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    Making of DVD FAQ/Transcript by Parjay

    Version: 1.03 | Updated: 06/17/03 | Search Guide | Bookmark Guide

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                The Making of Silent Hill 3 
                No part of this transcript may be reproduced without express
                written permission from myself.  You can contact me at the
                Silent Hill 3 message boards at GameFAQ's if you are requesting 
                to use this transcript, or have comments and/or corrections.
                (C) 2003 Parjay
                === VERSION HISTORY ===
                06/06/03 - v1.01  First Version!
                17/06/03 - v1.02  Some grammar and spelling, also added
                                  English translations of the French
                                  chapter titles.
                26/08/10 - v1.03   Contact and layout changed
                === C O N T E N T S ===
                PART ONE   - Frequently Asked Questions
                PART TWO   - The Transcript
                PART THREE - Thanks
                === F R E Q U E N T L Y    A S K E D   Q U E S T I O N S ===
                Q:  Where can I get the "Making of Silent Hill 3"?
                A:  At the moment the only place you can get the full 
                    feature is on the magazine "Playstation World" (PSW).
                    The "Making Of" is featured on the free DVD.  This is
                    a U.K. only magazine, and is issue number 43.
                       Addendum:  Seven years later, it's obvously now
                    easy to find this documentary on YouTube etc.
                Q:  Did FUN TV produce this "Making Of"?
                A:  No, unlike the "Making of SH2", WE PRODUCTIONS created
                    this feature for SH3.  However, much of the same team
                    that created the previous feature for Fun TV, worked
                    on this one.
                === T H E   T R A N S C R I P T ===
                FADE IN:
                TITLE SEQUENCE
                Red tinted frame, on the soundtrack a baby is crying against
                a harsh, horrific sound effect.  Captions appear:
                                 KONAMI & WE PRODUCTIONS
                On the soundtrack, a familiar voice speaks:
                                    LISA GARLAND
                          ... that child alive?!
                The image of Heather's actress fades in on the left frame as she
                looks toward camera, while a montage of images and their
                captions appear on the right:
                ILLUMINATION  The image of a script page.
                CREATION  A pencil sketch of Heather Morris' face.
                EMOTION  Akira Yamaoka playing guitar.
                Heather Morris appears, turns and looks at camera before
                fading away to the feature title:
                                S I L E N T   H I L L   3
                               Naissance d'une Renaissance
                                   (Birth to Rebirth)
                FADE INTO
                GAME FOOTAGE: Heather Morris awakens in a cafe. 
                                    HIROYUKI OWAKU
                          In this sequence, which takes place at
                          the beginning of the game, the color of
                          the sunset is redder than it is in
                          reality.  This is the way of telling the
                          player, right from the start, that in
                          Silent Hill 3, something "red" is waiting
                          for him.
                                  C H A P T E R   O N E 
                                        La  Genese
                MONTAGE: Aerial view of SH3 development team offices, and
                various shots of staff working at their computers.  The
                narrator speaks over this (note: same guy as Making of SH2).
                          This orange-red alludes to the Autumn
                          season in which the first sketches of
                          Silent Hill 3 were made.  This was back
                          in the Autumn of 2001, just a few days
                          after the release of Silent Hill 2.  The
                          team was in the middle of the creative
                          phase.  Fortunately the script, written
                          by the script-writer who wrote Silent
                          Hill 2 was ready.  The team was working
                          on a key Silent Hill component: Fear.
                GAME FOOTAGE:  Heather is attacked by a giant monster.
                The script-writer is interviewed at his workstation.
                                    HIROYUKI OWAKU
                          The feeling of fear prevailing in Silent
                          Hill 3 differs from that Silent Hill 2. 
                          In Silent Hill 2 we tried to create a
                          sense of fear sustained by silence. 
                          That silence lying within each individual
                          which is progressively transformed into
                          anxiety.  It was a kind of fear that
                          built up little by little.  Gradually it
                          escalated into horror.
                GAME FOOTAGE: From Silent Hill II.  James has just defeated the
                two Pyramid Head's near the end of the game.
                                    HIROYUKI OWAKU (CONT'D)
                          For Silent Hill 3, a different approach
                          was used.  We wanted to create a more
                          violent, direct feeling of fear.
                GAME FOOTAGE:  Heather repulsed in elevator.
                                    HIROYUKI OWAKU (CONT'D)
                          Something shocking, to contrast with the
                          atmosphere in the previous title.
                GAME FOOTAGE: Heater enters an elevator in the alternate shopping
                          This decision guided each member of the
                          team.  Just as it was decided to impose
                          that blood red color at the beginning of
                          the game, the art director in charge of
                          creating monsters used strong symbols to
                          raise player anxiety.
                The Art Director is interviewed.  He points out features and
                details on his monitor display of one of the monsters from
                the game.
                                    MASAHIRO ITO
                          The dog wrapped in strips is the first
                          monster that you encounter in the game. 
                          This is a way of telling the player, that
                          he is entering a hellish world.  These
                          dogs will be taken universally as a
                          reference to the watchdogs of Hell,
                          especially with that jaw cut in half. 
                          That's the idea behind this design.
                          It's the same for the set.
                MONTAGE:  Various locations in game, and their real life
                counterparts that they were based on.
                                    NARRATOR (CONT'D)
                          As usual the set crew worked on ways of
                          producing a realistic effect.  But this
                          time they wanted to find a new idea that
                          would take the game player by surprise.
                GAME FOOTAGE:  Heater enters a hallway.  The walls begin to
                pulse and bleed with blood.
                                    NARRATOR (CONT'D)
                          This effect makes the sets come alive,
                          like these walls that bleed, or burn.  Or
                          these floors that swarm.  A concept
                          that's inherently obvious and yet,
                          you've never seen it before.
                Interview with Main Programmer, Yukinori Ojina.  On the
                monitor behind him, we can see the various bleeding walls,
                burning, and swarming floor effects in-game.
                                    YUKINORI OJINA
                          In the video game industry, this was a
                          first, especially in real-time.
                          As with most of these technical
                          challenges the Silent Hill team didn't
                          forget that the most important thing is
                          to immerse the player in a credible
                          world, even if that meant using pretty
                          basic methods.
                CLOSE UP:  Chapel Map, drawn in large bright crayons,
                obviously a child's scrawl. 
                                    NARRATOR (CONT'D)
                          If that strange looking map you can see
                          in the background looks realistic, it's
                          because ...
                Yasunori Kanetake, Set Designer.  On the monitor, we can see
                the chapel map.
                                    YASUNORI KANETAKE
                          It was really drawn by a child.  I think
                          he's about five years old.  He's the son
                          of a friend of one of the designers.
                MONTAGE: of the main characters featured in Silent Hill 3.
                          Luckily, when it comes to character
                          design, the creators of Silent Hill don't
                          have to turn to pre-schoolers.  They can
                          rely on the most talented of their
                                 C H A P T E R    T W O
                                  Et Dieu crea la Femme
                                 (And God Created Woman)
                MONTAGE: Heather walking against a white background, music
                track "You're Not Here" playing in the background.
                          For the first time the KCET team chose
                          to have us feature a heroine, Heather. A
                          young girl that above all, they saw as
                          "innocent", the first sketches are
                          evidence of this.
                MONTAGE: Some early sketches of Heather. All featuring an
                innocent, angelic face, and long flowing hair.
                                    NARRATOR (CONT'D)
                          But they found this design a bit to
                          "nice" so the supervising illustrator
                          went elsewhere for his inspiration.
                Interview with the supervising illustrator, Character
                Designer Shingo Yuri.
                                    SHINGO YURI
                          I based this character on Sophie Marceau
                          and Charlotte Gainsbourg
                CLOSE-UPS: on several sketches featuring these two people.
                          But Yuri wasn't the only one thinking
                          about the characters.
                MONTAGE: of two women as they work on their computers,
                digitally drawing Heather Morris' face.  One of the women
                examines her own lips in a mirror as she draws the details
                onto Heather's.
                                    NARRATOR (CONT'D)
                          Two young women where working with him,
                          and sometimes there was a clash in
                          feminine and masculine thinking, but not
                          in a way you might imagine.
                                    SHINGO YURI
                          As far as Heather's clothes were
                          concerned, I saw her wearing jeans.
                MONTAGE:  Various development sketches of Heather, wearing
                                    SHINGO YURI (CONT'D)
                          But the female members of our team saw
                          things differently.  They thought Heather
                          ought to show her legs, it would be more
                          feminine and look prettier.  They
                          convinced me.
                MONTAGE: More development sketches of Heather, this time
                with her legs showing.  Most are mini-skirts, one has Heather
                sporting purple tights.
                          Contrary to what you might have expected,
                          these young women were the ones to
                          insist on giving her some sex appeal,
                          in a very discreet way, it was the same
                          for the cut of Heather's slightly curly
                          hair.  Her hair style was the result of
                          discussions worthy of a hair salon.
                                    SHINGO YURI
                          Another debate concerned Heather's hair. 
                          In the final version, she has curly hair. 
                          Initially, however, her hair was more
                          natural, less elaborate. 
                          But my female team-mates thought that
                          curly hair would be more suitable for a
                          young girl.  And because I know they know
                          more about fashion than I do, I trusted
                          their judgment on this.
                          Fashion also inspired the team of artists
                          with an ambiguous design for Claudia. 
                          She's a woman suppose to give the player
                          the impression of being in danger.
                GAME FOOTAGE: Claudia speaking to Heather in the chapel.
                                    NARRATOR (CONT'D)
                          When the team created Claudia, the basic
                          idea was to make her look strange but
                          conventional.  This subtle concept really
                          put the creativity of the designers to
                          the test, as her preliminary sketches show.
                MONTAGE: Development sketches of Claudia, all drastically
                different from the final design.  Most wearing elaborate long
                dresses of varying colors.
                                    NARRATOR (CONT'D)
                          As you can see in these drawings the
                          clothes were originally far more
                          sophisticated, even Claudia's skin was more
                                    SHINGO YURI
                          At first one of the ideas we had for
                          Claudia, was to draw her head shaved and
                          with tattoo's all over her body.
                CLOSE UP: Claudia sketch, she is naked, shaven head, with
                only tattoo's on her skin.
                                    SHINGO YURI (CONT'D)
                          But this way of revealing her malevolent
                          side was to obvious.  We thought we'd
                          better go back to a simpler idea.
                          Inspiration struck when they were
                          flipping through a fashion magazine.
                CLOSE UP:  The cover of a fashion magazine, the girl on the
                front cover has no eyebrows.
                                    NARRATOR (CONT'D)
                          When they saw this picture, they realized
                          because she had no eyebrows, they
                          couldn't decipher her feelings.  So they
                          used this idea for Claudia's face,
                          although this detail is barely visible it
                          manages to provoke a subtle, uneasy
                Shingo Yuri opens the cover of a film soundtrack, and points
                out a picture on the inlay.
                                    NARRATOR (CONT'D)
                          The masculine characters in the game like
                          Douglas, the detective, who was based on
                          the priest in "The Fifth Element"; were
                          also created to be like real human beings
                          with their failings and complexes.
                                    SHINGO YURI
                          Douglas is an old man, he's losing his
                          hair.  He's going bald and doesn't want
                          anyone to notice, that's why he combs his
                          hair back so that nobody will see his
                          bald spot.  
                MONTAGE: Still shots of Vincent.
                          As for Vincent, he's a hypocrite behind
                          nice clothes and a neat appearance.  The
                          animator wanted to make Vincent's
                          hierocracy emerge through the way he acts.
                                    SHINGO YURI
                          When you look at Vincent's clothes there
                          is nothing to tell you how hypocritical
                          he is.  On the other hand, he always
                          laughs like he is hiding something nasty. 
                          Watch his eyes ... when he speaks, you'll
                          notice that one of his eyes is not
                          looking at the observer.  Take attention,
                          it's subtle.
                GAME FOOTAGE:  Vincent talking to Claudia.  Paying attention,
                you can defiantly notice his "stray eye" as he slowly
                          And so on and so forth for each
                          The KCET team didn't set out to invent a
                          video game hero, but a character that
                          would be like a person from real life:
                WIDE-SHOT: of Heather and Douglas' voice actors, as they
                practice their lines.  They are acting out the scene from the
                mall, when Douglas first approaches Heather.  (Note: I want
                to marry the actress playing Heather).
                                    NARRATOR (CONT'D)
                          That's why they use actors to play the
                          characters in the game.  And to choose
                          the right actor, auditions are held, just
                          like a movie.  Here's the actress that
                          played Heather.  This is the actress that
                          was chosen.  Actually, the heroine was
                          named after her because her name is
                          Heather, Heather Morris to be precise.
                MEDIUM SHOT:  Heather Morris acting scenes wearing motion
                capture equipment.
                                    NARRATOR (CONT'D)
                          Then comes the next step.  The actors
                          really play the game scenes for the
                          motion capture, which requires
                          considerable physical and emotional
                          involvement.  Of course the actors also
                          record the voices of the characters. 
                          Once again every component was geared to
                          an emotional impact.  Like the music for
                          instance ... Music, the definitive
                          universal language of feeling.
                              C H A P T E R    T H R E E
                                   La voix de l'ange
                                  (Voice of an Angel)
                MONTAGE: Akira Yamaoka as he works in his recording studio.
                          The man behind each melody and each sound
                          in the series, is Akira.  He doesn't use
                          direct inspiration or any reference to
                          familiar pieces of music; to compose, Akira
                          allows the emotional content of the
                          script to guide his fingers.
                MONTAGE: Akira jams on his guitar.
                                    NARRATOR (CONT'D)
                          For the first time in the Silent Hill
                          series, Akira wanted to include songs
                          with vocals. 
                          To find thee voice, he flew to Los
                          Angeles.  He had a fairly accurate idea
                          of what he wanted 
                Interview with Akira Yamaoka, Sound Designer.
                                    AKIRA YAMAOKA
                          When I went to the audition, I was
                          looking for a voice like the female
                          vocalist in the Garbagge band or P. J.
                In the background, the solo vocal from the song "Lost Carol"
                on the SH3 soundtrack is heard.
                          Akira auditioned about fifty candidates,
                          and when he heard the timber of this
                          voice, he completely fell under its
                          charm.  In addition to the music, Akira
                          had to create new and particularly hair
                          raising sounds.  For example lets take
                          this deep cavernous voice, it was pure
                          chance that he found it.
                                    AKIRA YAMAOKA
                          In fact I was looking for a low, deep
                          voice for the game.  One day I was
                          watching TV, and a program about Voodoo
                          came on.  It explained how a ceremony is
                          carried out.  I could hear all the words
                          and sounds of this ceremony, I heard a
                          low, deep voice and I decided to use it
                          for the game.
                GAME FOOTAGE:  Heather enters a corridor, on the soundtrack we
                can hear the low, deep voice chanting that Akira is talking
                about.  This chant also appears on the original soundtrack,
                entitled "Prayer".
                          This manner of discovery may seem strange
                          but the origin of the sound made by this
                          monster is even stranger.
                GAME FOOTAGE: of the "Closer" monster.
                                    AKIRA YAMAOKA
                          It's the sound of a rhinoceros.  I took
                          the bass sound made by a living animal,
                          and mixed it with digital effects to get
                          the sound used for the monster.
                          Monsters as varied, and disturbing as
                          ever.  Straight out of the imagination of
                          a talented illustrator.
                              C H A P T E R    F O U R 
                              Les  monstres de l'enfer
                                 (Monsters of Hell)
                MONTAGE: Masahiro Ito sketches a drawing of the "Closer"
                monster on a blank piece of paper.  Finished, he signs it and
                angles it better for the camera frame.
                          Each of the monsters in Silent Hill is
                          there to disturb the player.  Ito's
                          secret is that he refuses to use elements
                          that are too far removed from the human
                          being.  His monsters don't have horns or
                          tentacles, their weapons consist only of
                          deformed human appendages.  Here, a head
                          that attacks.  There, swollen heavy arms. 
                          But to arouse the feeling of disgust in
                          the player, Ito also draws on the
                          collective unconscious, and the history
                          of art, for instance, this obese monster.
                MONTAGE: of paintings and drawings that inspired Ito.  However,
                even though he is talking in great detail about this, for some
                reason none of this part is subtitled.  :(
                GAME FOOTAGE:  Heather in the mall bathroom at the beginning
                of the game.
                                    NARRATOR (CONT'D)
                          This is not the only allusion to
                          tradition in Silent Hill.  Now you are
                          finally going to understand why the
                          "toilet" is a recurring theme throughout
                          the series.  In the first episode, there
                          are toilets everywhere.  In the second,
                          the game begins in a toilet, and in the
                          third the world seems to turn upside down
                          as the player "goes through" the toilet.
                                    MASAHIRO ITO
                          In Japan, there is a tale of horror that
                          takes place in the toilets.  All Japanese
                          children are familiar with this tale,
                          that's why we connect the toilets with
                          fright and horror.  That's not all. 
                          Until recently, the Japanese still used
                          the "squat type" toilet, that looks like
                          a hole between two footrests, in which
                          dejections where directly falling.  There
                          was a story that some children had fallen
                          in and vanished.  In a way, the toilet
                          can be taken as a spooky hole, impossible
                          to get out of once you fall in.  Hence
                          the connection with horror in Silent
                          On the same subject of following
                          tradition, you'll note that there is a
                          moment in the game where one of the
                          monsters covers the face of a woman.
                                    MASAHIRO ITO
                          In many countries, custom dictates that
                          when a person dies, a veil must be drawn
                          over that person's eyes.  That's the idea
                          underlying this scene.
                          Now it's up to you to figure out this
                          metaphor in this story.  You'll also
                          have to make sense of the valve-opening
                          monster that you encounter at regular
                          intervals throughout the game.
                GAME FOOTAGE: Heather climbing a ladder, passing by Bobble
                Head who is working at turning valves.
                                    MASAHIRO ITO
                          Water flows through pipes.  Valves are
                          used to allow or obstruct that flow.  In
                          Silent Hill 3, you go back and forth
                          between the real world and a parallel
                          world.  Valves that the monster opens and
                          closes represent the passage between
                          these two worlds
                          Two obscure worlds in which you always
                          feel lost, always feel surrounded by a
                          void, always feel full of doubt ... and
                          doubt is what gives rise to fear.
                GAME FOOTAGE: The "Happy Birthday" phone-call scene.
                              C H A P T E R    F I V E 
                                La tentation du doute
                                (Temptation of Doubt)
                GAME FOOTAGE: Vincent speaking with Heather in the chapel
                          The creators of Silent Hill had a central
                          idea: create a hostile world, permeated
                          at all times by doubt.
                Interview with script writer, Hiroyuki Owaku.
                                    HIROYUKI OWAKU
                          Some philosophies explain that what you
                          see is not necessarily reality.  What you
                          are seeing may not be what I'm seeing. 
                          The same is true of the monsters that you
                          encounter in the game.  It's the idea
                          when Vincent looks surprised when Heather
                          talks about the monsters.  Vincent says:
                          "monsters?" as if they were not monsters
                          for him.  
                GAME FOOTAGE: The scene that Owaku mentions
                                    HIROYUKI OWAKU (CONT'D)
                          Maybe they are human beings just like
                          you, maybe even your neighbors.  What
                          you see might be true or false
                GAME FOOTAGE: Heather inside the confessional at the chapel,
                with someone begging for forgiveness on the other side.
                          A little bit later in the game, you find
                          yourself in an unexpected and particularly
                          disturbing scene.  What are you suppose
                          to do?
                                    HIROYUKI OWAKU
                          In life, no choice are truly right or
                          wrong.  The idea in the confessional
                          scene is to make the player chose one of
                          two possibilities, but neither is right. 
                          If you say to this person telling you her
                          confession that, yes, you pardon her then
                          you are lying and, in a way, you justify
                          her worship of evil.  If you say no to
                          this person trying to save her soul, you
                          are refusing her the right to be forgiven
                          and take the weight of her conscience. 
                          The idea is put to you in an
                          uncomfortable situation, in front of a
                          choice that will make you uncomfortable. 
                          I have already found myself in a similar
                          situation and I wanted to share this
                          experience with the players.
                GAME FOOTAGE:  The amusements montage.
                          All the characters in the game, where
                          created like this.  Like in this
                          sequence, you never quite know what to
                          expect.  Good and evil are engaged in an
                          never-ending battle.
                MONTAGE: Game footage of each of the main characters.
                                    NARRATOR (CONT'D)
                          So nothing is ever black and white. 
                          Everything is always relative.  Including
                          you, especially when you find out ... who
                          you really are.
                A baby cries on the soundtrack.
                FADE OUT
                          Lionel Sautier
                          Franck Lepagnol
                          Olivier Mortier / Ladybird Studio
                          Alice Parte (anglais)
                          Stephanie Fuoss (allemand)
                          VOICE OVER
                          Nicolas Beuglet (french)
                          John Forbes (english)
                          Werner Kolk (german)
                          Guillaume Lubrano
                          WE Productions
                          DIRECTOR - JOURNALIST
                          Nicolas Beuglet
                          THANKS TO KCET
                          Akira Yamaoka
                          Hiroyuki Owaku
                          Masahiro Ito
                          Shingo Yuri
                          Yasunori Kanetake
                          Yukinori Ojina
                          Minako Asano
                          Sachiko Sugawara
                          Yoshi Aoyagi
                          Hirotaka Ishinkawa
                          Heather Morris
                          Links Digiworks Co. LTD
                          Kunio Neo
                          Stephanie Hattenberger
                          Hans Kohrs
                          Dave Cox
                          All the KONAMI FRANCE team
                          Patrick Bossard and Chisa Kurita
                          Oliver Pannequin
                          Copyright WE PRODUCTIONS / KONAMI 2003
                === THANKS ===
                Konami - For making such a great sequel.
                WE Productions - For making an insightful documentary.
                Akira Yamaoka - For the great background music.
                PSW Magazine - For actually getting to publish the feature.
                === LINKS ===
               You can find me (Parjay) lurking in the Silent Hill forums 
               at GameFAQs.

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