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INGLORIOUS BASTERDS

Chapter Five - Filming
"We shot in these extraordinary stages that have all this history,” Bender says of the studio where METROPOLIS and THE BLUE ANGEL were filmed. "The films of Hitler's period shot there as well, so it has a weird, interesting energy. We're shooting right where Goebbels shot his movies.” 

The "men on the mission” find themselves brutally re-routed when a story about scalping fascists ultimately dovetails into an international espionage plot to take down The Third Reich. This shift takes place in the intense "La Louisiane” sequence. The actors occupied the tiny space for three weeks after two and a half weeks of rehearsals. 

Everyone knew that sequence would be memorable. Tarantino says, "The ‘La Louisiane' scene is like a reduced version of RESERVOIR DOGS, but with Nazis and Germans, but instead of that warehouse, they're in a basement bar.” He knew rehearsing the sequence was the best way to be ready when the cameras were ready to roll.

"By the time we got to shoot the scene, it felt like we were in a play,” Kruger remembers. "I knew my lines. I dreamt about my lines. I could have said them in my sleep. Everything was in place. One of the things that makes Quentin a great director is that even when you're just in the background, he watches you. You know you can't get away with anything, and you don't want to because you know as an actor he appreciates what you're doing. You know he sees everything. You never as an actor feel underestimated or not appreciated.”

"‘La Louisiane' is hopefully going to be one of the biggest scenes of the movie,” says Kruger. "It's when Brad and my storyline really takes off. You've seen him, and you've followed Shosanna, and you know what she's planning, and then ‘La Louisiane' makes the movie all come together. You know the master plan, but it falls apart and we have to come up with Plan B.” 

B.J. Novak recounts, "Maybe the coolest night for me filming we shot in this truck, a scene where Brad and I were kidnapped, in handcuffs with bags over our heads. It was just an establishing shot. I showed up and all I had to do was be handcuffed and have this bag over my head. Brad Pitt is there in his white tuxedo jacket, and Quentin Tarantino, my all time hero is there behind the camera, and I realized there's no way I can mess this up. I have a bag over my head, I'm handcuffed, I have no lines, there's nothing I can do to mess this scene up. I just kinda looked around between every take and just marveled at my good luck. It was the most glamorous thing. I mean not only Brad Pitt, but like in a white tuxedo, and a moustache, and an accent, hamming it up and absolutely convincing, and taking you back to the 40's. It was the most transformative film experience that I couldn't mess up. I kept thinking ‘I can't believe I'm here.'”

Much of the film's final sequence required the expertise of stunt coordinators Jeff Dashnaw and Bud Davis, who worked with 160 stunt people from throughout Europe. The team had one set at Babelsberg, then a second "burn” set that was in an abandoned cement factory that was literally charred. Well over one hundred stunt people were "running” out of a burning building in a mass exodus, crowding and stepping over each other.

Quentin always said "the less, VFX the better.” So they turned to a pro stunt coordinator, Jeff Dashnaw. He explains, "I'd like to say I don't get nervous about fire, but fire to me is the ultimate danger in our business because, as far as I'm concerned, there's not a small accident when you're working with fire. If there's an accident, it's a big accident.”

Omar and Eli actually shot their own stunts in the sequence. "Quentin wants everything to look and feel and be as real as possible” says Eli. "When you see fire, that is fire. He wants it to feel organic. I think that's part of what makes the film work. It takes

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