:11:03
They had to be prepared.
They had to have their ideas.
:11:07
If they wanted to say something,
I'd say ''Let's try that, or do this. ''
:11:12
It was a loose feeling.
:11:14
All I had to do was start them and
say go, because we did the improvs.
:11:19
They got that movement
that just feels real.
:11:23
That was so important to me
because I knew from early on. . .
:11:27
. . .I would shoot this in
a quasi-documentary style.
:11:31
It was a little frustrating to my
ADs because I wouldn't rehearse.
:11:35
I wouldn't rehearse
for the camera department.
:11:39
I'd say, ''You have to hit this.
Get in focus. ''
:11:42
Denis Lenoir, my French
cinematographer, did a fantastic job.
:11:52
This story hadn't been told, partly
because it was physically difficult.
:11:57
Raffaella De Laurentiis is the genius
that put all the people together.
:12:03
It wasn't a set.
They built the Ghetto.
:12:06
They built acres of buildings
and cobblestone streets.
:12:10
-Like they were there for centuries.
-It had to be designed.
:12:15
The technical drawings.
And was it feasible?
:12:18
I came up with the idea of not
building where Raffaella wanted.
:12:22
I wanted to build it in Bratislava.
:12:25
It was created for the movie. . .
:12:28
. . .because the Ghetto
wasn't this layout.
:12:31
We took one and a half months
to draw the proper building drawings.
:12:36
And it took three months to build,
paint and dress the set.
:12:41
It was an extraordinary set.
It was living. It was vital.
:12:45
You saw children marching.
:12:48
They have no idea even, really,
that they're making a film.
:12:52
And that innocence. . .
:12:55
. . .of them being oblivious to what
they're doing, where they're led. . .