The Director's cut of Below was actually a commentary by director David Twohy and all available actors - which, included Bruce Greenwood (Lt. Brice), Matt Davis (Lt. O'Dell), Holt McCallany (Lt. Loomis), Zack Galifianakis (Weird Wally) and Nick Chinlund (Chief). Although we've attempted to include all of Bruce's comments, the entire discussion is not repeated here. However, statements regarding Bruce or Bruce's character are repeated along with any comments that explain Bruce's own remarks.

INTROS:
DT: Hello, I'm David Twohy....I've got the actors with me here today: Nick Chinlund, Holt McCallany (mispronounces it and all the actors laugh with Bruce's laugh quite prominent over the din)
BG: Such a method guy is he
DT: (continuing) Bruce Greenwood, Matt Davis and Zack Galifianakis.

SCENE ON DECK
HM: And here I'm demonstrating the NERDIEST way to use binoculars
BG: There was some long discussion about that
MD: About what?
BG: Well, we had somebody ADVISE us on how to cradle binocs-
NC: You listened to that?
BG: Well, Holt did!
BG: So this is a static shot and it jumps to the pull away - THIS shot - which was shot from the helicoptor, which Holt can elaborate on
HM: Well, it was a little bit of a dangerous shot....
BG: Can you describe the risk for us? As described by David Twohy?
HM: It was gonna be from 20 feet away and I decided it could be as close as -
BG: 4 feet, I think I recall. Yeah, yeah.
HM: And Bruce -
BG: I wasn't really comfortable with 4 feet!
DT: Well we got a good shot and nobody was injured
MD: This is my first scene with Bruce Greenwood
DT: And it changed your life?
MD: Changed my life. Changed my opinion of actors and acting.
BG: It was a big relief to shoot something outdoors on a real submarine. It's a pity we didn't get a chance to do this first and then go inside....It was a big relief to do this 4 months after we'd been trapped in HERE in England

INSIDE THE SUBMARINE
Scene shifts to inside as Bruce is speaking:
BG as Brice: Pull the plug!
DT: I love that line! It just feels right. Not dive or submerge but 'Pull the plug"
Twohy embarks on a long discussion on using models instead of real submarines for the far shots underwater and Bruce adds:
BG: Because? (and when Twohy doesn't add what he expects)......you can't scale water.
DT: Correct
Lt. Brice looks skeptically at Loomis:
DT: I like that look. It says it all between the two of them.
And as the characters are trying to identify the boat that might have hit the hospital ship:
DT: I love the bi-play between the Brice character and Loomis character here - that hesitation about whether to enter into it or not and the decision to plunge ahead
O'Dell asks a question about how many charges they heard and Brice interrupts, ordering him away with "Do it now!"
MD: Interesting dynamic between us. I never knew if Bruce really liked me - off camera or on.
All the actors laugh
HM: You use to beat him at chess.
BG: I just couldn't take it
Long discussion of Holt McCallany's yoyo between McCallany and Davis
HM: I had a coach. He taught me tricks which I -
BG: Forgot before you arrived.
Scene where Brice orders everything shut down and Loomis silently mimes the order to the crew:
BG: You studied with Marceau, I gather?
HM: I did!
BG: Yeah, it shows up there
Holt McCallany makes a long speech about visiting other submarines after the shoot
BG: Did you have your yoyo with you?
HM: Always. But everything on our set was in the same place as the real submarines
DT: But ours was 25% bigger though
BG: So were the actors - 25% bigger

BENNY GOODMAN RECORDING SCENE:
O'Dell (played by Matt Davis) arrives to stop the recording first and Brice runs in next:
MD: (to David Twohy) I felt like you wanted Bruce to accuse me of having done it here. I never understood that.
BG: Not having done it on purpose necessarily, but 'what the fuck were you messing around in here for?'

DEPTH CHARGE SCENES:
HM: We took our lumps that day but it was worth it!
BG: I love that thing blowing past the lens
And as the last depth charge barrel bangs along the outside of the submerged sub's deck:
DT: And this is what really made this scene special for me
BG: The audience really dug this!
NC: Yeah, they did
BG: Remember the discussions we had about whether it should stay snagged on the boat or drift off?
DT: We didn't know how to lose it....
BG: And it would have always been a bit of a McGuffin that you never end up explaining, so...
DT: Correct. Just a red herring for the sake of a red herring....

Twohy talks about a pick-up scene shot 3 months later in London where Chinlund had to shave his head and Davis had to don a wig.
BG: I didn't notice the wig!

The next section is devoted to a series of scenes in which Brice is told the wounded prisoner seems to have German military clothing. They confront Page and Brice kills the German prisoner. Stumbo and Hoag -two comedy characters- are then in charge of getting rid of the German body, which is wrapped up like a mummy. While doing it, Stumbo becomes convinced the body is partly alive and talking to him.

BRICE IS TOLD ABOUT THE GERMAN CLOTHES
MD: You do a really great job here, Bruce. I wanted to tell you last night.
BG: Thanks, Matt (with an embarrassed laugh). I'm waiting for -
MD: Well, I know that was a big thing for you when we were shooting it, and I really thought you did a great job.
BG: (quietly) Thanks. Little laugh I can never tell when you're gonna say 'Just Kidding.' Big laugh.

CONFRONTING NURSE PAGE AND THE GERMAN PATIENT
MD: This is my schmacting moment. Watch my jaw here in a second.
BG: Schmacting? Battle scarred acting or....
MD: It's terrible. I really didn't know how to do anything.
And as the scene plays the whole group howls with laughter
BG: Wow! I never noticed that before.
MD: I really shouldn't have brought that up
NC: Yeah, you shouldn't have pointed that out.

AS THE SCENE MOVES TO THE HALL AFTER BRICE HAS SHOT THE GERMAN
MD: Nice guy that Stumbo. He spits on her.
ZG: Spit right on her and she didn't even react.
BG: He spits on her. He slaps her.
MD: (on Lt. Loomis' exit) Holt - you had some wild take here! With olé, olé.
The set gets completely quiet. Sorry. Shouldn't have brought it up. Everyone laughs.
BG: What are you talking about, man?
MD: He did some weird thing....

BRICE GOES TO HIS CABIN
BG: This is one of my pet peeves, man. Is when they use somebody's else's hands in a close up. Like the washing was mine but the swiching off the light was not my hand. You know? My hands over the book were not my hands.
HM: (sarcastically) Wow. Yeah, I noticed that.
ZG: That's your head, isn't it Bruce"
Everybody's laughing now

SECOND BENNY GOODMAN SCENE WHERE BRICE SMASHES THE RECORD PLAYER:
MD: You actually worked out for that scene, didn't you Bruce?
BG: Big laugh. Just that one scene, yeah. About 20 minutes. Gave it all I had. Could barely pick up the record player

THE WRAPPED UP GERMAN:
MD: This is actually Jonathan, right? In the blanket?
DT: No. It's a hapless extra.
BG: We tried it with a dummy. It looked hilarious!

BRICE REPRIMANDS NURSE PAGE
BG as Brice: This is a boat you're a guest on, not a ship
DT: That's a great line. And a great line reading.
BG: That was one of the tricky things about doing this film for me - was doing it a line at a time. You know. So often it was a line here, a line there. Suddenly starts laughing at Stumbo & Hoag carrying the dead German body. These guys are great.
HM: I like to do two lines at once.
BG: That was a nice transition - a great transition from that goofy shit they're doing to that 'gulp'.
BG: (on Stumbo listening to the corpse) He goes out of the frame and then comes back in at three times the size. It's fantastic.
DT: Chris Fairbanks, a very fine British actor
ZG: He does the best American accent for an Englishman
BG: He's American, isn't he?
All the actors answer No at once
MD: No, he's British
BG: That gravelly voiced guy?
MD: Yeah


NURSE PAGE IN THE CAPTAIN'S CABIN SNOOPING AROUND:
DT: Now we're looking at the story through Claire's eyes.
While she's in his cabin, the scene switches to show Brice pulling a lever
ZG: Is that your hand, Bruce? Everybody laughs
DT: All right. We'll start clocking ALL the hand shots in the movie.
MD: (over a shot of Olivia Williams' hand) THAT'S Bruce's hand!
NC: Which really pissed Olivia off!
DT: This part was actually shot 3 months after the shoot. This whole angle leads up to the punch with the door and it needed more background.
BG: Right. I wasn't ready for this. After she closes it....for whatever lurks inside to be so persistent.
Switch to Brice looking through a telescope and saying, "Oh, yeah. Some tall grass out there."
DT: That's one of my favorite lines - some tall grass out there.
BG: This is an efficient little scene.
Back to Olivia's Nurse Page in the captain's cabin:
NC: (on the photos of Captain Winter) Where did you find this guy?
BG: He's a stunt man.
MD: He's a British stunt man. He's got a great face.
Twohy explains how he had to change a line for Olivia Williams, who didn't think 'bloody walls' should be used, so he altered it to "the blood on the walls".
DT: I originally wrote it as 'bloody walls' meaning the gore from.....
BG: Her room
DT: It was the English vernacular
Switch to scene of the telescope going down
BG: Great! Great shot!
DT: Peter Jenning.

SETTING PINGS TO CONFUSE THE GERMAN SHIP
DT: Not everyone understands what we're doing here.
BG: Yeah. We tried hard to make it clear. I remember rehearsing it a number of times and re-writing it.
DT: without giving it away. Well, we didn't want to give away the fact they were going to the bottom, because that's what the point of THIS scene is.
BG: Right
DT: We wanted the ping to coincide with the German destroyer's pinging -
BG: For us
Announcement is made over the loud speaker in the sub:
BG: (on the discrepency) If we have to do it on their ping, now we're going 'Attention all hands! Attention all hands! And before we were whispering
DT: I think the justification for that is we escaped and dropped another 200 feet of depth.
BG: Yeah, there's always that.
MD: That's why you are a lieutenant.
BG: That's why I don't survive.
HM: Never got your own command.
BG: (as Nick Chinlund goes down the hatch) Watch this! Very good timing.

BRICE TRIES TO REASON WITH CLAIRE
BG: (quietly) I like this moment, too.
MD: (laughing nervously on Brice's speech about the sounds coming from outside the sub) I think Brice has been smoking something.
BG: Well, you know, it's -
MD: (interrupting) It's just another tactic with her, right? To control her?
BG. Yeah. Twohy really wanted me to lean up against the wall back there.
MD: I love that, 'What am I gonna do with you?'
NC: Yeah, it's definitely a tactic, back off, ease up. It's cool
DT: Get her under my control If I can't control her by sheer orders, then charm her.
BG: I'll try and get real with her. Yeah. It was a fun scene to shoot, actually. One of the few scenes where there's just easy give and take conversation without subtext.

BRICE EXPLAINS THE CAPTAIN'S DEATH TO CLAIRE
DT: (on using flashbacks) Sometimes you need more than just the dialogue. But Bruce, you're right. Sometimes - as director - we get wrapped up in technical issues because there are so many of them every day on the set. And I have to remember - like in this scene - to back off and let good actors act.
BG: We worked hard to get that ghost image in the wall
DT: The two faces of Brice
BG: Right
The scene cuts to Loomis questioning Brice about what he's just said to Claire about Winters' death
BG: That's a nice cut. That really improved that moment in the story.
BG: (on Brice's ambiguous comment back to Loomis) That was really tricky. How to spit that out of the story. Whether to throw it away or whether to load it.
DT: If you don't load it, go into neutral and leave it up to the audience.

THE HOOK SCENE IN WHICH BRICE FREEZES:
BG: It was originally known as The Hook scene, but became known as the NUDE scene.
DT: Oh yeah. This is Holt McCallany's famous nude scene.
BG: It took two days!
HM: And for all the actors listening in: Try to avoid doing your nude scene in freezing cold water and with four cameras.
BG: One pointing straight up. This was a fun shoot.
DT: We shot a lot of footage here, Bruce, didn't we? Just to try to get the right level of ambivilance in Brice.
BG: Trying to figure out whether....It was my idea for Brice.... just to freeze here was too much of a cliché, so I tried to do something else where he made a distinct decision to let fate have its way. And then that didn't actually play. So we went back to try and snag something else, and by then we were so confused and frustrated...We pretty much had to piece it together in the editing room.
HM: Interesting...
DT: Yeah. And do some tricks with the sound to make it more of a Brice moment. Because it is easy to be a man of action and it's not always easy to be a man of inaction.
HM: Precisely.
BG: Sometimes when you see a scene is written obvioulsy just one way and it's on some level a cliché, you might as well just go with it.

on Nick Chinlund's big scene:
BG: 2nd double take

on close up of Matt Davis' eye
BG: Great shot!

DIVING SCENES WITH BRICE IN HIS CABIN
on the diving suits:
BG: They're very Jules Verne
DT: They're British. The British had a lighter, dry suit - rebreather suits
BG: Oh, interesting
ZG: This is at the health club we shot this, didn't we?
BG: Yeah, the tank at Pinewood is not a health club, trust me. Cigarettes coming out of the sprayers 40 feet above you.
During the underwater scenes, Brice is in his cabin, writing in the captain's log
BG: Somebody else's hands.
MD: They're doing a damn good job though
BG: They're trying, they're trying.
Between the hulls in a scene lit by O'Dell's flashlight
ZG: Matt, you had to light this whole scene, didn't you?
BG: Yeah. That's right.
MD: I had to light -
BG: Your Scene Opponent
NC: You're very talented. If things don't work out - Matt Davis, gaffer.
BG: We had to do it a lot in the latter parts of the movie, didn't we?
DT: Yes
BG: 3rd double take of the movie
As the death takes place, Brice runs ink into his log book
HM: I love this shot. Signature Twohy shot.
Back to the men in the water:
BG: For every 2 seconds of film you guys were down there for an hour, weren't you?
DT: We originally had a different demise for Coors in mind. We originally found him over a girder - instead of this (showing Coors dead face) - And his guts were hanging out of him, like he impacted so hard he blew his lungs out. And you know. Bruce didn't think that looked right.
BG: Was I alone in that?
DT: Laughing. I don't know You were the one who...
BG: Who contextualized it?

RETURN FROM THE DIVE
DT: One of the hardest days for me to film
BG: A lot of roving cameras
HM: And I was demanding extra coverage
BG This scene I consciously step out of camera sight for the second half of the scene. Just because you can't cover it all.
DT: Well, on a tight shooting schedule
BG: You knew it wasn't going to happen. So rather than having your leg or your hand standing there....

CLAIRE AND O'DELL CHALLENGE BRICE
DT: Bruce, tell us about this scene
BG: Hmmm....It's just another one of those scenes that's hard to really suss the tone. And we felt we were getting too shrill and too strident with it and tried to pull it down. Eventually kind of hulled it down to within close to the right zone.
MD: (when Nurse Page tells Brice off) This is a tricky moment, which you handled well.
HM: (in response to Claire Page's outright insubordination) Saucy! For a woman to be in the control room on the sub and challenging the acting commander is a...
BG: Yeah, after she says you can't dismiss me, basically you'd think I'd go pinch her by the neck and drag her out of there, but
HM: But if you did it wouldn't be by the book
BG: Yeah, you can't do it
As Brice commands the ship's crew to do the exact opposite of their strong suggestions:
DT: Great reaction, Matt. Just right
As Brice tells them he'll call them both up on mutiny charges if they do anything else
MD: This is so frustrating for me 'cause I just wanted to explode at him but it was so inapporpriate, I felt
HM: I think he puts you in your place quite well.
MD: Oh yeah, yeah. Absolutely.
DT: But you've had your say, too. It's either take over the boat or back down.
MD: Yeah, right
DT: Not many other choices.
MD: Right
HM: You're an ensign, he's the commanding officer and this is the US Navy
MD: Yeah, well
BG: You can almost tell that he's about to give you a reason to step in and overcome him, because he's pretty close to the edge. So just bide your time. That's part of the subtext, too
HM: Alexis Conrad, our helmsman, a very fine British actor
BG: and guitar player

BOAT MALFUNCTIONING
BG: We missed something here. This is where we realize that the boat has turned around
Holt interrupts with Zack story about cracker jacks
DT: Bruce, you're saying about that moment?
BG: When I say 170 degrees it's suddenly clear we're going back to where we came from - where all the trouble began.
ZG: Clear to you
BG: Not to some of the younger guys, no
ZG: Right
on the scene where Zack and Hoag decide they're dead
BG: I like this scene

on the shot going under the floor to show the conspiracy people on one side and the officers on the other
HM: And this is an interesting shot visually, too
BG: The timing of this was - We had to do this a lot to...
DT: Tricky, wasn't it?
BG: Yeah
HM: In reality, I think 13% hydrogen is somewhat exaggerated for dramatic effect there. That's more hydrogen than humans would be able to breathe and survive
BG: Is that right?
DT: Yeah, you start to top out on 5 or 6 % on these boats, but it just didn't SOUND that dangerous
BG: 13's a good number
HM: Yeah, it's unlucky

AFTER THE CREW DIES
MD: This is very eerie for me.
HM: Bruce's line at the end of this sequence is one of the most memorable in the whole film
MD: I felt like I should have sold the door a little more, like it'd been really hot
BG: How are you gonna sell it more, man?
MD: I just felt like I underplayed it, which I tend to do with everything.
MD: It was so eerie this shoot. Because it really brought me into this world - it was really effective for my imagination
BG: Laughing. 'Cause it left nothing for the imagination.
HM: This is a part of the film that audiences really respond to - a lot of people asked me about these...
BG: Yeah. This is a weird one, yeah.
ZG: The process of getting these burned bodies that Daniel Parker did. Long and drawn out. You had to sit very still and get these full body casts done.
DT: I wanted to convey just how fast this flash fire blew through there
BG: Right
BG: As Loomis sees himself out of sync in the mirror: This is great. This is so great.
HM: Visual effects sequence - compliments again to Peter Chang where my reflection is out of sync
BG: Was there really a mirror there when you shot it? What was the deal when you shot it? So you were actually looking at yourself in real time and then they slowed it down or something?
HM: Yeah, I did and then later on my face will of course be replaced with the face of our dead captain
BG: Yeah.
ZG: So it's inferred here that Loomis has taken off his Monson lung and is breathing some of this putrid air
HM: Yeah, this is a critical moment for Loomis....

As the surviving crew returns
BG: So we shot THIS sequence BEFORE we shot the preceding sequence and had to guess at all the breath levels and energy levels.
MD: Yeah, it seemed a little off
BG: Mmmm
HM: This is the critical moment for the Loomis character....
As Brice stops Loomis - trying to keep him from running out of the sub
DT: This is a nice moment
HM: I didn't think we could stop here. I did not think - to justify him going out of the boat - I didn't think we could stop, deliver a line and then keep going. But I think we got away with it.
Chorus of voices including Bruce's: Oh yes, it's a great moment
HM: Loomis has decided he will not stay another moment on this sub. I think theoretically it is possible to ascend 200 feet to the surface
BG: And swim to North America
Big laugh from other actors
HM: Well Loomis is a strong swimmer
DT: You talk too much, Holt

Skip to Brice picking up his items in the hall:
BG: Now is it clear that all of Brice's things are being thrown out of the dead captain's cabin?
MD: Oh, is that what that is?
DT: We talked of a lot of things hitting the floor but it may not still be
ZG: (on the shot into Brice's eye going into the submarine) This is another great shot of David Twohy's. A signature shot
BG: Fantastic
DT: Truly, I don't think we got that character moment quite right
MD: For Brice?
BG: Yeah. Whether you really. Well we never said that we were seeing a ghost. We just said that there was some kind of noise back there.
DT: And yet we had to move Brice's character forward into the next stage of devolution
BG: Right. The culprit may be to some degree not coming undone immediately after Loomis' death. So you're primed to be susceptible to that moment of the stuff in the hallway.
May not have played Loomis' disappearance with enough of a real shot to the head
DT: What a joy it would have been to shoot in continuity
BG: Groans in agreement.

BRICE POLISHING HIS SHOES
MD: It was so great just to see - the action of you polishing the shoes - was just so inappropriate. It was great to be so confused by what you were doing
HM: (as Brice says 'Shinola!') Great line here!
MD: (to Bruce as Brice say to Claire: 'Just don't pretend you don't know') So you're convinced she knows that you murdered the captain?
DT: Well, that the hospital ship was torpedoed by THIS submarine.
MD: Watching this, I feel bad about not having made a conscious decision as to when there was a ghost on board. That's where I failed on my part.
BG: I thought you NEVER believed it was a ghost. You were the only guy who seems to be coherent.
MD: I think I believed in the ghost as the solution to a problem....

CLAIRE'S SCENE ALONE
BG: So the whole squeezing wall routine went the way of a dinosaur?
DT: There was that whole iron lung story with Claire...
BG: (explaining to the audience) There was a sequence here that David shot where the walls come closer in on Claire, that independent of its tip of the hat to the fact she was brought up in an iron lung was.... Visually it was fantastic. Hard to justify at the end of the day, I guess?
DT: Well, you can justify anything under these oxygen deprived conditions.
BG: Right
DT: But that said, maybe I should say quickly that it was mechanical
BG: uh huh
DT: and I felt it was clunky and didn't fit.

CLAIRE'S DISCOVERY OF THE LOG AND SUBSEQUENT FLASHBACKS
DT: Good VO, Bruce. Just right
MD: (to Bruce) So that's the key for you, when you say you personally verified the match?
BG: RIght, yeah, yeah
DT: It's also the key for Coors. He's the one who hit the plunger. That's why HE'S culpable.
BG: That's a beautiful shot there with that broken back sinking.
DT: Here's where we're firing on all 8 cylinders for the horror story of this.
BG: (dramatically) For the horror of it all.
DT: This is actually reversed prints to get that weird kind of spooky look.
BG: Oh really?
DT: Reverse the action. See the ghost in the dark but not in the light. Here's another reverse print of Olivia. Now watch Olivia. See how her hair doesn't quite hang right.
BG: Oh, yeah!
DT: So there's a real question as to...
BG: What happened up there?
DT: (agreeing) What happened up there. Was it a planned event or was it just the heat of the moment? Did we mean to push the captain in or was it an accident?
BG: I think it comes off - by the time the movie's over that Loomis was the prime mover in the execution of the captain.
MD: Oh, really?
BG: Well, because when I'm shooting at his body I'm saying, 'You to any more great fuckin' ideas for me, pal?' You know?
HM: Well, there was a lot of discussion about that in rehearsals.
BG: (to Hoyt) And then when we shot that thing on top of the deck, you have the pike pole and I sort of grab it and push past you. Maybe that's me justifying my own choices.
DT: But it still works and that's where we ended up on that day. We didn't necessarily mean to push him over. But we defied the captain. After that, there was no redeeming any of us.
BG: We're all equally stained.

AS THE SUB SURFACES:
BG: This is a cool shot - coming up in the murk
BG: (as the crew is getting batted about as the sub goes up) Great stuff! It was fun doing that little sequence, remember?
HG: But Dexter dies
BG: Mr. Fletcher

ON BRICE'S RE-APPEARANCE
HM: And look at this! Spit shined. Perfectly creased.
MD: Eye liner.
BG: Eye liner, yeah. Caught that going on.
BG: (as O'Dell defies Brice and Brice hits him) Such a great SOUND when I, when he hits O'Dell.
MD: Meaty sound?
BG: Yeah, that meaty sound is really effective.
MD: I wish I'd just played it like you knocked me out.
BG: Well, you played it like you've got to wait for a second and figure out what to do. He's got the gun. You've got to plan something. It's like a game of chess. (pause, and then teasingly) You, coward!
MD: Exactly. That's why I should've been knocked out.
BG: (emphatically) No. No.

ON TOP DECK
DT: Topside stuff. You gotta love it! Here we are on the double "O" soundstage - the FABLED double "O" soundstage at Pinewood Studios, London. It was a real treat to work in that studio.
BG: (using an old stagehand voice with accent) Let's get those actors warm and dry!
Everybody laughs
BG: We were 10 days or so - we were on this stage? Great thundering Ritter fans blowing. We had fire hoses on the side of the boat...........busting up those waves. Big fans. Massive, massive tanks of waters spraying up on top of us.
MD: And the set itself was pitching and rolling.
BG: Yeah, yeah
BG: This is a bit of a weird cut.
DT: Well, he's acting out his rage.
BG: Yeah, but we use to swing away from each other - we use to be separated - you could see us be separated.
MD: Watching it now, it seems like you could have actually thrown the captain over in a moment of rage and he convinced you to cover it up.
HM: Well, it happened out of the struggle.
DT: I love this part. I love this part. Bruce you just got it spot on. I don't know if this was the afternoon shoot or the morning when we re-shot it.
BG as Brice: I was gonna wear this uniform back to port.
DT: Such a great line.
BG: Yeah
DT: And the torment you're about to see from this guy.
BG as Brice: What'll I do, Miss Page?
DT: Just lost. Just lost.
DT: (as Brice starts slipping backward) The second shot.

AS BRICE DROPS INTO THE SEA
DT: How does it feel, Bruce?
BG: Ah, it's a relief, David.
DT: Falling over?
BG: To finally be - Oh man, one of those times, I guess it was that time. I hit so flat that it really felt as though I were falling on a driveway. It was like, bang!
MD: (laughing) I'll bet you had a headache.
BG: I had a headache immediately, yeah.
BG: So there's a whole flare sequence - to find the flares forward, right?
DT: We may use it on the DVD - on the deleted scenes.

ON BOARD THE RESCUE SHIP
BG: (anticipating Twohy's acting scene which doesn't actually happen yet) We're about to iintroduce a fine actor who's...
BG: And introducing an actor you haven't seen much of in the recent past, but...
BG: (on Stumbo's line to Claire) Sounds like.... It's such a '40s line, you know, from a '40s movie, (using accent) 'That was a good thing you dun for me back there.' He does it...
DT: Several lines like that in the movie sound like movies of the '40s. Can I say that my wife did not recognize me? And she knew I appeared in the movie, but she didn't recognize me behind that beard.
BG: Oh, good! (and as the boat disappears) Wow!

AS CREDITS BEGIN
BG: No credits up front is nice, too. I didn't realize there was no credits 'til the movie was over.
HM: Where's my name?
BG: No, you know. You don't miss it.
HM: It gets you right into the story.