WRATH OF GODS – DIALOGUE LIST
Paul Stephens
00:04
Every day I feel like Prometheus being chained to the rock of Iceland and something’s gonna happen. My liver is gonna be eaten out by crows again, something will happen, a hurricane, the Mead Hall almost burning down, car crashes, money problems. Never the less, through it all, we’re making some kind of a brilliant film I think.
Sturla Gunnarsson
01:28
If we schedule it right, that’s just blue…
Wendy Ord
01:32
For morning.
Sturla Gunnarsson
01:34
No, nighttime. It gets, the sun kind of disappears over there and this area starts to glow in twilight. It’s amazing.
Narrator
01:46
Early July 2004. After 6 years in development Sturla Gunnarsson has arrived in Iceland to make an epic movie called “Beowulf and Grendel”. The film has been delayed many times but we are finally here and on this beautiful summer day no one can see anything wrong with shooting this movie on top of the mountain facing the open North Atlantic.
Gunnar Hansson
02:06
I found it quite interesting that I had heard of Sturla as a Canadian-Icelandic director and I found it exciting that he was coming here.
Sturla Gunnarsson
02:10
Well, it’s very exciting. It was, you know the light it was 24 hours of light. It was you know, nice to be back in my ancestral home, you know at the helm of the big project. It’s like they say it was the beginning of a stagecoach ride, when the only thing you think about is the beautiful vistas ahead.
Ingvar Sigurdsson
02:30
Sturla is much more of an Icelanders than Icelanders sometimes admit. He is very Icelandic and to see him work in Icelandic nature is exciting… he becomes a part of the landscape.
Sturla Gunnarsson
02:55
Well, I was born in Iceland and I left when I was six years old. Took a freighter to New York and a Grayhound to Vancouver where I grew up.
Paul Stephens
02:33
July would’ve been great because we would’ve had lots of light, lots of good weather. But it didn’t happen, didn’t happen…
Paul Stephens
02:46
Well, we’re making a film “Beowulf and Grendel”. I was hoping that I could appeal to you for old times sake as a guy who knows how tough it is to get a film off the ground and see if we get any help from you.
Narrator
03:00
The story that Sturla has brought to Iceland is based on the ancient hero poem “Beowulf”, the oldest known work of Anglo-Saxon literature. “Beowulf” has been a subject of research for generations of undergraduates and professors alike and the inspiration for fantasy novels like Tolkien’s “Lord of The Rings”. The 15 million dollar budget is being financed by a complex Canada – Iceland – UK co-production. The deal hasn’t closed yet, so money is tight and pre-production is behind schedule.
Sturla Gunnarsson
03:29
Yeah, I mean right now…
Wendy Ord
03:30
Right now we just need to…
Sturla Gunnarsson
03:31
… We just need the broad strokes because we will have to come back here and spend some time.
Wendy Ord
03:36
Yeah, because really what we need to just start with is where is the village.
Narrator
03:41
The sets still need to be built and on top of that we need a fully functioning Viking ship floating in a glacier lagoon.
Wendy Ord
03:49
The war room.
Sturla Gunnarsson
03:52
We cannot afford to have something like that boat thing happen again where something that everybody’s known about for like 8 months, nobody’s done anything about, right. Like so, we got to think about what we gonna need, when we’re gonna need it, right and…
Arni Pall Johansson
04:11
Sturla, we started 2 days ago. You know, we started this thing 2 days ago actually. We couldn’t hire people, we couldn’t fire one or things like this and the boat thing was very, very clear.
Sturla Gunnarsson
04:22
The problem is how to get the fucking thing up to the lagoon and how to
Arni Pall Johansson
04:26
That’s no problem. That’s just a technical thing, you know. It will cost a lot you know, no matter how you do it.
Sturla Gunnarsson
04:35
So like, the conversation 3 weeks from now is do you really need a Viking boat cause we can’t afford it.
Arni Pall Johansson
04:39
We have options. Either drive it on a lorry, you know. We can’t drive it all the way of course but we have to unload it this side of the bridge because that is the only bridge which is you know so narrow and you know…
Fahad Jabali
04:59
The transport is just a technical detail, you can forget about it. You will have a boat in your locations.
Arni Pall Johansson
05:06
Don’t have a nervous breakdown. We’ll solve this problem, you know. We’ll solve this. This is not a problem, it’s just something to solve you know.
Sturla Gunnarsson
05:13
It’s just kind of horrifying to land on the ground and discover that you’re 5 weeks away from production and the likelihood of actually making your start date is starting to look really remote.
Narrator
05:46
Pre-production is now in full swing and almost 2 million dollars have been spent at this point. Most of the roles have been cast. Iceland’s leading man Ingvar Sigurdsson will play Grendel the troll. Gerard Butler who was just finished playing the lead role in Joel Schumacher’s “Phantom of the Opera” will play Beowulf and Canadian actress Sarah Polley will play Selma the Pagan witch. Negotiations are underway with Swedish actor Stellan Skarsgard for the role of King Hrothgar but the production has run into a new problem.
Paul Stephens
06:20
Anyway, so I’ve got to call Jason back and get to the bottom of this but they are threatening, they’re threatening to pull the plug right now.
Sturla Gunnarsson
06:33
Every day we were becoming more and more aware of the fact that we had, you know we were out of step. We were spending money you know, there was more money going out that was coming in.
Paul Stephens
06:43
I think that the original budgets that were done by a production manager that we’d hired, you know I think that she had never been to Iceland, never knew the realities of working in Iceland and was living in a dream world.
Paul Stephens
07:04
I know, the problem is that in these little towns Vik and Hofn there’s nobody available, there’s no humans, that are working as fishermen, they get much better rate and pay…
Paul Stephens
07:16
So, when we were faced with the realities of the fact that you couldn’t hire a university student to drive a car because they weren’t gonna make enough money, you know the realities really struck home for us. It is if not the most expensive country in Europe, just about. So, it became very clear that the budget that we had been working from was not the budget that was going to make the film.
Sturla Gunnarsson
07:45
Yeah, I know, I, you know we’re aware of it. I just…
Narrator
07:45
Since the budget was approved the Icelandic krona has appreciated by close to 20 percent. There are rumors flying around the office that the film will be at least 1 million dollars over budget. The co-production deals are not signed yet and the whole thing could fall apart if the financiers loose faith in the production.
Jon Gustafsson
08:10
Why are you 1 million over?
Sturla Gunnarsson
08:13
Sturla Gunnarsson
08:20
We had a budget that was ballooning. We had financing that hadn’t closed and because financing hadn’t closed we didn’t have cash flow. Without cash flow we’re paying more for everything which is causing the budget to balloon even more and it’s causing postponements and every postponement causes the budget to balloon and we can’t talk about it because we’re trying to get the financing to close before we come clean with what’s actually going on with the
Sturla Gunnarsson
08:55
First day of construction.
Narrator
09:05
The start of the production has been pushed again. Today was originally supposed to be the first day of the shoot but instead it is the first day of construction of the main set – King Hrothgar’s Beer Hall. We are now slated to begin shooting on August 23rd but each delay puts us closer to the onset of winter in Iceland. Sturla has decided to make the Beer Hall a practical set. All indoor scenes will be filmed inside the Beer Hall on top of that mountain.
Fahad Jabali
09:05
I protested and suggested that we have a weather-cover set below the mountain, but no, that was not approved.
Arni Pall Johansson
09:32
This is a front of the house. This is the, what you call it, the ceremonial
Jon Gustafsson
09:40
How do you feel about the approaching fall in Iceland?
Sturla Gunnarsson
09:47
Oh, it’s beautiful. It’s gorgeous. Bring it on!
Paul Stephens
09:58
Hi there.
Narrator
10:02
Today the whole crew was called in for an emergency meeting. The British partners appear to be getting cold feet. Cash flow has stopped and the production doesn’t have enough money to pay our salaries this week. But from the looks on people’s faces I fear that the news will be even worse than that.
Paul Stephens
10:20
Are we done?
Sturla Gunnarsson
10:23
OK, just I think that to begin with we should shut the camera off.
Michael Cowan
10:31
When we went to actually start to close the actual picture was already 1.6 million Canadian in the hole that had to be found and none of the sides had any money to put in extra. And so, part of actually closing the production we had to seed or put or start to put small amounts of money in. Because we didn’t wannna put all the money in one go, so that everybody was still focused to close the actual picture.
Narrator
10:31
The crew is sent home without pay for a week. The producers don’t know if they’ll be able to continue but in order to keep the crew on board they promised to have an answer the following Friday.
Jon Gustafsson
11:10
How are you feeling about the financing? What’s going on?
Sturla Gunnarsson
11:11
I’m in denial about the financing. Just trying to ignore it as best I can. It’s you know, it’s shaky.
Jon Gustafsson
11:24
What is the situation about? What is the truth about it?
Sturla Gunnarsson
11:27
The truth… This is the movie business Jon, there’s no truth. It’s all lies.
Eric Jordan
11:34
There were sleepless nights and you know, we must be idiots for taking this forward right now because the prospects look so bad. And you know, you start figuring out who you’re gonna owe what in the millions of dollars if this thing doesn’t come together.
Wendy Ord
11:50
I really believed that the film wasn’t gonna get made at that point in time and I think a lot of people felt that it was the end.
Jon Gustafsson
12:00
You were joking about the press release about shutting down the production, which gonna pay for it.
Sturla Gunnarsson
12:05
For the press release? That’s right, nobody wants to pay for a press release announcing the shut down of the production.
Gunnar Hansson
12:00
When you are faced with such a decision, whether to postpone everything by almost one year, or if you try to film it all that fall, it affects a lot of things. If you postpone by almost a year you could lose actors that you have hired since they may have another job coming up. You could
Wendy Ord
12:22
We talked a lot about financing and what he had in it at that point and what he would loose if it went down at that point in time and I said to him: well, I believe that you just have to keep dancing Sturla because if you let it go down today, there’s now way it will get picked up again.
Eric Jordan
12:38
Who you are, who I am is at stake at that point you know because that’s what we do we make movies so, you know we don’t give up.
Narrator
12:54
The bright Arctic nights that were supposed to be used for filming are now being used to try to figure out how to shoot the film in less time which has become crucial. Not only because winter is approaching but also because each shooting day will cost them close to 100 thousand dollars.
Sturla Gunnarsson
13:08
When we arrived In Iceland the script was boarded out at 52 shooting days but when we hit that hiatus we were at 47. But in my back pocket I knew I could it in 45 but I just wasn’t saying. And during that hiatus we took it down to 40 which was a total lie. I mean we gave them a 40-day schedule and we said we can shoot this film in 40 days if everything goes according to plan. Well, what’s gonna go according to plan at the Arctic Circle in September, October, November? We knew that, they knew that, but it was the pound of flesh they wanted.
Paul Stephens
13:56
You know, late on a Thursday night I just flew over to London and took a train to Brighton and showed up in their offices and stayed there until I had a signed agreement with them. I just stayed and hang around their offices and they tried to ignore me and I wouldn’t go away and just hang out with them and finally I came back with an agreement. And that, at that point I thought we had a film.
Daniel Parker
14:21
Actually pretty good. Yeah, yeah, we’re good. We’re good. Yeah, lift away, steady, steady. Perfect. Thank you. Thank you so much. Helmet, helmet…
Other
14:32
Helmet head.
Narrator
14:38
Two days ago the cast and crew were moved to the first location on the South-East corner of Iceland. Gerard Butler has arrived and he seems to know how to swing a sword. The production still hasn’t been fully financed but we’re moving ahead anyway.
Sturla Gunnarsson
14:51
We couldn’t wait any longer. If we waited any longer, there would be no light. We were loosing light, we were loosing 6 minutes a day of light. The shoot that was supposed to take place in the summer was now starting in September.
Sturla Gunnarsson
15:03
Beowulf walks up and the guy says: the dragon came last night.
Gerard Butler
15:10
Dragon?
Sturla Gunnarsson
15:13
Go now – you go with your life.
Gerard Butler
15:17
This is my life. Bloody madness.
Sturla Gunnarsson
15:21
OK, just stop, stop for a second.
Narrator
15:27
The Viking ship arrives but since it is too wide to take it across the single lane bridge, the idea is to float it to the other side of the Glacier Lagoon where it needs to end up. For the schedule to work the ship needs to be ready in 48 hours.
Sturla Gunnarsson
15:43
For me that ship represented the production. You know, it’s like if we could do that we could do anything. If we could get a real Viking ship halfway around the country across bridges that were narrower than the ship itself, into an iceberg filled lagoon, and put sheep and Vikings on it, and make it sail, we could make the movie.
Narrator
16:12
As the ship is loaded into the water the first mate notices a problem.
Narrator
16:20
The ship leaks like a sieve.
Other
16:24
Too much. Too much.
Wendy Ord
16:29
We have a leaky boat. It’s a metaphor for the film.
Fahad Jabali
16:35
Everyone knew that the ship had been on dry land for a few years and it would need two or three weeks of preparations before it could float. Since the owner couldn’t be paid on time he couldn’t prepare the ship. So of course it leaked.
Mark Winemaker
16:39
All right. Well, I guess it’s not happening tonight that’s for sure…
Wendy Ord
16:40
Yeah, fuck it. It’s a first day. This, cause this boat’s, you know costs…
Mark Winemaker
16:49
But I would really love to hear from this guy and know that he’s not lying
Wendy Ord
16:50
The boat has cost so much money we just got to be ready to shoot it when it’s in the bloody water. It’s not in the water.
Wendy Ord
16:51
It’s not in the water now. It’s not going in the water tonight. It’s going across the bridge.
Mark Winemaker
17:05
The very same bridge that couldn’t fit the boat before. But now suddenly we discovered it can fit.
Narrator
17:15
We are now 2 days away from the start of principal photography. Sturla has hired Hilmar Orn Himarsson to compose music for the film. Hilmar also happens to be the high priest of the Old Norse religion Asatru, the religion of the Vikings. Sturla has asked him to perform a Pagan blessing, calling up on the Norse gods to bring luck to the production.
Narrator
17:43
Right after the blessing Sturla stumbles and falls and hits his head on the rocks. Icelandic crewmembers quickly rush to his side with an Icelandic saying “Falling at the start makes for a prosperous journey”. 2 hours after the Pagan blessing, the Pagan priest himself slipped and fell and fractured 2 ribs.
Gerard Butler
18:10
Don’t talk to me about the Pagan blessing. Has anybody told you Ronan’s comment about the Pagan blessing? When Hilmar was looking through his book of blessings and went oh, oh wrong one, oh shit, I just put a curse on the movie.
Tony Curran
18:32
Odin!
Narrator
18:34
That night, without telling the producers captain Gunnar puts the ship back on the trailer, tilts it at some precise angle that he has worked out and heads across the bridge. It takes 3 hours and 9 tries but somehow he manages to take the ship across with less than 1 inch to spare on each side.
Jon Gustafsson
19:02
How do you feel about tomorrow?
Andrew Rai Berzins
19:04
How do I feel about tomorrow? Well, you know as long as the boat floats
Narrator
19:10
The boat is now in the lagoon but it’s still taking on a lot of water. The art department has installed two pumps to keep the water out.
Andrew Rai Berzins
19:21
If it doesn’t work out I don’t know what’s gonna happen. Almost don’t wanna think, I almost wanna wake up 2 days from now once the day is done you know.
Sturla Gunnarsson
19:41
Excellent, thanks Mark. Bye. Yeah. She’s in the water, she’s floating.
Wendy Ord
19:53
Yes!
Sturla Gunnarsson
19:55
We’re on the leaky boat in the middle of the ocean and there’s no turning back. We’ll just sail until we get to land.
Wendy Ord
20:10
Ladies and gentlemen. Welcome to the first day of shooting for “Beowulf and Grendel”.
Mark Winemaker
20:17
Last night we narrowly avoided probably the worst catastrophe that could ever happen on a film. We had one of our vehicles involved in a traffic accident and it had a head-on collision with another vehicle. Anybody that’s caught speeding or breaking the law as far as driving is concerned will be dismissed immediately just because we can’t take this chance.
Wendy Ord
20:39
So, for today we’re on probably the coldest water that there is in the world, in the universe.
Fahad Jabali
20:48
The only thing I can say that if you fall in life expectancy is between 3 and 5 minutes. Try to stay calm in the water and just wait for him to pick you up. That’s it.
Gerard Butler
21:00
Wendy, with our costumes if we fall into the water we’re going straight to the bottom.
Wendy Ord
21:07
We are putting the harness on you at all times Gerry.
Gerard Butler
21:13
Have you checked if these life jackets inflate underneath all the stuff we have on top of it…
Wendy Ord
21:15
We will check that, we will check that right away.
Sturla Gunnarsson
21:19
Right now, as we speak.
Sturla Gunnarsson
21:25
Hi guys.
Sturla Gunnarsson
21:27
I would like to see you guys with the chain-mill.
Tony Curran
21:29
Right, cool.
Sturla Gunnarsson
21:32
But what I’m proposing is this. Everybody wears a life vest on top of their costume. We take them off for the take, put them on for what you know. Nobody’s doing anything dangerous, you’re sitting around the fire in the ship that’s crossed the fucking North Atlantic.
Tony Curran
21:47
That’s cool, man.
Wendy Ord
21:50
I was completely frozen in fear that something seriously was going to go wrong that day. I was terrified the entire day.
Wendy Ord
22:05
Stand by for picture. First positions, everyone. Jon, go.
Wendy Ord
22:10
That boat was sinking at an alarming rate with the entire cast and crew on board. It was horrifying. And I don’t think actually anyone else was aware except for the captain of the boat and myself. And we were trying to keep it a secret.
Sturla Gunnarsson
22:31
Gerry! Oh, never mind. It’s all good.
Sturla Gunnarsson
22:35
If you look at that shot, it’s very majestic shot but the water was rising like you know about this speed in the ship.
Wendy Ord
22:45
This is the last shot. The camera’s sitting up on shore and we’re gonna motor down and do a sail by.
Wendy Ord
22:48
Sturla was standing on shore with the cameramen and I was still out in a sinking boat with all of the cast on board without life jackets, laying in the bottom of the boat watching the water rise in the hold. We had to keep turning the pumps off cause the cameras could see the fire pumps coming out the side.
Sturla Gunnarsson
23:11
The ship was sailing past the iceberg and I’m on the walkie-talkie talking to her saying: Can you get a little closer to the iceberg and I hear the skipper say to her – only if you want to die.
Wendy Ord
23:26
I hated that day. It was the worst shoot day of my entire life.
Narrator
23:37
Apart from the leaky boat the first day was perfect. Perhaps the gods were on our side after all.
Other
23:51
This morning?
Other
23:52
Last night.
Sturla Gunnarsson
23:53
All, all animals killed in the making of this film were eaten.
Sturla Gunnarsson
23:59
Well, the next day we had to, we had a big fight scene with Gerry fighting the bandits and you know we’d been working on the choreography of that for over a week. It was quite a dangerous scene and you know we ended up having this…
Wendy Ord
24:16
What are you doing? Go away! Please, Jon.
Sturla Gunnarsson
24:18
… huge wind.
Narrator
24:25
Once again the production is out of money. Some crewmembers who haven’t been paid are threatening to walk.
Paul Stephens
24:32
See this deal? This is what makes the movie, all these figures here, all this money. This is money that makes the movie. And see the money in Canada – that’s all come through, some of the money in Iceland has come through, this big whack of dough in the UK – nothing. Can’t make the movie without them, without everybody.
Gerard Butler
25:00
Day 2. I hate this job. I wanna go home. I’m cold, miserable and I’m about to get
Paul Stephens
25:19
If the money doesn’t come through today, I think we’ll loose a good portion of our British crew. If it doesn’t come through by the end of the week, I don’t know how we can carry on. I don’t have money for gas, I don’t have money for food.
Michael Cowan
25:51
Well, everybody wasn’t exactly paid up at the time. Telefilm had put certain amount of money in, I can’t remember now how much. We started to put some money in but it’s the same thing. The Board at the Movision which is a fund had decided that they are not gonna put all of their money in one go but they were gonna actually feed it along to make the guys there really focused to close. Cause it’s like life you know, you sort of say OK, well I need 3 million dollars but you know if you give them the 3 or 4 million dollars in one go, they’re not terribly focused to close the actual picture. It just means they’ll burn your money through and then they’ll deal with closing the picture afterwards, which it would mean even a bigger problem.
Wendy Ord
26:40
The stuntman got stuck in the mud and the make up girl got stuck in the mud. I didn’t go out in the mud, I’d had it. I wanted to go home. I was exhausted already. Day 3.
Gerard Butler
26:55
Oh, holly fuck.
Gerard Butler
26:55
I walked about 70 yards and I had to stop, I couldn’t walk anymore. So, I just had to do a short walk from over there and there and then cut across up to the shore and then come in through this thick mud again. And I thought that’s it. I was just waiting for a heart attack.
Gerard Butler
27:16
It’s the most difficult start I’ve had to a job and I think it’s going to be a difficult job because we’re really up against with the schedule. There’s a lot craziness in this movie. But you have to pay for your art, suffer, don’t you? I tell you 3 days in this film and I have suffered on every fucking day.
Gerard Butler
27:38
I’m absolutely fine, I’m just, I’m just exhausted.
Gerard Butler
27:41
It’s all good. These are all, the last 3 days have just been fantastic scenes.
Sturla Gunnarsson
28:08
It’s a little bit too sunny today but yesterday was fabulous. Just a big, raging storm and shit and everything, you should have seen it. It was the introduction of Beowulf. He’s crawling in the fucking mud. You can’t even see his face, his hair is everywhere.
Sturla Gunnarsson
28:24
I try never to get too carried away with my, you know optimism because it’s just a basic nature of film making that as soon as something goes well, something else is gonna turn around and bite you. So you know as soon as something good happens, you start looking for the next trap door.
Sturla Gunnarsson
28:54
Which arrived the next day.
Wendy Ord
29:12
I was awake all night because rocks were being hurled off the mountain and banging on the roof.
Wendy Ord
29:20
The phone started ringing probably about 5 in the morning. He said that the base camp had blown away in the night. He said trailers had been toppled and the mess tent was gone and chafing dishes were scattered across the lava field.
Sturla Gunnarsson
29:37
Odin got drunk and wreck the house.
Wendy Ord
29:44
Fahad called shortly after that to tell me that not only was base camp missing, but our location which we were supposed to shoot on that day, which was one of the big lava black sand beaches was gone, completely gone. There was no beach there whatsoever.
Paul Stephens
30:04
Did you hear this? The farmer’s wind meter blew over at 50 kilometer per second, which is hurricane speed. Isn’t that incredible?
Sturla Gunnarsson
30:17
Oh, we just had a little breeze in through here last night. 25 meters per second. It sort of scattered the base camp half of, our tents are halfway to Reykjavik. Stuff fell over, cars fell over. It was beautiful, just beautiful.
Jon Gustafsson
30:35
How about the sets?
Sturla Gunnarsson
30:38
Oh fuck, the sets are built by Arni Pall, they stand in any weather.
Paul Stephens
30:42
It’s standing, it’s standing. And the roof is solid and the hotel’s roof down the road here blew off in that storm. But our Mead Hall is still standing.
Jon Gustafsson
30:54
Is there a set back?
Sturla Gunnarsson
30:57
No, of course not. It’s beautiful. It’s a test.
Jon Gustafsson
31:03
Is this what you want?
Sturla Gunnarsson
31:03
Of course. What? What? Is what do I want?
Jon Gustafsson
31:10
Forces of nature.
Sturla Gunnarsson
31:12
Yes, of course.
Paul Stephens
31:14
What was it like?
Other
31:16
Well, I was staying up here in the lighthouse last night and I’ve never seen the weather around here like this. It was, it was not possible to go outside like in the middle of the night. At 5 o’clock this morning I went out but I couldn’t go out, it was so crazy. I went to sleep for a couple of hours and then it was like this.
Other
31:43
Well, that’s just Iceland, you know. It can be sunny one day and sunny and blue sky and then one hour and it’s raining or snowing.
Paul Stephens
31:43
Right.
Fahad Jabali
31:51
A British crewmember came up to me and asked: “Where am I supposed to drink my tea now?” And he wasn’t joking.
Wendy Ord
32:15
We had all these supposed specialty riders for the day. They were to thunder down the beach but the horses were afraid of the white foam that came up every time a wave came across the beach. So, the riders were riding the horses into the water to try to get them used to it. And a lot of the riders were drunk. And it was early in the morning and they were really drunk. We didn’t have any other riders. We couldn’t do anything about it we had to use the drunken riders.
Wendy Ord
33:06
We had a 1000-millimeter lens flown in from Toronto. We had to go right down by the shore. So, we were nervous because there were quite big waves coming in. So we parked one of the jeeps on the waterside and a wave came and hit the jeep and just about toppled the jeep and came under and over top of the jeep and grabbed the camera, which was on sticks with this huge lens.
Wendy Ord
33:44
We were down for a few hours repairing that.
Wendy Ord
33:51
It seemed like there was a little bit of a bad luck cloud hanging over the picture. In fact, people started to think that we had a troll on the picture that was cursing us.
Other
34:03
I caught the fucking lens, he caught the body, Polly caught the other side, nothing went in but really… But it could have been a lot worse.
Narrator
34:19
A film production of this scale needs the services of a bonding company that essentially guarantees that the film would get made and that the investors don’t loose their money. Our bonding company has become nervous and has sent a representative to Iceland to decide whether they need to take over the production. They could not have picked a worse day to get there.
Wendy Ord
34:41
We arrived and what used to be a quiet pond where we were going to shoot Gerry and his pacemakers making their way through in a boat had turned into a raging river.
Sturla Gunnarsson
34:56
The water was running at about 12 knots, half of the beach was gone, it wasn’t even there anymore, half of the set was just gone.
Sturla Gunnarsson
35:05
So, do you think you will be able to toe them with 12 guys?
Fahad Jabali
35:10
Well…
Sturla Gunnarsson
35:12
No.
Sturla Gunnarsson
35:15
Well, no just I’d rather bail out of this thing than you know…
(Also, nein ich wuerde diese Sache hier lieber nicht machen als…)
Fahad Jabali
35:16
No, don’t bail…
Sturla Gunnarsson
35:21
… have a repeat of yesterday.
Wendy Ord
35:23
We spent most of the day trying to figure out how the hell to shoot this scene that we had to shoot. And Jan the director of photography and myself were arguing, Sturla and I were arguing, the actors were arguing, the stunt people were arguing, everybody was in a flurry. That was high winds as usual, it was raining on and off throughout the day and the bonder that was there to watch it all.
Wendy Ord
35:58
And let’s go, push them off, let them go, here they go…
Sturla Gunnarsson
36:02
You got this person who has the power to take over the production and they come out and they see you trying to shoot in a raging torrent, where no sane person would shoot a movie and you know they sort of ask very politely well, you know had you looked at other alternative locations? You try to explain that it didn’t look like that 2 days ago.
Gerard Butler
36:47
I’ve never been so, felt so at home in a land except Scotland where I come from than this. Every time you turn a corner in this land you’re presented with some new landscape or rock formation that is so unusual and so powerful and primal and yet it’s a very young land and you feel an energy here boiling all under the surface.
Peter Pedrero
37:22
Well, the location is beautiful. I mean we’re on the edge of the cliff that is about 400 feet up straight down to the ocean. It’s amazing the actual landscape is beautiful. And the shot works really well. We’ve got the horsemen coming over the ridge of the mountain chasing the troll.
Sturla Gunnarsson
37:39
Helicopters, trolls, cliffs…
Jon Gustafsson
37:46
And what a day…
Sturla Gunnarsson
37:48
This bloody sunshine is killing me.
Wendy Ord
37:53
OK, helicopter starting up…
Sturla Gunnarsson
37:57
Although it’s nice not to, nice not to be blown off the top of the cliff like that was yesterday. Laying down on the ground here our entire bloody set blew away. We had actually a rock blown over. Have you ever heard of that – a rock blown over in the wind?
Jon Gustafsson
38:18
No…
Sturla Gunnarsson
38:20
We had to literally lay on the ground here, we couldn’t stand up.
Sturla Gunnarsson
38:37
I found being out on that landscape made me feel very alive and working on that
Narrator
39:05
Today is shooting day 19. So, we are less than halfway through the production. Despite the odd sunny day our clothes usually don’t dry overnight and the conditions are beginning to wear us all down.
Gerard Butler
39:18
You know chain-mill does not keep you warm right. If it’s a winter’s day my advice to anybody is don’t put on chain-mill because it doesn’t really do anything for you. So, you’re not kept very warm and the worst thing is, the thing that really kills here you is the wind. The wind will cut through you to the bone and sometimes that wind comes straight from the North Pole and just passes through you and makes you wish you were dead.
Sarah Polley
39:45
The environment on the set is collectively probably the hardest I’ve ever seen. People have to work in the biggest challenges I’ve seen people facing. The only thing honestly I can compare it to is “The Adventures of Baron Manchuasen” when I was 8 and that was I think 3 times harder than this. But nothing’s have come close until this, in terms of just sheer, demented ambition with sort of like no resources and you know there’s something totally crazy about it and really hard about it but there’s also something really, you know inspiring that people are actually doing such amazing work under these conditions.
Daniel Parker
40:18
If you are going to make a film in Iceland in September, October, November, then you are certainly asking for trouble. If you are going to make a film in Iceland shooting in Vik, which is the windiest, wettest place in the whole of Europe, you are going to ask for trouble. It’s not exactly as if anybody said well, let’s try to make this easy. I think certain people are trying to say let’s try to make this really difficult because that’s how films should be made, you should suffer for your art which I don’t think is right. It wasn’t necessary to shoot this in Iceland, it could have been shot in Scotland, all kinds of places. Why is this being shot in Iceland, I don’t know.
Ingvar Sigurdsson
41:10
I found it strange that this affected people in such a negative way, instead of seeing the weather more as a positive challenge and a friend instead of an enemy. To see the weather in Iceland as an enemy while you are making a movie, then you have already lost. You have to see the weather as a part of the job.
Sturla Gunnarsson
40:53
Action!
Paul Stephens
41:09
On Thursday night just on as regular as clockwork, we would be faced with the fact that we couldn’t meet whatever it was payroll the next day, or whatever and the crew were walking and everything else.
Eric Jordan
41:22
It was even affected by things like al Qaeda money laundering because you could, in Britain you could no longer pick up a phone, call your bank and say I want to transfer money to a bank in Iceland. You had to go down to a bank and sign a piece of paper, so someone you know, we go into things like is someone gonna get down to the bank in time to sign the paper today to get the money into the Icelandic bank tomorrow to pay the crew the next day.
Fahad Jabali
41:10
There were times when the drivers were paying for the gas out of their own pocket and they couldn’t be paid back.
Narrator
41:47
A beautiful day on the mountain somehow seduces us into staying even if we are not getting paid. But everyone is getting tired, even the horses.
Jon Gustafsson
41:59
How far have you gone out in terms of the film, how much do you have
Sturla Gunnarsson
42:03
We’re about halfway through. Depending on how far behind we are, I’m not quite sure…
Jon Gustafsson
42:10
Are you behind?
Sturla Gunnarsson
42:11
Yes, of course.
Jon Gustafsson
42:13
What are you gonna do about it?
Sturla Gunnarsson
42:14
Just keep shooting.
Jon Gustafsson
42:18
Are you going to extend, are you going to cut down scenes? What are you looking at now in terms of getting this film done?
Sturla Gunnarsson
42:27
Just keep plugging away until it’s finished.
Narrator
42:53
Today we were supposed to film a scene where King Hrothgar is
Joel Hay
43:02
We’re moving inside guys it’s official, bringing the cameras over into
Jon Gustafsson
43:07
Are we canceling the other scene?
Joel Hay
43:08
Yes, we are. We have to, it’s just too windy and unfortunately Stellan and the other guys with the fake beards, it may just blow off their faces and I mean the scene would be just be too frustrating, so… It seems, it’s twice we got to cancel that now you know.
Joel Hay
43:24
It was a complicated scene, there was a bunch of people standing around, the king doing his ceremony, getting bloodied lucky as it were but there’s singing involved, the musicians playing the xylophone but it’s hard to sing and play the xylophone when you have 100 kilometer per hour wind driving rain into you.
Sturla Gunnarsson
43:41
The first 2 times we tried to shoot it, we just had these horrible kind of gales coming, whipping through and you know you gotta get dozens of people in sixth century costuming and hair and we’d get them up on the hill and we’d set the shots up and the wind would start.
Wendy Ord
43:59
I was so tired by that point. I couldn’t even see. Nothing seemed to go right ever. Every day we would arrive on the set to find out what disaster would strike us today.
Erik Hirt
44:49
Pretty fucking cool.
Narrator
44:52
Tonight we filmed on top of the mountain and the air stood so still that the smoke from the smoke machines had to be wafted to make it look like real fog.
Stellan Skarsgard
45:01
Troll!
Narrator
45:02
As we watched Stellan challenged the troll to fight him we had no way of knowing that this was the calm before the storm.
Joel Hay
45:17
Don’t go up the mountain guys, there are rocks flying around everywhere.
Wendy Ord
45:25
The mountains are snowy just outside Reykjavik they have ice on the road. OK Halle, drive very, very cautiously, OK.
Sturla Gunnarsson
45:38
Hi, Gerry. I’m good. A little breezy up here. No, it’s beautiful but not everybody agrees though.
Kristie Sills
45:54
Right now the situation on the road is that it’s only safe for transport to be driving on that road. Our priorities from the production point of view are to get hair, make up and wardrobe shuttled to the top of the hill, get whatever supplies they need and get them to town hall, so we can start processing the actors for scene 38. And everybody else can just stand down until a further notice but that’s our game plan is to try to incrementally get ready for scene 38 and once we have a road block at the road and once we feel it’s safe that everyone can go up, we’ll let you all know.
Stellan Skarsgard
46:23
I don’t mind. I like it. I like the weather.
Sturla Gunnarsson
46:26
I love it. I’m good to go. But you know… We can’t do it on our own. We need a camera. We need costumes.
Stellan Skarsgard
46:37
Heard of Dogma?
Sturla Gunnarsson
46:40
That’s my next picture.
Narrator
46:55
Our Pagan priest and composer Hilmar Orn has been called in to play a musician in a scene that we were supposed to film today along with 40 other extras from a nearby town of Vik. But the conditions on the mountain seem to be getting worse and we have become afraid that the roof might blow off the main set.
Peter Pedrero
47:14
Well, I’ve never been in conditions like these before. This is like winds that I’ve never actually ever worked in these kinds of conditions. I mean you know if this was in any other place the production would be shut down if you were working because it’s a very big safety, you know, issue.
Sturla Gunnarsson
47:31
Oh fuck.
Narrator
47:45
But the decision whether to have the whole crew stand down still hasn’t been made.
Paul Stephens
47:51
Sturla just wants to hold on and not call it until we call it, but you are on your way up here right?
Paul Stephens
48:04
OK, we’re gonna call it. Gonna call it right now.
Paul Stephens
48:12
No, no. OK, thanks.
Other
48:18
What made the decision?
Paul Stephens
48:20
He just, he just went about off the road with 5 people in the car so.
Jon Gustafsson
48:27
He just?
Paul Stephens
48:30
He just… Mark just about went off the road with 5 people in the car.
Jon Gustafsson
48:30
Just about…
Paul Stephens
48:31
Yeah…
Paul Stephens
48:34
We’re gonna have to call it.
Sturla Gunnarsson
48:35
Why?
Paul Stephens
48:36
Because this is just too dangerous. It’s too dangerous.
Sturla Gunnarsson
48:40
Don’t call it. I mean you know we did that before right, and then it was fine 2 hours later. Don’t call it.
Jon Gustafsson
48:42
What’s the dangerous element right now?
(Was ist im Moment die größte Gefahr?)
Peter Pedrero
48:48
Getting blown off the cliff. I mean having a piece of a scaffolding fall on you. It doesn’t matter how much you tie everything down, it’s still very dangerous.
Paul Stephens
48:57
It’s dangerous getting from the vehicles into the Mead Hall. Once you are in the Mead Hall I’m sure it will be fine but…
Sturla Gunnarsson
49:05
Yeah, but you know remember what happened last time, we called it and then you know an hour later it was like it was just calm as could be.
Paul Stephens
49:12
OK, we’ll talk…
Sturla Gunnarsson
49:12
I mean there’s no financial gain for us pulling the plug.
Paul Stephens
49:16
Yeah, yeah, I just don’t want anybody hurt and I don’t want any you know this is a dangerous situation right now. Fahad seems to think it’s dying down.
Sturla Gunnarsson
49:23
It is dying down. I was here earlier this is like this is less than it was.
Paul Stephens
49:28
All right.
Sturla Gunnarsson
49:29
I mean I just say keep everybody safe, keep everything safe, keep everybody standing by, keep the cast in process. You know I can make this day in 6 hours if I have to.
Paul Stephens
49:40
All right. Mark’s on his way up here now. I’m gonna take Jason back down and then we’ll meet inside the Mead Hall and figure it out.
Sturla Gunnarsson
49:52
OK.
Paul Stephens
49:52
All right.
Jon Gustafsson
49:55
What does that mean for the production when you loose a day?
Paul Stephens
49:58
You mean in terms of money or?
Jon Gustafsson
50:00
Yeah.
Paul Stephens
50:01
Yeah, it’s about 70 thousand dollars.
Paul Stephens
50:08
I just don’t know how we can shoot in this. We can’t shoot in this. I mean it’s one thing to be in the Mead Hall but I don’t think you can get any equipment in there or any actors you know.
Paul Stephens
50:26
Holly shit!
Paul Stephens
50:37
Did that just shatter? It did, didn’t that? That window is shattered.
Jon Gustafsson
50:39
Yeah, yeah…
Paul Stephens
50:39
Well, if we need any further proof…
Sturla Gunnarsson
50:44
Fahad, wasn’t it you that told me a couple of months ago that autumn was the best time to shoot in Iceland?
Fahad Jabali
51:03
Yeah, but thinking in your terms you know the shittier is the better. It’s just a perfect time.
Sturla Gunnarsson
51:10
Yeah, it was available.
Joel Hay
51:13
Technicians are on kind of a holding pattern if the weather does break to go up and wait for something, not exactly sure what yet, but there it is. So, at the moment trying to go back on the days for the week as we’re rescheduling and information about the scenes and when, what, and where and how is coming from the production office. But for now you guys are done for the day, cast and hair, make up and wardrobe.
Narrator
51:40
Once again, the extras are sent home without having done any work. The weather forecast tells us that the storm will continue at least for another day.
Narrator
52:00
It was the kind of storm that blew cars and busses off roads and ripped roofs of houses. We lost 8 vehicles in that storm. It was the stormiest autumn in 60 years. Our cast and crew have become concerned. It was time to gather everybody for a meeting.
Paul Stephens
52:18
You know there’s a concern from all of us, from you and all of us about finishing and going home and so forth. And I think what we’ve done here is to try to address that with a new board that gets us out on November the 4th. 12 days of shooting left and we’re gonna try to make contingencies, so that we aren’t completely stuck up on the mountain.
Sturla Gunnarsson
52:51
Apart from loosing a few vehicles you know, nobody’s has been hurt and this thing seems to be passing us by and moving on. So you know we’re planning to shoot tomorrow what we intended to shoot today and what we intended to shoot yesterday but we’re confident that we will actually shoot it tomorrow. You know, I’ve been…
Narrator
53:13
Last night the storm finally died down, so today we made it back up to the mountain to film inside the Beer Hall.
Wendy Ord
53:26
OK, rehearsal, quiet.
Other
53:31
Get these people out of here right now!
Joel Hay
53:32
Guys, everyone here’s got to go to the front of the building!
Narrator
53:36
In the middle of the rehearsal of the big scene with about 40 extras in the house fire spreads from the fire pit into the foundation of the building. Luckily, one of our carpenters noticed the fire before it spread to the whole set.
Stellan Skarsgard
53:50
You’re getting your stuff, aren’t you?
Gerard Butler
53:57
You would win some journalism awards, some photography award, if you would risk your life and go in right now. And you know and if something goes wrong we’d probably salvage the camera and it would be great for the making of this movie. “Lost in La Mancha”.
Gunnar Eyjolfsson
54:39
Hrothgar, much loved king of the Danes, under Odin’s eye I blood you lucky on all paths that leave this hall…
Narrator
54:56
Today we finally managed to film the scene where Hrothgar is bloodied lucky.
Stellan Skarsgard
55:06
May all those who cross these steps find a happy heart.
Narrator
55:10
With only 10 days of filming left, all we could hope was that our luck was changing and we could get the filming done before Icelandic winter set in.
Narrator
55:26
But there was no way escaping it. Winter was here.
Jon Gustafsson
55:32
So, how does the snow affect you?
Sturla Gunnarsson
55:35
Well, we finished our last daytime exterior yesterday – snow today. Odin gives and Odin takes away. I don’t think Odin speaks to the money gods though.
Jon Gustafsson
55:52
I have to ask you about that Pagan blessing. Was it a blessing?
Sturla Gunnarsson
55:58
Hilmar’s blessing? Before we started the production?
Jon Gustafsson
55:58
Yeah.
Sturla Gunnarsson
56:00
Yes of course. You know we’ve had weather that really served the story. We had 2 accidents, 2 motor vehicle accidents and nobody died in either of them. I mean we could have suffered a lot of tragedy on this film and I shouldn’t you know even say that because Iceland has made me superstitious, so hopefully we won’t suffer any tragedy.
Other
56:28
Can you tell me the weather forecast?
Kristie Sills
56:32
Hmm… The weather forecast. It’s bad all day today, winds increasing this evening 5 to 10 meters per second and lots of rain. Tomorrow winds a bit less than 5 to 10 and still lots of rain.
Other
56:43
Thank you, Kristie.
Kristie Sills
56:48
No problem.
Narrator
56:54
The weather has pounded us all this week. I’ve begun to worry about Sturla’s health and everyone else’s for that matter.
Narrator
57:39
We now have 4 days of filming left and once again some of the crewmembers who haven’t been paid are threatening to leave.
Eric Jordan
57:50
Thank you for another long hard day of fighting the weather and fighting so many things but it’s looking fantastic and really… could you turn that off please?
Narrator
58:04
My camera has become too intrusive. Paul Stephens takes me for a drive up the mountain to explain the situation.
Paul Stephens
58:11
We are 2 days away from finishing the shooting and we still have not closed the bank. The banking has not closed and we’ve been working on this solidly pretty well for probably 12 weeks and… So, it’s been extremely difficult because people have worked for without pay in some cases and deferred their payments and it’s often difficult to get people to work when they are not being paid and why should they work when they are not being paid. So, today they’ve been pretty good but they’re at the end of their tether as well. They want to be paid, they want to see some, before they go home they want to see some money and we’re still working on it.
Sturla Gunnarsson
59:12
I would like to apologize on behalf of myself as a producer for the difficulties that we’ve had and for the assumptions that have been made. We appreciate all the sacrifice and all the giving that’s been received even if sometimes people haven’t expressed that. So, I’m expressing that on all our behalf right now. And also as the director I’d just also like to assure everybody that I have worked with this producing team before and they are not in a habit of leaving behind bad debts. They’ve produced films for over 20 years in many, many countries and they’ve paid their bills. Leaving that aside, just once gain I just want to thank you all very, very much for getting us where we are and hopefully through to the end for the next few days.
Paul Stephens
01:00:12
The fact that we’re here, the fact that we’re at this stage, the fact that we’re almost finished is just a miracle. It’s a miracle.
Andrew Rai Berzins
01:00:28
And these guys have survived unbelievable things. I mean talk about acts of god they’ve had pretty much everything except for the local volcano going active or let’s say an earthquake.
Narrator
01:00:49
Early this morning a nearby volcano erupted. Once again reminding us how small we are in the big scheme of things.
Gerard Butler
01:00:57
I’ve got to go to work.
Tony Curran
01:01:00
The end is near and so we face the final curtain.
Narrator
01:01:05
Two days ago we received a phone call from the film laboratory in Toronto. It turned out that October 20th the day that the set caught fire had been more dramatic than we thought. 6 rolls of film were mysteriously damaged somewhere in the process and no one could figure out how or why that happened. Now we have to add a day to shoot half of that scene again. On top of that Stellan Skarsgard had to be flown in from Sweden and Icelandic actor Gunnar Eyjólfsson had to be flown in from a Mediterranean vacation where he had cut his hair and shaved off his beard.
Daniel Parker
01:01:42
So much for the Viking blessing, hah? I think that’s a Viking curse we got. Yeah, I know it’s great. All we got to do is to have the volcano behind us exploding and then we as I say it, I could see it now it’s happening, isn’t it? That red glow behind me.
Gerard Butler
01:01:57
Look, we’re 2 days before the end and it’s starting to feel like it was a blessing but you know we’ve had 3 pretty serious injuries on this movie. We’ve had many people fired for indiscretions.
(Wir sind nur 2 Tage vor Drehende und man könnte denken es war eine Segnung… aber weißt Du, wir hatten drei ziemlich ernsthafte Verletzungen am Set. Und viele Leute wurden für taktloses Benehmen gefeuert.)
Daniel Parker
01:02:08
The devil is obviously taking enormous interest in this film and it’s been playing with us.
Sturla Gunnarsson
01:02:14
We haven’t had an earthquake yet. Volcano’s good though. We haven’t had an earthquake and there are still no frogs falling from the sky. So, this we have to be thankful for.
Sturla Gunnarsson
01:02:36
I don’t know, maybe we should never bloodied that ram over there, do you think Stellan?
Stellan Skarsgard
01:02:40
Huh?
Sturla Gunnarsson
01:02:41
Do you think that’s what brought all of this shit on us? Blooding that ram? No…
Stellan Skarsgard
01:02:45
You’ve been so lucky.
Sturla Gunnarsson
01:02:47
We have been lucky.
Stellan Skarsgard
01:02:51
You’ve been so lucky Sturla. Any normal person wouldn’t have a film at all, right now.
Gerard Butler
01:02:55
Yeah, still be on day 3.
Narrator
01:03:02
The last day of the shoot is finally here. But as it often the case it seems to go on forever and ever.
Sindri Kjartansson
01:03:08
Nobody’s working overtime tonight. It’s 1PM and not a single shot yet. It’s all pretty fucked up. We’ll be here till Christmas.
Erik Hirt
01:03:17
Fantastic. The premiere will be in 2007. Ok, so I’ll just go home. Have to write some invoices. Many invoices actually.
Sindri Kjartansson
01:03:36
The question is, will they get paid?
Erik Hirt
01:03:41
If not, then I’ll just keep this vehicle.
Gerard Butler
01:04:10
This is quickly catching up to the day in the see with the eels. It’s fucking cold. What’s the temperature outside?
Other
01:04:19
I have no idea. I don’t even wanna know. It’s not as cold as Canada that’s all I know.
Gerard Butler
01:04:24
Is it, is it zero?
Other
01:04:26
No, definitely not zero.
Narrator
01:04:31
Much to our delight, the accountant arrives with our money.
Sturla Gunnarsson
01:04:43
Action!
Narrator
01:04:46
And the smile seems to be back on Sturla’s face as he shouts: “Action” for the last time.
Wendy Ord
01:05:07
Do we have a clean gate?
Wendy Ord
01:05:10
Clean gate.
Sturla Gunnarsson
01:05:12
OK, well, talk about finishing strong. That ladies and gentlemen is a wrap!
Gerard Butler
01:05:30
Oh, here’s the speech. I forgot, I forgot, I wrote a speech.
Sturla Gunnarsson
01:05:38
Ten centimeters of snow at our set the day we wrapped.
Jan Kiesser
01:05:43
Yes, our timing was impeccable.
Sturla Gunnarsson
01:05:44
Now you see, the last film we made we had 3 feet of snow 2 days before we wrapped and we couldn’t actually finish the picture until 6 months later. So, Odin was with us, Hilmar’s blessing worked.
Jon Gustafsson
01:05:59
Any last words?
Gerard Butler
01:06:03
Thank fuck. No you know I wanted to, I kind of wanted to say something at the end but I hate making speeches cause I don’t think anybody ever wants to listen but just the way I feel about this production you know, I’ve never seen people give as much blood, sweat and just go through so much shit. But I feel us all so, we’ve been trying to make something that is an extreme vision, you know with these locations and this weather and this story and what it involved. And you know and it’s driven people crazy but I can’t help thinking that when we see the final movie we’ll go you know, that’s why we suffered, that’s why we worked so hard. But if I’d said that everybody would’ve probably said shut off and fuck off, so I didn’t say anything.
Sturla Gunnarsson
01:07:14
Stuff…
Sturla Gunnarsson
01:07:21
I mean I just can’t think of anything more boring than sort of being in the studio shooting something exactly the way you plan to shoot it. Where’s the joy in that?
Steve Gravestock
01:07:45
My name is Steve Gravestock. I’m a programmer for the Toronto International Film Festival. And it’s my extraordinary pleasure to welcome you to the world premiere of Sturla Gunnarson’s “Beowulf and Grendel”.
Steve Gravestock
01:08:04
This is a large-scale epic about war and vengeance beautifully written and directed and featuring extraordinary performances by a stellar, international cast. Please join me in welcoming one of the Canada’s most celebrated directors Mr. Sturla Gunnarson.
Sturla Gunnarsson
01:08:30
Wow.
Paul Stephens
01:08:36
You know it’s kind of a dream for me and not a nightmare. The whole experience was kind of… you know you hear the wind in your dreams and you see those images and the people we worked with. It was a kind of lovely dream. I mean there were some horrible moments, but you know would I trade it? No… It’s a great, it was a great experience.
Paul Stephens
01:09:26
Was it worth it? Financially? No. But I don’t think that… I’m not sure that that’s completely a valid thing. I think that the experience of telling stories is worth it.
Michael Cowan
01:09:42
So no one’s made any money. Will somebody make money? I don’t think so in near future. However the film was made.
Eric Jordan
01:09:49
The film is making money for a lot of people. How you define whether a film makes money or not is… perhaps you know long court cases have been fought over that. The film is making money for people.
Paul Stephens
01:10:05
The monetary value of stories I’m not sure what that is. I mean you know it’s… people told stories before there was money you know and they will continue to tell stories.
Gerard Butler
01:10:15
Hey everybody! This is our director by the way. This is Mr. Sturla Gunnarsson who directed the movie.
Paul Stephens
01:10:22
I think that’s why we are here is to retell that story around the campfire.
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