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As we near the end of our trip through the making of The Terminal, our final stop is a short piece in which several contributors from the previous documentaries recount their own most peculiar or unpleasant experiences at airports. Basically, these snippets of interview are outtakes from the earlier short that show cast & crew putting themselves in Viktor (the protagonist of the film they've been talking about all along)'s situation. Before, after and in between each segment the viewers are treated by more footage of that adorably grumpy little old Kumar Pallana doing juggling tricks.

Catherine Zeta-Jones tells about duty free shopping for Christmas in Singapore. Production designer Alex McDowell recounts being stuck in JFK during a blackout. Director of Photography Janusz Kaminski relates to Viktor because being detained as an immigrant was his nightmare for many years. Composer John Williams remembers the theft of his black leather artist case in which he carried his music orchestrations. Tom Hanks talks about feeling self conscious about his language skills when first visiting Paris, France. But in a bit of a twist ending, director Steven Spielberg confesses he's never had any problem ever visiting airports. He concludes he must have been lucky. But we all know it's because he's Steven Spielberg, that's why.

Since this is the final documentary on the disc, it is the only one with a credit roll at the end, as well as a surprise advertisement for the Terminal original score soundtrack.

6 out 10

No collection of Digital Versatile Disc special feature documentaries about the making of a Steven Spielberg movie can be complete without at least one focusing on John Williams. No matter which Spielberg film you pop into your DVD player, John Williams is always there. Actually, that's not entirely true, but it certainly doesn't sound like a real Spiel without him.

Talking about The Terminal, Johnny likes this film, very much. And since the main character is from a fictional Eastern European country called Krakozhia, Mr. Williams takes time to explain that he used eastern European music instruments such as the clarinet, the Hungarian cimbalom and even a subtle use of accordion too. Sadly, John doesn't discuss the Krakozhia National Anthem he composed for the film.

But in a pleasant break from the way these DVD features usually play out, Williams gets to talk about his love for jazz. You see, Johnny started his career as a jazz man, and that classic all American music style is linked to the picture of musicians that sort of serves as this films's Macguffin. Naturally John loves this idea and indeed has been familiar with the actual photograph for decades. In fact, in his younger days, Johnny owned the trombone of one of the men featured on it: Miff Mole, (of Miff Mole and his Little Molers). Still, the only aspects of jazz which appear in the film score are part of Amelia's theme, because her character is an American (played by Welsh Catherine Zeta-Jones).

We've almost reached our final destination, the last stop is called "Landing: Airport Stories".

7 out of 10

Now that we've met all the cast and witnessed the construction of the titular Terminal, this fourth documentary (or sixth if you watched the last one as three separate pieces) covers the main production of the 2004 film by that name. And even though the is focus again how wonderful the giant set was for all involved to work in, we learn enough new insights to make this feature worthwhile.

Producer Walter Parkes mentions that the first two or three weeks were spent filming the scenes set in the cramped quarters of the bureau of homeland security. Not the most visually exciting set. Then they allowed Spielberg and co onto the big cinematic 'T' set, about which nobody has a negative thing to say. Because of the entire film takes place in one location, many crew-members expected this film would be a casual shoot but Spielberg always works fast. He explains that even though the main character Viktor remains in one place, the movie has a tremendous pace. Waiting can be exciting and entertaining.

A large part of this feature is devoted to the efforts of Costume designer Mary Zophres. She had the most fun with the background passengers. 600 extras walked up and down the set for 20 days in a row. And in her mind, Mary created a character for every single person that goes in front of the camera by giving them special props to carry and items of clothing to wear. Main character Viktor wears the same suit he came into the country with up until he decides not to leave the terminal. Then he settles down, first wearing more clothes he brought with him, and eventually a new Hugo Boss to impress his date.

Speaking of Cathine Zeta-Jones, she gives a shout out to her personal stylists and also only has tree main outfits in the film. Meanwhile Stanley Tucci had a bonding moment with Mary when they both decided at the same time that a tie wasn't right for his character. The visual effects team also became involved with various wardrobe items when stunts were needed.

Two of Steven Spielberg's most frequent collaborators, Director of Photography Janusz Kaminski and editor Mike Kahn receive special attention. The set was constantly being elegantly lit by Kaminski, who made it look like actual sunlight during the many daytime scenes. The tone of the lighting changes as Viktor adapts to his situation, starting off very blue and cold looking. When he starts to settle into his home, and the audience warms to Viktor, the colors change to more warm, yellow and orange tones.

After working together on 17 out of Steven's 21 films, Steven claims he and editor Michael Kahn are basically one and the same person now. Steven finishes up by confessing he felt that had to take a break from serious films after a run of dark films in the late nineties and early 2000's and wanted to make another feel good movie like the similarly lighthearted Catch Me If You Can two years earlier.

Now that we've settled down, keep relaxing because up next is "In Flight Service: The Music of the Terminal".

7 out of 10