:24:01
These shots are gorgeous, 3 and 5 together.
:24:07
Well-cut sequence as well.
:24:13
Anyway, in the casting of these three heroes,
:24:16
Mary Gail Artz, who worked with me
on Clockstoppers,
:24:20
did the casting in the States
and she literally saw about 3,000 people.
:24:25
I came back to LA for a weekend
:24:28
and we had a workshop
with about a hundred actors on Saturday.
:24:34
From that hundred we cut it down
to about 40 on Sunday.
:24:39
And on Sunday we mixed and matched
:24:41
certain Alans with certain Tintins
and certain Fermats.
:24:46
Then we sort of boiled this down
to about nine or ten actors,
:24:53
two or three actors for each part.
:24:56
And from that we found
:25:00
what I think was a combination
of the three best actors for the parts
:25:07
and also the three best chemically.
:25:10
They played as if they were friends.
:25:13
You believed that they could live
on this island and...
:25:18
It really... We were very lucky
that we got our first choices for all these parts.
:25:23
We were lucky with them.
We offered the part to Paxton, he took it,
:25:26
we offered the part to Sir Ben, he took it
:25:28
and we offered the part to Tony Edwards -
he took it.
:25:32
We were blessed with good casting
and that's about 80 per cent of it.
:25:37
Here's an interesting example of set extension.
:25:40
What really existed here was that car front,
:25:44
which was another Ford product placement,
and the steps.
:25:49
The rest of that is all set extension,
all drawn in the computer.
:25:54
Here we are, back at Pinewood.
:25:59
Get a load of the sound design.