: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. . .
:13:00
. . .was the innocence and naiveté
of the children. . .
:13:04
. . .being lead happily almost,
to their death.
:13:08
Dr. Korczak. Why are you here?
You're exempt from this order.
:13:12
-What about the children?
-The children must board.
:13:17
Then I will do as well.
:13:19
Action!
:13:20
There's nothing to indicate that
it isn't 1 939 in here. . .
:13:24
. . .including the way I'm dressed.
:13:27
When you do a period film,
costumes give you your period.
:13:31
Along with production design
and set dressing.
:13:34
They're very important.
:13:38
But we want them to look real,
not like costumes.
:13:40
It's sometimes harder to accomplish
than anything.
:13:44
Every cobblestone you see,
which we built. . .
:13:47
. . .300 meters long, four stories high,
was laid by hand.
:13:51
There aren't a lot of cobblestones
in most places.
:13:55
It's important for me.
We worked under a tight budget.
:13:59
We had 73 or 74 days
to shoot the film.