and then we'll see how you sound saying it-
- Yes, yes, V95, V95- - Okay.
Yeah. This is the-uh, yeah-yeah.
Find Laura.
- [woman] What is its name? - [Lynch] Jack.
[woman] Jack.
[woman] And then this is that backwards.
[Ray] Okay.
[Ray on phone, backwards] "Arual-dnif. "
[both] "Araul-dnif."
[Ray] I got it. Ready'?
Yeah, now let's do 'rt the other way.
- I got it now. - We're gonna do this.
All right. Here we go.
[speaks backwards] "Arual-dnif."
[man] Where am I going?
- [snorts] - This is gonna be the one.
This is a keeper.
[Ray on phone, backwards] Find Laura.
- [Ray] Oh. - Pretty good.
- [Ray] Find Laura. - [man] And that's in the shot?
"Arual-dnif-" l-l-think I-
- All right, cool. - I think it's okay.
[buzzer blares]
[man] Sound is speeding.
[man] Take two.
[Lynch] Action.
[speaks backwards] "Arual-dnif."
[shoes squeaking]
Cut it.
[man] Good.
[buzzer beeps twice]
[indistinct talking]
[man] Think we'll be ready?
[man] Let's rehearse one.
Here we go, everybody.
- [man] Here we go. - [man] Alrighty.
Action.
[indistinct talking]
[whistling]
[man] And that- center up on that floor.
[indistinct talking]
[man] Raise up a little bit.
[man] Right over here.
Just pan over.
Yeah, we need a little bit.
[indistinct talking]
Got AI by camera.
[man] Phillip Gerard is...
[man] Perfect. Come to the flap here.
And you follow him. Yes.
And then you got this [indistinct] other flap.
And Gerard holds it open for you and you go in through there.
[man] Let's rehearse one.
[man] Start right when they enter.
[man] Flash, flash and back.
[Lynch speaks indistinctly]
[Al] Didn't hear that.
[Lynch] Uh, Cooper will come in right behind you on action.
[Al] Right.
[Lynch] So and when we're moving down the hallway,
faster, okay?
[indistinct talking]
- [man] Rolling! - [buzzer blares]
[man] Sound is speeding!
- [man] Mark it. - [man] Marked.
[clapperboard clicks]
[Lynch] Al.
[man] Set.
[Lynch] Action.
[Lynch] Now you g0 through, Al.
[Lynch] Action, Phillip Gerard and Cooper.
[footsteps]
[Kyle] Phillip?
[Lynch] Now just watching the smoke.
Right at-it comes out the nozzle.
Up in there.
Okay, and, Al, give the first one.
Electricity.
[loud electrical clanks]
[Lynch] Second one.
Electricity.
[loud electrical crackling]
[Ll/min] Okay, Kale.
[Kyle] The date: February 23, 1989.
[Lynch] Cooper.
- [Kyle] Go? - [Lynch] No-no-no.
- [Lynch] The other way. - [man] Turn.
[Lynch] So lower that- that down a little bit.
[Lynch] So while we move in on you,
you're-you're hiding down, in the woods.
And then I'll- you'll leave enough room
for dissolve and then I'll say "drop out"
and you'll do one of your famous drops.
[laughter]
[Lynch] Move in on Kale.
[LYflCh] Drop.
- [Lynch] Cut n. - [laughter]
Yeah, I can do that. I don't need a-
we don't need a green screen or any FX, that's good.
[Lynch] Now, make your whole front of your face
a foot longer and go out towards this thing.
[laughter]
[man] Okay, let's do this, George.
- Almost. - [man] Step to your right, a little bit.
And let's make the eyeline this box here.
[man] Hand me a mark, please.
[man] Give me a X, a pink X or something.
[man] All right, let's do a-
let's get a little bit of rehearsal.
- [Lynch] Okay-doke. - [man] Shh-shh.
[Lynch] You know, but this- always be facing him.
Okay, now you're- you came too close to the couch.
Um, be-be agitated there from just once place.
Just be agitated. Go back and forth.
- Okay. - Back and forth.
Looking at him.
And you-and you kind of back up a little sometimes.
You think about the bomb might go off like this.
- And you're-like this, okay? - All right.
- And you're looking at him, okay? - Okay.
Then move forward,
and-grab the couch.
And turn all the way around. And...
- Oh, here? - Yeah.
[Lynch] And then-and then-
[camera shutters beeps]
[Lynch] Okay, and then...
Sitting right there.
You raise your watch.
[indistinct talking]
[Lynch] Raise it up for me to see it.
Now look, and-and lower it.
[man speaks indistinctly]
[Lynch] Do a super slow turn.
All the way around.
You look right through me.
Up here.
[clattering]
[Lynch] Now, slowly turn back.
[Lynch] And then settle down in.
[Lynch] And just be looking at the fire.
And you'll stay there till we cut it.
[man] Nice and quiet. Rolling.
[man] You want to step in there?
[man] Sound is speeding.
[Lynch] There's gonna be a bolt of lightning.
And then you start hearing, you-you-
you start sensing out- outside, okay?
That's when I hear the...
[Lynch] That's when you hear the-the boots, yeah.
[man] Rolling!
[indistinct talking]
[man] Quiet. Rolling, rolling.
- [man] Rolling, rolling! - [buzzer blares]
[man] Sound is speeding!
- [woman] Marking. - [clapperboard bangs]
[Lynch] Action.
Great, agitated.
Just take one look out to the hallway.
One look out there, now back.
And say your line loud.
[speaking backwards]
[Lynch] Okay, stop in there.
Now, little bit- little bit quieter.
Say the next thing.
Tell him that you got to pay attention.
You gotta pay attention.
You say that next line.
[speaking backwards]
[Lynch] Now, agitated, move back and forth.
Back and forth.
And-and be afraid, be afraid. Move back.
And now come forward.
Come forward. Keep looking at the thing there.
Yeah, both-[stammers] in that-that box.
Now grab the couch.
And twist in. Twist in.
Keep looking at him.
[Kyle] Hello?
[Lynch] She turns
slowly, slowly, slowly.
And turns back.
And she looks at her watch.
Light goes on in the [indistinct].
One more little tiny step forward.
- Lightning. - [loud electrical crackling]
[moaning]
[Lynch] You turn back. You s-sense her agitation.
Somethings going on.
Back to the box.
Louder and louder hum.
Louder and louder.
One more little tiny step forward.
Now fon/vard, lean, lean, lean.
Pull, pull, pull, pull, pull-pull-pull-pull-pull.
And try to look back at her.
Trying to look back at her.
And then lean and lift yourself up.
Lean in there...
Good deal. Cut it.
Nice work, Kale.
[indistinct talking]
[man] How was that, Pete?
[Peter] That was- that was great.
[man] Good.
[man] So we should probably start with this on Cooper.
[Lynch] Okay.
[man] Looking up and see if he can walk all the way down.
- [Lynch] Don't-um-well, yes- - [man] 'Cause...
[Lynch] I guess he better. Yeah, he better.
Walk-walk all the way down.
Action, Kale.
Yeah, walk it- walk all the way down.
Open and look.
And then turn, see, and back up.
Like this.
Okay, there it is, right behind you.
And then he closes this
when he backs up.
[man] So if I'm against this wall, per...
[indistinct talking]
[man] Let's tr)'-
[Lynch] And walk- walk all the way down.
[man] Yeah, on Cooper walking.
[man] Take it back a bit.
[man] Let's pull this cable back a bit.
[man] Oh, we're gonna do this now?
[man] No, we're on Cooper first.
[man] Okay, okay.
[indistinct talking]
[Lynch] Where's Kyle?
[man] Um...
[Lynch] I need to- I need to rehearse with him-.
- [Kyle speaks indistinctly] - [Lynch] Yeah, yeah.
[indistinct talking]
- Mm-hmm. - Okay.
[man] Set.
Action, Kale.
[Lynch] And this thing is laughing at you, screaming.
You look round-panic- start to panic.
Start to panic.
Drop.
Incredible.
- [man] No wonder. - [Lynch] Cut it.
- [indistinct talking] - [buzzer blares twice]
- [Kyle] We out? - [Lynch] That was real good.
[Kyle] Okay.
[indistinct talking]
[Kyle] Oh, right.
It's already 7:00.
[woman] Sixty-three apple?
[Lynch] Do you photograph down in Mexico, Lestef?
[Richard] Hmm.
Ifs kind of like India, but it's-a Mexican India.
- And it's just... - [man] Yeah, they're similar.
Similar, yeah.
[Richard] The food and I in Mexico
do not have a good working relationship.
India's way easier for me.
- Really? - [man] Oh and I'm the opposite.
- [Richard] Yeah. - Huh.
Oh, I got so sick in India.
I had bad milk in Dehradun.
[Richard chuckles] That's a title of your memoir-
I know, it's a great title.
[laughter]
Yeah.
[Lynch] Action.
Cut it.
Great title.
[laughter]
[Richard] Everyone will know exactly what you mean.
[Lynch] [chuckling] Yeah.
[David as Cole] Thank you very much.
Although I can't comment on this information,
I want you to know that I really appreciate it.
[Lynch] Cut n.
[laughter]