I'm Jochen Running.

I'm the director of Maleficent, Mistress Evil.

And today I'm here to do one scene breakdown off the dinners.

I remember the story of a baby, a baby cursed to sleep and never wake up.

Really?

Who would do such a terrible thing to an innocent child?

No.

There are many who prey on the innocent.

I'm sure your kind would agree.

You mean my kind?

She means humans.

There are fair is missing from the moors.

Time missing stolen by human poachers.

First I've heard of it.

Someone gave the order.

So this is a seven character dialogue marathon with all of them sitting.

These days were also some of my favorite days.

Because not only do I have Michelle Pfeiffer, I have Angelina Jolie have l founding have everybody there.

And usually when you do dialogue scenes like this, you tend to try and get the characters and the actors to move a little bit around.

And that's what makes a sitdown scene a little bit trickier.

Usually, when you do you know any dialogue scene, you have the two characters here and then you try and stay on one axis with the camera so that you get the feeling off them looking at each other.

It's like shooting a football match you know you want.

You don't want them to score in all in the same goal.

Less than say so.

When you add 1/3 character, you start to suddenly be very free on where to put the camera.

But at the same time, the audience needs to know what the character on camera is looking at.

So then you can add another four to this, and then you get our dinner.

Seem they are fair.

Is missing from the Moors.

Time missing stolen by human poachers.

First I've heard of it.

Someone gave the order.

There's a very good scene I feel in the movie called Casino Royale, where Daniel Craig and Mads Mikkelsen are playing poker, and they're also, like 78 people raise.

There's also all the other scenes from other movies that, you know, I sat down with and studied because they are very tricky on dhe technical, even though they might not seem like that at all.

Usually when I was shooting this scene with three cameras since the light sources in the middle of the table it allowed to do the DP and BAM to actually shoot in several directions at the same time.

So we were allowed to actually rig three or four cameras just in the middle of the table underneath their eye line so they could be looking over the camera talking to each other.

I could shoot basically a 360 you know, the whole crew just hit outside of the of the set.

As a filmmaker, you will also visually try to make it interesting.

You want underline certain moments in the story.

The scene is a very important scene in the film because it is the scene where we for the first time, see that Queen Ingrid has a hidden agenda.

You have done an admirable job going against your own nature to raise this child.

But now she will finally get the love of a real mother.

Everything that cleaning with says it's part of her plan.

She's pretending to be a little bit naive in order to lure Millicent out on thin ice.

She wants her to show her evil side at this moment in the sea, and Melissa isn't realizes that this is not necessarily just a pleasant you know, meet the parents dinner.

Obviously, Michelle Pfeiffer was a TTE.

The very, very top of my list for playing.

Winning with.

She's a one of very few that can go a head to head with Maleficent.

If I didn't know better, I'd say we're making a threat.

Well, do you?

Do I?

What I remember this was one of the first scenes that I was shot with her.

Of course, I've seen drawings of her costume and the, you know, the jewelry and a lot.

But there's something very, very special when she walks out on the set as cleaning with in full costume on in character blocking boys framing wise, I'm pushing in with a camera on the one, which is a very common technique in order to create the focus in the senior and for focusing in on quitting with putting her plan into life.

But subtle.

I want the audience to focus in on what you're saying and I want.

The old is the focus in normal isn't listening to cleaning with.

I don't want anything else to really be of importance in this scene, so I put them in the middle of the Schultz However, this character is a big part off winning wreaths plan Poor Jen Murray, who plays Garden in the back there.

We shot this scene over a week and she doesn't have any lines.

So for a week she was standing back there like that.

But she's in the scene That is very important for me.

If I liked having her out of folks like just as a reminder, you know that she's there.

There's a lot of special effects in this movie, and Angelina's wings are probably the most important for her because it's part of her acting's part of Angelina's acting and it's it's it's important that it's subtle.

We use the movement in her eyebrows.

Actually, when she was acting to trigger the wings, if there's a little bit of movement in the library, we would have like a thing going up, and that's really worked.

So that was a good little Templin toe.

Have you see the talents here?

It's always like some of the most tricky is things that this is all CG and you know you work on getting as photorealistic as possible.

So you see there's a shine in here.

There's a shine in the little, you know, in the little feathers.

And it needs to be the same black of her dress and but the little bit shiny er and then the focus of the wings need to be a little bit off compared to her eyes, you know, So that needs to match.

And they're each feather, you know, each feather is moving individually, actually, and you know, this takes a year to make on these wings are just tremendous, I feel, of course, when we're shooting this, there's no wings there.

So you have all the servants in the scene trying to serve her food on drinks and stuff like that.

So they also, you know, they can't be walking straight to the wings, so they have to pretend to go around the wings and do their thing.

Also, What I do like with her wings, is that they're kind of mirror in cleaning Rhys throne the talons here.

And so instead of, you know, instead of wings, she has her wings as well, you know.

So it becomes the two Thrones that these queens are sitting home.

Who would do such a terrible thing to an innocent child?

No, many who prey on general.

We spent hours discussing the color lips because I felt a little bit in the first film that they were too colorful on eso.

We were going a little bit back and forth, and I think we landed on a slightly cooler red.

So those are the things that you know needs to be discussed.

And it's very important because it's such a big and important feature.

Formal, efficient.

And then, of course, her eyes.

She's using lenses.

They're very, very hard to see through.

You basically get a television, I think, basically, just see the middle of your sight.

Her face.

It's a mix between prosthetics and CG, so these are all in camera.

So these are prosthetics.

And then the kind of pale hue that Millicent almost radiates that's applied in the in post election to give her that otherworldly.

You know, I feel there are many who prey on the innocent.

I'm sure your kind would agree what you mean my kind.

So here, you see, we're shooting the other characters in this scene.

This is Prince Philip.

This is the Queen Ingrid, you know.

So we're kind of covering the the king here, a picture of the characters that I really want the audience to focus on in the forefront off the shots and then framing the king a slightly further back amongst them Where?

But we feel like we're further away from the king, and we're closer to the main characters in the foreground.

What do you mean, my kind?

She means humans.

Eye lines are interesting.

When you have seven characters sitting around the table talking like this because you know you have Prince Philip on that side of the camera.

You have the king on that side.

You have Aurora on that side, and then you have maleficent on that side to looking camera left and two looking camera, right.

And when you're shooting this, you know, she will always be looking at, you know, whoever speaks or wherever she speaks to.

But then, in editing, they tried t create the geography in the room.

So you have the king looking at the queen.

And then I will use that eye line to cut to the Queen, looking at the king and then looking from the king to, for instance, Maleficent, She means humans.

This shot that long because there is a wide shot and you get to see some fantastic production designer Patrick did.

It was a 360 sets huge dining hall with built is on the sound stage at Pinewood Studios outside of London.

You know, you see the pillars built, and then the king and queen Thrones in the back there.

This guy is the etiquette expert, like a medieval.

You know, he knows how they ate and they ate.

And it was important for me to have, like this overflowing with food on the table like colorful.

And the only issue was medieval times that I didn't really have colorful food, you know, it was like potatoes or something about its ah, fantasy fairytale.

So it doesn't need to be absolutely real, but it was good to have him on also in etiquette.

When it comes to how they would say 1000 with the house servants would behave, How you know, how they put food on it and all that.

So he's in.

He's in several scenes in from this table is actually huge.

It measured almost 70 feet long, and at one point I came actually really, really close to putting the queen and the king on each side of the tables, you know, So you have them like that, and then they would be like that.

And then I put My Elif isn't in the middle next door or a you know.

But it just turned out to be like a shouting match basic because it was so far away from each other.

So I ended up putting them all at the end of the table.

And then, of course, putting between next to the King and then having her team team all stood on this side and then team Moore's on that side.

And then the King has kind of like the referee in the middle.

We actually went back and forth a lot, actually, in regards to what waas the instead color, and we ended up with it being read.

So you see personal.

You know, the general here being in red.

You see the king being in red.

The call's being in red, and that's part of the castle colors, and this is the sky outside the windows.

Here are it's dusk.

So that's why that still has a little bit of bloated.

And that's not blue skin that is actually a backdrop that we had painted.

Their fair is missing from the moors.

Time missing is someone here?

You see Prince Philip trying Thio breaks the ice a little bit because everybody in the room's kind of feeling that the conversation is going a little awkward.

And I think it was important for the scene also for me to create a little bit off lightness to it because it gets long and gets dark time missing is stolen by human poachers.

This is this is kind of funny.

You see these guys?

They're playing instruments.

It's kind of a bomb in the scene, but they can't be playing for real because you need the sound from the dialogue.

So they're just mining.

They're just pretending to be playing.

So that's what they did all week.

This magic hair that's also like hours and hours of meetings and visual effects Supervisor Gary Percentage decide in the color of this green the amount of its density, the movement.

It always baffled me how much actually goes into creating these effects because this is not in camera, so we have to design it from the from the bottom and that same time, also honoring the first film and you know the color of the magic in the first film.

Maleficent here is starting to put things together, and her instinct is to go full evil on the only one that to calm her down this Aurora.

So that's why I went closest possible.

I didn't want any of the other characters to really notice her fingers, having a little bit of green magic to them on the auroras, reading her godmother and trying to calm her down.

You know she's seeing where this is going.

L founding so amazing to work with, and every day, impressing me how she really held her own with Angelina Jolie in Michelle Pfeiffer in the room.

She's the only one left him.

Handle them Eliphas, since So, in a way, she is a very powerful character, this fighter, innocents and sweetness.

As a director.

You sit behind the monitor and you're listening in and you're watching what's being filled.

Especially also, since we're shooting 34 cameras, it's actually feels almost live, you know, they're making a live movie, so thes were very, very special place That was notes on the scene for Millicent, mistress of evil.