00:07Eu não tinha ouvido o livro, e Dino me falou e disse,
00:13você sabe sobre esse livro? E eu disse, não, eu não tinha ouvido.
00:16E eu pensei que ele disse, Dune, em vez de Dune.
00:19E então eu leí, e eu tive uma reunião com Dino, e eu gostei de ele.
00:27Eu não sabia se eu gostei dele.
00:29E eu gostei do livro, e então nós começamos a trabalhar juntos.
00:34Mas sua filha, Rafaela, era o produtor, e ela foi fantástica,
00:40e ela fez um ótimo trabalho de fazer uma grande máquina.
00:46Nós, no momento, 1,700 pessoas no dia,
00:52construindo e fazendo all sorts de coisas.
00:54É muito estranho para mim, porque os jumpsos de Eraserhead,
00:59de Elephant Man, de Dune, são grandes leis.
01:03Mas Dune foi um filme que tomou muito dinheiro,
01:08e então eu nunca vi esse dinheiro,
01:12e eu só tratava isso como uma normal imagem.
01:16E então, 3 1⁄2 anos para fazer isso,
01:19trabalhando seis dias a semana,
01:21mas ainda o processo de fazer o filme é o mesmo,
01:25e então eu gostei do filme,
01:29e então eu gostei do filme.
01:30Eu não vi as ficas,
01:32e Dune é um estranho,
01:35porque tem outras coisas,
01:37que tem outras coisas,
01:38que tem outras coisas no nome do filme.
01:39It's not what you would call just a space hardware science fiction picture.
01:54When you sort of try to tune into the material, you sort of feel what this essence is.
01:59And in Dune, some things could fall away, and I still felt that it was still saying Dune.
02:05And other things had to stay because if they went away, it wouldn't say Dune.
02:09And so I just tried to tune into the material and be true to the book
02:14and get it down to a realistic length.
02:19It took a long time.
02:20It was a year and a half working on the script
02:23and then many, many rewrites in the middle of shooting
02:27to make things more understandable.
02:30And I was always finding these little pieces of this puzzle
02:36suddenly I'd realized some part was, you know, missing and have to fix something.
02:50We went everywhere trying to find these people that would be these characters.
02:55and it didn't matter if they had names or if they were totally unknown.
03:01We kind of were able to find them here and there
03:05and find unknowns or people with names.
03:14It's hard to find someone who has certain qualities in one person,
03:22and those qualities are a quality of innocence,
03:27a quality of strength that could go into leadership,
03:33a quality of intelligence in the eyes and a sort of a spiritual quality on top of that.
03:40And it sounds like there would be many people that, you know, maybe could do this,
03:45but we never found it all in one person that way.
03:50Everybody in the film working with him said that Kyle is a natural
03:56and he is a very good actor and they respected him a lot
04:01because of his attitude and his seriousness about the whole thing.
04:09He'd never even seen a camera before and we did a screen test.
04:13It was the first time he'd ever been in front of a camera.
04:23I didn't want Sting because he was a rock star.
04:27And then I saw him in a film called Brimstone and Treacle,
04:30which I don't think has come to France, but it's a British picture.
04:34And I saw him and I saw this, I said, he's got to be, he's perfect for this character.
04:41And now in many places in the world, people think Sting is almost the star of Dune
04:46because during the time of Dune, he became a superstar.
04:50And now everybody puts pictures out with him, but then they become crazy
04:54because he's only got a small part in the picture.
04:57But he does a great job and he was super to work with, but he is, he's not the star
05:03of Dune.
05:05I felt in Mexico City that I was in a strange world and I was in a foreign, you know,
05:10place.
05:11And when I'd finished shooting at night, I'd come home, but I was still never in a normal world.
05:18And it was a dream city. It was a romantic city and it had strange architecture.
05:24It had this mood to it and it helped me a lot, always staying in this mood of Dune.
05:52David Page of Toto came down to Mexico and I talked with him.
05:56And when you're sitting with someone talking to them, you start seeing things.
06:02And in David Page, I saw lots and lots of music that, that he wanted to make that wasn't like
06:12Toto's music.
06:13And he's, he's, he's really a genius. He's got tremendous talent, musical talent that is never used.
06:23And, and many musicians I know are like this. They, they get into one sort of thing, but inside them
06:29is, is other things that, that wants to come out. And so he did, he got a chance to do,
06:34you know,
06:35lots of different things. And then Brian Eno wrote a beautiful piece.
06:58So many of the scenes were, uh, involved special effects, optical effects, and those sequences
07:03were storyboarded. But I hate storyboards because once you draw them, you, uh, they want you to be
07:10locked into them. And you take them all apart and you, uh, now start, you know, directing,
07:17uh, pieces of a picture. And then the, at the very end, all these pieces are supposed to,
07:22you know, fit together. But it's very frustrating because maybe somewhere in the middle you want
07:27to change, uh, some of these pieces. And I was lucky, really, because, uh, a lot of, you
07:33know, experts, you know, were, you know, with me. And they would say, yes, you can do this.
07:38We'll make it work and you can change this and we'll make it work. But, um, if they hadn't
07:42been there, I might've been locked into these things and, and there's no room for change.
07:47And I, I like, uh, to, uh, plan things, but when you're working, suddenly you get a new
07:53idea. It's good to be able to, uh, to do it or you become, uh, crazy.
08:22So, thank you so much.
08:22Obrigado.
