Iron.Giant.Making.Eng.srt (DOWNLOAD SUBTITLES)
Ever hear of Sputnik?
Yeah. It's the first satellite in space.
Foreign satellite, Hogarth.
In an age of fear...
Suddenly, without warning...
Atomic holocaust!
...it came from outer space.
Two nights ago, sat com radar detected an unidentified object...
...entering Earth's atmosphere.
Wait! The lighthouse!
I see it!
Invaders from Mars!
Some assumed it was a large meteor or a downed satellite.
This is no meteor, gentlemen.
Mr. President, we have a situation, sir.
All right, where is it?
There it is. I see it!
Run, kid! Run!
Warner Bros. Is proud to present...
Look out for the cow!
...a wild new adventure...
All systems go! Blast off!
...with a young boy...
My own giant robot.
I am now the luckiest kid in America!
...and a robot from outer space.
Hey, big metal guy! I got food here for you!
Starring the voices of Jennifer Aniston as Annie Hughes...
- Hogarth? - Mom!
- A little privacy?! - Sorry!
...Harry Connick Jr. as beatnik Dean McCoppin...
We don't stick up for the kooks, who will?
...Eli Marienthal as young Hogarth Hughes...
...and Vin Diesel as the Iron Giant.
Hogarth.
The acclaimed animation director...
...from The Simpsons, Family Dog and King of the Hill...
...Brad Bird.
You kind of, like, instantly, lunge into this.
Join us as we spend the next half hour with our host, the Giant himself...
...Vin Diesel.
...as we go behind the scenes with the cast and crew...
...of this summer's coolest, most original and entertaining...
...animated science-fiction adventure.
Welcome to The Making of The Iron Giant.
Welcome to The Making of The Iron Giant.
I'm Vin Diesel...
...and I hope that you'll spend the next half hour with me...
...so I can show you one of the coolest projects...
...that I've ever been involved with:
The Iron Giant.
What happens when Brad Bird...
...who helped with The Simpsons, Family Dog and The Critic...
...wants to make a movie based on a completely original classic tale...
...from a 30-year-old book?
I'll tell you what happens.
You get magic.
I had seen a drawing at Warner Bros. Open house.
Something about the image of a very small boy...
...and a big metal man that stuck with me.
When I read the Ted Hughes book, I liked it very much.
Our troubles are over.
The thing that I pitched to Warner Bros. Was, "What if a gun had a soul?"
They looked at each other and went:
"Oh! " Like that could be a good basis for a movie.
It's really moving...
...and they just have this wonderful relationship.
The mom and kid have a really wonderful relationship.
This is Hogarth Hughes. Who's calling?
Hogarth, honey...
...I'm really sorry, but...
Thank you!
I need to work late tonight.
It's just the two of them.
A lot of kids grew up that way. I grew up that way.
And then this wonderful sort of story takes place.
Over here, honey!
Hey, Mom, you won't believe our good luck! Guess what I found?
Hogarth, we've been through this before. No pets!
A lot of credit goes to Jennifer Aniston for doing a terrific voice.
And certainly, no one thinks of her...
...when they think of the all-American mom.
It was a time in America...
...where this sort of innocence...
...pre-World War II innocence was hand in hand with...
...post-World War II paranoia.
You mean national security?
Let's put it this way.
People wanna know their government has a response.
I am that response.
It was a good environment to drop a giant robot into.
This story is set in 1957, Rockwell, Maine.
A local fisherman comes into a diner with a tall tale...
...that defies reality to everyone, except Hogarth Hughes...
...who's about to set out on an adventure and meets a very...
...very big friend.
When I say this cat is big...
...I mean, this is one big brother.
Do you dig?
His whole world is a fantasy...
...which is really great.
So when this giant comes along...
...it's sort of fulfilling his fantasy.
There's a moment where he can slip out and get free...
...of this 50-foot tall, very scary thing.
He's home free, he's halfway through the woods, and he stops.
And he's hearing the robot in pain.
He doesn't hear it as a mechanical sound, he hears it as a being.
And he stops and he looks back...
...and that's really the beginning of the core of the movie, right there.
He just comes crashing down in their forest one day...
...and he saves his life.
And that's sort of where the friendship begins.
So I guess you're not gonna hurt me, huh?
I play a character that I wouldn't...
Anyone that knows me, knows that I'd be attracted to.
The misunderstood character...
...whose strength is the bane of his existence.
It's okay! He isn't gonna hurt me!
Don't squash him! No! Don't!
We like Dean.
Dean.
You just completely fall in love with this creature.
You are riveted and moved by the relationship.
Get it?
Rock. Tree.
That's right!
One of the most important steps...
...in bringing The Iron Giant to the screen...
...was recording our voices in character.
And that's not always as easy as it looks.
Rock.
Good, except we've lost the question.
I know it ain't easy.
Hey, baby, we are cool!
Welcome to downtown Coolsville.
Population: Us.
Well, can you move Coolsville to some place less conspicuous?
Harry Connick... I mean, we needed a guy that sounds cool...
...and who sounds cooler than Harry Connick?
There's two kinds of metal in this yard:
Scrap and art.
What you currently have in your mouth is art!
Dean's a real laid-back guy.
He's sort of the token...
...50s hepcat, you know?
He's an artist. Everything is cool with him.
You're not gonna call my mom, are you?
She doesn't know I'm out.
Don't worry. It's not my style to report a guy to the authorities.
Hey, there, scout. Kent Mansley. I work for the government.
With that ego, he goes on this journey to find this thing.
He reports to this little town...
It's this Podunk town.
Biggest thing here is the homecoming queen.
Oh, my God!
He wants to make a name for himself, and the Iron Giant becomes that.
All I know is, we didn't build it...
...and that's reason enough to blow it to kingdom come!
He has to find out where the giant is, and the kid keeps hiding it from him.
Forgive me. I wanted you to learn something.
What can I learn from you?
You can learn this, Hogarth.
I can do anything I want, when I want...
...if I feel it's in the people's best interest.
The giant metal man, where is it?
I just wanna blow him up and save the world.
Become Kent Mansley, U.S. congressman.
Tell me again, Mansley...
...and this time, listen to yourself.
A giant metal monster.
Please, sir, I've got a feeling about this one.
When you first see him, he's so sneery.
Basically, he's a man who, when this Iron Giant is reported to him...
...is totally disbelieving.
Who wouldn't be, if somebody described something like that to you?
You realize how much hardware I've brought here?
You'll be chief inspector of subway toilets when I'm finished with you!
Pack up. I'll expect you in Washington to clear out your office.
He's unaware that he's designed like a wartime weapon.
Atomo!
No Atomo.
Take this!
Everybody's been conditioned to fear everything that's not American.
So when this thing comes from somewhere...
Get back!
...it has to be bad.
Sir, we must stop it at all costs.
Go to code red! Repeat! Code red!
He realizes that it's true, and goes to war against it.
Corporal, take your units south here.
I want flanking positions...
...and set up crossfire zones here, here and here.
Look out for the bus!
And when we return, we'll find out how our director, Brad Bird...
...assembled this brilliant team of animators...
...and computer-effects geniuses...
...to bring the cast of Iron Giant to life.
Here on the WB.
Welcome back to The Making of The Iron Giant.
You've seen how the actors breathe life into these characters.
Now let's look closer at this cool 50s-style world that they've created.
I was thinking the same thing. Mind-reader.
Darn. I seem to have left my keys in the lab.
This is the part that's completely foreign to me.
Let me introduce to you the masters behind every frame.
It's rare that a team comes together like this. It's the right timing...
...the right director, the right story...
...and it's nice to be part of it.
There was a lot more acting...
...and interpersonal stuff between the characters...
...rather than broad action pieces.
The film's producer, Allison Abbate...
...had no illusions about the challenges of The Iron Giant.
This was a cool 2-D movie with a CG character...
...where the CG character was one of the main characters.
It was about acting. It was using technology...
...but it was using it to make a character you had to love.
That's not bad.
Allison was able to urge us on...
...but do so in a way that was always supportive.
The fact that we pulled this film off with a very short schedule...
...with a smaller budget, without it feeling...
It feels like a big movie.
It's an amazing achievement, and I tip my hat to her.
First you start with the scripts.
And then, of course, storyboard artists flesh out sequences...
...and add to it and make it alive.
One of the more comedic scenes is where...
...Dean, who's the beatnik guy...
...has just realized he has a squirrel in his pants.
In some of these drawings here...
...these are from things that I did when I was acting it out.
I was kind of pulling on my face.
- Found your pet. - Where?
It's up my leg, man. Squirrel's in my pants.
I'm trying not to wig out.
Don't wig out.
Pretty much from here, the clean-up artists will get it.
I'm sorry, kid. I'd like to apologize to everyone in advance for this.
The design scene is based on what you've created in storyboarding.
It's basically set design, the backdrop upon which...
...the characters will act in front of.
When I finish the painting...
...it is composited into the computer.
And from there, it is digitally enhanced.
Trying to bring CG into animation is tricky.
It's hard to do well. I think we've done a good job of it.
Ideally, you don't want the audience to see...
...a big difference between...
...a computer-generated character and your traditional characters.
The Giant is moving in 3-D but is not painted in 3-D...
...so he doesn't look a lot different...
...than the 2-D characters...
...of Hogarth and his mom and Dean.
He really blends beautifully.
What was different on this show than most computer-generated work...
...is that we had the same artists who were designing the color...
...for Hogarth, Kent, Annie and Dean, designing the color...
...for the Giant, to bring the Giant into their world.
It's an amazing process...
...because you're working at 24 frames a second.
So the average of somebody doing work in a week is three seconds.
We gotta tell somebody.
You worry too much.
There's a section where Hogarth's playing in the lake with the Giant.
I'd storyboarded that sequence, and then I got it in animation.
It became personal to make it look great because I'd come up with it.
This is like my own little bit of film inside this film.
Come on in!
The water's great!
When you think of animation, the first thing you think of...
...is a bunch of people drawing and sketching.
The whole visual side.
But that's just part of the story.
Half the movie experience is sound.
Sound has a great deal of impact on how you perceive a film.
The music was done by Michael Kamen.
I think that Michael created a very unique score.
A little darker than what we normally associate with animation.
But dark in a way that the best fairy tales are dark.
It's like a Brothers Grimm kind of Old World...
...Eastern sound, and yet there's some contemporary aspects of it too.
We are now going to Michael's studio...
...which is an old theater.
Apparently, Laurence Olivier first appeared on stage...
...in this theater. Pretty cool.
It reminds me of, sort of, very classic storytelling...
...where somebody's going into the dark forest.
And it's a very sophisticated approach to the score.
What I'm suggesting to do with this is just...
I thought Michael did an amazing score.
The orchestra was the Czech Philharmonic...
...which is an amazing collection of musicians.
It was a really great process because he lives in Europe...
...and we felt strongly about getting Brad and him together...
...to combine their vision.
It's like some little gesture...
...of something stopping.
Don't stray too far from the TV, because when we come back...
...we're going deep into the Warner Bros. Classic-animation vault...
...to discover the roots of my character...
...The Iron Giant.
Rock. Tree.
Welcome back to The Making of The Iron Giant.
The film's director, Brad Bird...
...has a child-like enthusiasm...
...unrelenting energy, which I can attest to...
This will be...
This is Vin. It's what we hired him for.
...and an uncompromising quest for quality...
And nobody shoots till I give the word.
...all which make for a great filmmaker.
And all great filmmakers have their influences.
Something that's always separated Warner Bros. Animation from Disney...
...is a sort of fast...
...a little more street-level, something...
...a little more vital, a little more adult and harder-edged.
And I hope that feeling is in this movie.
- An unidentified flying object. - Unidentified?
Knowing you, Earl, I'd say it was either whiskey or beer.
As an adult who saw the movie, I found it fulfilling.
I would take my kids to see it because it was a great kids movie.
We've gotta help it!
I had such a wonderful time. I was completely riveted, I was emotional.
He's got a heart. He's got a soul. He's a great guy.
Hogarth.
They bring it out in each other.
So I think the message is, you gotta get past the outside.
You can fly?
You can fly!
Now you can understand why I'm so excited about this film.
You've seen all the elements that contribute to this masterpiece.
I've always wanted to be a part of the animation world.
The only way that I could do it was by lending my voice as an actor.
And that's why it was a dream come true for me to be the Iron Giant.
And after seeing the film...
...I realized how lucky I was to be a part of it.
You'll be able to see the film on August 6th.
Until then, we'll see you at the movies.