No floorboard is left unturned as dynamic property experts Kirstie Allsopp and Phil Spencer help house-hunters find the perfect home in the perfect location.

The melodramatic story of a pink crew’s tragi-comedic adventures on location. A fictionalized adaptation of set photographer Ichiro Tsuda's 1980 book The Location (Za Rokēshon), an illustrated 229-page document about the cameraman’s experiences with pink cast and crew on the sets of several films produced in the late 1970's.

"Pointing at my own image on the video monitor: my attempt is to keep my finger constantly in the center of the screen袸 keep narrowing my focus into my finger. The result [the TV image] turns the activity around: a pointing away from myself, at an outside viewer." 　　-- Vito Acconci, "Body as Place-Moving in on Myself, Performing Myself," Avalanche 6 (Fall 1972) 　　"By its very mise-en-scène, Centers typifies the structural characteristics of the video medium. For Centers was made by Acconci's using the video monitor as a mirror. As we look at the artist sighting along his outstretched arm and forefinger toward the center of the screen we are watching, what we see is a sustained tautology: a line of sight that begins at Acconci's plane of vision and ends at the eyes of his projected double." 　　-- Rosalind Krauss, "Video: The Aesthetics of Narcissism," October 1 (Spring 1976)

"Pointing at my own image on the video monitor: my attempt is to keep my finger constantly in the center of the screen袸 keep narrowing my focus into my finger. The result [the TV image] turns the activity around: a pointing away from myself, at an outside viewer." 　　-- Vito Acconci, "Body as Place-Moving in on Myself, Performing Myself," Avalanche 6 (Fall 1972) 　　"By its very mise-en-scène, Centers typifies the structural characteristics of the video medium. For Centers was made by Acconci's using the video monitor as a mirror. As we look at the artist sighting along his outstretched arm and forefinger toward the center of the screen we are watching, what we see is a sustained tautology: a line of sight that begins at Acconci's plane of vision and ends at the eyes of his projected double." 　　-- Rosalind Krauss, "Video: The Aesthetics of Narcissism," October 1 (Spring 1976)

A man Tetsuo (Kosuke Toyohara) met at a racetrack offered him a job of 100,000 yen per diem, and although he was suspicious, he was urged by the amount of money and decided to take over. What's more, all he has to do is carry a huge cardboard box to the man's apartment. The contents of the cardboard are 1 billion yen in cash. It is said that this will be used to make a back loan. In front of the apartment, men line up for the money. Who on earth is Ginji Hirai and what is his motive? And what kind of fate will Tetsuo be involved in from now on ...?

Tetsuo (Kosuke Toyohara), who was thinking about the next money plan for the 200 million yen he got from the painting trick, looks at high-rate poker gambling. The target is Shinya, Saijo's sergeant. He's been crazy and has preyed on women who were dazzled by gold. Moreover, his reserve is 1.3 billion yen. If you continue the game as it is, Tetsuo will lose. Suddenly, in the latter half of the game, which was greeted by Shinya's predominance, a huge number of cardboard boxes were carried in front of Tetsuo. Who on earth for what? And what's inside !?

Tetsuo was suddenly told goodbye by Ginji. As for the farewell, only one of the tables was a real wad of bills and a full trunk. And, in that, there is a letter saying "Replace all this with the real thing!" Tetsuo is at a loss and one day meets Emi who works at the gallery. She endures the gallery owner of an amorous artist and aspires to be a painter. Tetsuo learns from her that a painting of Cezanne with a market value of 600 million yen has been sold to a Japanese person, and contacts the owner, Domon, the president of Teijin Bank. Inspire the desires of collection enthusiasts and imitation art dealers, and come up with a large-scale money game that opens up ambitions!

A look at the necessity of shooting in Sweden, with emphasis on the country's culture, history, climate, and politics as they play central to the story-line. Also examined is the country's film industry. The supplement offers viewers a glimpse into shooting at the end of the process in Sweden and provides a very brief glimpse into the celebration that followed. It discusses the casting Armansky of actor Goran Visnjic playing the role of Salander's employer at Milton Security. Goran Visnjic works with David Fincher in shaping the character and his performance. additionally this supplement combines a look at the work and style of David Fincher along with the process of shooting some of the scenes in Martin Vanger's house.

Behind the scenes of shooting in various notoriously difficult locations, including interviews with producers and lead actors.

A look behind the scenes at the making of Fight Club (1999).