| Elite Fan
Joined: Feb 2003
Posts: 29,680
| Milo did a video commentary for the episode 'Distractions' found on the nbc.com site.
Screen caps can be found HERE and HERE.
Thanks to Ali and Lisa for making them!
Ella Ventic was kind enough to type out a transcript from the commentary:
Distractions Commentary Transcript, Part One
by ella_ventic
(main video: HRG says, “Previously, on Heroes…”)
Zachary Quinto: Was that Jack’s voice? Was that Jack?
Milo Ventimiglia: …Jack what?
Zachary Quinto: …that said “Previously, on Heroes.”
Milo Ventimiglia: I dunno. I heard one that Adrian did, one that Adrian did was pretty funny, ‘cause, like… it’s so fast…
Zachary Quinto (deep pretending-to-be-Adrian voice): “Previously...”
Milo Ventimiglia: No, it’s: “PreviouslyonHeroes.”
Zachary Quinto: (laughs)
Milo Ventimiglia: You know, Adrian’s so… intense.
(main video: Hiro explains about his mission)
The funny thing is the many voices of Masi.
Zachary Quinto: Yeah.
Milo Ventimiglia: (laughs) He’s got FutureHiro, he has Hiro-who-speaks-English, he has Japanese and scared Japanese, which is very (uses high and somewhat squeaky voice and says what I presume is an actual word of Japanese. Though I really wouldn’t know. So, um, let’s just say that yes, it was Japanese, and, you know, move on.)
Zachary Quinto (laughing): Yeah, yeah. Scared Japanese.
Milo Ventimiglia: Yeah.
Zachary Quinto: I like that woman that played the, uh, psychiatrist. She’s intense.
Milo Ventimiglia: I’ve seen her before. She’s very good.
(main video: Claude yells at Peter)
He was great.
Zachary Quinto: Yeah, he’s cool. Was that downtown?
Milo Ventimiglia: Yeah, it was all downtown. Uh… god, he’s just so natural with things. Like, the way he said…
Zachary Quinto: When he took the hat out of the, um, bobble-headed dog, and he was, like, looking at it, then he put it back? That was last week, though.
Milo Ventimiglia: Yeah.
(main video: henchscientist: “He’s dead.”)
Zachary Quinto: Dead.
Milo Ventimiglia (at the same time): He’s not dead.
Zachary Quinto (imitating on-screen noises): “K-chh, k-chh.”
Milo Ventimiglia: (off the SFX of the scarf getting pulled off the man’s neck) Oh, wow. So funny, how… (off the pretzel) whoa.
Zachary Quinto: That’s awesome, dude.
Milo Ventimiglia: How much they were trying to… I mean, how many times we did this just to get…
Zachary Quinto: All the timing right? How did they do it? With the scarf and stuff. Like, a string?
Milo Ventimiglia: Uh, yeah, a lot of it was practical.
Zachary Quinto: Right.
Milo Ventimiglia: You know? So it was, uh, you know, a string making the scarf off, pulling the thing off… (off the garment rack stopping) this was literally just a crack in the sidewalk where the thing got stuck and the guy couldn’t push it.
Zachary Quinto: Really?
Milo Ventimiglia: Yeah. That kind of came as a mistake, too, like, the guy tried to wheel past in one take, but he was going right towards us, and Chris just grabbed the thing,
Zachary Quinto: Huh.
Milo Ventimiglia: And Jeannot was like, (in French accent) “Let’s use it!” Funny.
Zachary Quinto (also imitating Jeannot Szwarc): “I love it!”
Milo Ventimiglia (as above): “I love it!”
Zachary Quinto : “Jeannot.”
Milo Ventimiglia : “With Milo!”
Zachary Quinto: (laughs)
Milo Ventimiglia: Great, great. Really nice guy.
Zachary Quinto: He was really fun, yeah, he was great.
Milo Ventimiglia: Yeah.
Zachary Quinto: So what about all the extras in this scene? I mean, they had to be more integrally… like, they were more involved in this stuff, right?
Milo Ventimiglia: There were, there were I think five or six extras that were, uh, stunt guys, I guess you could kinda call them?
Zachary Quinto: Uh-huh.
Milo Ventimiglia: And…
Zachary Quinto: That they planted them in the, in the rest of the crowd?
Milo Ventimiglia: Yeah, they planted them just walking through and they would intentionally bump you, and…
Zachary Quinto: Right.
Milo Ventimiglia: Yeah. The hard part was, they were kind of gunning for you. As quickly as they can. Like, they’re, they’re really going in a direction to hit you.
Zachary Quinto: Right.
(main video: the psychiatrist wants to talk to Jessica)
I love how, uh, I love how she’s just like, “bring it on,” the psychiatrist’s just like, “I want to meet Jessica, I want to meet Jessica,” and then she just gets it.
Milo Ventimiglia: Yeah, I know. Is this… this is the scene where she gets all torn up, right? …Oh, yeah, the taser’s just sitting on the table, too. (laughs) It’s funny, I was talking to Ali about doing all the incarcerated stuff, and how she was saying that she was kind of excited, like, not to wear make-up, not to do anything, you know, orange jumpsuit, and then now she’s especially “all right, I kind of want to get back into makeup…” (trails off into unintelligibility)
Zachary Quinto: She’s like, could do it up.
Milo Ventimiglia: She’s had enough. (to psychiatrist)
Yeah, just keep talking. Bring it on.
Zachary Quinto (creepily): Jessica...
Milo Ventimiglia: (laughs)
Zachary Quinto (still with the creepy): …I want to meet her…
I love the music, though, how there’s, like, piano music underscoring this… (main video: Niki transitions into Jessica) ooh.
Milo Ventimiglia: Ooh. (laughs appreciatively)
Zachary Quinto: She just showed up.
Milo Ventimiglia: You know what’s amazing? God, I wish I could rewind it. Is the moment that Niki breaks-- where Ali breaks and goes into Jessica.
Zachary Quinto: Yeah.
Milo Ventimiglia: Where it’s… (main video switches to HRG outside Sylar’s cell) so this right here then is recap.
Zachary Quinto: Yeah, this is back from eighteen, I mean… thirteen?
Milo Ventimiglia: So then it’s what, so a continuation…
Zachary Quinto: Yeah. Um…
Milo Ventimiglia: (unintelligible) the music, just the…
Zachary Quinto: Yeah, just how they underscore it so well, and they just echo what they’re talking about in the scene, you know?
Milo Ventimiglia: And the shunt, in the head.
(main video: HRG flies into the glass)
Zachary Quinto: See, that freaked me out so bad, I was standing right there when the stunt guy went off the air… he, it was on the air-compressed catapult…
Milo Ventimiglia: Air… yeah.
Zachary Quinto: …and it freaked me out. Every time.
Milo Ventimiglia: Okay, that’s pretty (unintelligible! Stop mumbling, Milo!)
Zachary Quinto: The shunt… yeah.
Milo Ventimiglia: The shunt.
Zachary Quinto: Dude, the shunt, took us… I mean, we were, we were into the shunt for a while, there were about three weeks, I think, that we had to glue it into the back of my head with Gafquat?
Milo Ventimiglia: Yeah.
Zachary Quinto: What do they call it? Gafquat, right? That, like, hair glue.
Milo Ventimiglia: Yeah, yeah, yeah, yeah.
Zachary Quinto: It was intense, it was, it was a lot… and then they didn’t end up even, like, in twelve, they did a lot more coverage of it…
Milo Ventimiglia: You didn’t see…
Zachary Quinto: Yeah, but you didn’t see it too much.
Milo Ventimiglia: (off Sylar finding HRG’s driver’s license) Giving away the address. That set was pretty wild, I was, uh, filming something in, uh, Nathan’s office the other day, and next door was this set,
Zachary Quinto: Yeah, yeah, this set’s rad.
Milo Ventimiglia: I’d never walked into, like, the detail, where there’s all those different doors, and they’re built to look much like steel doors…
Zachary Quinto: Yeah.
Milo Ventimiglia: I… it’s unbelievable, the concrete, the setup, everything.
Zachary Quinto: Yeah, no, that set was great. I mean, when, the first day I went in, the first day we had to shoot in there for eleven, I went in and sat in there for a little while, before they started setting it up and…
Milo Ventimiglia: Yeah.
Zachary Quinto: So cold, and so, um, just cavernous, you know?
(fade out)
---END PART ONE---
Distractions commentary transcript, part two
by ella_ventic
(main video: Simone talks to Isaac)
Zachary Quinto: I’ve never been on this set. The loft.
Milo Ventimiglia: It’s a good set, man. Got so much use out of it…
Zachary Quinto: I know, right?
Milo Ventimiglia: …spent tons of time there, caked in blood, getting thrown around… painting things…
Zachary Quinto: So much has happened there. It’s really an integral…
Milo Ventimiglia: Well, plus, I mean, this set, there’s… I mean, it was big enough to have the mural on the ground,
Zachary Quinto: Yeah, yeah…
Milo Ventimiglia: New York exploding, but also, there’s so many different… there’s so many different pieces to it. You know, you have, like, the main room…
Zachary Quinto: Yeah, layers, levels, right.
Milo Ventimiglia: Yeah, yeah, yeah, and then you have, back up in the corner you have a bed, then on the other side you have a workspace and everything.
Zachary Quinto (laughing): I love what they do when, when we’re seeing, like, an early cut of it and they haven’t done ADR yet?
Milo Ventimiglia: Oh, yeah.
Zachary Quinto: And, like, a random voice comes in?
Milo Ventimiglia: From the editors, like, trying to be, like, Sylar…
Zachary Quinto: And they’re like, (high, not-at-all-dramatic, apparently editor-y voice) “How do you know?”
Milo Ventimiglia: What was that one line you had, in the jail cell with me? “You don’t, you don’t…”
Zachary Quinto (now ultra-deep and Sylar-y): “You don’t know anything about power.”
Milo Ventimiglia: “… know anything about power.” It was just, it was like Dawn, or Mike: (ultra-nerdy, nasally voice): “You don’t know anything about power!”
Zachary Quinto: (laughs)
Milo Ventimiglia: God, how intregal all those, all those paintings are. (transcriber’s note: um, that’s a [sic]. Yes, he pronounced it “intregal.” This is, I think, the first time that my otherwise boundless love and adoration for Milo has taken a hit. Integral, dammit.)
Zachary Quinto: Tim Sale’s, like, you know, like an extra cast member.
Milo Ventimiglia: He really is.
Zachary Quinto: Seriously.
Milo Ventimiglia: I mean, and even doing a scene the other day, we were talking about… or, before we even walked on to the set, there was a painting of Peter… how he was supposed to be standing, what he was wearing and everything, and, like, before I, I didn’t get a chance to weigh in on that, just as an actor…
Zachary Quinto: Yeah. It’s done.
Milo Ventimiglia: Yeah, and I showed up, and it wasn’t what I was… had in my mind, but then it worked out so perfectly.
Zachary Quinto: Mm-hm.
Milo Ventimiglia: You know, like, how he was standing, the way he was… his clothes were skewed, the look on his face, even. God, what a sad relationship, the two of them, you know? It’s like, guy totally lost the girl, he goes on drugs (unintelligible, again, Milo, stop with the mumbly please) a lot of stuff, and trying to clear himself up and get back, and…
(main video: Claire asks her mom if she can skip school)
Zachary Quinto: I love the Bennets.
Milo Ventimiglia: (laughs)
Zachary Quinto: (also laughs) I really do.
Milo Ventimiglia: Mrs. Bennet and Mr. Muggles.
Zachary Quinto (laughing): Mr. Muggles is my…
Milo Ventimiglia: I liked his sweater last week.
Zachary Quinto: You liked the what?
Milo Ventimiglia: The sweater he was wearing last week.
Zachary Quinto: He was wearing a sweater?
Milo Ventimiglia: He was wearing a sweater.
Zachary Quinto: When?
Milo Ventimiglia: Uh, last episode.
Zachary Quinto (glimmer of recollection): Was it red? Was it red?
Milo Ventimiglia: Like, uh, yeah, something, I think, there was red in it.
I haven’t worked with Mr. Muggles.
Zachary Quinto: I worked with… well, you’ll see, I worked with Mr. Muggles in this episode. He’s a little temperamental. Now, his name is…
Milo Ventimiglia: Not as temperamental as that dog, though…
Zachary Quinto: What?
Milo Ventimiglia: I said not as temperamental as that dog in the parking lot.
Zachary Quinto: (laughs) That, no, that was a bit, I forgot… Uh, Mr. Muggles’s real name is Lestat.
Milo Ventimiglia: No way.
Zachary Quinto: Yeah. Or, the one… there’s more than one Mr. Muggles.
Milo Ventimiglia: There’s two, yeah. I’ve seen two.
Zachary Quinto: There’s two Mr. Muggles. But the one that I worked with is Lestat. He was good. He’s alright. We got along.
I was psyched when Jessalyn got the job as Claire’s mom. She’s quite good.
Milo Ventimiglia: And in that last episode, too, she’s like, has the cigarette, has the fingers…
Zachary Quinto: (makes flames-erupting whooshing noise)
Milo Ventimiglia: George Takei. (off the camera angle, looking out at the ocean) Wow.
Zachary Quinto: That’s awesome. They shot this in San Pedro, and, uh…
Milo Ventimiglia: I was, I was just about to say, like…
Zachary Quinto: Yeah.
Milo Ventimiglia: …this isn’t green screen, or is it, I don’t…
Zachary Quinto: No, it’s not green screen, that’s really the real ocean.
Milo Ventimiglia: Wow.
Zachary Quinto: Yeah, they were all really… I remember when we were shooting our stuff, later in this episode, Nate, the DP, brought in the, uh, he had it on his laptop and he was showing it, and they were all so excited about how this stuff turned out. ‘Cause it was all… they lit it so well, and, you know, it just, it worked out so well.
Milo Ventimiglia: Yeah.
Zachary Quinto: So crisp. Yeah.
Milo Ventimiglia: That’s the hardest play, I mean, you’ve got all your light sources coming in from there, it’s just going to blow everything out in one direction, but you turn around and you make sure…
Zachary Quinto: Yeah, yeah.
Milo Ventimiglia: It’s been pretty cool, too, to see the feel of each set, each character,
Zachary Quinto: And each story has, like, a different tone, like, different colors… it’s so cool to see how they execute it. So well done.
Milo Ventimiglia: Like, I always look at that nice, warm, golden glow on Suresh, and think, “Wow....”
Zachary Quinto: Mm-hm. (laughs) Oh, yeah. “You know, I kind of want that.”
Milo Ventimiglia: (laughs) “He’s got a warm friendly light around him. Why is Peter so cold and dark?”
(main video: Mr. Nakamura tells Hiro his destiny)
Not what Hiro wants to hear. That’s his sister.
Zachary Quinto: (deep Takei-esque voice) “Hiro.” Now, Masi speaks Japanese already, doesn’t he?
Milo Ventimiglia: Yeah. Masi was, uh, born in Japan,
Zachary Quinto: Right.
Milo Ventimiglia: But, uh, raised over here, and I know his mother goes back and forth, he goes back and forth…
Zachary Quinto: That is such a, uh, just such a… I don’t know, to have to do it and to do it so fluently, under pressure…
Milo Ventimiglia: Well, plus, too, look at James.
Zachary Quinto: Right.
Milo Ventimiglia: Like, I think James came into this series speaking, who plays Ando, speaking very little Japanese. So he’s learning Japanese as he’s going, and…
Zachary Quinto: Doing it so well.
Milo Ventimiglia: I mean, doing, doing an amazing job, like, to be able to react, and… and have some kind of, uh, have some kind of emotion, or… anything. It’s… I don’t know, like, that really impresses me.
Zachary Quinto: Rip it up, Takei, rip it up! (Hiro’s father rips up the painting) Yes. They also had a bunch of different takes that Nate was showing us, with this stuff, that, like, you know, there were a couple where the thing wasn’t quite ripped, and, like, you know, it didn’t go right away…
Milo Ventimiglia: Yeah.
Zachary Quinto: It was really funny to see.
Milo Ventimiglia: I love, you know, there’s, like, another shot, it’s like, in a million little pieces, confetti.
(main video: Niki comes back to herself; the psychiatrist is unconscious and twitching in the corner)
Zachary Quinto: (gasps) Dude, is she just dead?
Milo Ventimiglia: She looked pretty dead. The… oh, yeah, she’s…
Zachary Quinto: Oh, dude!
Milo Ventimiglia: Look at all the burn marks.
Zachary Quinto: Oh, she tased her. (Broken Nose takes his baton to Niki’s face) Ohh… Broken Nose guy.
Milo Ventimiglia: That’s gonna suck.
Zachary Quinto: Wait, so did she kill her, or did she just tase the hell out of her?
Milo Ventimiglia: I don’t know, man, she looked pretty dead. The angle of the arm…?
Zachary Quinto: Oh… she’s gonna have a hard time using that wrist again.
---END PART TWO---
Distractions commentary transcript, part three
by ella_ventic
(main video: Claude and Peter)
Zachary Quinto (laughing): I love how you guys are just, like, bumping into people. It’s just, like…
Milo Ventimiglia: You just hear all the bumps, too.
Zachary Quinto: (laughs)
Milo Ventimiglia: Wow. It’s pretty clever, too, the way they put all this together.
Such a cool revelation, too, with a lot of this stuff, to figure out what it is that holds Peter back from… getting control of all the abilities that, that he’s come across, like, the reason why he freaked out…
Zachary Quinto: Like, he’s just saying, like, your attachments to people, and…
Milo Ventimiglia: Yeah.
Zachary Quinto: …and your relationships…
Milo Ventimiglia: Yeah, like…
Zachary Quinto: Well, it’s interesting, ‘cause you’re such an empathetic character, but yet that’s almost what gets in your way, initially, from being able to hone in to that, right? I mean…
Milo Ventimiglia: Yeah. Mm-hm.
(long pause, in which Milo appears to say something, and Zach laughs, but there is no audio… after the laughing they both shoot a look to someone off-camera, too. Getting a little spoilery, there, Milo?)
Zachary Quinto: I really like Chris. He’s so good.
Milo Ventimiglia: Yeah. He’s so natural. Everything he does sounds, just, like, so conversational, you know?
Zachary Quinto: So… so he takes you to see Simone?
Milo Ventimiglia: Yeah.
Zachary Quinto: What’s going on… is this green screen?
Milo Ventimiglia: No.
Zachary Quinto: It’s not?
Milo Ventimiglia: That was the city.
Zachary Quinto: Huh.
Milo Ventimiglia: That… yeah. Kind of, kind of looked…
Zachary Quinto: It looked strange the way the people were walking by.
Milo Ventimiglia: No, that was, uh… that was all practical.
(main video: Isaac begins to paint)
Here come the eyes. I’m always impressed, too, like, the reveal of how, uh, they come up with, with, getting to the eyes.
Zachary Quinto: Yeah.
Milo Ventimiglia: Remember saying in one shot, I’m like, that’d be so cool, if you literally just, like, close your eyes and you open them and they’re there, but you’re seeing normal eyes before…
Zachary Quinto: Um…
Milo Ventimiglia: …like they just did. (laughs)
Zachary Quinto: Did they?
Milo Ventimiglia: I think.
Zachary Quinto: I was always, uh, I was really impressed because Santiago was really working with one of the painters and really painting some of this stuff.
Milo Ventimiglia: Oh, yeah.
Zachary Quinto: Mm-hm. It’s pretty cool.
Milo Ventimiglia: Like, a lot of them he was, he was actually going through, like, color detail and whatnot…
Zachary Quinto: Mm-hm.
Milo Ventimiglia: You know, and they just have stacks of those, and they would just go through, you know, and wipe the paint off, and…
(main video: Hiro pieces the painting back together)
Even torn up, it’s still so cool.
Zachary Quinto (reading the subtitles, in an English accent. Why? Search me. I think he thinks it sounds feminine?): “Please, father, let me speak with him.”
Milo Ventimiglia: That’s a great shot.
Zachary Quinto: Yeah, with the shadows?
Milo Ventimiglia: Yeah. What was up with the cologne reference?
Zachary Quinto: The what?
Milo Ventimiglia: The cologne reference. (gets it) Ohhh…
Zachary Quinto: Cologne?
Milo Ventimiglia: He just said, uh, Hiro just said to Ando, “Did you put cologne on?” and Ando didn’t say anything but I think it was because the sister…
Zachary Quinto: Oh, he’s got a crush on the sister, yeah.
Milo Ventimiglia: He’s got a thing for the sister, yeah.
Zachary Quinto: I love how they place the subtitles, like, all over the screen.
Milo Ventimiglia: Also, too, they keep them close to… they keep them closer to their faces so they’re not just, like, at the bottom of the screen…
Zachary Quinto: Yeah, they jump around. Right.
Milo Ventimiglia: …so you can actually watch and read. Unless you speak Japanese, you know…
Zachary Quinto: Then you don’t have to.
Milo Ventimiglia: Yeah.
Zachary Quinto: Like me.
Milo Ventimiglia: (laughs)
…Again, the many voices of Masi Oka.
That’s got to be frustrating for Hiro. All of a sudden it’s like his powers aren’t really there.
Zachary Quinto: To have them, and then they leave?
Milo Ventimiglia: Yeah. I mean, to have them at such a… a level, too. (off Hiro and Ando) God, (those) two little guys together are great.
Zachary Quinto: Yeah, they really are.
(Milo suddenly turns his head to look at Zach, who catches the look, and then breaks into laughter.)
Milo Ventimiglia: Zach and I have this problem when we work together, ‘cause we have, like, very intense scenes and moments where it’s really one line,
Zachary Quinto: But it’s only, like… there’s no action right away, it’s like, it’s like, Milo turns around and sees me and I say something to him, like…
Milo Ventimiglia: Very, very, very pr…
Zachary Quinto: “You don’t know what power is.” And then, then it’s just dead, and then we laugh.
Milo Ventimiglia: We wait.
Zachary Quinto: Yeah. And it’s not funny.
Milo Ventimiglia: But now we’re in a trailer park. Well, not we, but the act is.
Zachary Quinto: The proverbial, the corporate we.
Milo Ventimiglia: Yeah. (laughs)
Zachary Quinto: “We,” all of us together, are in the trailer park.
Milo Ventimiglia: In Odessa, Texas. (coughs) Santa Clarita.
Zachary Quinto: Santa Clarita.
(main video: Zach leaves)
Milo Ventimiglia: Dude, he’s not going to stick around? Oh. It’s kind of harsh just to leave her there.
Zachary Quinto: What if… yeah.
Milo Ventimiglia: What if she gets, like, attacked by windmills?
Zachary Quinto (laughing): I know, right.
Milo Ventimiglia: Pinwheels.
Zachary Quinto: (laughs) They got the… (audio cuts out. Zach says something off-camera, Milo looks askance at him and says something, Zach covers his mouth as he realizes that he shouldn’t have said whatever-it-is. Audio cuts back in on Milo laughing.)
Zachary Quinto: (timorous voice) I’m so nervous about what we’re allowed to say!
Milo Ventimiglia: (laughing…)
(main video: Claire meets Meredith)
Zachary Quinto: It’s a heart-felt moment. Boy.
Milo Ventimiglia: Uh-oh. Who’s going to speak first?
Zachary Quinto (whispers, imitating the actors on-screen): Jessalyn. Claire.
Milo Ventimiglia: That was inaudible. Was it…
Zachary Quinto: It was mouthed.
Milo Ventimiglia: Oh, god. She almost touched her, but…
Zachary Quinto: Oh, “I want to touch you, but not…”
Milo Ventimiglia: Go ahead, go, just do it… (main video: Meredith and Claire hug) there you go!
Zachary Quinto: (laughs)
Milo Ventimiglia: Happy of moments.
(main video: Sylar at the Bennets’)
Zachary Quinto: Uh-oh. Not happy moments.
Milo Ventimiglia: (squeaky talking-to-da-liddle-doggie voice) “Mr. Muggles, what’s up?”
Zachary Quinto: The dog kept looking at the, um…
Milo Ventimiglia: ‘Kay, I gotta say, those are nice boots, though.
Zachary Quinto: Oh, thanks! Thanks. They actually wanted me to continue wearing them in the future episodes and I opted for these (shows off his shoes) instead, which I regret, when, when we went to Montana… when we go to Montana and there’s snow everywhere and these got soaking wet, and I was supposed to be wearing boots, and then everybody in wardrobe was like, “Well, we told you!”
Milo Ventimiglia: Why didn’t you want to wear the boots? ???
Zachary Quinto: I don’t know, I just thought… I don’t know.
Milo Ventimiglia: Really?
Zachary Quinto: Yeah. I should have.
Milo Ventimiglia: You can… I mean, you could (mumble) get those at any time, though.
Zachary Quinto (talking over): (unintelligible) what? The boots?
Milo Ventimiglia: ‘Cause of course, Sylar would need a moment to go shopping.
Zachary Quinto: Yes, yes.
Milo Ventimiglia: ‘Cause he’s Sylar.
Zachary Quinto: Well, he can make boots out of the air. Out of nothing.
Milo Ventimiglia: Wait, what… who’s the guy that Sylar killed (audio BLEEP!s him), uh, things like (BLEEEEEP!)
Zachary Quinto: That hasn’t happened yet! That happens next week!
(Aaand it’s Milo’s turn to clap his hand to his mouth in an embarrassed fashion while the audio cuts out again for a couple lines.)
Zachary Quinto: The dog got really freaked out by some things, like when she screamed.
Milo Ventimiglia: That’s so eerie, your taking your hat off, old-fashioned? (laughs) The dog, too, is like… (makes pawing motions)
Zachary Quinto: That poor dog. It just wants to get away.
Milo Ventimiglia: …pushing your hand away when you grab his nose.
Zachary Quinto: And it got really freaked out by the camera tr… dollying back, I would have to… it’s a lot, whole other consideration when you’re working with a dog.
Milo Ventimiglia: Yeah.
Zachary Quinto: You know. It’s like, it’s like a whole other entity, to see…
Milo Ventimiglia: (just laughing…)
Zachary Quinto: Luckily, I have a dog, so I know how that works.
Milo Ventimiglia: Yeah.
Zachary Quinto: I know how to…
(fade out)
---END PART THREE---
Milo isn't in the fourth part, but here it is for those that wanted to read it:
Distractions commentary transcript, part four
by ella_ventic
(commentary video: Greg Grunberg is now sitting where Milo was before)
Zachary Quinto: (turns to Greg) So, Milo, when we… oh…
Greg Grunberg: Wait a minute, where’s Milo? Milo is “working.” That’s what he calls it. …Milo’s not that good on the show.
Zachary Quinto: (laughs)
(main video: Sylar at the Bennets’)
Listen to my fake Texas accent.
Greg Grunberg: I love this. I saw the commercial for this, it was the first time I’d actually seen it. (unintelligible)
Zachary Quinto: I just went to New Orleans for a second there.
Greg Grunberg: Did you? You’re all over the South.
Zachary Quinto: I am all over the South. (laughs)
Greg Grunberg: Yeah.
Zachary Quinto: On purpose. They put baby food on my shoelaces so Mr. Muggle would eat… Did I already say that? (trails off, mumbling)
Greg Grunberg: Did you study Hee-Haw to learn this accent?
Zachary Quinto: (laughs)
Greg Grunberg: ‘Cause it looks like, you’ve got that same twang, like you’re popping up in the corn. (in yokel accent) “Heyyy! How you doin’, Sandra?” (main video: Sylar asks about Claire.) Oooh.
Zachary Quinto: “Wanna meet her.”
Greg Grunberg: What I… but, honestly, what this… the creepiest thing in the world, for me, is that you’re not playing creepy. That is what’s so scary.
Zachary Quinto: I just am.
Greg Grunberg: You-- you just are!
Zachary Quinto: It’s true.
Greg Grunberg: You know, some people just have it.
Zachary Quinto: It just exudes from my pores.
Greg Grunberg: Yeah. Creep.
Zachary Quinto: Creepy.
Greg Grunberg: Yeah. …Mayonnaise exudes from my pores.
Zachary Quinto: (laughs) I can’t keep up with you, Grunny.
Greg Grunberg: Yes, you can.
All right, let’s talk about Ashley for a second.
Zachary Quinto: Okay. Let’s talk about her.
Greg Grunberg: How great is Ashley. And how weird is it,
Zachary Quinto: That she’s really married to Matt.
Greg Grunberg: Yeah.
Zachary Quinto: Yeah.
Greg Grunberg: That Ashley and Matt are married,
Zachary Quinto: Ashley and the Radioactive Man… real deal.
Greg Grunberg: Right. And we’re actually shooting a scene right now… (main video: HRG, trapped in Sylar’s cell) ooh, look at this.
Zachary Quinto: He’s pissed, dude.
Greg Grunberg: Wow. He’s not pissed enough that he fogged up the, the glass.
Zachary Quinto: No, he didn’t fog up the glass.
Greg Grunberg: No. You did that, when you were, “My name is…”
Zachary Quinto: Did I? It fogged up? No.
Greg Grunberg: Yeah, you sort of gave yourself that white dye… that, like, that filter.
Zachary Quinto: And after they cut it, I wrote my name in it. But they didn’t… they didn’t use it.
Greg Grunberg: Did you? (writes with his finger on imaginary glass) “My name is…”
Zachary Quinto (laughing): “Sylar.” Backwards… you had to write it backwards.
Greg Grunberg: “Who do I make this out to?” “This glass is going right up on the internet.”
(main video: Claire at Meredith’s)
Oh, boy. I haven’t met her yet.
Zachary Quinto: Jessalyn?
Greg Grunberg: Yeah.
Zachary Quinto: I met her before…
Greg Grunberg: You worked with her before?
Zachary Quinto: No, just met her.
Greg Grunberg: Really?
Zachary Quinto: Yeah, once. I think.
Greg Grunberg: At, like, a hot tub party, or something? Where’d you meet her?
Zachary Quinto: Yeah, you know, (audio cuts out as he names an establishment)
Greg Grunberg: Yes! On, uh,… (audio missing)
Zachary Quinto: …and… (audio once again missing)
Greg Grunberg: …yeah! You got my back there once!
Zachary Quinto: (cracks up)
Greg Grunberg (laughing): I remember that! That… is that place still there?
Zachary Quinto: Yeah, I don’t know, dude…
Greg Grunberg: Ooh, we’re talking about this, like, place in L.A., that’s like, uh, it’s a hot tub…
Zachary Quinto: You rent the hot tubs by the hour.
Greg Grunberg (laughing): Yeah, rent it by the hour! Wow.
Zachary Quinto: Yeah. We’re having… we’re having our wrap party there, aren’t we?
Greg Grunberg: My mom… my mom made a fortune there!
Zachary Quinto: Whoa, now.
Greg Grunberg: Stop.
Zachary Quinto: We’re having our wrap party there, I think.
Greg Grunberg (laughing): Are we having our wrap party there?
Zachary Quinto: Yeah.
Greg Grunberg: How come no one’s in Matt Parkman’s tub? (both guys laugh) Everyone’s in Hayden’s tub. Let’s see… so this room that we’re in right now, you, you’ve never even been in this room.
Zachary Quinto: I’ve never seen this room before.
Greg Grunberg: This is Primatech Paper, this is where I was taken, this is where you get the, uh, you know, the incision on the neck, (Zach makes stapling noises) and, uh, this is sort of the Primatech operating room, I would think. I guess it’s just
Zachary Quinto: It looks like a, sort of like the kitchen of a restaurant.
Greg Grunberg: Yes, it does!
Zachary Quinto: Like, over there.
Greg Grunberg: This is where Primatech, they operate on people,
Zachary Quinto: This is the cafeteria.
Greg Grunberg: …and do dishes.
Zachary Quinto: And make macaroni and cheese.
Greg Grunberg: (laughs)
Zachary Quinto: (opening a steel cabinet door behind his head) And bake bread in the oven.
Greg Grunberg: That’s right.
Zachary Quinto: That’s the oven.
Greg Grunberg: They have the best chocolate milk and brownies…
Zachary Quinto: At Primatech Paper.
Greg Grunberg: …at Primatech Paper.
Zachary Quinto: So true, man. So true.
Greg Grunberg: …This is a long scene.
Zachary Quinto: (laughs)
Greg Grunberg: Without any fire coming from her palms.
Zachary Quinto: We love it. Whoa, oh, oh, ready? …Oh, no, not yet. In a second, though. There’s gonna be some blood and then some fire. I already saw it. They gave me a sneak pre…
Greg Grunberg: You were privy to this?
Zachary Quinto: They gave me a sneak peek.
Greg Grunberg: They give you a sneak peek.
Zachary Quinto: Just right before you came in. I was here watching.
Greg Grunberg: I guess you have to be in the episodes to get a sneak peek. I…
Zachary Quinto: Are you not in this one?
Greg Grunberg: I don’t think I’m in this one.
Zachary Quinto: At all?
Greg Grunberg: No.
Zachary Quinto: Well, then, it’s… I don’t want to watch it any more. (starts to get up)
Greg Grunberg: No, exactly. No, it’ll… it’ll be very clear when the ratings come out.
Zachary Quinto: Yeah. Right?
Greg Grunberg: Exactly. No Parkman? (oushes imaginary remote button) “Honey?”
Zachary Quinto: Click! (and the audio cuts out on him again for a second)
Greg Grunberg: Oh, here we go.
Zachary Quinto: Oh, we’re not allowed to say that, am I. (no audio. Which means that he repeated the thing he knew he wasn’t allowed to say. Silly boy.) that’s fine.
Greg Grunberg: Yeah. (main video: Claire knifes her arm open) Ooh. Can you imagine how much money the guy is getting paid every time you hear (imitates the soundtrack wail)
Zachary Quinto: No songs!
Greg Grunberg: Could’ve been me. That’s not a song! Did somebody, did somebody call and…
Zachary Quinto: Could’ve been you, right. Did you audition for that?
Greg Grunberg (laughing): Yeah, I wish!
Zachary Quinto: Wait, watch, ready? Here it comes.
(main video: Meredith produces a fireball)
Greg Grunberg: Oh! Come on! That’s awesome.
Zachary Quinto: Yeah.
Greg Grunberg: That’s incredible. That’s our show.
Zachary Quinto: It’s really good. That’s our show.
Greg Grunberg: That’s our show, right there.
Zachary Quinto: The best.
(main video: Sylar and Mrs. Bennet)
Greg Grunberg: Oh. See, I love a scene like this ‘cause it’s just looming.
Zachary Quinto: And there’s, uh, and there’s vegetables in it.
Greg Grunberg: And there are vegetables.
Zachary Quinto: I absolutely adore scenes with vegetables in them.
Greg Grunberg: So I’m trying to get a Primatech Paper hat.
Zachary Quinto: A hat, with a jacket?
Greg Grunberg: I want to get a… I want to… no, I want to take that patch, and put it right on, like, a trucker’s…
Zachary Quinto: They have those patches.
Greg Grunberg: Yeah. They’re making a hat for me.
Zachary Quinto: They’ll hook you up, I hear.
Greg Grunberg: I’ll be the only one with a hat like that, for about five minutes until they start selling them.
Zachary Quinto: Yeah. Exactly. On eBay.
Greg Grunberg: She’s so good. I love Ashley. I just love her.
Zachary Quinto: I do too. I had so much fun working with her in this stuff. And this scene in particular, where it takes the turn, and she starts to get suspicious and freaky.
Greg Grunberg: Do you stick right to the word, or are you, do you kinda…
Zachary Quinto: I usually stick right to the word. Do you? No? You’re all over the place?
Greg Grunberg: No. The script is basically just an outline.
Zachary Quinto: Just a playground for Greg Grunberg.
Greg Grunberg: Yeah. It just kind of tells me what room we’re going to be shooting in. You know, I just look at “INTERIOR-- MATT’S HOUSE.”
Zachary Quinto: (off Sylar’s TKing the phone out of Mrs. Bennet’s hand) Did you see the phone go flying across the room?
Greg Grunberg: I didn’t. I was looking at your face.
Zachary Quinto: That, that was, that was, they had a piece of wire attached to it, and then they pulled it to the wall, and then they will digitally remove it… (gets momentarily tongue-tied while Greg mocks him)
Greg Grunberg: …So the post-production takes the wire out.
Zachary Quinto (with extra diction this time): Post-production digitally removes the wire.
Greg Grunberg: Thank you. Wow. This is great.
Zachary Quinto: And now I prepare to throw her. Now, Ashley, Ashley, stunt double,
Greg Grunberg: Is this a callback… (main video: Mrs. Bennet crashes into the cabinet) Ohhh! Look at that. Look at that!
Zachary Quinto: Ashley. Now you get a slow crawl.
Greg Grunberg: You are so mean, man. You are heartless…
Zachary Quinto: I am, it’s true. (off Sylar’s “Hi”) “Hi.”
Greg Grunberg: At this point you’ve eaten how many brains?
Zachary Quinto: I… we don’t know that I eat them, Greg.
Greg Grunberg: Really?
Zachary Quinto: Nobody knows that for sure.
Greg Grunberg: Hm. Well, I’ve seen you in your trailer.
Zachary Quinto: That was Lucky Charms. Mixed in with brains.
Greg Grunberg (laughing): Lucky Charms…
Zachary Quinto: And then Jack…! (main video: HRG bursts in, shooting) BOOM!
Greg Grunberg: Aw, yeah! Look at that. Did they, uh, ratchet you back?
Zachary Quinto: That was a stunt double too, they, they ratcheted the stunt double back.
Greg Grunberg: This is so cool. This is how every act should end. Fantastic. You’re fantastic.
Zachary Quinto: You’re fantastic.
Greg Grunberg: We’re fantastic.
Zachary Quinto: You’re fant…
(fade out)
---END PART FOUR---
Distractions commentary transcript, part five
by ella_ventic
(main video: HRG comforts his distraught wife)
(commentary video: there are three chairs now! And neither Milo nor Zach are in any of them!)
Greg Grunberg: So Zach had to go to work, and, uh, look who I found! Jeannot, ladies and gentlemen! The director of the episode. Director extraordinaire.
Jeannot Szwarc: Thank you, thank you.
Greg Grunberg: I didn’t even know you speak English! That’s fantastic!
Jeannot Szwarc: I do it with an accent.
Greg Grunberg: (laughs) And Jack Coleman, ladies and gentlemen.
Jack Coleman: Do you-- do you mind? I’m on-- I’m on screen.
Greg Grunberg: Oh, sorry, sorry.
Jack Coleman: Thank you. Let’s have a little respect.
Greg Grunberg: Now, I want to explain the bruises, for a second. I have this bruise because his character smacks me, just cracks me across the face…
Jack Coleman: And I have this bruise ‘cause he smacked me. In real life.
Jeannot Szwarc: So you smacked each other.
Jack Coleman: That’s not makeup.
Greg Grunberg: Yeah, that’s not makeup.
Jack Coleman: This is a sad scene. She breaks my heart in this scene.
Jeannot Szwarc: I love…
Jack Coleman: You have mentioned Ashley Crow.
Jeannot Szwarc: I love when she says “Again?” thought that was great.
Jack Coleman: What a twisted little triangle this is.
Jeannot Szwarc: Oh, I remember, that’s one of our best shots, this time here.
Greg Grunberg: You’re setting the audience up for… (main video: the Haitian moves in) …oooh.
Jack Coleman: Oh, that’s not right.
(main video: Claire says goodbye to Meredith)
Where did you shoot this, Jeannot?
Jeannot Szwarc: We shot this, erm, god, I don’t remember, around Painter Canyon? No?
Jack Coleman: Okay.
Jeannot Szwarc: We found a place where there were some, um, motor homes, and then, uh, the art department did a great job, you know, making it look like Texas.
Jack Coleman: And the light, as usual, is extraordinary.
Jeannot Szwarc: Yes. And this, as a matter of fact, we shot just before sunset. Yeah, that golden hour.
Greg Grunberg (at the same time): Yeah, it’s that golden hour.
Jack Coleman (at the same time): Golden hour! Golden hour’s, like about twelve minutes, isn’t it?
Jeannot Szwarc: Yes.
Greg Grunberg: I love… I love the color, the placement of color throughout the show…
Jeannot Szwarc: Yes. It’s very good.
Greg Grunberg: Was that…
Jeannot Szwarc: Did you see, there was already some, you know, we did one, the Japanese, we did very much in a Kurosawa style… a bit different from the rest of the show.
Greg Grunberg: Mm-hm.
Jeannot Szwarc: But we tried to vary, and to give, you know, every sequence a different kind of look and style.
Greg Grunberg: Mm-hm.
Jack Coleman: This is my first really good look at Jessalyn as… as, uh, as Claire’s mom.
Greg Grunberg: She’s great.
Jeannot Szwarc: Have you… I worked with her before, she’s very good.
Jack Coleman: On 24, or…?
Jeannot Szwarc: No, on, um… Boston Public.
Jack Coleman: Boston Public. Not to be confused with Boston Legal.
Jeannot Szwarc: Well, same creator.
Jack Coleman: True.
Greg Grunberg: That’s true.
(commentary video shows the Heroes logo for a while, complete with whooshing sound effects to take it in and out. I honestly have no idea why.)
(main video: Simone and Isaac on the roof)
Jack Coleman: Oh, I love this set. It’s a good thing, too, because we spend a lot of time on it.
Greg Grunberg: Yeah.
Jeannot Szwarc: The set is magnificent, I mean, Ruth(?) did an incredible job.
Jack Coleman: Yeah, really is gorgeous. Looks just like New York City, too. Or is that blue screen.
Greg Grunberg: That’s blue screen.
Jack Coleman: Oh, that’s blue screen.
Greg Grunberg: It will!
Jack Coleman: Oh, look, there we go,
Jeannot Szwarc: There we go.
Jack Coleman: That, that, that effect is in. Ah, the breeze.
Jeannot Szwarc: Oh, yeah, you know, it’s absolutely necessary.
Greg Grunberg: Do you like working with, when the special effects person’s on the set, and they restrict you, or…
Jeannot Szwarc: Well, yes, because I’ve done it so many times and I’m used to it, and this show has terrific people, and… this was not that difficult, as a matter of fact. We did some other scenes that were more difficult.
Greg Grunberg: Mm-hm.
Jeannot Szwarc: The only thing, it’s a little bit tricky is trying to visualize, you know, what it’s all going to be like, it’s a bit frustrating.
Greg Grunberg: Mm-hm.
Jack Coleman: This is a, sort of a star-crossed romance, isn’t it.
Jeannot Szwarc: Yes.
Jack Coleman: He looks good cleaned up, though.
Greg Grunberg: Yeah, he does.
Jeannot Szwarc: Yes.
Jack Coleman: Course, he looks good messy too, but…
Jeannot Szwarc: No, I, I agree, really… yes.
Jack Coleman: I mean, I’m just saying, I’m just stating, as an objective…
Greg Grunberg: Hey!
Jack Coleman: …observer.
Greg Grunberg: Whatever. You like him clean, you like him dirty. That’s your business, Jack.
Jack Coleman: I don’t think we should go any further with this, Greg.
Greg Grunberg: Uh, you brought it up.
Jack Coleman: And… of course Tawny looks gorgeous.
Greg Grunberg: It’s the first time I think Santiago hasn’t had paint on his wardrobe. Very excited about that, I think.
Jack Coleman: I think he had it surgically removed just for this shot.
Greg Grunberg: (laughs) They’ll put it in in post.
(main video: reveal of Peter)
Jack Coleman: Oooh.
Greg Grunberg: Oh, that’s so good!
Jack Coleman: Oh, the invisible people are watching.
Greg Grunberg: That’s just the best.
Jack Coleman: That’s, uh…
Greg Grunberg: Nothing is as it seems on this show.
Jack Coleman: That has to be illegal, though, doesn’t it?
Greg Grunberg: What?
Jack Coleman: That invasion of privacy, that you can just hang out in people’s houses.
Jeannot Szwarc: Well, if you get caught, but if you’re invisible, it’s tough to be caught.
Jack Coleman: It is tough to be caught.
(main video: back with the Nakamura family)
Greg Grunberg: Now, directing this, were you kinda like, “I hope they’re saying the lines, ‘cause I have no idea!”
Jeannot Szwarc: No, it, it, it’s really interesting, Greg told me that, Greg Beeman, but there was an interpreter, who was lovely, and she really checked about the words, but I really didn’t, didn’t ask her that much. You can tell from the inflection.
Greg Grunberg: Mm-hm.
Jack Coleman: Well, as you know, now, I’ve just recently done a scene in Japanese, we won’t get into any details on it, but… and Yumi helped me a lot on that. As did Masi. (whispers) It’s not easy, though.
Jeannot Szwarc: No, it’s not.
Greg Grunberg: Oh, it’s really hard.
Jeannot Szwarc: But it was interesting, I really knew, you know, you can feel, the rhythm is kind of not that different, and…
Jack Coleman: I love that Ando’s in love with his sister.
Greg Grunberg: Yeah.
Jeannot Szwarc: Yes, me too. So we did a whole day in Japanese. It was wonderful.
Greg Grunberg: I remember when I saw this scene in the script, I thought, “Man, if they…,” you know, it was a lot of dialogue! A lot of straight dialogue in Japanese, but it plays just perfectly.
Jeannot Szwarc: Yes, it pl… you know, I brought that up…
Jack Coleman: Were you worried about that?
Jeannot Szwarc: I brought that up, and I was told that they always play, they’d never worried about it since the beginning of the show, because the scenes in Japanese played so well.
Jack Coleman: Yeah.
Jeannot Szwarc: And once I got into it, it really plays, and it grabs you.
Greg Grunberg: Yeah.
Jeannot Szwarc: (off George Takei) And you recognize him.
Greg Grunberg: Oh, yeah. From the Howard Stern show.
(much chuckling from the three guys)
Jack Coleman: Yeah.
Greg Grunberg: This is a coup. This is one of those, you know, casting coups.
Jack Coleman: He’s so great in it, too, I… the scene I did with him was just so impressive.
Jeannot Szwarc: He is very good. And they all got along so well.
Jack Coleman: He’s got that very, very stern look.
(Another, much longer, installment of the Heroes logo. *shrug*)
(main video: Niki is released from jail)
Greg Grunberg: Now, Kevin, two-time Tony nominee. You knew that, right?
Jack Coleman: I did know that, yes.
Greg Grunberg: Yes.
Jack Coleman: Aaron Malski.
Greg Grunberg: Aaron Malski.
Jack Coleman: Infamous Aaron Malski.
Jeannot Szwarc: And I can’t tell you…
Jack Coleman: Song-and-dance man.
Greg Grunberg: Song-and-dance man!
Jack Coleman: Who knew?
Greg Grunberg: Who knew?!
Jack Coleman: Just lookin’ at him.
Greg Grunberg: Yeah.
Jeannot Szwarc: He’s perfect and he looked perfect.
Jack Coleman: Boy, she spent a lot of time in that set, didn’t she.
Greg Grunberg: Oh yeah.
Jack Coleman: This padded cell.
Greg Grunberg: Did you have a lot of casting for this episode? Or no.
Jeannot Szwarc: No, none, almost.
Greg Grunberg: That’s what I was going to say, you don’t have that many people to…
Jeannot Szwarc: As a matter of fact, I didn’t have any! It was wonderful.
Greg Grunberg: That’s great!
Jeannot Szwarc: I showed up, and they said, “We’re all cast.” Oh, my god… heaven.
Jack Coleman: Oh, that’s nice.
Greg Grunberg: That’s great.
Jack Coleman: Unless, of course, then you have a problem. Then it’s not heaven.
Jeannot Szwarc: No, but I think they were all people that, you know, had been on the show before.
Jack Coleman: That’s right… well, um, I-- I don’t even know her name, the woman who plays, uh, Masi’s sister.
Greg Grunberg: Oh yeah, wasn’t this her…
Jeannot Szwarc: She was… she was cast.
Jack Coleman: Oh, had she been in before? But she hadn’t been in before.
Jeannot Szwarc: No… was she in before? I can’t remember if she was…
Jack Coleman: I think this is her first episode.
(main video: Peter and Claude on the roof)
And Christopher Eccleston, doing such great work. We’re very lucky to have him.
Jeannot Szwarc: Fabulous. And the two of them have great energy together.
Jack Coleman: Yeah.
Greg Grunberg: Yeah.
Jeannot Szwarc: (still on Ms. Nakamura) I think she was… she had, she didn’t have dialogue, but she was in the scene, I think, before.
Jack Coleman: Oh, was she?
Jeannot Szwarc: I’m not sure. …My short-term memory’s not what it used to be.
Jack Coleman: Oh, I can understand. But, you know, you… Oh, back on the rooftop. It is such a great set.
(main video: Claude pitches Peter off the roof)
Greg Grunberg: Whoaa… come on!
Jack Coleman: Here we go. Here we go.
Greg Grunberg: Wow.
Jack Coleman: Something better happen. Oh no…
Greg Grunberg: Wow!
(main video: Peter slams into the taxicab)
Oh! Come on!
Jack Coleman: Oh!
Greg Grunberg: That was incredible. Wow!
Jeannot Szwarc: Wow.
Jack Coleman: That did not, do you know, that did not end well. What happened.
Greg Grunberg: That’s incredible. That’s fantastic.
Jack Coleman: Oh, now… now he has to heal.
Jeannot Szwarc: I think what’s great is that everybody’s going to expect that at the last minute he’s going to start to fly.
Jack Coleman: That he’s gonna fly, right.
Jeannot Szwarc: Yeah.
Jack Coleman: And I love that there was no sort of slowdown, or, you know, playing, it was like…
Jeannot Szwarc: No, it was real time.
(main video: Peter de-impales himself, painfully)
Greg Grunberg: Oh! Come on!
Jeannot Szwarc: A little bit, I think…
(commentary video shows the storyboards for this scene all the way to the end! Cool!)
Greg Grunberg: Wow, thanks, now I know to have my kids turn away from the tv.
Jack Coleman: Ouch.
Greg Grunberg: That was so well done. That’s crazy.
Jack Coleman: That was, that was really well done.
Jeannot Szwarc: And I must tell you that the, you know, the visual effects guys did an incredible job.
(main video: “Son of a bitch.”)
(fade out)
---END PART FIVE---
Distractions commentary transcript, part six
by ella_ventic
Okay, my connection issue has once again reared its ugly heads (like a hydra, it is) so this isn't going to be my most accurate transcript ever. I'm pretty sure some of that mumbling would become intelligible if I only watched it seven or eight more times. But it is not to be, at least not today, so I thought I'd just put this mostly-complete draft up and maybe I'll go back and polish on a day when NBC's website doesn't hate me quite so much. So: part six!
(commentary video: we're down to two chairs again, with a complete change-over of staff; Milo has returned, accompanied by writer Michael Green.)
(main video: Peter, shattered and sitting against the taxi)
Milo Ventimiglia: Hey, I’m back, Milo, with Michael Green, the writer of this episode. (to off-camera crew) A little more volume?
Michael Green: And… this is where you get a little violent,
Milo Ventimiglia: Yeah.
Michael Green: …after being treated violently.
Milo Ventimiglia: He said it all right there, you just threw him off a thirty-story building, if he didn’t regenerate, he’d be dead.
Michael Green: Yeah.
Milo Ventimiglia: Which is funny, though, I mean, because, you know, you’ve thrown him off and you’re thinking that Peter’s going to fly, you’re waiting for him to fly, but he doesn’t fly.
Michael Green: We’re kind of hoping he’s going to fly. And he just said, it’s like, “You could have flown.” Didn’t work out. Uh, and what we also saw is when you first come in, he’s kind of sitting against the cab, that was something you might want to remember, ‘cause you see that image in a bit.
Milo Ventimiglia: Oh, yeah. It was, uh… yeah, you do want to hang on to that image. He’s sitting next to the ground and… all bloody and broken.
Michael Green: And it’s here where you’re finally starting to learn, so he’s been treating you like, kind of crap the whole time, telling you you don’t know what you’re doing, and then he’s trying to tell you to forget everyone, but here’s, uh… it’s kind of the primer, he’s been trying to teach you how to use your power and you start figuring out. So now you have to cut everyone out.
Milo Ventimiglia: It’s kind of nice, too, when it’s, you know, it’s not the teacher telling the student what to do, it’s actually the student figuring it out on his own.
Michael Green: Figuring it out. So when you were doing this with the other guys, were you just kind of like, talking about the episode, or were you… talking about what you did that day, or…
Milo Ventimiglia: Eh, we were talking about Mr. Muggles.
Michael Green: (very fast and unintelligible) Mr. Muggles? Unfortunately, you don’t get too many scenes with Mr. Muggles.
Milo Ventimiglia: No, I don’t have any.
Michael Green: ‘Cause what I’d love to see you do is telekinetically hurl Mr. Muggles into something, like…
Milo Ventimiglia: Across the room, make him bloody?
Michael Green: Yeah. (main video: Claude decks Peter) Oh!
Milo Ventimiglia: Ah.
Michael Green: And, as we solve most problems on this show, someone punches someone else. It, it’s kind of a signature move at this point. Yeah.
Milo Ventimiglia: God, I remember that dirty, dirty (something unintelligible as Michael talks over him.)
Michael Green: Were people worried that Mr. Muggles was going to die?
Milo Ventimiglia: No, I don’t think so.
Michael Green: I think-- I think there was, ‘cause he’s a little bit… we tried to kill him, and, um, it was one of the things that, um, the network just said, “You can’t kill the dog.”
Milo Ventimiglia (off Isaac’s painting): See, there’s the picture now.
Michael Green: We weren’t really gonna kill him. Oh, there’s the picture.
Milo Ventimiglia: (laughs) He’s fixated. He’s fixated and focused on Mr. Muggles.
Michael Green: I just don’t, you know, Mr. Muggles is very hard to work with.
Milo Ventimiglia (laughing): You can’t get over it. There’s been two or three of them.
Michael Green: Oh! Big thing for the audience here. So people should be screaming right now, because they’re like, uh, you know, Isaac was with, uh, HRG, hanging out with Primatech, and he just called it in. He’s been looking for Peter, and he seems to have found him.
Milo Ventimiglia: Missing a leg, or invisibly…
Michael Green: “Peter’s had his legs cut off! Wait a minute… or perhaps he’s invisible.” Uh, but this is a… if anyone’s still wondering, yes, that means that Isaac has been calling in with HRG, uh, and is work…
Milo Ventimiglia: I got a question, though, do you, do you wonder if people started to get that, or believe that, once he went into the custody-- not custody, but once they cleaned him up and they brought him in, got him in…
Michael Green: I think people have been wondering, I think that kind of, just like, hit it. Like, if, in case you were wondering, yeah, they didn’t really wipe his memory, he knows exactly who he was with and what he was doing.
(main video: Hiro says goodbye to his father and sister)
Aw, and this is sweet stuff. “Have to go save the world!” And he hugs Sulu.
Milo Ventimiglia: Oh, wow. Some interesting etiquette. Be sure not to…
Michael Green: Hm?
Milo Ventimiglia: Not usually, uh, uh… for his culture.
Michael Green: Yeah. Oh, George Takei was great in this, like, he’d go… Masi comes on and does all these really sweet things, and, like, hugs his dad, and he just looks, like, (robotically) “You are not my child. I do not know why you are doing this.” And… aww. No sugar for Ando.
Milo Ventimiglia: I noticed, uh, the scene earlier, ‘cause I… just, like, forgetting about things in other, uh, other storylines, when Hiro makes the comment to Ando, “Are you wearing cologne?”
Michael Green: (laughs)
Milo Ventimiglia: And I turned to Zach, I’m like, “Wait, why did he make the reference about cologne?” and then I remembered the sister and all that, and…
Michael Green: Yeah. Ando’s got a thing for Hiro’s sister. And, funny thing, this girl playing her, who was fantastic, her last name, Nakamura.
Milo Ventimiglia: You’re kidding.
Michael Green: In actual life.
Milo Ventimiglia: Wow.
Michael Green: If, you can go back to the credits.
(main video: Jessica at home)
Milo Ventimiglia: She’s about to talk to herself.
Michael Green: Yep. Wait a minute… she got back out… (main video: reveal of the tattoo) “Oh my god! What, Niki doesn’t have a tattoo, Jessica does! Could this… is that…?”
Milo Ventimiglia (to camera): You know, it’s awesome, right now you’re actually hearing the, the subtext, the… all the, all the writing going on… in between the words.
Michael Green: This is… this is what’s in the stage directions.
Milo Ventimiglia: See, now, if there’s ever an opportunity for him to really get all the words out,
Michael Green: Yeah.
Milo Ventimiglia: You’re getting the uncensored version.
Michael Green: ‘Cause basically they don’t let writers talk usually,
Milo Ventimiglia: (laughs)
Michael Green: …for a very good reason. We don’t have much to say, uh, and usually we can get better-looking people (gestures to Milo) to say it for us, so, uh… and we don’t have a filter. Which is why we, we like to edit.
(main video: Claire returns home)
Michael Green: “You are in big trouble.” “But why, mother?”
(both laugh)
Milo Ventimiglia: Busted.
Michael Green: (grunts) Let’s see if we can get a shot of his, like, suspenders.
Milo Ventimiglia: Why, how did… how did you guys pick the manatee?
Michael Green: The manatee? I think what happened…
Milo Ventimiglia: Who, who did… who did the manatee report and said, “I’ve got a great (unintelligible)”
Michael Green: Uh, that would be Aron Coleite, uh, he threw in “manatee,” and then we brought it back here and said, “How many times can we say ‘manatee’ on network television?” The answer is: six.
Milo Ventimiglia: Couldn’t pick “cheetah”…anything else, no.
Michael Green: No. Cheetah… everyone’s done a report on cheetah, it’s like Finland, remember the scene in Wayne's World, Wayne, he goes up to the secretary and it was, uh, uh, Drew Barrymore and she’s, like, Swedish, and he knows about Sweden because he did a report on it in sixth grade? (Transcriber's note: and a big thank you to adina on the TWoP boards for helping me figure out that he's referring to Wayne's World 2 here!)
Milo Ventimiglia: That’s right, that’s right.
Michael Green: It’s going to help with the manatee.
Milo Ventimiglia: See, I did Norway and I did cheetahs, so… I mean, I was halfway, you know, I did…
Michael Green: I did New Hampshire and plankton.
Milo Ventimiglia: Really.
Michael Green: “This… wait, piece of glass! What does that mean?” But you’ve got to fake it because (sing-songs) he’s kind of ee-vil! “Hi, Dad!”
Milo Ventimiglia: Oh, wait a minute, I totally missed…
Michael Green: And that she did--
Milo Ventimiglia: I missed all the Sylar stuff.
Michael Green: Can we talk about how great she is for a minute here? All the what?
Milo Ventimiglia: All the Sylar stuff. I had to step away and… work with blood (gestures to his makeup, which is indeed very bloody)
Michael Green: Well, we were talking about New Hampshire and… it’s true. (main video: Meredith calls Claire’s father) Okay, now here’s the big thing.
Milo Ventimiglia: Oh yeah, okay, okay.
Michael Green: Shh, shh, shh. “Our daughter…” (gasps, whispers) Who’s she talking to?
Milo Ventimiglia: As if the ring didn’t give it away…
Michael Green: As if the ring didn’t give it away.
(commentary video fades out and back in)
Milo Ventimiglia: What’s up, I’m Milo, thanks for watching.
Michael Green: Hi, I’m Michael, thanks for watching.
---END COMMENTARY--- __________________ -Kelly |