1
00:00:02,762 --> 00:00:06,972
It's virtually everything Erik and I
have ever wanted to do in a movie.

2
00:00:07,058 --> 00:00:09,470
We love submarine sequences.
We love the Arctic.

3
00:00:09,560 --> 00:00:11,972
We're fascinated with extreme environments

4
00:00:12,063 --> 00:00:16,432
and there is no more literal or figurative
high-pressure environment

5
00:00:16,526 --> 00:00:18,733
than a nuclear submarine.

6
00:00:20,446 --> 00:00:23,984
And this was kind of our opportunity
to be kids in a candy store,

7
00:00:24,951 --> 00:00:26,487
doing everything we wanted to do

8
00:00:26,577 --> 00:00:29,444
and compacting it all
into the tightest sequence possible.

9
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This sequence was actually
originally conceived as something

10
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completely different in tone.

11
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It started originally
as a suspense sequence,

12
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almost a ghost story.

13
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There's still little elements
of that in here.

14
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But when we took the movie in as a whole,

15
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it really wasn't landing with people
what the full purpose of the sequence was.

16
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The most important part of this sequence
was communicating to the audience

17
00:00:55,982 --> 00:00:59,065
the introduction of our villain, really,
which is the Entity.

18
00:00:59,152 --> 00:01:00,813
That's the sonar sphere,

19
00:01:01,696 --> 00:01:07,533
which, late in the game, started
to become its own visual similarity

20
00:01:07,618 --> 00:01:09,529
to what the Entity was.

21
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This is—

22
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All of these actors

23
00:01:13,833 --> 00:01:18,873
that are in this sequence
were all extraordinary.

24
00:01:18,963 --> 00:01:22,547
Many of them did not have
a great deal of experience,

25
00:01:22,633 --> 00:01:27,218
with the exception of the three officers,
Marcin, lvan and Zachary.

26
00:01:27,305 --> 00:01:31,924
Some of them are stuntmen
that were recruited to fill in seats.

27
00:01:32,935 --> 00:01:35,518
We had more seats than we had actors.

28
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And a lot of them were cast
based solely on their faces.

29
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I had about 200 recruits
of different levels of acting experience.

30
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And I sent the faces to Erik,

31
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who really had
the world of submarines in his head.

32
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And I said, "Just from these,

33
00:01:57,501 --> 00:02:02,371
pick the ones that you feel
are of the appropriate age

34
00:02:02,465 --> 00:02:06,754
and bearing for their different positions
on the boat."

35
00:02:06,844 --> 00:02:10,132
And Erik sent me his selections
of all of these actors,

36
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and regardless of their level
of acting experience,

37
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I cast them
for the simple thing that Erik said:

38
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"Each one of these guys has a face
that says, 'I wanna see this guy live."

39
00:02:21,943 --> 00:02:23,650
And you'll see in all these compositions,

40
00:02:23,736 --> 00:02:26,728
everything we're doing
is creating a sense of a crew.

41
00:02:26,822 --> 00:02:29,780
We're creating a sense
of camaraderie among them.

42
00:02:29,867 --> 00:02:34,111
All the compositions are meant
to constantly bond you to these characters

43
00:02:34,205 --> 00:02:38,574
as quickly and as succinctly as you can

44
00:02:39,794 --> 00:02:41,626
so that you feel affinity for them.

45
00:02:42,338 --> 00:02:44,625
It was very, very important

46
00:02:44,715 --> 00:02:48,253
that you cared about
these characters as human beings.

47
00:02:49,262 --> 00:02:53,847
That says, "Good luck," by the way.
That Russian graffiti there.

48
00:02:54,934 --> 00:03:00,555
And Eddie can expound a little bit
on the challenges of editing this.

49
00:03:00,648 --> 00:03:03,310
Yeah, this was the coverage—

50
00:03:03,401 --> 00:03:07,690
The raw footage was extraordinarily good.

51
00:03:07,780 --> 00:03:10,272
And it's beautifully lit.

52
00:03:10,366 --> 00:03:14,030
It was quite an easy sequence
to build an assembly of

53
00:03:14,120 --> 00:03:17,738
because there was just
So many great options and great angles

54
00:03:17,832 --> 00:03:19,414
and all the faces are great.

55
00:03:19,500 --> 00:03:23,038
And I remember—
What Chris likes to do when he's editing

56
00:03:23,129 --> 00:03:25,962
is work on a scene
almost completely silent.

57
00:03:26,048 --> 00:03:28,756
When I'd sketched out an assembly
of this scene,

58
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I remember we used to watch it silent
just to enjoy the feeling of pressure

59
00:03:33,139 --> 00:03:35,255
that we were getting from the cast.

60
00:03:35,349 --> 00:03:37,681
You should talk about
the "sweat-con" levels as well.

61
00:03:37,768 --> 00:03:39,725
Yeah, talk about the "sweat-con" levels.

62
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So, throughout the script of this scene,

63
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Chris would mark where we move
from "sweat-con one" to "sweat-con two."

64
00:03:48,362 --> 00:03:50,524
- They were levels of sweat.
- The levels of sweat.

65
00:03:50,614 --> 00:03:52,104
In true Tony Scott fashion.

66
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So you would reach
a certain line of dialogue,

67
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and Mary Boulding,
our fabulous assistant director, would cut

68
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and say, "Okay, it's time
to move to 'sweat-con two.'"

69
00:04:04,587 --> 00:04:07,579
And then we would come in and redress
whatever actors were in that coverage...

70
00:04:07,673 --> 00:04:09,505
- You can see here.
- ... with a little layer of sweat.

71
00:04:09,592 --> 00:04:12,380
- Was it "sweat-con four," the highest?
- I think "sweat-con three."

72
00:04:12,470 --> 00:04:15,553
- "Sweat-con three" was the highest.
- Right now, we are in "sweat-con three."

73
00:04:15,639 --> 00:04:17,095
Yeah, there we go.

74
00:04:18,351 --> 00:04:21,719
And that should give you a sense,
by the way, of the atmosphere on the set.

75
00:04:21,812 --> 00:04:25,271
As much as this is a scene about
extraordinary pressure and tension,

76
00:04:26,192 --> 00:04:27,728
it was a lot of fun.

77
00:04:27,818 --> 00:04:29,855
They really quickly became a crew.

78
00:04:29,945 --> 00:04:32,983
They were all enjoying
this work enormously.

79
00:04:33,074 --> 00:04:34,064
Yeah.

80
00:04:34,825 --> 00:04:40,241
And we're about to get into probably
the most critical point of this scene,

81
00:04:40,331 --> 00:04:43,073
which is when we start
to reveal the Entity.

82
00:04:43,167 --> 00:04:45,659
This really came together in layers.

83
00:04:45,753 --> 00:04:49,246
This is one of my favorite music cues
in the entire movie, by the way.

84
00:04:50,091 --> 00:04:52,378
This all really came together in layers.

85
00:04:52,468 --> 00:04:54,334
When we first presented it

86
00:04:54,428 --> 00:04:57,887
without the graphics
and without the sounds of the Entity,

87
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people didn't really understand

88
00:05:00,810 --> 00:05:03,427
that there was this other being
in the boat.

89
00:05:04,647 --> 00:05:07,981
And because it's Mission,
people are always trying to outsmart it.

90
00:05:08,609 --> 00:05:10,566
They were looking for the plot
in the sequence

91
00:05:10,653 --> 00:05:15,363
and kept thinking that one of the sailors
had sabotaged the boat.

92
00:05:16,450 --> 00:05:20,284
And it was only when we came up
with this graphic and that sound

93
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that the intent of the scene
really became abundantly clear.

94
00:05:24,375 --> 00:05:25,410
Yeah.

95
00:05:25,501 --> 00:05:28,243
One little editing Easter egg is,
if you go back

96
00:05:28,337 --> 00:05:30,874
and you want to step through
some of the transitions

97
00:05:30,965 --> 00:05:32,296
from the Entity to the crew,

98
00:05:32,383 --> 00:05:36,001
we did these little two-frame dissolves
to soften the dissolves a little bit,

99
00:05:36,095 --> 00:05:38,507
so there's a couple in there,
and you'll see a couple later.

100
00:05:38,597 --> 00:05:42,761
It creates kind of a dreamy state
and you'll see them later in the film.

101
00:05:43,394 --> 00:05:47,558
All of these shots
of the exterior were CGI shots.

102
00:05:47,648 --> 00:05:50,561
- Yeah, done by a VFX company called belo.
- By belo.

103
00:05:50,651 --> 00:05:56,488
And I was very, very, very trepidatious
about the notion of doing CG shots—

104
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Entirely CG shots—

105
00:05:58,909 --> 00:06:00,946
And we talked about
doing these practically.

106
00:06:01,036 --> 00:06:03,494
And I was very pleased
with the work that they did.

107
00:06:03,581 --> 00:06:07,700
I mean, we did shot real elements
of bodies floating.

108
00:06:07,793 --> 00:06:09,625
All the bodies are real.
The bubbles are real.

109
00:06:09,712 --> 00:06:11,623
That was all done at Pinewood
in the tank there.

110
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And all the ice is taken from elements
and things like that.

111
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It's just—

112
00:06:15,759 --> 00:06:19,969
It's an extraordinary job of compositing
all of those elements together

113
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to create this very real environment.

114
00:06:22,766 --> 00:06:24,632
You know, the Arctic.

115
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And here's our key.

116
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This was the very last day
of shooting on our movie.

117
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This was the last scene we shot.

118
00:06:34,445 --> 00:06:36,152
This is Alex James-Phelps.

119
00:06:36,238 --> 00:06:40,072
And for fans
of the Mission: Impossible franchise,

120
00:06:40,159 --> 00:06:44,403
you'll get a kick out of the fact
that his last name is James-Phelps,

121
00:06:44,997 --> 00:06:48,706
a character in Mission. Impossible One
and, of course, in the TV series.

122
00:06:48,792 --> 00:06:51,580
He was cast a week before we shot it,

123
00:06:51,670 --> 00:06:54,412
and he came to work that day—
the day before, actually,

124
00:06:54,507 --> 00:06:58,216
to walk the set
and learn what scene he would be shooting.

125
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And this was—

126
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After we had finished the entire film,

127
00:07:05,684 --> 00:07:09,598
we were finally able to figure out
what was the best way to introduce Ethan.

128
00:07:09,688 --> 00:07:14,023
How do you introduce this character
in the most efficient way possible?

129
00:07:14,652 --> 00:07:17,644
And also introducing
the notion of the oath,

130
00:07:17,738 --> 00:07:21,106
which was actually something
that was not supposed to show up

131
00:07:21,200 --> 00:07:23,066
until the second movie.

132
00:07:23,160 --> 00:07:26,778
I love the fact that we do plant the seed
of the oath here,

133
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and it will pay off dramatically.

134
00:07:30,459 --> 00:07:32,951
Well, it will pay off
very satisfyingly later on.

135
00:07:33,045 --> 00:07:37,630
Yes, and it actually resonates
why we don't draw a circle around it.

136
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It resonates through actions
that characters take in this movie

137
00:07:41,720 --> 00:07:43,461
into the next movie.

138
00:07:44,306 --> 00:07:48,425
The set that they're on right now
is actually the repurposed

139
00:07:48,519 --> 00:07:51,261
and rebuilt Venice safe house set.

140
00:07:51,355 --> 00:07:52,845
We'd just taken out certain walls,

141
00:07:52,940 --> 00:07:56,808
and if you look at some
of the architectural elements in here,

142
00:07:56,902 --> 00:07:59,109
you can see the Venice safe house
is in there.

143
00:07:59,196 --> 00:08:00,527
That's Gary Freeman.

144
00:08:01,323 --> 00:08:04,111
He's a brilliant,
brilliant production designer.

145
00:08:04,868 --> 00:08:06,324
Great in working on a budget.

146
00:08:06,412 --> 00:08:10,280
And when we said, "Hey, we need
some sort of a safe house for Ethan,"

147
00:08:11,292 --> 00:08:12,748
that's where we ended up.

148
00:08:13,502 --> 00:08:14,992
And, yeah.

149
00:08:15,921 --> 00:08:17,707
Alex has just got a fantastic face,

150
00:08:17,798 --> 00:08:19,960
and he tells you an entire story...

151
00:08:22,011 --> 00:08:25,925
about some kid
who's just beginning his life in the IMF.

152
00:08:26,015 --> 00:08:27,255
And we picked Amsterdam.

153
00:08:27,349 --> 00:08:30,307
Originally, there was an exterior scene
which you might see,

154
00:08:30,394 --> 00:08:32,931
or you will see in the deleted shots reel.

155
00:08:33,522 --> 00:08:36,435
And you'll see some shots of Ethan
walking through an Amsterdam market.

156
00:08:36,525 --> 00:08:41,611
But in the end, we decided to get
straight into the introduction inside.

157
00:08:41,697 --> 00:08:45,907
That was Ethan's dossier photo
from Mission One

158
00:08:45,993 --> 00:08:48,075
- and his hair from Days of Thunder.
- That's it.

159
00:08:48,162 --> 00:08:50,995
And that's how you create
a 1989 version of Tom.

160
00:08:51,081 --> 00:08:54,119
Here we've got these little two-frame
dissolves just to soften these edits,

161
00:08:54,209 --> 00:08:55,199
which is quite fun.

162
00:08:55,294 --> 00:08:56,455
That's a slower dissolve,

163
00:08:56,545 --> 00:09:00,038
but you'll see a two-frame dissolve right...

164
00:09:00,132 --> 00:09:02,123
And that's Mariela Garriga obviously.

165
00:09:02,217 --> 00:09:05,300
Mariela Garriga is
absolutely sensational actor.

166
00:09:05,387 --> 00:09:07,344
We have plans for her.

167
00:09:08,432 --> 00:09:12,016
And you can see these transitions
when we go back to Ethan.

168
00:09:12,102 --> 00:09:13,934
- That's a hard cut.
- No, it was a soft.

169
00:09:14,021 --> 00:09:16,729
- That was a two-frame dissolve.
- Was that a two-frame dissolve?

170
00:09:17,399 --> 00:09:20,312
There was a reason
that we went kind of very analog

171
00:09:20,402 --> 00:09:22,484
and straightforward
with this mission briefing,

172
00:09:22,571 --> 00:09:25,029
because we did originally have one
which was a little more...

173
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- Techy.
- ... sort of graphical,

174
00:09:26,742 --> 00:09:29,780
and it just— the film—

175
00:09:29,870 --> 00:09:33,454
It didn't sort of stick
on the movie very well, and—

176
00:09:33,540 --> 00:09:35,622
Well, we also tried
to be too clever by half

177
00:09:35,709 --> 00:09:37,700
in terms of
how we parsed out the information.

178
00:09:37,795 --> 00:09:40,378
I'm always struggling
with straight information—

179
00:09:40,464 --> 00:09:42,375
That was a two-frame dissolve,
by the way—

180
00:09:43,550 --> 00:09:49,762
And was trying to weave it
into the story in a more elegant way.

181
00:09:49,848 --> 00:09:51,714
And what happened was,
you just weren't listening.

182
00:09:51,809 --> 00:09:54,016
And one of the rules
of Mission: Impossible—

183
00:09:54,103 --> 00:09:56,595
And there are very few—
is Ethan must get a mission.

184
00:09:56,689 --> 00:09:58,680
This is part of the contract
you sign with the audience.

185
00:09:58,774 --> 00:10:00,811
This is what makes Mission, Mission.

186
00:10:01,652 --> 00:10:03,438
And so,

187
00:10:03,529 --> 00:10:07,898
as much as I wanted to reinvent this idea,

188
00:10:07,991 --> 00:10:10,107
Mission has a mind of its own.

189
00:10:10,202 --> 00:10:15,197
And this is what makes— this is part
of what makes Mission, Mission.

190
00:10:15,290 --> 00:10:16,621
And it turned out to be—

191
00:10:17,626 --> 00:10:20,368
It turned out to fix a lot of things
we were struggling with

192
00:10:20,462 --> 00:10:25,207
in terms of people understanding
things like the Mariela backstory.

193
00:10:25,300 --> 00:10:26,882
It just laid it all out there,

194
00:10:26,969 --> 00:10:30,633
and it helps enormously
to have an actor like Henry Czerny,

195
00:10:30,723 --> 00:10:33,511
who is so good, taking exposition

196
00:10:33,600 --> 00:10:36,308
and turning it into something
very, very lyrical.

197
00:10:36,395 --> 00:10:38,727
Tom, all of this acting that he's doing,

198
00:10:38,814 --> 00:10:41,806
he's reacting to dialogue
that we hadn't written yet.

199
00:10:41,900 --> 00:10:43,231
Yeah, exactly.

200
00:10:43,318 --> 00:10:46,982
So I was giving Tom
more or less emotional cues,

201
00:10:47,072 --> 00:10:49,404
and what is Ethan's emotional state.

202
00:10:50,409 --> 00:10:52,901
We did know one thing
which was obviously that,

203
00:10:52,995 --> 00:10:55,987
"Find the bounty hunters
and you may find her."

204
00:10:56,081 --> 00:10:58,618
That was always a constant
through any mission briefing.

205
00:10:59,376 --> 00:11:03,119
This shot took four days to get.

206
00:11:03,714 --> 00:11:07,958
We had one hour every day at magic hour.

207
00:11:09,303 --> 00:11:12,011
So we would be shooting
the desert gunfight

208
00:11:12,097 --> 00:11:13,633
about a mile away from here,

209
00:11:13,724 --> 00:11:16,091
and as the sun
started to get late in the sky,

210
00:11:16,185 --> 00:11:18,301
we'd pick everything up and run out,

211
00:11:18,395 --> 00:11:23,390
and make an attempt at shooting this,
which is obviously— It's all a oner.

212
00:11:23,484 --> 00:11:26,146
Lots of moving parts, horses and whatnot.

213
00:11:26,236 --> 00:11:28,944
And there were only so many times
the horse could get up,

214
00:11:29,031 --> 00:11:32,490
and there were only so many times
that the horses could run past,

215
00:11:32,576 --> 00:11:35,443
and you had to be very careful
with the horses.

216
00:11:35,537 --> 00:11:36,948
Didn't want them to get injured.

217
00:11:37,039 --> 00:11:40,577
And so we had about an hour every day
at magic hour

218
00:11:40,667 --> 00:11:44,626
to attempt to get that shot,
and on the fourth day, we got it.

219
00:11:45,464 --> 00:11:47,796
And this is Abu Dhabi,

220
00:11:47,883 --> 00:11:51,797
the empty quarter in Abu Dhabi.

221
00:11:51,887 --> 00:11:53,844
And here, of course, is Rebecca Ferguson.

222
00:11:55,307 --> 00:11:57,264
This we went back and reshot.

223
00:11:57,351 --> 00:12:00,184
Gave her more of a prominent introduction.

224
00:12:01,063 --> 00:12:04,806
I had shot it originally in this set
and just wasn't satisfied with it.

225
00:12:04,900 --> 00:12:07,062
It just wasn't
a strong enough introduction,

226
00:12:07,152 --> 00:12:12,067
and we have a real particular fixation
in terms of how to introduce characters.

227
00:12:12,157 --> 00:12:13,238
Yeah.

228
00:12:15,494 --> 00:12:19,283
So all of this, in an earlier sequence,

229
00:12:19,373 --> 00:12:21,535
involved a much longer journey for Ethan.

230
00:12:21,625 --> 00:12:23,912
Yeah, so you got to see
a lot more of the horse.

231
00:12:24,002 --> 00:12:26,164
- Yeah.
- He was called Zeus, I remember.

232
00:12:26,255 --> 00:12:27,245
- Zeus.
- Yeah.

233
00:12:27,339 --> 00:12:31,754
Zeus the horse is a champion horse

234
00:12:31,844 --> 00:12:34,632
and has an enormous ego.

235
00:12:35,222 --> 00:12:37,304
Zeus knew right away
that he was in a movie.

236
00:12:38,058 --> 00:12:42,473
And when the camera started rolling,
Zeus just took on a mind of his own.

237
00:12:42,563 --> 00:12:44,349
- Yeah.
- And when you—

238
00:12:44,439 --> 00:12:46,430
And would walk when you wanted him to run,

239
00:12:46,525 --> 00:12:48,607
run when you wanted him to walk.

240
00:12:48,694 --> 00:12:52,983
And there's a shot coming up
where Zeus is supposed to stop right here

241
00:12:53,073 --> 00:12:56,907
and blew right past camera,
which actually turned out to be useful.

242
00:12:56,994 --> 00:12:58,484
It extended some of the geography.

243
00:12:58,579 --> 00:12:59,614
So, for a lot of this,

244
00:12:59,705 --> 00:13:04,450
you did have these gigantic jet engines
blowing sand around the set,

245
00:13:04,543 --> 00:13:07,331
and sometimes it's augmented by ILM.

246
00:13:07,421 --> 00:13:10,914
Like the sandstorm,
as Ethan's racing towards the town there,

247
00:13:11,008 --> 00:13:13,045
was sort of built
by Industrial Light & Magic.

248
00:13:13,135 --> 00:13:16,753
Yeah, there are just times for safety,
or when we're covering so much distance

249
00:13:16,847 --> 00:13:19,179
that you couldn't blow
enough sand over it.

250
00:13:19,266 --> 00:13:22,099
And there are times
when the actors faces are uncovered,

251
00:13:22,185 --> 00:13:23,391
like here with Ilsa.

252
00:13:23,478 --> 00:13:25,435
There's some wind going,

253
00:13:25,522 --> 00:13:28,890
but if you had sand going,
her eyes would be filled with sand.

254
00:13:30,652 --> 00:13:33,735
So we had her acting that she
was getting particulates in her eyes—

255
00:13:33,822 --> 00:13:34,937
This is a wonderful shot.

256
00:13:35,032 --> 00:13:36,568
I absolutely love the composition

257
00:13:36,658 --> 00:13:38,899
and the way the camera moves
to introduce that character.

258
00:13:38,994 --> 00:13:41,907
To introduce the character
we refer to as Braid.

259
00:13:43,624 --> 00:13:45,456
Who's actually played by, I believe,

260
00:13:45,542 --> 00:13:47,624
five different women
throughout the sequence

261
00:13:48,629 --> 00:13:51,041
because of the places where we shot it.

262
00:13:55,677 --> 00:13:58,635
Any number of people, including Rebecca.

263
00:13:58,722 --> 00:14:01,680
We should talk about the sound mix here,
because it's just extraordinary.

264
00:14:01,767 --> 00:14:05,010
It kind of rocks the theater
when you're inside a cinema watching it.

265
00:14:05,103 --> 00:14:08,095
Yeah, our sound team— This actually—

266
00:14:08,190 --> 00:14:10,431
There was a lot of time
and effort that went into this,

267
00:14:10,525 --> 00:14:13,267
and then it was really only
on the very last day

268
00:14:13,362 --> 00:14:17,447
when we took the sound design apart
and put it back together again.

269
00:14:17,532 --> 00:14:20,240
There had been a lot of notes
and thoughts and rules,

270
00:14:20,327 --> 00:14:23,285
and we finally just went down
and picked specific sounds.

271
00:14:23,372 --> 00:14:27,206
And then the most important part
was to mix in a level of bass

272
00:14:27,292 --> 00:14:29,203
so that you actually feel the storm.

273
00:14:29,294 --> 00:14:31,626
So if you're watching this at home,

274
00:14:31,713 --> 00:14:35,297
your subwoofer will be getting a very good
workout in this little bit of the movie.

275
00:14:35,384 --> 00:14:39,048
Although we now go into much more
subjective, dreamy sound design here.

276
00:14:39,137 --> 00:14:41,219
And we played with the end
of this sequence,

277
00:14:41,306 --> 00:14:43,923
how it would end
and where the credits would fall

278
00:14:44,017 --> 00:14:46,884
in the beginning of the movie
many, many times

279
00:14:46,979 --> 00:14:49,721
and finally settled on this.

280
00:14:49,815 --> 00:14:51,681
I love the dissolve here as well because—

281
00:14:52,442 --> 00:14:53,853
It's interesting.

282
00:14:53,944 --> 00:14:57,062
When you're watching this, it doesn't feel
like a new chapter in a way.

283
00:14:57,155 --> 00:14:58,896
It feels like a continuation of the story.

284
00:14:58,991 --> 00:15:03,531
And you've dissolved
from your protagonist to your antagonist.

285
00:15:03,620 --> 00:15:04,655
Exactly.

286
00:15:04,746 --> 00:15:09,240
So, your hand is being held
through this whole opening of the movie

287
00:15:09,334 --> 00:15:12,076
so it feels continuous,
because we're well aware

288
00:15:12,170 --> 00:15:15,253
that the opening titles
are coming quite late into the film.

289
00:15:15,340 --> 00:15:18,378
Like, some people are going, "Wait,
we haven't had the opening titles yet."

290
00:15:18,468 --> 00:15:19,674
Yeah.

291
00:15:19,761 --> 00:15:22,970
Here's an extraordinary
assemblage of people.

292
00:15:23,056 --> 00:15:25,172
This was a very challenging scene
to shoot.

293
00:15:25,267 --> 00:15:27,508
It was our first day on stage

294
00:15:27,602 --> 00:15:32,347
after coming back
from working on location.

295
00:15:32,441 --> 00:15:34,398
And it's a very challenging set
to shoot in,

296
00:15:34,484 --> 00:15:37,602
and all the compositions are
more or less the set forcing our hand.

297
00:15:37,696 --> 00:15:39,437
I love how
you're introducing the geography

298
00:15:39,531 --> 00:15:41,442
with a big close-up
of Cary in the foreground.

299
00:15:41,533 --> 00:15:43,274
I love the way the camera inches around.

300
00:15:43,368 --> 00:15:46,656
Well, and that was the beginning
of the visual language of our film.

301
00:15:46,747 --> 00:15:50,035
We didn't come to this movie
with a specific sense of,

302
00:15:50,125 --> 00:15:52,162
"This is how we want to shoot it."

303
00:15:52,252 --> 00:15:54,334
That tends to paint you into corners.

304
00:15:54,421 --> 00:15:56,503
I really wanted the movie
to tell me what its look was,

305
00:15:56,590 --> 00:15:59,878
and obviously I want every Mission
to feel different.

306
00:16:01,011 --> 00:16:03,093
And Chunky Richmond, our camera operator,

307
00:16:03,180 --> 00:16:05,592
Fraser Taggart, cinematographer,

308
00:16:05,682 --> 00:16:07,719
Martin Smith, our gaffer,

309
00:16:07,809 --> 00:16:10,267
we were finding the look of the movie,

310
00:16:10,353 --> 00:16:13,061
of the sets, here on day one.

311
00:16:13,148 --> 00:16:16,857
And this was the first shot,
was Cary's close coverage.

312
00:16:17,527 --> 00:16:21,862
And what you're seeing,
by putting Cary where I am,

313
00:16:21,948 --> 00:16:25,691
I'm showing you the room
without doing a classic establishing shot.

314
00:16:25,786 --> 00:16:26,776
I'm also—

315
00:16:26,870 --> 00:16:28,326
There's Henry Czerny.

316
00:16:28,413 --> 00:16:30,700
And I'm deliberately not introducing him.

317
00:16:30,791 --> 00:16:33,249
I'm showing everybody else in the room,

318
00:16:33,335 --> 00:16:36,703
and I'm showing you Henry,
but I'm not pointing him out.

319
00:16:37,923 --> 00:16:40,665
- This shot was done—
- This was done at ExCel, right?

320
00:16:40,759 --> 00:16:44,002
The same place where we did
the train station in Rogue Nation.

321
00:16:44,096 --> 00:16:46,383
There were, I don't know,
several hundred typists.

322
00:16:46,473 --> 00:16:49,340
- Yes, shot at the height of COVID.
- Yeah.

323
00:16:49,434 --> 00:16:51,721
I think we had 200 extras in total.

324
00:16:51,812 --> 00:16:54,144
So ILM extended all the people
in the background,

325
00:16:54,231 --> 00:16:56,438
but there were a lot of people there

326
00:16:56,525 --> 00:16:59,608
- to make it feel as real as possible.
- That's Indira Varma.

327
00:16:59,694 --> 00:17:01,856
Just extraordinary, extraordinary actor.

328
00:17:02,989 --> 00:17:05,651
Rob Delaney, Mark Gatiss,

329
00:17:05,742 --> 00:17:09,280
Charles Parnell,
who came back from Top Gun for us.

330
00:17:09,371 --> 00:17:12,238
And here's Marcello, our man of mystery.

331
00:17:13,208 --> 00:17:15,950
Marcello— It was all about movement.

332
00:17:16,044 --> 00:17:20,288
Marcello and I spent a lot of time
just working on movement, not blinking,

333
00:17:20,382 --> 00:17:26,924
and the longer we could stay on him
and feel his thoughts, the better.

334
00:17:27,013 --> 00:17:29,095
You're looking again
at all of these compositions.

335
00:17:29,182 --> 00:17:33,676
This is all about compositions
that are creating geography in the room

336
00:17:33,770 --> 00:17:37,229
without using
a traditional wide master shot.

337
00:17:37,732 --> 00:17:39,393
And there's Henry Czerny.

338
00:17:39,484 --> 00:17:43,569
We're very carefully placing him as the
only person we're not putting in close-up.

339
00:17:43,655 --> 00:17:48,274
So, he's always in the shot,
but we're never deliberately showing him.

340
00:17:48,368 --> 00:17:50,484
In fact, look at this wide shot.

341
00:17:50,579 --> 00:17:53,162
Right at the moment
where you're about to see Henry,

342
00:17:53,248 --> 00:17:55,956
the pillar blocks him and we cut,

343
00:17:56,042 --> 00:17:59,535
so that this was always
intended to be his introduction.

344
00:17:59,629 --> 00:18:02,963
It creates a sense of prominence
for this character.

345
00:18:03,049 --> 00:18:04,915
And then we discovered this,

346
00:18:05,010 --> 00:18:09,254
which is the first shot that shows him
is actually in a wide,

347
00:18:09,347 --> 00:18:10,758
and he's quite small,

348
00:18:10,849 --> 00:18:12,590
and he gets bigger and closer

349
00:18:13,685 --> 00:18:15,301
as he's telling us this story.

350
00:18:15,395 --> 00:18:19,013
He's growing in prominence
across the shot.

351
00:18:19,107 --> 00:18:22,645
We're not just introducing exposition
with everything we're doing here.

352
00:18:22,736 --> 00:18:25,524
We're introducing character,
suspense, story.

353
00:18:25,614 --> 00:18:28,697
We're creating a sense
of atmosphere around the Entity.

354
00:18:28,783 --> 00:18:31,741
So, while some people are taking
this scene quite literally

355
00:18:31,828 --> 00:18:33,910
as a lot of dialogue and a lot of talk,

356
00:18:33,997 --> 00:18:38,286
there's actually a lot of story going on,
including a photograph behind Cary Elwes.

357
00:18:38,376 --> 00:18:39,912
That's true, if you pay attention.

358
00:18:40,003 --> 00:18:42,961
Almost no one on the planet has noticed,
and I've been enjoying—

359
00:18:43,048 --> 00:18:46,632
While everybody is picking out Easter eggs
in this movie that aren't Easter eggs,

360
00:18:46,718 --> 00:18:50,052
and references to other movies
that aren't references to other movies,

361
00:18:50,138 --> 00:18:53,176
they're missing the fact
that Angela Bassett's photograph is

362
00:18:53,266 --> 00:18:55,633
on the wall directly behind Cary Elwes.

363
00:18:55,727 --> 00:18:57,638
And that was one of your wide shots there.

364
00:18:57,729 --> 00:19:00,471
As Henry walks over
to reveal the room, you get—

365
00:19:00,565 --> 00:19:03,432
Yes. And that was discovered
as a matter of necessity

366
00:19:03,526 --> 00:19:05,858
in just getting the coverage
and following the blocking,

367
00:19:05,946 --> 00:19:08,187
all of which we discovered
with the actors,

368
00:19:08,281 --> 00:19:10,613
how everybody was composed in the scene.

369
00:19:10,700 --> 00:19:16,537
The wide master presented itself
rather than us adhering to it.

370
00:19:16,623 --> 00:19:18,580
And it occurred much more organically.

371
00:19:18,667 --> 00:19:22,535
And as a result, we never shot
the whole scene in a wide master,

372
00:19:22,629 --> 00:19:24,085
which is what you tend to do.

373
00:19:24,172 --> 00:19:26,539
And then you only use eight seconds of it.

374
00:19:26,633 --> 00:19:28,499
It's an enormous waste of time.

375
00:19:28,593 --> 00:19:33,133
It was much more interesting to us
and useful to us to find character,

376
00:19:33,223 --> 00:19:36,682
instead of spending time
on information and blocking.

377
00:19:37,686 --> 00:19:41,600
All of these, everything you're seeing
is coverage that's telling story,

378
00:19:41,690 --> 00:19:43,021
as opposed to,

379
00:19:43,108 --> 00:19:46,817
point a camera at an actor and just
have them say all this information.

380
00:19:46,903 --> 00:19:49,110
This was something we
discovered quite late.

381
00:19:49,197 --> 00:19:50,062
Very late.

382
00:19:50,156 --> 00:19:52,773
Recapping the desert
so people understood that

383
00:19:52,867 --> 00:19:55,734
they were referring to
what you had literally just seen.

384
00:19:55,829 --> 00:20:01,165
And also to establish in the audience's
mind the notion of intercutting,

385
00:20:01,251 --> 00:20:03,709
so that when you did it later,
it's not jarring.

386
00:20:03,795 --> 00:20:05,206
It doesn't come out of nowhere.

387
00:20:05,297 --> 00:20:08,961
Gary Freeman's choice of that painting
in the background

388
00:20:09,050 --> 00:20:11,758
keeps a little sense
of the desert in the room.

389
00:20:11,845 --> 00:20:14,633
You know, the scene
that they would be talking about.

390
00:20:14,723 --> 00:20:17,340
So that's another visual connection.

391
00:20:17,434 --> 00:20:18,845
There's Angela again,

392
00:20:18,935 --> 00:20:21,552
and I like the little visual
of the two of them...

393
00:20:21,646 --> 00:20:23,557
- Symmetry.
- ... with their arms folded. Yeah.

394
00:20:25,692 --> 00:20:30,107
So this is where Chunky,
our camera operator,

395
00:20:30,196 --> 00:20:32,984
and I were figuring out how—

396
00:20:33,074 --> 00:20:36,692
What's the visual language of our movie
and how are we going to compose shots?

397
00:20:36,786 --> 00:20:39,278
How are we gonna create
character and pressure?

398
00:20:39,372 --> 00:20:44,583
And you can see that by doing that,
Marcello is present throughout.

399
00:20:44,669 --> 00:20:46,501
So even when you're not—

400
00:20:46,588 --> 00:20:48,670
So, in the same way
that Kittridge was present

401
00:20:48,757 --> 00:20:50,293
throughout the beginning of the scene,

402
00:20:50,383 --> 00:20:52,875
Marcello is present
throughout the second half.

403
00:20:52,969 --> 00:20:55,631
And a very tough balance
we were trying to figure out.

404
00:20:55,722 --> 00:20:57,804
There's drama and suspense,

405
00:20:57,891 --> 00:21:02,431
and a spooky story we're telling
about the Entity with music.

406
00:21:02,520 --> 00:21:05,228
Then you have to get out of the way
so that you can enjoy the humor

407
00:21:05,315 --> 00:21:06,305
- of this stuff.
- Exactly.

408
00:21:06,399 --> 00:21:09,812
I love that the IMF—
I love the way you remythologized it.

409
00:21:09,903 --> 00:21:12,395
And it's one of the first
proper laughs in the movie.

410
00:21:12,489 --> 00:21:14,947
When we're working on these,

411
00:21:15,033 --> 00:21:17,695
you're always kind of gauging
how engaged the audience is,

412
00:21:17,786 --> 00:21:20,278
if you're sitting with them,
by how much they laugh.

413
00:21:20,372 --> 00:21:25,037
- And they laugh on Rob Delaney's delivery.
- "Should he choose to accept.”

414
00:21:25,126 --> 00:21:26,958
- 1 love that.
- You felt the whole audience laugh.

415
00:21:27,045 --> 00:21:28,752
You know that they're in.

416
00:21:28,838 --> 00:21:31,500
- They paid attention, yeah.
- Yeah.

417
00:21:31,591 --> 00:21:33,753
- We have one of those on every movie.
- We do.

418
00:21:33,843 --> 00:21:36,881
The first laugh is like
the on-ramp to the movie.

419
00:21:36,971 --> 00:21:38,678
Correct. Exactly.

420
00:21:40,850 --> 00:21:44,434
So, in editing this entire sequence,

421
00:21:44,521 --> 00:21:48,014
the challenge of editing this
entire sequence was not only information,

422
00:21:48,108 --> 00:21:50,224
but all of the tonal shifts.

423
00:21:50,318 --> 00:21:53,856
So you're actually having
multiple scenes within a scene,

424
00:21:53,947 --> 00:21:58,157
and we treated it that way
very specifically so that, you know,

425
00:21:58,243 --> 00:22:02,612
over the course of I think
what was 14 pages of dialogue,

426
00:22:02,705 --> 00:22:04,070
you felt an evolution.

427
00:22:04,165 --> 00:22:06,327
And a lot of that came
from things we learned

428
00:22:06,418 --> 00:22:09,331
on Top Gun: Maverick in the bar scene.

429
00:22:09,421 --> 00:22:13,210
It's a massive introduction of lots
of characters and lots of information,

430
00:22:13,299 --> 00:22:16,337
and how do you do it in a way
that the audience can feel it

431
00:22:16,428 --> 00:22:18,339
and not have to concentrate on it?

432
00:22:18,430 --> 00:22:22,970
They're absorbing what matters, but they
don't have to keep track of all of it.

433
00:22:23,059 --> 00:22:25,892
The more you watch the movie,
the more you return to the scene,

434
00:22:25,979 --> 00:22:30,394
the more information
you'll glean out of it.

435
00:22:30,483 --> 00:22:33,942
So the editing of this scene
was very precise,

436
00:22:34,028 --> 00:22:38,192
the way that we chose to cut
on certain lines of dialogue,

437
00:22:38,283 --> 00:22:41,901
the way that we choose to cross the line.

438
00:22:41,995 --> 00:22:45,613
You know, we're keeping Ilsa alive
in the story, obviously, at this point,

439
00:22:45,707 --> 00:22:47,323
deliberately with the compositions,

440
00:22:47,417 --> 00:22:52,537
and every time we cut,
it's on a very specific idea shift

441
00:22:52,630 --> 00:22:54,541
or we're—

442
00:22:54,632 --> 00:22:56,543
- A subject change.
- Yeah, a subject change.

443
00:22:56,634 --> 00:22:59,342
We're forcing the audience
to move their eyes

444
00:22:59,429 --> 00:23:01,511
from one side of the screen to the other

445
00:23:01,598 --> 00:23:04,932
so that you are forced
to keep engaged with the story.

446
00:23:05,018 --> 00:23:06,179
Not letting you drift.

447
00:23:06,269 --> 00:23:09,261
This flashback we really put in
almost in the last week of editing.

448
00:23:09,355 --> 00:23:13,474
After two and a half years, we figured out
that this was a great place.

449
00:23:13,568 --> 00:23:18,404
Initially, the reveal
of this was after Rome.

450
00:23:18,490 --> 00:23:24,532
Well, this whole idea that we were
holding back on the supposed death

451
00:23:24,621 --> 00:23:28,615
of Ilsa was originally—

452
00:23:28,708 --> 00:23:30,745
We had thrown that idea out.

453
00:23:31,586 --> 00:23:34,203
Yeah, 'cause we wanted the desert
to have a win in it.

454
00:23:34,297 --> 00:23:37,210
Yes. Well, we knew that if you went
into the credits

455
00:23:37,300 --> 00:23:40,884
believing that she had died
and withheld it all the way to Rome,

456
00:23:40,970 --> 00:23:43,587
- which is what we were gonna do...
- A good hour into the movie.

457
00:23:43,681 --> 00:23:45,797
it affected the entire tone
of the airport.

458
00:23:46,559 --> 00:23:49,142
So we knew you had to reveal this
somewhere else.

459
00:23:49,229 --> 00:23:51,687
- Yeah.
- And we went full circle.

460
00:23:51,773 --> 00:23:53,059
We threw the idea out,

461
00:23:53,149 --> 00:23:56,437
and in the very last week of editing,
the idea came back.

462
00:23:56,528 --> 00:23:59,020
And a lot of this is told
through sound design.

463
00:23:59,113 --> 00:24:02,276
This is actually shot on the back lot
at Longcross Studios.

464
00:24:02,367 --> 00:24:03,949
It was shot much later.

465
00:24:04,035 --> 00:24:07,869
Yes, so here we come back,
and you see us again crossing the line.

466
00:24:07,956 --> 00:24:12,075
And we've now shifted
the audience's context,

467
00:24:12,168 --> 00:24:13,784
"cause now we know that Ilsa's alive,

468
00:24:13,878 --> 00:24:17,371
and therefore, we know that Kittridge
has had the wool pulled over his eyes

469
00:24:17,465 --> 00:24:20,548
about the fact that she's dead,
and Ethan has outsmarted him.

470
00:24:20,635 --> 00:24:23,593
How he's got the key.
It's just so— It's great.

471
00:24:23,680 --> 00:24:26,718
And how all of this serves
to lay up the cut to credits.

472
00:24:26,808 --> 00:24:29,140
We were always struggling with
where do the credits go.

473
00:24:29,227 --> 00:24:30,217
Yes.

474
00:24:30,311 --> 00:24:33,178
And once we built this structure
and presented it to Tom,

475
00:24:33,273 --> 00:24:34,980
we had the credits in a different place.

476
00:24:35,066 --> 00:24:36,602
Tom was very happy with the structure.

477
00:24:36,693 --> 00:24:39,151
The only note he had
was the credits are in the wrong place.

478
00:24:39,237 --> 00:24:41,444
- The credits have to come after—
- Come after a win.

479
00:24:41,531 --> 00:24:44,569
They should come after— You should have
a lift when you go into the music.

480
00:24:44,659 --> 00:24:46,491
- Correct.
- You want to feel a cheer.

481
00:24:46,578 --> 00:24:50,742
And we said, "Yes,
but that's 28 minutes into the movie."

482
00:24:50,832 --> 00:24:52,322
- I know.
- Nobody does that.

483
00:24:52,417 --> 00:24:54,749
And he said, "Yeah,
but it's in the right place.

484
00:24:54,836 --> 00:24:56,076
It just feels right."

485
00:24:56,170 --> 00:24:59,879
And one of the things I love about working
with Tom is there are very few rules.

486
00:24:59,966 --> 00:25:03,004
These are the line crosses that people
are like, "Why are you line crossing?"

487
00:25:03,094 --> 00:25:05,381
And it's literally to make your eyes move.

488
00:25:05,471 --> 00:25:07,007
Part of it is to keep you alert

489
00:25:07,098 --> 00:25:09,760
and make you refocus on Kittridge
on the left-hand side.

490
00:25:09,851 --> 00:25:11,762
It's so that you don't tune out.

491
00:25:11,853 --> 00:25:13,264
- We're shaping—
- Exactly.

492
00:25:13,354 --> 00:25:16,517
We're actually directing your eye
and your ear

493
00:25:16,608 --> 00:25:19,191
and cutting on key words,
cutting on key subjects.

494
00:25:19,277 --> 00:25:20,267
Yeah.

495
00:25:21,154 --> 00:25:23,361
And you know,
when we're on this side of Tom,

496
00:25:23,448 --> 00:25:27,282
we can be more internal with him,
you know, for these moments.

497
00:25:27,368 --> 00:25:30,326
Yeah. So all of these line crosses
are actually...

498
00:25:30,413 --> 00:25:32,120
- I love Henry's acting.
- ... deliberate.

499
00:25:32,206 --> 00:25:33,867
- Look at his eye muscles.
- I know.

500
00:25:33,958 --> 00:25:35,949
It's so good.

501
00:25:36,044 --> 00:25:38,035
He's really phenomenal,

502
00:25:38,129 --> 00:25:41,793
and he very, very carefully
rewrites specific lines,

503
00:25:41,883 --> 00:25:45,217
chooses additional words, "willingly,"
whispered one word.

504
00:25:45,303 --> 00:25:46,293
Yeah, yeah.

505
00:25:46,387 --> 00:25:51,052
And when he adds the word "willingly,"
he implies they're spying on everybody,

506
00:25:51,142 --> 00:25:55,978
and he brings these elegant
little flourishes to everything.

507
00:25:56,064 --> 00:25:58,931
He's such, such an elegant actor.

508
00:25:59,025 --> 00:26:02,689
Really, the word I use often is just
very lyrical in his communication.

509
00:26:02,779 --> 00:26:06,067
This is one shot
that I really love in the film.

510
00:26:06,157 --> 00:26:08,615
The energy of this shot and the motion,

511
00:26:08,701 --> 00:26:13,036
and again, you're bringing in
the geography of the room when it matters.

512
00:26:13,122 --> 00:26:14,112
Exactly.

513
00:26:14,207 --> 00:26:16,574
And not in a way that's sort of arbitrary.

514
00:26:16,668 --> 00:26:19,706
I love here,
because the first time you see this,

515
00:26:19,796 --> 00:26:23,039
you're not really paying attention
to what Ethan is doing in the background.

516
00:26:23,132 --> 00:26:25,373
And then the second time you see it,
you know what's coming,

517
00:26:25,468 --> 00:26:27,675
and so you're like,
"Wait, what was he doing back there?"

518
00:26:27,762 --> 00:26:32,051
And we had to be so particular
of when we cut to that side of the line.

519
00:26:32,141 --> 00:26:35,850
So you see
there's multiple angles covering Henry,

520
00:26:36,979 --> 00:26:40,847
and all of that is to give us the space

521
00:26:40,942 --> 00:26:44,810
so we could control
when to cut to Ethan and when not to.

522
00:26:45,863 --> 00:26:49,356
And we shot two cameras
on this side of Henry

523
00:26:49,450 --> 00:26:51,316
so that you'd have some variety.

524
00:26:51,411 --> 00:26:53,573
And that was a big deal
throughout most of the movie,

525
00:26:53,663 --> 00:26:55,745
knowing that some of these scenes
were longer,

526
00:26:55,832 --> 00:26:59,200
to always cover them from multiple angles
on multiple sides

527
00:26:59,293 --> 00:27:01,455
so that there's always a visual variety.

528
00:27:01,546 --> 00:27:03,207
Yeah. This is so satisfying.

529
00:27:03,297 --> 00:27:06,460
Here's Henry having the time of his life
playing Tom playing Henry.

530
00:27:07,260 --> 00:27:09,376
I know, it's so good.
He's playing Ethan Hunt. It's awesome.

531
00:27:09,470 --> 00:27:12,758
And there's our dart gun
from Rogue Nation.

532
00:27:12,849 --> 00:27:14,089
Yeah.

533
00:27:14,183 --> 00:27:18,097
And these are the titles by Filmograph LA.

534
00:27:18,187 --> 00:27:20,428
This is always a challenge,

535
00:27:21,274 --> 00:27:24,392
designing titles, A,
to be different from other movies

536
00:27:24,485 --> 00:27:26,442
and what shots to put in them.

537
00:27:27,280 --> 00:27:30,523
And you can see that we've done
something conceptually here.

538
00:27:30,616 --> 00:27:32,027
I'm often having—

539
00:27:32,118 --> 00:27:34,826
There's often a splinter of the audience

540
00:27:34,912 --> 00:27:39,201
that's complaining about how the title
sequence is filled with spoilers,

541
00:27:39,292 --> 00:27:42,250
and because we have the Entity
running through it

542
00:27:42,336 --> 00:27:43,872
and corrupting the credits,

543
00:27:43,963 --> 00:27:46,625
we included shots
that actually aren't in the movie.

544
00:27:46,716 --> 00:27:49,708
Yeah, there aren't many,
but there are a couple in there,

545
00:27:49,802 --> 00:27:54,091
and you get to see
that they're tearing the image, you know,

546
00:27:54,182 --> 00:27:56,139
to show that the Entity
is distorting the—

547
00:27:56,225 --> 00:27:59,058
I love this.
I love these tiny, little, short cuts.

548
00:27:59,145 --> 00:28:03,309
- But yes, how it's corrupting—
- And we changed the palette to blue.

549
00:28:03,399 --> 00:28:05,686
Well, that was actually you.
We'd originally done it all in blue.

550
00:28:05,777 --> 00:28:08,144
- Originally, the Entity was red.
- Correct.

551
00:28:08,237 --> 00:28:12,481
And suddenly, it felt very familiar
to HAL and to Sauron.

552
00:28:12,575 --> 00:28:15,488
And so we finally decided to make it blue

553
00:28:15,578 --> 00:28:18,070
and realized the graphics
in the nightclub were blue.

554
00:28:18,164 --> 00:28:19,154
Correct.

555
00:28:19,248 --> 00:28:21,535
And that the movie had been
sort of telling us that all along.

556
00:28:21,626 --> 00:28:24,038
And that's why the credits are blue
on the desert here.

557
00:28:24,128 --> 00:28:26,460
But they were originally—
All the credits were blue,

558
00:28:26,547 --> 00:28:29,005
and Eddie very astutely pointed out,

559
00:28:30,635 --> 00:28:32,091
it has a cold feel.

560
00:28:32,178 --> 00:28:33,634
- It's not warm.
- Yeah, exactly.

561
00:28:33,721 --> 00:28:36,634
It's just easier to look at, actually.

562
00:28:36,724 --> 00:28:39,466
- One of my favorite inserts in the movie.
- Fantastic.

563
00:28:39,560 --> 00:28:42,598
Beautiful hand acting,
great flare in the background.

564
00:28:42,688 --> 00:28:44,929
All these things coming together
in a very elegant way.

565
00:28:45,024 --> 00:28:46,560
It's a very tricky shot to get.

566
00:28:46,651 --> 00:28:48,608
These are all shot practically.

567
00:28:48,694 --> 00:28:50,310
This is all inside an Osprey.

568
00:28:50,404 --> 00:28:52,566
That's really an Osprey
flying behind them.

569
00:28:54,951 --> 00:28:58,660
And all of this stuff was done
in the air in Abu Dhabi.

570
00:28:58,746 --> 00:29:01,283
Everything you're looking at,
that's all practical.

571
00:29:01,374 --> 00:29:05,242
This is, like, one of the best speeches,
a classic McQuarrie speech, you know?

572
00:29:05,336 --> 00:29:06,667
"Do you not consider him secure

573
00:29:06,754 --> 00:29:10,247
until you have driven a wooden stake
through his open heart.”

574
00:29:10,341 --> 00:29:12,503
- And Shea Whigham delivered it.
- It's so good.

575
00:29:12,593 --> 00:29:15,051
And here's our introduction to Benji,
Simon Pegg,

576
00:29:15,137 --> 00:29:17,299
which we did try a version of this scene

577
00:29:17,390 --> 00:29:20,178
where we started with Ethan
literally holding the key up and—

578
00:29:20,268 --> 00:29:22,805
- "So what's the play?"
- "So what's the play?" And—

579
00:29:22,895 --> 00:29:25,182
- And it dramatically affected Benji.
- Yeah.

580
00:29:25,273 --> 00:29:28,607
- It affected our connection to Benji.
- How the audience perceived him.

581
00:29:28,693 --> 00:29:32,402
So we left this in
so that he cracks a joke immediately.

582
00:29:32,488 --> 00:29:36,106
And again, you're introducing character.

583
00:29:37,410 --> 00:29:40,072
- And this is such great team banter.
- Yes.

584
00:29:40,162 --> 00:29:42,904
And then,
"Or as we like to call it, Monday."

585
00:29:44,458 --> 00:29:46,119
And as only Simon can do.

586
00:29:46,210 --> 00:29:52,582
And so what you might be perceiving as
a repetition of information is actually—

587
00:29:52,675 --> 00:29:56,714
We're introducing the characters,
and we're also taking into account

588
00:29:57,430 --> 00:30:00,923
that people don't absorb
the very important information.

589
00:30:01,017 --> 00:30:02,633
There's so much going on visually.

590
00:30:02,727 --> 00:30:05,469
There's so many things happening
in the scene that

591
00:30:05,563 --> 00:30:07,099
if you're perceiving repetition,

592
00:30:07,189 --> 00:30:10,307
it's because
you're way ahead on the bell curve.

593
00:30:10,401 --> 00:30:12,642
And here's another example
of one of your wides,

594
00:30:12,737 --> 00:30:17,072
which hinges around an object
so that you get common geography,

595
00:30:17,158 --> 00:30:20,617
but it's always based around
an important prop or—

596
00:30:20,703 --> 00:30:22,569
Yes, that it's a geography shot,

597
00:30:22,663 --> 00:30:27,703
but it's one that's hidden in there,
and it's motivated by the—

598
00:30:27,793 --> 00:30:30,831
Instead of just cutting out
to an establishing shot.

599
00:30:30,922 --> 00:30:32,708
They were all very carefully considered,

600
00:30:32,798 --> 00:30:34,960
- and all things we found on the day.
- Here's another one.

601
00:30:35,051 --> 00:30:35,882
- Yeah.
- Yeah.

602
00:30:35,968 --> 00:30:39,256
So you're keeping geography in there.

603
00:30:39,347 --> 00:30:41,964
You're not stuck
in these tight close-ups all the time.

604
00:30:42,058 --> 00:30:44,766
You have to be
very, very careful with that.

605
00:30:44,852 --> 00:30:48,186
We're actually cutting to close-ups
of actors very specifically

606
00:30:48,272 --> 00:30:52,061
to make sure that you
are gathering that information.

607
00:30:54,654 --> 00:30:57,817
I remember seeing these dailies
and just thinking this was totally dope.

608
00:30:57,907 --> 00:31:00,069
- These Ospreys are fantastic.
- It's just like, "Oh, my word."

609
00:31:00,159 --> 00:31:01,615
The scale of this.

610
00:31:01,702 --> 00:31:06,822
I love all the cast there, all the extras,
the characters behind them. So good.

611
00:31:06,916 --> 00:31:11,160
Most of them— Most of them are actually
stunts who loved working with these two,

612
00:31:11,253 --> 00:31:13,415
and their first day on the movie.

613
00:31:13,506 --> 00:31:14,837
Yeah.

614
00:31:14,924 --> 00:31:18,042
When they showed up,
I handed them a couple pages of dialogue

615
00:31:18,135 --> 00:31:22,003
and said, "Don't worry,
there's gonna be no sound.

616
00:31:22,098 --> 00:31:23,839
We're probably gonna
replace a lot of this.

617
00:31:23,933 --> 00:31:25,264
Just go up and have fun."

618
00:31:25,351 --> 00:31:27,058
And they were in an Osprey
doing it for real.

619
00:31:27,144 --> 00:31:28,259
They were in an Osprey.

620
00:31:28,354 --> 00:31:31,312
They got in an Osprey with Erik Jendresen,

621
00:31:31,399 --> 00:31:33,481
and we're shooting their dialogue
in the Osprey,

622
00:31:33,567 --> 00:31:35,854
and we knew we would be picking up
a lot of the stuff

623
00:31:35,945 --> 00:31:39,358
with the graphics back on stage,
so, they didn't—

624
00:31:39,991 --> 00:31:43,029
All the pressure was off.
They could just go up and have fun.

625
00:31:43,119 --> 00:31:45,781
This sequence represents

626
00:31:45,871 --> 00:31:50,081
what has to be probably one
of the hardest sequences we ever—

627
00:31:50,167 --> 00:31:52,659
This was like the opera from Rogue Nation.

628
00:31:52,753 --> 00:31:54,744
- Yes.
- The amount of intercutting

629
00:31:55,965 --> 00:32:00,050
and the way you have to balance
the amount of time the characters get

630
00:32:00,136 --> 00:32:02,878
and when you intercut from one
character to another

631
00:32:02,972 --> 00:32:05,009
and how you keep all the stories alive.

632
00:32:05,099 --> 00:32:08,057
And how it was developing on the fly,
you know?

633
00:32:08,144 --> 00:32:11,102
So for instance, when Tom
is walking through the airport here,

634
00:32:11,188 --> 00:32:15,102
we knew we'd be shooting this scene
back on a stage months later.

635
00:32:15,192 --> 00:32:16,899
This, you couldn't go back and reshoot.

636
00:32:16,986 --> 00:32:20,820
So I just had Tom walk
through the airport saying adverbs.

637
00:32:20,906 --> 00:32:22,647
- Yes, that's right.
- "Probably. Maybe.

638
00:32:22,742 --> 00:32:24,107
Definitely. Permanently."

639
00:32:24,201 --> 00:32:26,943
Yeah. Your comment, yeah.

640
00:32:27,038 --> 00:32:30,076
And knowing that I could then
write the rest of their—

641
00:32:30,166 --> 00:32:33,375
And you have to remember, this was
filmed at the height of the pandemic.

642
00:32:33,461 --> 00:32:34,451
- Yes.
- And so,

643
00:32:34,545 --> 00:32:37,788
when I was getting these dailies,
everyone had masks on,

644
00:32:37,882 --> 00:32:40,419
and then you would hear
Mary Boulding shout, "Action."

645
00:32:40,509 --> 00:32:42,921
All the masks would come off,
and they would do the scene,

646
00:32:43,012 --> 00:32:44,502
then they would all go straight back on.

647
00:32:44,597 --> 00:32:47,510
- And they were all in pods.
- They were all in, yeah, pods of ten.

648
00:32:48,642 --> 00:32:50,974
Now, was this Shea Whigham's idea?

649
00:32:51,062 --> 00:32:53,679
No, this was an idea that came prior,

650
00:32:53,773 --> 00:32:57,141
- but Shea's performance and this idea.
- Yeah, yeah, yeah.

651
00:32:57,234 --> 00:33:00,397
And he said, "Can I do this,"
and he asked the actor.

652
00:33:00,488 --> 00:33:02,445
Yeah, it's so good. It's so fun.

653
00:33:02,531 --> 00:33:04,522
And then this is such a great nod

654
00:33:04,617 --> 00:33:08,201
to current deepfake
artificial intelligence technology,

655
00:33:08,287 --> 00:33:11,325
which, you know, is evolving week by week

656
00:33:11,415 --> 00:33:14,203
and, you know, it is terrifyingly real.

657
00:33:14,293 --> 00:33:15,783
And the notion of—

658
00:33:15,878 --> 00:33:19,041
That always gets a great laugh as well,
"No one is safe from Phineas Phreak."

659
00:33:19,131 --> 00:33:20,292
It's lovely. And Ving—

660
00:33:20,382 --> 00:33:23,090
It's so funny 'cause Ving,
when you feed him those lines...

661
00:33:23,177 --> 00:33:24,008
I remember this.

662
00:33:24,095 --> 00:33:25,836
he'd always look at me and go,
"Really, brother?"

663
00:33:25,930 --> 00:33:27,796
I was like, "Yeah, just do it.
If it doesn't work”--

664
00:33:27,890 --> 00:33:30,723
And he's always uncertain about the humor,

665
00:33:30,810 --> 00:33:33,393
and then he just loves it
when he watches it pay off.

666
00:33:34,688 --> 00:33:37,806
I remember seeing these dailies
and just think they were fantastic.

667
00:33:38,484 --> 00:33:42,978
How you did this with, you know—
It's so elegant and—

668
00:33:43,072 --> 00:33:45,814
You know, there's some times here—
"Cause he's not actually saying any lines

669
00:33:45,908 --> 00:33:48,570
and we added in, "Benji.,
get me on that flight to Venice."

670
00:33:48,661 --> 00:33:51,153
Exactly, 'cause we knew
the sequence was developing,

671
00:33:51,247 --> 00:33:54,865
and we knew things were going to evolve,
because you're into plot.

672
00:33:54,959 --> 00:33:56,825
And whenever you're into plot—

673
00:33:56,919 --> 00:33:57,954
And here's this shot.

674
00:33:58,045 --> 00:33:59,581
That was very challenging

675
00:33:59,672 --> 00:34:02,004
'cause almost exclusively,
you're in Ethan's point of view,

676
00:34:02,091 --> 00:34:05,425
and that one shot of Hayley,
you are not in his point of view.

677
00:34:05,511 --> 00:34:07,001
Yes, he has to miss it.

678
00:34:07,096 --> 00:34:11,135
So we have to kind of break
our own editorial rule there a little bit.

679
00:34:11,225 --> 00:34:16,220
And now we're into what is really
a critical essence of this movie

680
00:34:16,313 --> 00:34:19,431
and how it is shot, how it is edited:
movement.

681
00:34:19,984 --> 00:34:22,942
And you'll watch the way
that Hayley and Tom move.

682
00:34:23,028 --> 00:34:27,397
You'll watch the way
that the camera moves.

683
00:34:27,491 --> 00:34:32,406
Everything in their relationship
is a dance.

684
00:34:32,496 --> 00:34:35,033
You have two characters
who don't want to be together,

685
00:34:35,124 --> 00:34:37,081
who are opposed to one another,

686
00:34:37,585 --> 00:34:43,126
actually, you know, from the outset,
don't necessarily like one another.

687
00:34:43,883 --> 00:34:47,217
And yet everything we're doing
with their physicality is telling you

688
00:34:47,303 --> 00:34:49,260
they actually work together.

689
00:34:49,346 --> 00:34:50,586
They belong together.

690
00:34:50,681 --> 00:34:54,049
And everything that we're doing in the
movie is to create a sense of affinity.

691
00:34:54,143 --> 00:34:56,305
I love this shot. It's so good.

692
00:34:56,395 --> 00:34:58,807
- And that's movement.
- It's so good.

693
00:34:58,898 --> 00:35:00,229
Yeah, that's where every—

694
00:35:00,316 --> 00:35:03,900
All of the coverage
is being motivated by action.

695
00:35:03,986 --> 00:35:05,897
None of it is for show.

696
00:35:05,988 --> 00:35:08,605
It's all there
to create a sense of geography,

697
00:35:08,699 --> 00:35:13,694
a sense of space, and to eliminate
traditional coverage whenever possible.

698
00:35:13,787 --> 00:35:16,119
All these graphics.
Let's talk about the graphics.

699
00:35:16,207 --> 00:35:17,743
Yeah, the graphics from BLIND.

700
00:35:17,833 --> 00:35:20,871
BLIND doing the graphics,
all of which was extraordinarily,

701
00:35:20,961 --> 00:35:23,498
extraordinarily complex and complicated.

702
00:35:23,589 --> 00:35:25,205
You've got such a tiny amount of time

703
00:35:25,299 --> 00:35:27,882
to draw the audience's eye
to what you need them to see.

704
00:35:27,968 --> 00:35:32,007
And it's really important that
we don't trust that you're doing the work.

705
00:35:32,097 --> 00:35:35,135
We're trying to bring it to you
so that you don't have to work.

706
00:35:35,226 --> 00:35:38,309
This was all shot months later,

707
00:35:38,854 --> 00:35:42,973
maybe even longer,
maybe like a year or so later, in England.

708
00:35:43,067 --> 00:35:45,479
- It was a train station in Birmingham.
- In Birmingham.

709
00:35:45,569 --> 00:35:47,685
Yeah, Birmingham New Street Station,
upstairs.

710
00:35:47,780 --> 00:35:50,568
And this is where—

711
00:35:50,658 --> 00:35:54,026
This is one of the few times in the movie
where we're using longer lenses

712
00:35:54,119 --> 00:35:57,532
and it's an introduction
to the sensational Hayley Atwell.

713
00:35:59,124 --> 00:36:02,207
And the editing of this scene,
the coverage back and forth,

714
00:36:02,294 --> 00:36:04,126
the choice of performances.

715
00:36:04,213 --> 00:36:07,331
In every instance,
they gave us a different energy.

716
00:36:08,342 --> 00:36:12,961
Hayley gave us a whole cornucopia
of different emotional—

717
00:36:13,055 --> 00:36:16,548
And there's versions where Tom is charming
and there's versions where—

718
00:36:16,642 --> 00:36:18,758
- And what was nice—
- This was all done in camera.

719
00:36:18,852 --> 00:36:21,594
The magic tricks are all in camera,
just in case you're wondering.

720
00:36:21,689 --> 00:36:24,056
And we had to do it so many times
to get it just right.

721
00:36:24,149 --> 00:36:26,641
I think that was like take 17
or something like that.

722
00:36:26,735 --> 00:36:30,319
Yes. And you can feel Tom getting
a little frustrated with the magic trick.

723
00:36:30,406 --> 00:36:32,522
What I love here is,
I remember when you pitched me the idea

724
00:36:32,616 --> 00:36:34,983
that you're not going to see
any of the pickpocketing,

725
00:36:35,077 --> 00:36:37,819
and I was really unsure
if that would work,

726
00:36:37,913 --> 00:36:40,905
and it works brilliantly,
because people pay attention.

727
00:36:41,000 --> 00:36:43,992
When he lifts up that thing and he goes,
"So why was this in your pocket?"

728
00:36:44,086 --> 00:36:47,124
And everyone understands immediately
that they've just been—

729
00:36:47,214 --> 00:36:49,581
Well, the whole idea is
it's an invisible art.

730
00:36:49,675 --> 00:36:51,040
You're not supposed to see it.

731
00:36:51,135 --> 00:36:54,878
Although we do then show it
one time in the story.

732
00:36:54,972 --> 00:36:56,679
- On the train? Exactly.
- On the train.

733
00:36:56,765 --> 00:36:57,800
Which, again, is so great

734
00:36:57,891 --> 00:37:01,384
'cause you can hear the penny dropping
for the audience at that point.

735
00:37:01,478 --> 00:37:03,936
But I love how these characters play.

736
00:37:04,023 --> 00:37:05,934
I love the air we left in this scene.

737
00:37:06,025 --> 00:37:09,814
- And here's a move motivated by—
- By this prop in the foreground.

738
00:37:09,903 --> 00:37:12,520
It's motivated by a prop,
but it's also motivated by a turn.

739
00:37:12,614 --> 00:37:13,729
A turn, emotionally.

740
00:37:13,824 --> 00:37:15,690
- She has just made a choice.
- Exactly.

741
00:37:15,784 --> 00:37:18,116
And these movies are, obviously—

742
00:37:18,203 --> 00:37:22,071
These two chapters
are about choice and acceptance.

743
00:37:22,166 --> 00:37:25,284
In that moment, she's made a choice
and her life has changed.

744
00:37:25,377 --> 00:37:27,459
- She's simply not aware of it.
- Yeah.

745
00:37:27,546 --> 00:37:29,002
Erik Jendresen's choice of the Zippo.

746
00:37:29,089 --> 00:37:30,420
- That was his—
- It's so good.

747
00:37:30,507 --> 00:37:34,171
When they presented me with the possible
props that could be a Geiger counter,

748
00:37:34,261 --> 00:37:37,174
he looked at it first and said,
"Slip a Zippo in there."

749
00:37:37,264 --> 00:37:39,972
And without my knowing it,
when I walked up to the table,

750
00:37:40,059 --> 00:37:42,221
of course, it's right where my eye went.

751
00:37:42,311 --> 00:37:43,927
Was a great choice on Erik's part.

752
00:37:44,021 --> 00:37:46,262
All of this stuff with Ving around the—

753
00:37:46,357 --> 00:37:49,850
I will say that the amount
of CCTV footage that you shot—

754
00:37:49,943 --> 00:37:54,528
Like, every single setup, they had
four little, tiny cameras filming CCTV.

755
00:37:54,615 --> 00:37:57,357
- And we used—
- And we used every tiny—

756
00:37:57,451 --> 00:38:02,116
Every single angle was in this,
and it was hours and hours of it.

757
00:38:02,206 --> 00:38:04,243
This shot, we had 15 minutes
at the end of the day.

758
00:38:04,333 --> 00:38:06,290
Look at that beautiful backlight there,
the sunset.

759
00:38:06,377 --> 00:38:09,119
Yeah, you just nailed it.
It's a beautiful oner again.

760
00:38:09,213 --> 00:38:12,922
It was dictated entirely by necessity.

761
00:38:13,008 --> 00:38:14,999
- I had no time.
- And Tarzan is so good.

762
00:38:15,094 --> 00:38:17,586
Like, everything he's doing is
so active in these scenes.

763
00:38:17,679 --> 00:38:18,669
He's phenomenal.

764
00:38:18,764 --> 00:38:21,973
Greg Tarzan Davis who plays the character
of Degas, behind Briggs.

765
00:38:22,059 --> 00:38:24,892
And here,
we had a different line originally

766
00:38:24,978 --> 00:38:27,265
when we were still finding
Hayley's character.

767
00:38:27,356 --> 00:38:28,972
- That's right.
- And it was just too frivolous,

768
00:38:29,066 --> 00:38:31,433
and so we slipped this other line in.

769
00:38:31,527 --> 00:38:34,394
Basically turned the sound off,
read her lips,

770
00:38:34,488 --> 00:38:37,321
and said,
"What other words can I slip in there?"

771
00:38:37,408 --> 00:38:39,900
"This is getting exciting,"
is what you put in, yeah.

772
00:38:40,661 --> 00:38:41,992
This is—

773
00:38:42,079 --> 00:38:44,662
Now, what you're gonna see here,
the camera that we're using—

774
00:38:44,748 --> 00:38:46,284
We're using a combination of—

775
00:38:46,375 --> 00:38:50,539
That's a Rialto.
It's a small handheld camera.

776
00:38:50,629 --> 00:38:51,744
There's Steadicam,

777
00:38:51,839 --> 00:38:54,331
and then there's a camera
called a Stabileye.

778
00:38:54,425 --> 00:38:55,460
We're gonna get real nerdy.

779
00:38:55,551 --> 00:38:58,589
- We're talking about editorial work here.
- Everyone loves this stuff, Chris.

780
00:38:58,679 --> 00:39:00,795
Stabileye is like a handheld remote head,

781
00:39:00,889 --> 00:39:04,507
so you have somebody sitting
at wheels operating the camera,

782
00:39:04,601 --> 00:39:07,263
and you have a camera operator
who's carrying it,

783
00:39:07,354 --> 00:39:10,847
and the person operating the wheels,
Chunky, is talking to Ross,

784
00:39:10,941 --> 00:39:13,353
the operator
who's moving the camera around,

785
00:39:13,444 --> 00:39:17,529
while Chunky is panning
and tilting the head.

786
00:39:17,614 --> 00:39:20,026
And you'll see there's some
extraordinary camerawork

787
00:39:20,117 --> 00:39:22,654
that you can't do with a Steadicam.

788
00:39:22,744 --> 00:39:24,530
Graphics on the bomb again.

789
00:39:24,621 --> 00:39:28,706
Very specific graphics
that are exhaustive.

790
00:39:28,792 --> 00:39:35,585
And really, you have so few frames
to communicate so much information,

791
00:39:35,674 --> 00:39:37,290
and you always want it to be fluid.

792
00:39:37,384 --> 00:39:39,842
And here comes one hell of a shot.

793
00:39:39,928 --> 00:39:43,091
This is done with a Stabileye.
Couldn't do that with a Steadicam.

794
00:39:43,182 --> 00:39:45,924
- Going all the way down to the floor.
- To be able to jib down like that.

795
00:39:46,018 --> 00:39:50,728
And this was us
discovering the uses of this equipment

796
00:39:50,814 --> 00:39:53,397
and figuring out how can it serve us best.

797
00:39:53,484 --> 00:39:56,772
There's a great kind of dance shot
with them to the left there.

798
00:39:56,862 --> 00:40:00,196
- This is, again, the movement.
- See them doing a do-si-do here as they—

799
00:40:00,282 --> 00:40:04,196
And, again, the graphics, you know, that's
telling you that Hayley has seen them

800
00:40:04,286 --> 00:40:06,778
when you don't really see Hayley see them.

801
00:40:07,414 --> 00:40:12,250
Again, all of this, you're seeing
how the graphics are three-dimensional,

802
00:40:13,212 --> 00:40:14,873
that everything feels tactile,

803
00:40:14,963 --> 00:40:18,797
and it gives you a sense
of Luther having an overview

804
00:40:18,884 --> 00:40:22,218
and a three-dimensional
God's-eye view of this airport.

805
00:40:22,804 --> 00:40:25,671
But it's all done very subtly.
We're not trying to overdo it.

806
00:40:25,766 --> 00:40:27,222
This is a—

807
00:40:28,560 --> 00:40:31,393
That was a push-in with the Stabileye.

808
00:40:32,439 --> 00:40:34,976
And again, it's all character,

809
00:40:35,984 --> 00:40:38,692
and it's character and camera
working together.

810
00:40:38,779 --> 00:40:43,148
And Simon selling this whole moment
fantastically well.

811
00:40:43,242 --> 00:40:45,904
- Really, really well.
- He's an astonishing actor, Simon.

812
00:40:45,994 --> 00:40:48,156
It's like he understands the genre,

813
00:40:48,247 --> 00:40:52,457
and he can switch modes
emotionally, effortlessly.

814
00:40:52,543 --> 00:40:58,960
Well, his secret mojo is that,
while we think of Benji as the humor,

815
00:40:59,049 --> 00:41:02,212
it's a back door to incredible drama.

816
00:41:02,302 --> 00:41:05,215
He has amazing dramatic chops.

817
00:41:05,305 --> 00:41:11,802
And it's interesting how Benji
and Ethan are two sides of the same coin.

818
00:41:11,895 --> 00:41:16,731
Benji. Tends to be the funny guy,

819
00:41:16,817 --> 00:41:20,105
but then he has moments of genuine drama.

820
00:41:20,195 --> 00:41:22,687
- Ethan is the dramatic guy...
- Yes.

821
00:41:22,781 --> 00:41:25,398
who then has genuine moments of humor.

822
00:41:25,492 --> 00:41:27,779
And they each complement one another,

823
00:41:27,869 --> 00:41:29,906
and they don't step on
one another's space.

824
00:41:29,997 --> 00:41:32,989
- That's correct.
- And we really discovered that as—

825
00:41:33,584 --> 00:41:37,168
We were able to articulate that
only very recently

826
00:41:37,254 --> 00:41:40,292
when we were lining up stuff
that's gonna show up in Part Two.

827
00:41:40,382 --> 00:41:42,999
And, "Are you afraid of death”
was actually not

828
00:41:43,093 --> 00:41:44,629
in the original assembly of the film.

829
00:41:44,720 --> 00:41:47,178
- That was added later.
- Correct, it was another line.

830
00:41:47,264 --> 00:41:51,804
There were a couple of moments
in this scene that were off-putting,

831
00:41:51,893 --> 00:41:56,808
where how I had written Simon,

832
00:41:56,898 --> 00:42:00,687
they were lines that were humorous,

833
00:42:00,777 --> 00:42:03,144
but they had a negative connotation.

834
00:42:03,238 --> 00:42:04,228
Yes.

835
00:42:04,323 --> 00:42:06,940
And it was very interesting
that the balance of humor—

836
00:42:07,034 --> 00:42:13,906
And something I see in a lot of movies is
humor presented in a negative way,

837
00:42:14,791 --> 00:42:16,782
a negativity between characters

838
00:42:16,877 --> 00:42:20,620
that's meant to be them
either busting on each other

839
00:42:20,714 --> 00:42:23,081
or intention, yelling at one another.

840
00:42:23,175 --> 00:42:25,086
It actually has—

841
00:42:25,177 --> 00:42:29,592
It's counter-intentional and actually
alienates you from the character.

842
00:42:29,681 --> 00:42:31,638
And there were about four lines
of dialogue,

843
00:42:31,725 --> 00:42:35,468
and after the first test screening,
Tom picked them out.

844
00:42:35,562 --> 00:42:41,478
We noticed that Benji wasn't resonating
the way he usually does in these movies,

845
00:42:41,568 --> 00:42:42,558
and Tom flagged it.

846
00:42:42,653 --> 00:42:45,145
And that was always
the most important thing for you.

847
00:42:45,238 --> 00:42:47,696
That was always there,
but it was in a different place,

848
00:42:47,783 --> 00:42:49,319
and we rearranged these riddles.

849
00:42:49,409 --> 00:42:52,197
That's why you're seeing the dials
are going in a different order.

850
00:42:52,287 --> 00:42:55,120
- They used to go left to right.
- This is another amazing shot.

851
00:42:55,207 --> 00:42:56,618
I love this.

852
00:42:56,708 --> 00:43:00,952
This was, again, in Birmingham,
and all of these—

853
00:43:01,046 --> 00:43:04,664
Again, you're feeling movement
with these characters.

854
00:43:06,093 --> 00:43:09,586
Intercutting all this stuff
with the riddles and, you know,

855
00:43:09,680 --> 00:43:10,966
making sure that the rhythms

856
00:43:11,056 --> 00:43:13,639
of the sequence
are getting kind of faster and faster.

857
00:43:13,725 --> 00:43:17,138
And the camera moving, and having
to be aware of where everything was

858
00:43:17,229 --> 00:43:21,974
in the order in which it was happening
so you're feeling a visual progression.

859
00:43:22,067 --> 00:43:24,149
And the music is building, building,
building, building.

860
00:43:24,236 --> 00:43:26,398
It's building, and then right here,

861
00:43:26,488 --> 00:43:28,946
the cue just takes
a moment to breathe, coming up.

862
00:43:29,032 --> 00:43:31,865
- And speaking of music—
- "Forty five seconds."

863
00:43:31,952 --> 00:43:32,908
- Yeah.
- Yeah.

864
00:43:32,994 --> 00:43:35,736
Here we go. The music stops now.
Yeah, I love it.

865
00:43:35,831 --> 00:43:41,452
This is a sequence that really didn't come
together until the music came together.

866
00:43:41,545 --> 00:43:43,035
Yeah, Lome and his team.

867
00:43:43,130 --> 00:43:46,543
As much as the other work
that went into it,

868
00:43:46,633 --> 00:43:50,297
it's almost one continuous piece of music
from the moment the key comes up,

869
00:43:50,387 --> 00:43:52,253
- and not a short one.
- Yeah.

870
00:43:52,347 --> 00:43:57,308
And it's where the music starts
and also when the music stops.

871
00:43:57,394 --> 00:44:01,854
It's all designed to create
a sense of momentum and lift.

872
00:44:01,940 --> 00:44:04,227
And we had watched this scene
numerous times

873
00:44:04,317 --> 00:44:06,103
and were really struggling with it,

874
00:44:06,194 --> 00:44:09,607
and when the music came on, we knew,
"Now we know it's gonna work."

875
00:44:09,698 --> 00:44:10,688
Yeah.

876
00:44:11,825 --> 00:44:14,613
And again, you're feeling the team.

877
00:44:14,703 --> 00:44:17,786
It's all about creating a bond
between the team.

878
00:44:17,873 --> 00:44:23,084
When you took out the scene in the lounge
or when we cut it shorter,

879
00:44:23,170 --> 00:44:25,377
you lost any sense of their bond.

880
00:44:25,464 --> 00:44:27,250
- Another reference to good luck.
- Good luck.

881
00:44:27,340 --> 00:44:29,047
Which you'll see.

882
00:44:29,134 --> 00:44:32,252
So Operation Podkova as well is Operation
Horseshoe right at the beginning.

883
00:44:32,345 --> 00:44:36,509
The podkova is a horseshoe,
and the horseshoe is symbol for good luck.

884
00:44:36,600 --> 00:44:39,968
And that's a motif that's gonna pay off

885
00:44:40,729 --> 00:44:42,015
in Part Two.

886
00:44:43,148 --> 00:44:48,518
CCTV turned out to be the one
effective shot we had to show that,

887
00:44:48,612 --> 00:44:50,398
again, 'cause we're shooting
everything quickly.

888
00:44:50,489 --> 00:44:54,699
And that shop, the handbag shop
was the one piece of gear

889
00:44:54,785 --> 00:44:56,696
that I brought back from the set,

890
00:44:56,787 --> 00:44:59,245
knowing that if I get them in this corner,

891
00:44:59,331 --> 00:45:02,414
I can then reshoot any coverage I need.

892
00:45:03,126 --> 00:45:04,742
And a lot of this is—

893
00:45:04,836 --> 00:45:07,828
By the way, that camera move
going around Hayley,

894
00:45:07,923 --> 00:45:10,039
that's Chunky and Hayley working together.

895
00:45:10,133 --> 00:45:13,000
She actually is walking
at multiple speeds.

896
00:45:13,094 --> 00:45:16,052
She feels like she's walking
at one continuous speed,

897
00:45:16,139 --> 00:45:19,928
but she's actually working with Chunky
to give him the time to get around,

898
00:45:20,018 --> 00:45:23,136
and it's extremely delicate,
delicate dance.

899
00:45:23,772 --> 00:45:25,809
The graphics of the sunglasses,
by the way,

900
00:45:25,899 --> 00:45:29,062
we worked on those for a long, long time.

901
00:45:29,152 --> 00:45:30,642
This is all happening—

902
00:45:30,737 --> 00:45:33,820
So Shea Whigham is wearing a wig here
'cause he was playing G. Gordon Liddy.

903
00:45:33,907 --> 00:45:36,399
I didn't even realize that
until you said it.

904
00:45:36,493 --> 00:45:37,983
It's the most terrible hairline—

905
00:45:38,078 --> 00:45:40,194
It's one of those things
where people just don't notice.

906
00:45:40,288 --> 00:45:44,623
And Hair and Makeup was just not—
to make very clear,

907
00:45:44,709 --> 00:45:46,541
they had three days to get a wig ready.

908
00:45:46,628 --> 00:45:48,335
They were mortified.
And I said, "Don't worry."

909
00:45:48,421 --> 00:45:49,502
This was an interesting thing

910
00:45:49,589 --> 00:45:51,956
where you added the "Rome"
really at the end because—

911
00:45:52,050 --> 00:45:53,882
Just so that you—

912
00:45:53,969 --> 00:45:55,801
Well, we originally
had a shot that showed it.

913
00:45:55,887 --> 00:45:56,877
Yes.

914
00:45:56,972 --> 00:46:00,806
But we stopped— the whole scene stopped
so you could read "Rome."

915
00:46:00,892 --> 00:46:04,101
So instead we went through here
and planted Rome there.

916
00:46:04,187 --> 00:46:06,474
- Yeah.
- Those are all added later.

917
00:46:07,607 --> 00:46:12,022
So that you subconsciously realize
that she's on her way to Rome, and then...

918
00:46:12,112 --> 00:46:14,069
- That's right.
- ... when they turn up in Rome, you're not—

919
00:46:14,155 --> 00:46:16,772
And again, Tom, giving this energy.

920
00:46:16,867 --> 00:46:18,983
He gave us different performances
through the glass,

921
00:46:19,077 --> 00:46:22,160
different reactions to Hayley,
which we could then shape—

922
00:46:22,247 --> 00:46:25,160
And there was a moment
where Hayley was kind of smug.

923
00:46:25,250 --> 00:46:26,957
She kind of spiked the football.

924
00:46:27,043 --> 00:46:28,909
- She smiles.
- And she did the nose thing.

925
00:46:29,004 --> 00:46:30,961
She tapped the side of her nose
like The Sting.

926
00:46:31,047 --> 00:46:32,958
We played with all these different ideas.

927
00:46:33,049 --> 00:46:35,211
And what happened was,
you rejected the character.

928
00:46:35,302 --> 00:46:36,383
Correct.

929
00:46:36,469 --> 00:46:39,757
You felt a sense that she was celebrating
beating Ethan.

930
00:46:39,848 --> 00:46:43,216
And we dialed all that back,
and it changed your affinity.

931
00:46:43,310 --> 00:46:44,641
That's not Luther, by the way.

932
00:46:44,728 --> 00:46:49,268
Also, it certainly made her feel
more like she was a little nervous

933
00:46:49,357 --> 00:46:52,475
and in over her head a little bit,
of, like, what's she got into?

934
00:46:52,569 --> 00:46:54,776
Rather than just being in control.

935
00:46:54,863 --> 00:46:57,730
Oh, this is amazing.
You absolutely shot this for real.

936
00:46:57,824 --> 00:46:59,940
- And this was all for real.
- This was all for real.

937
00:47:00,035 --> 00:47:02,026
Although a lot of the people
in the background there—

938
00:47:02,120 --> 00:47:04,407
Anybody in the background there,
they weren't there.

939
00:47:04,497 --> 00:47:06,238
- Yeah.
- This is real.

940
00:47:06,333 --> 00:47:08,916
That was, again, you just—
This was a lot of fun.

941
00:47:09,002 --> 00:47:11,039
It was amazing
that you got that timed out.

942
00:47:11,129 --> 00:47:14,997
It's a real challenge
getting all of these elements to line up

943
00:47:15,091 --> 00:47:19,176
and doing it in a very limited time
and, again, doing it during COVID.

944
00:47:20,388 --> 00:47:23,176
And that was the airport.
My God. I'm glad that's over.

945
00:47:23,934 --> 00:47:24,924
Our graphics here—

946
00:47:25,018 --> 00:47:28,136
More beautiful graphics
from Andrew and the team at BLIND.

947
00:47:28,229 --> 00:47:32,689
And this really evolved over time
to include more and more.

948
00:47:32,776 --> 00:47:35,313
And you did actually build this.
This was full of monitors.

949
00:47:35,403 --> 00:47:39,317
I mean, they got, like, 300 monitors
from a museum in Cambridge.

950
00:47:39,407 --> 00:47:42,195
- Yes, all of that's practical.
- Like, CRTs.

951
00:47:42,285 --> 00:47:46,449
What's fun about this
is there actually is no set.

952
00:47:46,539 --> 00:47:48,246
You're looking at a sound stage.

953
00:47:48,333 --> 00:47:50,495
That's right. The walls of the sound stage.

954
00:47:50,585 --> 00:47:53,543
We realized if we did it this way,
shot at darkness—

955
00:47:53,630 --> 00:47:57,214
And you'll notice, like, pointing a lot
of source lights at the camera—

956
00:47:57,300 --> 00:47:58,882
There are no walls to the set.

957
00:47:58,969 --> 00:48:00,630
That's in the corner of a sound stage.

958
00:48:00,720 --> 00:48:02,836
This scene used to be quite a bit longer,

959
00:48:02,931 --> 00:48:06,845
and you'll see a little section of it
in the deleted shots reel.

960
00:48:06,935 --> 00:48:10,849
It was exposition where they were
explaining what the Entity was doing

961
00:48:10,939 --> 00:48:13,021
and how the government was reacting to it.

962
00:48:13,108 --> 00:48:16,942
It was all to keep the notion of
the Entity alive and create that pressure.

963
00:48:18,238 --> 00:48:21,481
And we just had it in our pocket,
but we also—

964
00:48:21,574 --> 00:48:25,238
What's weird about this is
Rome is never this empty.

965
00:48:25,328 --> 00:48:26,363
Yes.

966
00:48:26,454 --> 00:48:28,946
These aerial shots were done
when everyone was in lockdown.

967
00:48:29,040 --> 00:48:31,031
We had to add a lot of the lights in Rome.

968
00:48:31,126 --> 00:48:33,288
There's a few people
on the streets really.

969
00:48:33,378 --> 00:48:36,291
I love this. I love the way
you covered this scene as well.

970
00:48:37,173 --> 00:48:40,461
These are terrific actors from Italy
that you—

971
00:48:40,552 --> 00:48:43,920
- These guys are absolutely sensational.
- They're so good.

972
00:48:44,014 --> 00:48:47,723
I love the fact that you only reveal the
two people behind her in the reflection.

973
00:48:47,809 --> 00:48:50,551
When we're on her coverage,
all you see are these two uniforms.

974
00:48:50,645 --> 00:48:54,684
And if you're paying close attention,
which most people aren't,

975
00:48:54,774 --> 00:48:57,106
to the people in the background,

976
00:48:57,193 --> 00:49:00,151
you can see where we shot in Italy
and where we shot in the UK

977
00:49:00,238 --> 00:49:04,732
because the cops change
several times throughout.

978
00:49:06,494 --> 00:49:07,905
And that was a challenge

979
00:49:07,996 --> 00:49:11,955
because this scene was broken up
over so many locations because of...

980
00:49:12,042 --> 00:49:14,033
Love the reveal of the handcuffs there.

981
00:49:14,127 --> 00:49:15,492
- Beautiful directing.
- Thank you.

982
00:49:15,587 --> 00:49:16,748
Yeah.

983
00:49:16,838 --> 00:49:18,920
And then it's so satisfying
hearing the audience

984
00:49:19,007 --> 00:49:21,248
when she takes the paper clip,
'cause everyone's like,

985
00:49:21,342 --> 00:49:22,548
"She's got the paper clip!"

986
00:49:22,635 --> 00:49:25,718
And I love the fact that it doesn't
pay off for another 20 minutes.

987
00:49:25,805 --> 00:49:28,388
And, well, that was really interesting.

988
00:49:28,475 --> 00:49:29,886
That was...

989
00:49:31,269 --> 00:49:35,684
Tom was really, really particular
about setting it up early

990
00:49:35,774 --> 00:49:37,390
and then letting them forget about it.

991
00:49:37,484 --> 00:49:39,316
Yes, yes. I love it.

992
00:49:39,402 --> 00:49:41,313
Yeah. And I had had it—

993
00:49:41,404 --> 00:49:44,522
I was subtler
in the reveal of the paper clip.

994
00:49:44,616 --> 00:49:47,779
And then we just pushed it real hard.

995
00:49:48,870 --> 00:49:50,110
Some of these Dutch angles...

996
00:49:50,205 --> 00:49:53,118
I love the way Hayley's eyes move there
at the end when she's thinking.

997
00:49:53,208 --> 00:49:55,700
- And again, you remember, she gave us...
- So many options.

998
00:49:55,794 --> 00:49:56,875
So many options.

999
00:49:56,961 --> 00:49:58,167
Ones where she was bluffing—

1000
00:49:58,254 --> 00:50:01,246
This is an awesome shot
of Pom Klementieff here playing Paris.

1001
00:50:01,341 --> 00:50:03,628
- I love the nose sniff.
- She's wonderful.

1002
00:50:03,718 --> 00:50:05,584
Pom delivers such a—

1003
00:50:05,678 --> 00:50:08,136
So you see here,
this is the stuff I shot in Italy.

1004
00:50:08,223 --> 00:50:09,213
Yeah.

1005
00:50:09,307 --> 00:50:11,048
And all of that was my paper clip story.

1006
00:50:11,142 --> 00:50:14,601
Then when we went back to do the inserts,
we really pushed it.

1007
00:50:14,687 --> 00:50:15,893
We just underlined it.

1008
00:50:15,980 --> 00:50:17,891
And that was the thing, is sometimes

1009
00:50:17,982 --> 00:50:20,394
you're just being too subtle
and too clever by half.

1010
00:50:20,485 --> 00:50:23,773
And we were always checking one another
to say, "You know what? Just say it."

1011
00:50:23,863 --> 00:50:27,151
And there were times I was being subtle,
Tom was being subtle,

1012
00:50:28,034 --> 00:50:30,901
and we were just always there
giving ourselves the options.

1013
00:50:30,995 --> 00:50:33,032
- I love this shot of Esai.
- It's so good.

1014
00:50:33,123 --> 00:50:34,864
The light in this scene,
all of this stuff.

1015
00:50:34,958 --> 00:50:37,245
Again, another set designed
by Gary Freeman.

1016
00:50:37,335 --> 00:50:38,791
Yeah.

1017
00:50:38,878 --> 00:50:41,165
And lit by...

1018
00:50:42,423 --> 00:50:45,040
What's interesting is, watching this,

1019
00:50:45,135 --> 00:50:47,593
you're not aware of the fact
that that establishing shot

1020
00:50:47,679 --> 00:50:51,013
of Gabriel walking in, or Esai walking in,

1021
00:50:51,099 --> 00:50:52,965
past Grace

1022
00:50:53,059 --> 00:50:56,347
was shot, like, over a year
before we shot this scene.

1023
00:50:56,437 --> 00:50:59,350
Yes. Well, Esai was on the movie—

1024
00:50:59,440 --> 00:51:03,274
Esai and Hayley were both on the movie
well over a hundred days each

1025
00:51:03,361 --> 00:51:05,352
before they had
a substantial dialogue scene.

1026
00:51:05,446 --> 00:51:06,436
That's true. Yeah.

1027
00:51:06,531 --> 00:51:08,818
And it was always in the schedule,

1028
00:51:08,908 --> 00:51:12,151
but then there would be
some sort of disruption because of COVID,

1029
00:51:12,245 --> 00:51:14,282
and things were constantly moving around.

1030
00:51:14,998 --> 00:51:17,956
And so a lot of what they were doing
on the movie was their action

1031
00:51:18,042 --> 00:51:19,999
and not their character work.

1032
00:51:20,086 --> 00:51:22,953
- So a lot of times—
- I love the music cue here as well.

1033
00:51:23,047 --> 00:51:25,288
The kind of snake "charmer-y" vibe.

1034
00:51:25,383 --> 00:51:28,045
Yeah, the vibraphone flute,

1035
00:51:28,136 --> 00:51:30,753
- which was the Entity cue for us.
- That's right.

1036
00:51:30,847 --> 00:51:34,306
We really believe
that was telling the story of the Entity.

1037
00:51:34,392 --> 00:51:38,886
And Edgar Wright
came to a screening early on,

1038
00:51:38,980 --> 00:51:42,769
and he said, "Could there be a sound
or a musical cue for the Entity?"

1039
00:51:42,859 --> 00:51:45,146
- I said, "Are you kidding me?"
- We were looking at each other, going...

1040
00:51:45,236 --> 00:51:46,601
"Are you kidding me? It's right there."

1041
00:51:46,696 --> 00:51:48,812
When we went back
and watched the movie with that filter,

1042
00:51:48,907 --> 00:51:51,274
we realized it was everywhere
but on the Entity.

1043
00:51:51,367 --> 00:51:52,573
Exactly. Exactly.

1044
00:51:52,660 --> 00:51:56,449
And that's when we brought in
a sound design element.

1045
00:51:56,539 --> 00:51:58,405
- It was James Mather.
- That's right.

1046
00:51:58,499 --> 00:52:01,207
And James Mather,
when I described what I was looking for—

1047
00:52:01,294 --> 00:52:03,501
Some kind of "bass-y" sound
with vibration—

1048
00:52:03,588 --> 00:52:05,955
He brought up an early version
of that sound.

1049
00:52:06,049 --> 00:52:07,039
That's right.

1050
00:52:07,133 --> 00:52:10,717
- And it was his broken Sonos soundbar.
- Broken Sonos soundbar.

1051
00:52:10,803 --> 00:52:13,090
And when we get to Venice,
we'll talk more about that.

1052
00:52:13,181 --> 00:52:17,015
I do remember, when you shot this,
this introduction to Hayley,

1053
00:52:17,101 --> 00:52:21,516
it took you— this moment
of connecting the two characters—

1054
00:52:21,606 --> 00:52:23,188
Took quite a long time to film.

1055
00:52:23,274 --> 00:52:25,060
This was in Senate House in London,
wasn't it?

1056
00:52:25,151 --> 00:52:27,893
Yes. And as a result,
as we ran out of time...

1057
00:52:27,987 --> 00:52:30,069
You did all of— You did this...

1058
00:52:30,156 --> 00:52:33,649
All of Ethan's coverage
is on a stage a year later.

1059
00:52:33,743 --> 00:52:35,108
I know, I know.

1060
00:52:35,703 --> 00:52:36,693
So, poor Hayley.

1061
00:52:36,788 --> 00:52:40,076
We got to the point where we were about
to turn the camera around on her

1062
00:52:40,166 --> 00:52:42,328
and shoot her first dialogue scene.

1063
00:52:42,418 --> 00:52:44,625
And all her characterization,
all her backstory,

1064
00:52:44,712 --> 00:52:46,328
everything is in this scene.

1065
00:52:47,340 --> 00:52:48,830
And this, we shot, you remember—

1066
00:52:48,925 --> 00:52:51,838
This was all information.
It was dialogue in the scene.

1067
00:52:51,928 --> 00:52:53,259
Ethan saying it.

1068
00:52:53,346 --> 00:52:55,883
And we kept feeling
like we have to shoot this.

1069
00:52:55,974 --> 00:52:57,510
We actually have to show it.

1070
00:52:57,600 --> 00:53:00,262
And we finally did.
There's Barnaby. He was just sensational.

1071
00:53:00,353 --> 00:53:03,141
Came out for a day, and we just
had such a great time with him.

1072
00:53:03,898 --> 00:53:07,607
So, yes, everything you're looking at
with Hayley in her coverage,

1073
00:53:07,694 --> 00:53:10,561
we just built a little three-wall set
with a carpet.

1074
00:53:10,655 --> 00:53:12,987
Yeah. And I remember
doing an edit of this scene

1075
00:53:13,074 --> 00:53:15,315
where I just had literally Tom's side

1076
00:53:15,410 --> 00:53:19,369
and then just either using white
or blank, you know, slates to say...

1077
00:53:19,455 --> 00:53:21,241
- Her off-camera dialogue.
- Yeah, exactly.

1078
00:53:21,332 --> 00:53:23,699
But, yeah, look at this.

1079
00:53:23,793 --> 00:53:26,034
Again, this is just so well-composed.

1080
00:53:26,129 --> 00:53:28,621
Here's a line improvised by Hayley.

1081
00:53:30,633 --> 00:53:31,919
It was really wonderful.

1082
00:53:32,010 --> 00:53:34,172
She was sitting on the steps
of her trailer.

1083
00:53:34,262 --> 00:53:36,629
- This one.
- We were talking about her character.

1084
00:53:36,723 --> 00:53:39,181
"Can't blame a girl for making
an honest— dishonest living."

1085
00:53:39,267 --> 00:53:40,598
Yeah.

1086
00:53:40,685 --> 00:53:44,394
And that was one
of the key understandings of Grace.

1087
00:53:44,480 --> 00:53:46,141
That was kind of the beginning of that.

1088
00:53:46,232 --> 00:53:49,441
And Grace was somebody
who was developing over time

1089
00:53:49,527 --> 00:53:52,986
based entirely on one essential element,

1090
00:53:53,072 --> 00:53:56,190
which was we had to have affinity
for this character,

1091
00:53:56,284 --> 00:53:58,821
no matter how much
she might be betraying the team

1092
00:53:58,911 --> 00:54:00,401
and out on her own.

1093
00:54:00,496 --> 00:54:02,203
You had to be rooting for her.

1094
00:54:02,290 --> 00:54:04,873
It was a very, very delicate dance.

1095
00:54:04,959 --> 00:54:09,374
Very few actors could pull it off
as elegantly as Hayley.

1096
00:54:09,464 --> 00:54:10,295
She's just...

1097
00:54:10,381 --> 00:54:15,296
She was fearless as well because
she really gave us so many options

1098
00:54:15,386 --> 00:54:17,844
and trusted you and me

1099
00:54:17,930 --> 00:54:23,221
to find the best version
of her character editorially.

1100
00:54:23,311 --> 00:54:26,019
- It was—
- This was a very tricky scene.

1101
00:54:26,105 --> 00:54:28,517
I remember this took us
almost two days to build.

1102
00:54:28,608 --> 00:54:30,269
Yes, it took a long time.

1103
00:54:30,360 --> 00:54:34,354
"Cause, I mean, each line delivery,
you've got maybe 50 different options.

1104
00:54:34,447 --> 00:54:35,687
- Yeah.
- Something like that.

1105
00:54:35,782 --> 00:54:38,194
You could see there's a subtle shift
in the camera there.

1106
00:54:38,284 --> 00:54:40,241
So when Tom is reacting,

1107
00:54:40,328 --> 00:54:43,411
you just feel the camera
jib up a little bit, create pressure.

1108
00:54:43,498 --> 00:54:47,742
The rest of the scene
is relying really on them,

1109
00:54:47,835 --> 00:54:50,293
and it's just—
it's feeling their chemistry.

1110
00:54:50,380 --> 00:54:54,044
And so much of what we're doing here
in these compositions

1111
00:54:54,133 --> 00:54:57,000
- and cuts bouncing back and forth...
- I love those cuts there.

1112
00:54:57,095 --> 00:55:00,633
it's all meant to create the energy
of what the characters

1113
00:55:00,932 --> 00:55:02,093
are feeling.

1114
00:55:02,183 --> 00:55:03,673
That's not Shea Whigham.

1115
00:55:03,768 --> 00:55:06,226
He was not available to us that day.

1116
00:55:06,312 --> 00:55:08,223
And that is Shea Whigham.

1117
00:55:08,314 --> 00:55:13,275
There's a lot of use of body doubles
in the making of these two films.

1118
00:55:13,986 --> 00:55:15,317
Tom, insert king.

1119
00:55:15,405 --> 00:55:18,739
That's a very tricky insert to get
to tell that story on the fly.

1120
00:55:18,825 --> 00:55:21,192
I love the way she looks at him
like, "What am I gonna do?"

1121
00:55:21,285 --> 00:55:22,775
"What have I gotten myself into?"

1122
00:55:22,870 --> 00:55:24,326
- And it allows this.
- Yeah.

1123
00:55:24,414 --> 00:55:26,906
That little piece of behavior
allows the shift.

1124
00:55:26,999 --> 00:55:29,866
And I love these supporting players here.

1125
00:55:29,961 --> 00:55:33,329
- All these faces are so great.
- Yeah.

1126
00:55:33,423 --> 00:55:34,754
And they...

1127
00:55:34,841 --> 00:55:37,173
And the affinity I have for them,

1128
00:55:37,260 --> 00:55:39,126
because every single one
of these men stands up,

1129
00:55:39,220 --> 00:55:40,836
believing they're protecting her.

1130
00:55:41,556 --> 00:55:43,547
And I like all of these guys.

1131
00:55:43,641 --> 00:55:47,509
And it puts Ethan
in a very uncomfortable position,

1132
00:55:47,603 --> 00:55:50,095
and Tom plays it so well.

1133
00:55:50,189 --> 00:55:53,432
That was a big Technocrane
to get that shot.

1134
00:55:54,652 --> 00:55:57,735
We had half a day to shoot
all of this business out here.

1135
00:55:57,822 --> 00:55:59,187
- It was very challenging.
- Fantastic shot.

1136
00:55:59,282 --> 00:56:03,196
Placing the bike in a way
that it became foreground, created energy.

1137
00:56:03,286 --> 00:56:05,527
And watch Hayley's expressions.

1138
00:56:05,621 --> 00:56:10,240
Just watch when she's—
what she's doing these...

1139
00:56:10,334 --> 00:56:12,701
The character she's giving you,

1140
00:56:12,795 --> 00:56:16,538
the activity, the animation in her face
is really extraordinary.

1141
00:56:16,632 --> 00:56:19,090
- All the way through this chase scene.
- Yeah.

1142
00:56:19,177 --> 00:56:22,010
This used to be twice as long
as it is in the movie now.

1143
00:56:22,096 --> 00:56:23,382
This is awesome, the way we...

1144
00:56:23,473 --> 00:56:25,885
- There's a cut right there.
- There's a tiny dissolve

1145
00:56:25,975 --> 00:56:28,091
to get from one take to another there.

1146
00:56:28,186 --> 00:56:29,551
It's brilliant Eddie Hamilton editing.

1147
00:56:29,645 --> 00:56:31,807
We loved her delivery in one scene,
in one shot.

1148
00:56:31,898 --> 00:56:33,809
- The impact.
- The impact in another.

1149
00:56:33,900 --> 00:56:36,983
And it actually looks like a oner,
and there's actually a dissolve in there.

1150
00:56:37,069 --> 00:56:38,355
It's quite, quite spectacular.

1151
00:56:38,446 --> 00:56:40,653
I remember watching that as dailies
and just...

1152
00:56:40,740 --> 00:56:43,027
It was such fun to put all this together.

1153
00:56:43,117 --> 00:56:45,700
- This was. And the chaotic nature.
- The way he keeps looking at her.

1154
00:56:45,786 --> 00:56:47,117
Like, "What is she doing?"

1155
00:56:47,205 --> 00:56:50,368
The streets of Venice, or of Rome, rather.

1156
00:56:50,458 --> 00:56:53,416
The streets of Rome,
the cobblestones, everything's uneven.

1157
00:56:53,503 --> 00:56:58,293
It creates a really particular energy
to the camera.

1158
00:56:58,382 --> 00:57:03,593
And what you're seeing is Rome is really
participating in the camerawork here.

1159
00:57:03,679 --> 00:57:06,842
You wouldn't get quite the same energy.

1160
00:57:06,933 --> 00:57:08,970
This was all shot in a back lot

1161
00:57:09,060 --> 00:57:12,098
for the simple reason
that if we tried to shoot it in Rome,

1162
00:57:12,188 --> 00:57:14,520
it would have taken us a day
just to install everything.

1163
00:57:14,607 --> 00:57:18,851
We only had two days
on this location on Imperiali.

1164
00:57:18,945 --> 00:57:22,609
I love this point of view
that you're in here, directorially.

1165
00:57:22,698 --> 00:57:25,110
You know, the sound design
is all going very subjective.

1166
00:57:25,201 --> 00:57:27,317
All dictated by practicality.

1167
00:57:27,411 --> 00:57:29,903
All dictated by the fact
that if I stayed in the car,

1168
00:57:29,997 --> 00:57:32,113
- I didn't have to shoot it in Rome.
- I love it.

1169
00:57:32,208 --> 00:57:35,667
And then this slow-motion bike
knocking the two guys down coming up.

1170
00:57:35,753 --> 00:57:37,869
I never thought we could pull this off.

1171
00:57:37,964 --> 00:57:41,753
It always gets a great reaction.
It's just so elegantly done.

1172
00:57:41,842 --> 00:57:44,049
It tells you when— because I look at it

1173
00:57:44,136 --> 00:57:46,343
and I still struggle
with the animation of the bike.

1174
00:57:46,430 --> 00:57:51,175
What it tells you is that technical
excellence only gets you so far.

1175
00:57:51,269 --> 00:57:53,351
You've got to invest them in the story,

1176
00:57:53,437 --> 00:57:55,769
and that'll carry you.

1177
00:57:55,856 --> 00:57:59,019
This shot was—

1178
00:57:59,110 --> 00:58:00,851
Chunky was not available that day,

1179
00:58:00,945 --> 00:58:03,937
and Shaun,
our other camera operator, was there.

1180
00:58:04,031 --> 00:58:06,443
This is an extremely complicated shot.

1181
00:58:06,534 --> 00:58:10,778
Again, I remember seeing this in
the dailies and thinking, "Just another"--

1182
00:58:10,871 --> 00:58:12,111
It's so elegant.

1183
00:58:12,206 --> 00:58:14,493
It's like the story's building.

1184
00:58:14,584 --> 00:58:16,166
Everything's motivated.

1185
00:58:16,252 --> 00:58:18,584
We've just had a very cutty sequence
with the cars.

1186
00:58:18,671 --> 00:58:21,834
So you're allowing the audience
just to change gear, you know...

1187
00:58:21,924 --> 00:58:24,837
- All dictated by practicality.
- Practicality.

1188
00:58:24,927 --> 00:58:27,089
Because by doing this,
I've eliminated coverage,

1189
00:58:27,179 --> 00:58:28,544
and even though we shot this 18 times—

1190
00:58:28,639 --> 00:58:30,630
It's very hard to do this stuff.

1191
00:58:30,725 --> 00:58:33,638
It's, like— It's advanced filmmaking.

1192
00:58:33,728 --> 00:58:35,469
- You know, it's...
- It's a gamble.

1193
00:58:35,563 --> 00:58:37,474
It's an enormous gamble
because if you don't get it—

1194
00:58:37,565 --> 00:58:38,896
Yes, yes.

1195
00:58:38,983 --> 00:58:42,567
You're buying yourself the time
to shoot it provided you get it.

1196
00:58:42,653 --> 00:58:44,394
So we went to a racetrack, you remember?

1197
00:58:44,488 --> 00:58:47,856
And we lined up
all the cars and the actors

1198
00:58:47,950 --> 00:58:50,783
and we figured out the shot
and rehearsed it

1199
00:58:50,870 --> 00:58:52,861
and then went to the location to get it.

1200
00:58:52,955 --> 00:58:54,866
So, we were very well prepared.

1201
00:58:54,957 --> 00:58:56,823
- I love Tarzan.
- Tarzan's so energetic.

1202
00:58:56,917 --> 00:58:58,248
He's so great.

1203
00:58:58,336 --> 00:59:00,498
And Tarzan is just—

1204
00:59:00,588 --> 00:59:04,081
A lot of what you're seeing
is just his natural instinct as an actor.

1205
00:59:04,175 --> 00:59:05,631
- That moment with Shea?
- Yeah.

1206
00:59:05,718 --> 00:59:09,677
That was Shea on set, feeling that moment

1207
00:59:09,764 --> 00:59:12,051
and creating energy between him and Ethan,

1208
00:59:12,141 --> 00:59:13,757
'cause we were still...

1209
00:59:13,851 --> 00:59:16,593
We knew what we wanted their story to be.

1210
00:59:16,687 --> 00:59:19,099
But how do you tell it?
How do you tell it through behavior?

1211
00:59:19,190 --> 00:59:22,683
And Shea suggested that idea.

1212
00:59:22,777 --> 00:59:23,983
He's a brilliant actor.

1213
00:59:24,070 --> 00:59:26,152
I love the fact
that this is totally visual,

1214
00:59:26,238 --> 00:59:29,276
and the audience completely understands
why they have to switch seats.

1215
00:59:29,367 --> 00:59:31,278
- Well, it's vital.
- Yeah.

1216
00:59:31,369 --> 00:59:32,734
When we're making these movies,

1217
00:59:32,828 --> 00:59:35,616
we are making films
for an international audience.

1218
00:59:35,706 --> 00:59:39,620
We don't want you to have to read the
subtitles to be able to follow the story.

1219
00:59:39,710 --> 00:59:41,792
We want you to watch it as a silent movie,

1220
00:59:41,879 --> 00:59:43,870
and whether or not you're listening
to the dialogue

1221
00:59:43,964 --> 00:59:45,625
is really, quite frankly, trivial to me.

1222
00:59:45,716 --> 00:59:47,206
We always edit.

1223
00:59:47,301 --> 00:59:50,384
When we're watching these scenes back,
we watch them with no sound and no music.

1224
00:59:50,471 --> 00:59:52,929
When we're working on these sequences,

1225
00:59:53,015 --> 00:59:56,599
they have to work
completely visually first.

1226
00:59:56,686 --> 01:00:00,896
And then we know the sound design
and the music will just elevate it.

1227
01:00:00,981 --> 01:00:03,439
Now, this shot with the Humvee coming up,

1228
01:00:03,526 --> 01:00:05,392
you saw it hit those cars.

1229
01:00:05,486 --> 01:00:09,104
When it did that,
it destroyed the steering in the car.

1230
01:00:09,198 --> 01:00:12,111
And now the stunt driver
is trying to control the car.

1231
01:00:12,868 --> 01:00:15,109
And it just had a mind of its own.

1232
01:00:15,204 --> 01:00:16,740
It's up on the pavement.

1233
01:00:16,831 --> 01:00:19,118
We added the bus later
and just used the shot.

1234
01:00:19,208 --> 01:00:21,199
You'll see this was a little bit longer,

1235
01:00:21,293 --> 01:00:24,957
that they used to spin around
in front of the wedding cake monument.

1236
01:00:25,047 --> 01:00:26,037
Well, that was it.

1237
01:00:26,132 --> 01:00:29,545
We were getting a lot of notes about
length in the car chase and in the train,

1238
01:00:29,635 --> 01:00:32,047
and we just kept pulling out shots
one at a time.

1239
01:00:32,138 --> 01:00:33,594
And in the end...

1240
01:00:33,681 --> 01:00:35,547
There was also a sense

1241
01:00:35,641 --> 01:00:38,804
that the chase stopped, started

1242
01:00:38,894 --> 01:00:41,010
and then stopped again,
like, 15 seconds later.

1243
01:00:41,105 --> 01:00:44,018
That's the lesson we learn
every time we make a chase scene.

1244
01:00:44,108 --> 01:00:44,939
Right.

1245
01:00:45,025 --> 01:00:47,687
There's always a shot in there somewhere.
Just an individual shot.

1246
01:00:47,778 --> 01:00:50,896
I love this. I remember— It's such fun.

1247
01:00:50,990 --> 01:00:53,106
The way that these shots are so dynamic.

1248
01:00:53,200 --> 01:00:55,157
Your editing in this, too,
is just extraordinary.

1249
01:00:55,244 --> 01:00:56,530
Thank you.

1250
01:00:56,620 --> 01:01:00,079
- And it's all very chaotic.
- This is an amazing shot.

1251
01:01:00,166 --> 01:01:02,373
Behind Tom here,
when you see all the bikes, just...

1252
01:01:02,960 --> 01:01:05,952
Oh, my God. This.
It made modern art out of those things.

1253
01:01:06,046 --> 01:01:09,539
There was an eight-foot-high sculpture
of smashed scooters.

1254
01:01:10,342 --> 01:01:13,334
And here we are,
this is the essence of this chase,

1255
01:01:13,429 --> 01:01:18,845
for all the energy
and all the resources that go into it—

1256
01:01:18,934 --> 01:01:21,346
The cops, the stunt performers,
the street closures—

1257
01:01:21,437 --> 01:01:25,556
None of it would work without
the performance of these two actors.

1258
01:01:25,649 --> 01:01:29,984
And always covering them,
almost always, in a two-shot.

1259
01:01:30,070 --> 01:01:31,936
There are very few single shots.

1260
01:01:32,990 --> 01:01:34,321
And that means that—

1261
01:01:34,408 --> 01:01:38,072
It's not that—
You're not able to create performance

1262
01:01:38,162 --> 01:01:41,120
the way we do in other scenes
where we get to pick and choose takes.

1263
01:01:41,207 --> 01:01:42,197
Exactly.

1264
01:01:42,291 --> 01:01:45,784
They both have to be in the moment
at every moment.

1265
01:01:45,878 --> 01:01:48,370
Look at the skill of Tom's driving there
to knock the scooters.

1266
01:01:48,464 --> 01:01:51,957
- That's all real. That's all practical.
- It's incredibly difficult.

1267
01:01:52,051 --> 01:01:54,167
Tom is one of the best stunt drivers
in the world,

1268
01:01:54,261 --> 01:01:57,299
and we all kind of
slightly take it for granted.

1269
01:01:57,389 --> 01:01:59,801
- I know.
- "Tom will get us out of this."

1270
01:01:59,892 --> 01:02:03,101
And of course, what do I do?
I handcuff him to his costar.

1271
01:02:03,187 --> 01:02:04,894
- Figure that out.
- He's driving with one hand.

1272
01:02:04,980 --> 01:02:06,891
- Now we're into dance.
- I love this.

1273
01:02:06,982 --> 01:02:10,270
We're now into Fred Astaire
and Ginger Rogers.

1274
01:02:10,361 --> 01:02:13,023
You watch this,
everything about their behavior

1275
01:02:13,113 --> 01:02:16,606
from this moment on throughout the film,
it becomes a dance.

1276
01:02:16,700 --> 01:02:19,567
And this is, of course, the introduction

1277
01:02:19,662 --> 01:02:23,747
of the third character in the car chase,
which is the FIAT.

1278
01:02:23,833 --> 01:02:26,621
This idea of FIAT 500 occurred to me—

1279
01:02:26,710 --> 01:02:28,951
I don't know if you and I
have ever talked about this.

1280
01:02:29,046 --> 01:02:29,956
No, go on.

1281
01:02:30,047 --> 01:02:34,541
When I was location scouting Fallout,
and I was walking along the Seine River,

1282
01:02:34,635 --> 01:02:36,467
and I found a little FIAT 500 and thought,

1283
01:02:36,554 --> 01:02:38,545
"Wouldn't it be funny
if Tom drove this car?"

1284
01:02:38,639 --> 01:02:40,505
Oh, my word. Back then? Like, 2017?

1285
01:02:40,599 --> 01:02:42,806
Yeah, yeah.
I was already thinking about it.

1286
01:02:42,893 --> 01:02:45,305
- Now, watch the behaviors.
- The performances here are so great.

1287
01:02:45,396 --> 01:02:47,478
Watch Hayley's behavior,

1288
01:02:47,565 --> 01:02:49,647
her eyes, the expressions

1289
01:02:49,733 --> 01:02:51,189
and, most critically,

1290
01:02:51,277 --> 01:02:53,769
she's underplaying all of it.

1291
01:02:53,863 --> 01:02:56,025
It's all internal,

1292
01:02:56,115 --> 01:02:59,449
but it's all very, very active, right?

1293
01:02:59,535 --> 01:03:02,744
This is a perfect example
of Tom leaning into

1294
01:03:03,330 --> 01:03:05,492
just the gentle humor of this moment.

1295
01:03:05,583 --> 01:03:09,167
As the strength of Tom as Ethan Hunt.

1296
01:03:09,253 --> 01:03:10,243
Correct.

1297
01:03:10,337 --> 01:03:12,328
And really,
the strength of Tom as an actor.

1298
01:03:12,423 --> 01:03:14,881
He's not afraid to look afraid.
Edge of Tomorrow.

1299
01:03:14,967 --> 01:03:18,085
Even in Top Gun: Maverick,
he shows his character's vulnerability,

1300
01:03:18,178 --> 01:03:19,589
his character's weaknesses.

1301
01:03:19,680 --> 01:03:22,798
He allows his character
to be taken down a peg,

1302
01:03:22,892 --> 01:03:27,477
and it's what he's giving to the actors

1303
01:03:27,563 --> 01:03:29,224
in the scene with him.

1304
01:03:29,315 --> 01:03:31,272
- And Pom is just—
- That was interesting.

1305
01:03:31,358 --> 01:03:34,066
This little moment here
we created out of side—

1306
01:03:34,153 --> 01:03:37,145
Out of, like, B-roll of her sitting...

1307
01:03:37,239 --> 01:03:39,822
Her sitting in the car
waiting for us to call action.

1308
01:03:39,909 --> 01:03:41,741
Pom is always so active,

1309
01:03:41,827 --> 01:03:44,489
and we needed
this tiny little beat to explain—

1310
01:03:44,580 --> 01:03:46,947
- That was just Pom not acting.
- I know. Exactly.

1311
01:03:47,041 --> 01:03:50,659
We were trying to explain the fact
that the police are back on their trail,

1312
01:03:50,753 --> 01:03:52,710
and we decided to do it
with the police radio.

1313
01:03:52,796 --> 01:03:54,707
Here comes the other character
in the scene, Hayley's hair.

1314
01:03:54,798 --> 01:03:56,004
Hayley's hair!

1315
01:03:57,259 --> 01:04:00,251
You wanted me to cut the second one,
and I was like, "No. It's too cool.”

1316
01:04:00,346 --> 01:04:02,804
- I love it. It's great.
- It's a gravity-defying shot.

1317
01:04:02,890 --> 01:04:05,427
- Here we go to the Spanish Steps.
- Oh, my God.

1318
01:04:05,517 --> 01:04:07,007
Again, hard.

1319
01:04:07,102 --> 01:04:09,264
You never thought this was gonna work,
and yet,

1320
01:04:09,355 --> 01:04:11,938
it plays so well for the audience.

1321
01:04:12,024 --> 01:04:14,982
Well, when you invest this much—

1322
01:04:15,069 --> 01:04:18,278
We built the Spanish Steps,
sections of the Spanish Steps,

1323
01:04:18,364 --> 01:04:21,527
and it took so much time
and so much energy.

1324
01:04:21,617 --> 01:04:24,154
And ultimately, in the end,

1325
01:04:24,244 --> 01:04:26,531
after you've spent so much time doing I,

1326
01:04:26,622 --> 01:04:29,330
I just ended up feeling like
this was all an elaborate way

1327
01:04:29,416 --> 01:04:31,578
to just get the people to switch places.

1328
01:04:32,169 --> 01:04:34,877
- I no longer saw the forest for the trees.
- Yeah.

1329
01:04:35,464 --> 01:04:39,924
And it was only when it played
for an audience the first time,

1330
01:04:40,010 --> 01:04:42,001
and their reaction, that I realized...

1331
01:04:42,096 --> 01:04:43,382
- It's...
- Of course.

1332
01:04:43,472 --> 01:04:46,339
I remember you had prevised this
back in, like...

1333
01:04:46,433 --> 01:04:48,549
Oh, yes.
Not a reference 10 Battleship Potemkin.

1334
01:04:48,644 --> 01:04:50,009
I just needed the car...

1335
01:04:50,104 --> 01:04:52,596
It's amazing how many non-references
are in the movie.

1336
01:04:52,690 --> 01:04:54,397
I guess they're subconscious.

1337
01:04:55,150 --> 01:04:59,109
So all of that was done without ever
physically touching the Spanish Steps.

1338
01:04:59,196 --> 01:05:00,482
- Yeah.
- And then...

1339
01:05:00,572 --> 01:05:03,985
So here, we're still in London,
and then this was in London.

1340
01:05:04,785 --> 01:05:07,447
I remember you lining up this shot
of the Hummer,

1341
01:05:07,538 --> 01:05:09,120
and the compositions are so strong.

1342
01:05:09,206 --> 01:05:10,947
And then here, from this point on,

1343
01:05:11,041 --> 01:05:13,533
we're basically, from here, we're back in...

1344
01:05:13,627 --> 01:05:15,038
- We're back in Rome.
- Back in Rome.

1345
01:05:15,129 --> 01:05:18,087
And this, again, was not intended.
They were just supposed to drive away.

1346
01:05:18,757 --> 01:05:22,250
When we got to the bottom of the stairs,
we found this little moment of character.

1347
01:05:22,344 --> 01:05:25,427
But of course, we hadn't planned for it.

1348
01:05:25,514 --> 01:05:30,133
So, we were not very popular
with the neighbors.

1349
01:05:30,728 --> 01:05:32,469
But it was—

1350
01:05:32,563 --> 01:05:35,897
It turned out to be absolutely phenomenal,
and it really made the sequence.

1351
01:05:35,983 --> 01:05:38,975
Yeah, I mean, this is— it is so wonderful

1352
01:05:39,069 --> 01:05:42,027
when you see an audience
crying with laughter at this point

1353
01:05:42,114 --> 01:05:43,980
because you don't know...

1354
01:05:44,700 --> 01:05:46,111
You have no idea,

1355
01:05:46,201 --> 01:05:49,034
when you've been working on the movie
for two and a half years,

1356
01:05:49,121 --> 01:05:51,158
if it's gonna play, and it's just so—

1357
01:05:51,248 --> 01:05:52,579
You hope it will.

1358
01:05:52,666 --> 01:05:55,658
- But, yeah, you hope it will.
- It just works.

1359
01:05:55,753 --> 01:05:59,291
It absolutely works. It's so satisfying.

1360
01:05:59,381 --> 01:06:00,997
It's a real long game.

1361
01:06:01,675 --> 01:06:04,042
And, again, like, always in a two-shot.
Always in a two-shot.

1362
01:06:04,136 --> 01:06:06,093
You're seeing the two of them together.

1363
01:06:06,180 --> 01:06:08,012
It's so hard to do that.

1364
01:06:08,098 --> 01:06:10,886
You take it for granted,
watching the movie, but really...

1365
01:06:10,976 --> 01:06:14,185
It's hard to do sitting in a booth
in a restaurant...

1366
01:06:14,271 --> 01:06:15,261
100%.

1367
01:06:15,355 --> 01:06:18,097
let alone handcuffed to your costar,
who's actually driving the car.

1368
01:06:18,192 --> 01:06:20,729
- Yeah.
- I love this shot.

1369
01:06:20,819 --> 01:06:23,026
There's just such a great story
in that shot.

1370
01:06:23,113 --> 01:06:26,481
And you left all the tire marks
from the previous takes.

1371
01:06:26,575 --> 01:06:29,112
Yeah, that's our little nod
to Smokey and the Bandit.

1372
01:06:29,203 --> 01:06:31,740
When you watch that movie,
there's tire tracks everywhere.

1373
01:06:31,830 --> 01:06:33,537
- I know.
- Yeah.

1374
01:06:33,624 --> 01:06:36,332
It's stuff like that where I just went,
"No, let's show the work."

1375
01:06:36,418 --> 01:06:37,749
- Exactly.
- Yeah.

1376
01:06:37,836 --> 01:06:40,669
And again, all of this was kind
of an embarrassment of riches.

1377
01:06:40,756 --> 01:06:44,420
We were really— We kept cutting
this down more and more.

1378
01:06:44,510 --> 01:06:48,048
And you're starting to feel it right here,

1379
01:06:48,138 --> 01:06:50,800
but we were still holding on
because what you're feeling

1380
01:06:50,891 --> 01:06:53,007
is you're feeling character,

1381
01:06:53,102 --> 01:06:54,809
you're feeling these two working together.

1382
01:06:54,895 --> 01:06:56,602
They're starting to communicate.

1383
01:06:56,688 --> 01:06:59,305
And that's really what the sequence
is about in the end.

1384
01:06:59,983 --> 01:07:04,398
It's all about creating a team
between these two characters

1385
01:07:04,488 --> 01:07:08,072
who, like it or not, they are a team.

1386
01:07:08,158 --> 01:07:11,025
They don't wanna be together,
but they belong,

1387
01:07:11,120 --> 01:07:12,781
and they're—

1388
01:07:12,871 --> 01:07:15,863
This was my visual idea
that they come back where they started.

1389
01:07:15,958 --> 01:07:17,744
- Great.
- Way too subtle.

1390
01:07:17,835 --> 01:07:20,873
And this two-shot of them
we shot much, much later.

1391
01:07:21,547 --> 01:07:24,460
It was all to solve the geography problem
with them looking at the car.

1392
01:07:24,550 --> 01:07:27,542
But when they turned around
and looked back through the window,

1393
01:07:27,636 --> 01:07:28,842
I thought, "Oh my God."

1394
01:07:28,929 --> 01:07:31,466
Those shots, by the way,
looking up through the pedals, again,

1395
01:07:31,557 --> 01:07:34,766
are really difficult because
you have to cut the front of the car off,

1396
01:07:35,269 --> 01:07:38,136
put a camera there,
elevate the car six feet off the ground.

1397
01:07:38,230 --> 01:07:39,971
And I blame James Mangold.

1398
01:07:40,065 --> 01:07:42,477
I gotta tip my hat to James Mangold.

1399
01:07:42,568 --> 01:07:46,687
I watched Ford v Ferrari,
and he put the camera behind the pedals.

1400
01:07:46,780 --> 01:07:50,865
I remember Anthony Dod Mantle,
and they did that in Rush as well.

1401
01:07:51,994 --> 01:07:53,075
- Did they?
- Yeah.

1402
01:07:53,162 --> 01:07:54,869
Good.
So everybody's taking from everybody.

1403
01:07:54,955 --> 01:07:56,070
Exactly!

1404
01:07:56,331 --> 01:07:58,698
I remember seeing those shots in Rush

1405
01:07:58,792 --> 01:08:01,534
that they did, and thinking...

1406
01:08:01,628 --> 01:08:04,336
Watch this performance, this behavior.

1407
01:08:04,423 --> 01:08:07,586
First of all, blowing her hair
out of her face and what that—

1408
01:08:07,676 --> 01:08:11,010
But her eye movement there,
you can already see her thinking,

1409
01:08:11,096 --> 01:08:13,053
"This is gonna be bad."

1410
01:08:13,140 --> 01:08:17,384
There's such great behavior between them,
and, again, she's not celebrating.

1411
01:08:17,477 --> 01:08:20,720
She's not rubbing it in.

1412
01:08:21,398 --> 01:08:24,311
And it was very, very important

1413
01:08:24,401 --> 01:08:28,190
that as far as she pushed us,
she never pushed us too far.

1414
01:08:30,032 --> 01:08:32,319
This was on a set we built
on the back lot.

1415
01:08:32,409 --> 01:08:34,696
It was also the set that we reconverted

1416
01:08:34,786 --> 01:08:37,448
for the shot of Ilsa
taking the key off of the—

1417
01:08:37,539 --> 01:08:41,407
That's correct. Yeah, the rainy shot from
the beginning of the mission briefing.

1418
01:08:41,501 --> 01:08:43,208
We moved some walls around,
added some rain.

1419
01:08:43,295 --> 01:08:45,582
All of that in the background
is a set extension.

1420
01:08:45,672 --> 01:08:50,291
Fantastic work from both Gary Freeman
and his team.

1421
01:08:50,385 --> 01:08:54,174
And also ILM did a phenomenal job.

1422
01:08:54,848 --> 01:08:58,091
And the question here was,
we left this shot longer originally,

1423
01:08:58,185 --> 01:09:00,677
so how long do you stay in it?

1424
01:09:00,771 --> 01:09:03,388
And you had to cut to this shot sooner
before you started to realize,

1425
01:09:03,482 --> 01:09:04,722
- "Wait, what happened?"
- Yeah.

1426
01:09:04,816 --> 01:09:08,184
I love Tom's behavior here
with the steering wheel.

1427
01:09:08,278 --> 01:09:09,439
It's just so good.

1428
01:09:09,529 --> 01:09:13,523
And you're looking at
a deceptively complex oner

1429
01:09:13,617 --> 01:09:16,905
that's all to hide the stuff
you don't want to look at in Rome,

1430
01:09:16,995 --> 01:09:19,202
the big electrical boxes
and all these things.

1431
01:09:19,790 --> 01:09:22,077
That's shot in England a year later.

1432
01:09:22,167 --> 01:09:24,454
That was a year later, that shot, I know.

1433
01:09:25,045 --> 01:09:29,835
And all of this was designed
to just celebrate Rome

1434
01:09:29,925 --> 01:09:34,419
and the very most beautiful parts of Rome.

1435
01:09:34,513 --> 01:09:38,552
This is shot on a back lot
some long time later.

1436
01:09:38,642 --> 01:09:43,011
I've lost track
of how long some of the gaps were.

1437
01:09:43,105 --> 01:09:45,016
And this was the idea we were originally—

1438
01:09:45,107 --> 01:09:49,066
This is where we were going to flash back
to the desert and show that.

1439
01:09:49,152 --> 01:09:52,770
But we realized very early on
if you wait that long, it's gonna...

1440
01:09:52,864 --> 01:09:54,696
This is another genius music cue,

1441
01:09:54,783 --> 01:09:56,239
which I remember you discovered

1442
01:09:56,326 --> 01:09:59,239
because it starts
as Tom walks out of the subway

1443
01:09:59,329 --> 01:10:01,411
and takes us
all the way through to Venice.

1444
01:10:01,498 --> 01:10:05,162
It's one of the places
where people might feel

1445
01:10:05,252 --> 01:10:07,209
- that they can take a break.
- That's right.

1446
01:10:07,296 --> 01:10:09,833
But the way that you develop the music cue

1447
01:10:09,923 --> 01:10:12,961
with Lorne and Cecile Tournesac,
our music editor,

1448
01:10:13,051 --> 01:10:14,962
meant that we just
keep our foot on the gas here

1449
01:10:15,053 --> 01:10:17,385
so that you are not compelled
to take a break.

1450
01:10:17,472 --> 01:10:19,304
We are at the point in the movie
where everybody,

1451
01:10:19,391 --> 01:10:21,883
when they feel the energy stop
in the first test screening,

1452
01:10:21,977 --> 01:10:23,058
they all got up to go pee.

1453
01:10:23,145 --> 01:10:24,226
Exactly.

1454
01:10:24,980 --> 01:10:26,846
And that is something
we are very conscious of.

1455
01:10:26,940 --> 01:10:29,102
We watch how many people go
to the bathroom,

1456
01:10:29,192 --> 01:10:30,853
when they go to the bathroom,

1457
01:10:30,944 --> 01:10:33,402
and that tells us that something
in the story is—

1458
01:10:33,488 --> 01:10:35,320
- That was a little punch in.
- I love that punch in.

1459
01:10:35,407 --> 01:10:40,322
But also, this was a scene
that was shot quite late in the day

1460
01:10:40,412 --> 01:10:44,246
when we realized we need
to recontextualize the White Widow

1461
01:10:44,333 --> 01:10:48,327
and the fact that, you know,
she refers to him as John Lark.

1462
01:10:48,420 --> 01:10:52,755
Well, we made the same mistake
we did on Fallout.

1463
01:10:52,841 --> 01:10:56,175
We took for granted how much you knew

1464
01:10:56,261 --> 01:11:00,255
and whether or not you needed
to properly introduce the character.

1465
01:11:00,349 --> 01:11:03,467
So we reshot the scene,
and of course it's in the safe house.

1466
01:11:03,560 --> 01:11:06,143
Anything in the safe house,
we know we're gonna end up reshooting

1467
01:11:06,229 --> 01:11:07,435
'cause it's always a set up.

1468
01:11:07,522 --> 01:11:11,356
It's always the reasons
for why the action is about to happen

1469
01:11:11,443 --> 01:11:13,684
in a much bigger location.

1470
01:11:13,779 --> 01:11:16,066
There's all our CCTV footage.

1471
01:11:16,156 --> 01:11:21,492
And what's really interesting is because
we shot this scene a number of times,

1472
01:11:22,537 --> 01:11:25,871
you'll notice
that in one shot that's coming up,

1473
01:11:25,957 --> 01:11:27,948
Rebecca's in the background

1474
01:11:28,585 --> 01:11:30,246
- but it's not Rebecca...
- Right.

1475
01:11:30,337 --> 01:11:33,705
'cause she was off
shooting something else.

1476
01:11:35,258 --> 01:11:37,795
All of these things,
these inserts and these graphics,

1477
01:11:37,886 --> 01:11:39,797
everything,
you have to account for all of this.

1478
01:11:39,888 --> 01:11:43,802
It's an enormous, enormous amount of work
to keep track of,

1479
01:11:43,892 --> 01:11:48,011
especially when it's a shot from
a location you can't go back and get.

1480
01:11:48,105 --> 01:11:50,437
Also look at the windows
and the architecture.

1481
01:11:50,524 --> 01:11:53,562
That's all Tom's safe house in Amsterdam.

1482
01:11:53,652 --> 01:11:56,110
There, that right there,
that's not Rebecca.

1483
01:11:56,196 --> 01:11:59,279
- Yeah, that's right.
- That's somebody standing in for Rebecca,

1484
01:11:59,366 --> 01:12:02,825
because we had to reshoot elements of Tom

1485
01:12:02,911 --> 01:12:07,280
and then we realized later,
we had to reshoot Rebecca's backstory.

1486
01:12:07,374 --> 01:12:11,538
We had a completely different backstory
for why she knew what she knew.

1487
01:12:11,628 --> 01:12:13,369
- Two-frame dissolve.
- Yeah.

1488
01:12:13,880 --> 01:12:16,417
And, of course,
matching their eyes in the frame.

1489
01:12:16,508 --> 01:12:19,876
We repositioned the shot
so that their frames matched,

1490
01:12:19,970 --> 01:12:23,929
and all of this is to create
just a slight sense of dreaminess.

1491
01:12:24,015 --> 01:12:26,552
I remember cutting to Tom
specifically before the IMF

1492
01:12:26,643 --> 01:12:28,259
so that that landed for the audience.

1493
01:12:28,353 --> 01:12:30,310
That's right. Again, shaping—

1494
01:12:30,397 --> 01:12:34,140
Every single cut in this scene is landing

1495
01:12:34,234 --> 01:12:38,853
on the dialogue we want you listening to
with the assumption that

1496
01:12:38,947 --> 01:12:42,360
you probably weren't listening
to the dialogue just before it.

1497
01:12:42,451 --> 01:12:46,991
And it's all very carefully directed
to keep you listening, keep you engaged

1498
01:12:47,080 --> 01:12:50,118
because we know it's a lot of information.

1499
01:12:50,208 --> 01:12:52,165
And then this was a reshoot.

1500
01:12:52,252 --> 01:12:56,246
We had a completely different story
with Ilsa

1501
01:12:56,339 --> 01:13:02,176
and a backstory that, really,
it was too coincidental, didn't work.

1502
01:13:02,262 --> 01:13:05,846
She had actually had a backstory
involving Gabriel.

1503
01:13:07,142 --> 01:13:08,678
It all felt too convenient.

1504
01:13:08,768 --> 01:13:13,763
And the reason we rewrote this, why we
didn't write this in the first place is

1505
01:13:13,857 --> 01:13:16,770
we never wanted to hand exposition
to Ilsa.

1506
01:13:18,320 --> 01:13:22,655
We didn't want to give her the job
of telling the story.

1507
01:13:22,741 --> 01:13:27,531
And what happened was
it actually came around full circle,

1508
01:13:27,621 --> 01:13:29,407
and it served it immensely

1509
01:13:29,498 --> 01:13:33,617
because what happens now is Ilsa
and Ethan are on the same footing.

1510
01:13:33,710 --> 01:13:36,327
They're both on the same kind of mission.

1511
01:13:36,421 --> 01:13:40,085
Each one is trying to stop
their government from getting the key.

1512
01:13:41,176 --> 01:13:43,213
And we also changed the blocking,

1513
01:13:43,303 --> 01:13:45,635
and we put Ethan
in the center of the room.

1514
01:13:45,722 --> 01:13:50,808
Do you remember that originally
Ethan and Ilsa were on their own plane

1515
01:13:50,894 --> 01:13:53,682
and Benji. And Luther
were on a different plane?

1516
01:13:53,772 --> 01:14:00,565
And what we've done now in our blocking
is strictly necessitated by practicality.

1517
01:14:00,654 --> 01:14:04,568
We've put Ethan in the center
of the things he cares about most,

1518
01:14:04,658 --> 01:14:07,025
which is his friends.

1519
01:14:07,118 --> 01:14:10,110
Also, one of the things I like here
is the crosses on the window.

1520
01:14:10,205 --> 01:14:11,570
None of it was intentional.

1521
01:14:12,832 --> 01:14:17,121
It's the key and it's also crosshairs.

1522
01:14:17,212 --> 01:14:20,671
It's sort of you're seeing Ethan
being caught in this window.

1523
01:14:20,757 --> 01:14:23,624
And the Dutch angles in this scene—
You see there's a lot of—

1524
01:14:23,718 --> 01:14:25,800
Yeah, here, there's a big— There you go.

1525
01:14:25,887 --> 01:14:30,051
The simple reason why there's a Dutch
angle in the scene is purely practical.

1526
01:14:30,141 --> 01:14:32,678
It's not a reference to anything.

1527
01:14:33,520 --> 01:14:36,638
You're low so you can give Ethan power.

1528
01:14:36,731 --> 01:14:43,524
You have to Dutch it or else
you'd have cut Rebecca off in the frame.

1529
01:14:43,613 --> 01:14:49,074
And what we were doing with each one of
these frames is finding the emotionality,

1530
01:14:49,160 --> 01:14:51,447
finding the feeling of the frame

1531
01:14:51,538 --> 01:14:55,657
and letting that be what dictated
where we put the camera,

1532
01:14:55,750 --> 01:14:57,366
how we position everything.

1533
01:14:58,628 --> 01:15:01,962
They were all dictated by the emotions

1534
01:15:02,048 --> 01:15:04,756
within the lines
that these characters were—

1535
01:15:04,843 --> 01:15:06,959
When you reshot this,
you were able to make a callback

1536
01:15:07,053 --> 01:15:10,296
to "who or what is the most important
thing to you," as well, which I love.

1537
01:15:10,390 --> 01:15:11,755
Yes. That's right.

1538
01:15:13,018 --> 01:15:14,133
That was a—

1539
01:15:15,228 --> 01:15:18,391
That brought that whole thing full circle,
brought the Entity back in.

1540
01:15:18,481 --> 01:15:21,519
And I remember you had asked me
at one point, you know,

1541
01:15:21,610 --> 01:15:26,525
"I really wish the Entity said something
that Benji. Said at the airport."

1542
01:15:26,615 --> 01:15:28,276
And I said, "He does.
He says, 'You are done.'"

1543
01:15:28,366 --> 01:15:29,447
Yes, yes, yes.

1544
01:15:29,534 --> 01:15:32,697
Yeah. But, again,
that's something we run into all the time.

1545
01:15:32,787 --> 01:15:34,903
Even when something is that overt,

1546
01:15:35,540 --> 01:15:38,032
- it tends to be overlooked.
- Yeah.

1547
01:15:38,126 --> 01:15:41,664
There's a lot of things in this movie
that people get the second time

1548
01:15:41,755 --> 01:15:44,543
and even the third time
that they watch the movie.

1549
01:15:44,633 --> 01:15:47,341
It's why we encourage everybody
to watch it again and again.

1550
01:15:48,094 --> 01:15:49,209
And, more importantly,

1551
01:15:49,304 --> 01:15:53,047
it's why we try to make a movie
that you want to watch again.

1552
01:15:53,141 --> 01:15:54,131
Yeah, exactly.

1553
01:15:54,893 --> 01:15:58,386
So talking very quickly about backlight,
in a lot of the scenes you can see—

1554
01:15:58,480 --> 01:16:00,972
Yeah, Venice,
especially later on at night,

1555
01:16:01,066 --> 01:16:05,060
you'll see the way that the scenes are lit
incorporate a lot of backlight.

1556
01:16:05,153 --> 01:16:09,738
This roof deck was built
on top of the Gritti Palace

1557
01:16:10,492 --> 01:16:13,780
specifically so that we can get
the most spectacular view of Venice.

1558
01:16:13,870 --> 01:16:18,410
So my apologies to anybody going to Venice
and hoping to recreate the scene.

1559
01:16:18,500 --> 01:16:19,535
You can't.

1560
01:16:20,543 --> 01:16:24,628
But this is because
we were shooting nights,

1561
01:16:24,714 --> 01:16:28,048
we had the opportunity to go up here
right before.

1562
01:16:28,134 --> 01:16:32,423
We'd start an hour early
and shoot these scenes at magic hour.

1563
01:16:32,514 --> 01:16:35,472
And over the course of two nights,
we found the scene,

1564
01:16:35,558 --> 01:16:38,016
we found the behavior,
we found the dialogue,

1565
01:16:38,103 --> 01:16:41,016
- and we were really excited.
- I love the simplicity of it.

1566
01:16:41,106 --> 01:16:42,267
That's what it is.

1567
01:16:42,357 --> 01:16:45,440
Their relationship is about
their chemistry and their behavior

1568
01:16:46,486 --> 01:16:48,068
and not about their dialogue and—

1569
01:16:48,154 --> 01:16:49,144
Here's another one.

1570
01:16:49,239 --> 01:16:52,152
I mean, I remember seeing this and just—

1571
01:16:52,242 --> 01:16:54,825
- This was extremely complicated.
- The amount of setup for this scene,

1572
01:16:54,911 --> 01:16:56,401
but look how beautiful this is.

1573
01:16:56,496 --> 01:16:59,363
My sympathies go out to everybody
who worked on Jaws.

1574
01:17:00,083 --> 01:17:02,791
Working on water is extremely complicated.

1575
01:17:02,877 --> 01:17:06,461
And, again, just their rhythm
and their energy together

1576
01:17:06,548 --> 01:17:10,667
and creating that relationship
between those two people,

1577
01:17:10,760 --> 01:17:13,878
obviously, in preparation
for what was coming.

1578
01:17:16,307 --> 01:17:18,844
This, we had done months of testing.

1579
01:17:18,935 --> 01:17:20,266
- Do you remember?
- Yes.

1580
01:17:20,353 --> 01:17:26,224
Trying to create these images
that were just pushing the envelope,

1581
01:17:26,317 --> 01:17:30,231
but were always, at the same time,
very, very, very—

1582
01:17:31,030 --> 01:17:32,486
It all had to be tasteful.

1583
01:17:32,574 --> 01:17:35,783
And finding a way
to shape light and create—

1584
01:17:35,869 --> 01:17:38,361
And that's where the body paint came from.

1585
01:17:39,122 --> 01:17:42,581
It was a way that everything
was always created in silhouette

1586
01:17:42,667 --> 01:17:43,953
and everything was implied.

1587
01:17:44,043 --> 01:17:48,753
These graphics that Gary Freeman found
that are all being projected all over it

1588
01:17:48,840 --> 01:17:51,832
ultimately were incorporated
into the design of the Entity.

1589
01:17:51,926 --> 01:17:56,466
And here's Hayley
and the 100-mm lens working together

1590
01:17:57,015 --> 01:17:59,222
to create a sense of her energy.

1591
01:17:59,309 --> 01:18:04,679
And this was Esai Morales's
first day of dialogue on the movie

1592
01:18:04,773 --> 01:18:07,856
after he'd been on the movie
for a long, long time.

1593
01:18:08,526 --> 01:18:10,733
And I loved the lighting in here.

1594
01:18:10,820 --> 01:18:16,441
I loved what Hair and Makeup had done
with Hayley, all of which is very subtle.

1595
01:18:16,534 --> 01:18:19,401
- And the wardrobe on Hayley.
- The wardrobe is sensational.

1596
01:18:19,496 --> 01:18:21,578
And all of it is just playing
to her strengths.

1597
01:18:21,664 --> 01:18:26,875
And it wasn't until much, much, much later
that we found the music. Do you remember?

1598
01:18:26,961 --> 01:18:28,497
- Oh, my word.
- It was in the last weeks.

1599
01:18:28,588 --> 01:18:30,124
The music in the nightclub.

1600
01:18:30,215 --> 01:18:31,831
Yeah, we originally had a track

1601
01:18:31,925 --> 01:18:36,294
which the dancers had choreographed
their movements to,

1602
01:18:36,930 --> 01:18:40,423
and it stayed on the movie
for two years, longer even.

1603
01:18:40,517 --> 01:18:43,305
And then right at the end,
the Paramount music department

1604
01:18:43,394 --> 01:18:46,807
helped us find
around 200 different dance tracks.

1605
01:18:46,898 --> 01:18:50,186
- Yes.
- And Cecile Tournesac, our music editor,

1606
01:18:50,276 --> 01:18:52,893
worked with Chris to identify three

1607
01:18:52,987 --> 01:18:59,029
and then spent, you know, a couple of days
cutting all these tracks with stems

1608
01:18:59,577 --> 01:19:02,660
so that every piece, every transition

1609
01:19:02,747 --> 01:19:08,789
and every character interaction was
underscored with this music so elegantly.

1610
01:19:08,878 --> 01:19:11,916
And I remember walking into her room,
and you played it to me,

1611
01:19:12,006 --> 01:19:14,213
and I was just mesmerized by it.

1612
01:19:14,300 --> 01:19:15,631
I thought it was so good.

1613
01:19:15,718 --> 01:19:18,426
And I loved the kind of retro feel of it.

1614
01:19:18,513 --> 01:19:19,753
There was something—

1615
01:19:19,848 --> 01:19:23,557
I felt like I was watching a movie
from another era.

1616
01:19:24,477 --> 01:19:28,391
It really harkened back to,
I don't know what.

1617
01:19:30,608 --> 01:19:33,396
Something phenomenal about these shots.
There's Pom in the background.

1618
01:19:33,486 --> 01:19:36,353
And these were some of the shots
where we went,

1619
01:19:36,447 --> 01:19:39,030
"Man, you just can't take your eyes
off Pom, no matter where she is."

1620
01:19:39,117 --> 01:19:40,107
She's there the whole time.

1621
01:19:40,201 --> 01:19:42,192
You had to be very careful
how you compose those things,

1622
01:19:42,287 --> 01:19:47,657
because you didn't want to take away
from other people and their power.

1623
01:19:48,334 --> 01:19:51,577
And it helped that, you know,
Pom is very much in the story.

1624
01:19:51,671 --> 01:19:55,164
But, again, we pushed her way back

1625
01:19:56,259 --> 01:19:59,627
because she's just simply so dynamic
and so powerful

1626
01:19:59,721 --> 01:20:02,383
that you found yourself looking at her

1627
01:20:02,473 --> 01:20:04,384
when you were supposed
to be looking other places.

1628
01:20:04,475 --> 01:20:07,308
All of this— All of this back and forth—

1629
01:20:07,395 --> 01:20:11,730
There was originally
a little more dialogue,

1630
01:20:11,816 --> 01:20:13,477
a little more history,

1631
01:20:13,568 --> 01:20:16,981
and we just ultimately
boiled it down to behavior

1632
01:20:17,530 --> 01:20:19,612
and character dynamics
through composition.

1633
01:20:19,699 --> 01:20:22,566
It was just much more effective.

1634
01:20:22,660 --> 01:20:26,654
And then here is
the sensational Vanessa Kirby.

1635
01:20:28,207 --> 01:20:31,199
This shot was done— You remember
we went back and reshot this?

1636
01:20:31,294 --> 01:20:36,334
- Yeah.
- So this was done a year and a half later.

1637
01:20:37,050 --> 01:20:40,793
All of this, the phenomenal set
that was built by Gary Freeman.

1638
01:20:41,304 --> 01:20:44,342
Again, when you shoot
a big sequence like this,

1639
01:20:44,432 --> 01:20:47,675
you go to a location,
and you shoot all of your practical stuff,

1640
01:20:47,769 --> 01:20:49,760
and then when it gets down
to the nitty-gritty,

1641
01:20:49,854 --> 01:20:52,846
the plot, the story, the reasons,
things that will change a lot,

1642
01:20:52,941 --> 01:20:57,185
you do that on a set where you have
a lot more control, a little more time.

1643
01:20:58,363 --> 01:21:01,196
And here's another Stabileye camera move.

1644
01:21:01,282 --> 01:21:03,023
Just these elegant moves.

1645
01:21:03,117 --> 01:21:05,825
And what I like about
the Stabileye versus the Steadicam,

1646
01:21:05,912 --> 01:21:07,528
it's not as precise.

1647
01:21:07,622 --> 01:21:09,659
- There's a little bit of float in it.
- Exactly.

1648
01:21:09,749 --> 01:21:12,332
It creates a slightly odd background.

1649
01:21:12,418 --> 01:21:14,409
You feel a background shift
throughout the shot.

1650
01:21:14,504 --> 01:21:16,541
It's a little bit of instability.

1651
01:21:16,631 --> 01:21:20,169
Here we are with more sleight of hand.
All of this stuff done practically.

1652
01:21:21,052 --> 01:21:24,215
And finding ways to line up these shots.
That's a hard shot.

1653
01:21:24,305 --> 01:21:27,798
Also keep to keep everyone alive in
the scene, and when do you cut to Gabriel,

1654
01:21:27,892 --> 01:21:30,429
and how long can you be away
from this or that,

1655
01:21:30,520 --> 01:21:32,227
and how to get through this quickly.

1656
01:21:32,313 --> 01:21:36,147
You know, you reach a point in the long
movie where you're going through,

1657
01:21:36,234 --> 01:21:40,774
trying to take every single tiny moment
of air out of a film.

1658
01:21:40,863 --> 01:21:47,360
And air is where you can feel
the audience is given a tiny beat of time

1659
01:21:47,453 --> 01:21:50,195
for their attention to drift
ever so slightly,

1660
01:21:50,289 --> 01:21:53,657
and so we're constantly compressing
and compressing and compressing.

1661
01:21:53,751 --> 01:21:58,040
And at the same time, doing everything
we can to avoid being "cutty."

1662
01:21:58,131 --> 01:21:59,212
Always.

1663
01:21:59,298 --> 01:22:02,165
And we feel ourselves saying,
"We've overcooked it here."

1664
01:22:02,260 --> 01:22:06,345
And quite often, we will over-tighten
the scene and put air back in,

1665
01:22:06,431 --> 01:22:09,549
but then we know
that it's as tight as a drum.

1666
01:22:09,642 --> 01:22:12,851
- This was terrific behavior...
- Again, Tarzan and Shea,

1667
01:22:12,937 --> 01:22:14,302
they are just—

1668
01:22:14,397 --> 01:22:16,354
They were an effortless double act.

1669
01:22:16,441 --> 01:22:18,728
They required very, very little.

1670
01:22:19,861 --> 01:22:22,319
They had fantastic behavior.

1671
01:22:22,405 --> 01:22:24,362
Here you are, you've got a few wide shots.

1672
01:22:24,449 --> 01:22:25,939
- Exactly.
- We're establishing geography.

1673
01:22:26,034 --> 01:22:28,025
The Widow's started talking already,

1674
01:22:28,119 --> 01:22:30,781
and we're just trying
to get through the scene.

1675
01:22:30,872 --> 01:22:32,033
We're compressing time,

1676
01:22:32,123 --> 01:22:37,038
we're folding images on top of one another
to get to this moment where she's talking.

1677
01:22:37,128 --> 01:22:43,090
So, one of the things that you talk to me
about, Chris, is the intimacy of a lens.

1678
01:22:43,176 --> 01:22:46,043
Like the longer the lens is, the more
intimate you are with the character.

1679
01:22:46,137 --> 01:22:48,674
Well, yes,
the higher the number on the lens,

1680
01:22:48,765 --> 01:22:52,759
the more intimacy that lens contains,
as a general rule of thumb.

1681
01:22:52,852 --> 01:22:56,186
Yeah, and you kind of really
leaned into it with a scene like this,

1682
01:22:56,272 --> 01:22:58,604
where, I mean,
there are no wide shots in this

1683
01:22:58,691 --> 01:23:00,181
and there were at the beginning,

1684
01:23:00,276 --> 01:23:02,187
- but now it's all common geography.
- There's pressure.

1685
01:23:02,278 --> 01:23:06,397
And whenever we would try to go wider,
the pressure would just dissolve.

1686
01:23:06,491 --> 01:23:08,107
You were no longer connected
to the characters.

1687
01:23:08,201 --> 01:23:10,192
- You were outside of the scene.
- Correct.

1688
01:23:10,286 --> 01:23:14,496
And I always imagine the camera
to be the audience.

1689
01:23:15,458 --> 01:23:18,120
The audience is an invisible presence
in the scene.

1690
01:23:18,211 --> 01:23:20,669
You're a ghost watching the scene.

1691
01:23:20,755 --> 01:23:24,498
And that's why it's always so disturbing
when an actor looks right at the lens.

1692
01:23:24,592 --> 01:23:26,708
You've sort of suddenly been caught out.

1693
01:23:27,553 --> 01:23:30,295
Looking at the common geography there,
when you're on a profile of the Widow,

1694
01:23:30,389 --> 01:23:32,050
- you see Ilsa.
- Well, that's just it.

1695
01:23:32,141 --> 01:23:34,553
It was constantly keeping you
aware of where people were

1696
01:23:34,644 --> 01:23:37,011
- in relation to one another.
- Correct.

1697
01:23:37,105 --> 01:23:40,894
And it was decided very early on to put
Gabriel at the center of this scene.

1698
01:23:40,983 --> 01:23:43,816
Now, this is where we leaned into
the sound design and the score,

1699
01:23:43,903 --> 01:23:48,488
but you really hear James Mather's
malfunctioning Sonos soundbar here.

1700
01:23:48,574 --> 01:23:51,657
And he had recorded it on his phone
and he played it to us,

1701
01:23:51,744 --> 01:23:53,280
and he just said, "How about this?"

1702
01:23:53,371 --> 01:23:56,284
And we leaned into it.
He had recorded about five minutes of it.

1703
01:23:56,374 --> 01:23:59,583
And there was a point
where he was playing bits of Fallout

1704
01:23:59,669 --> 01:24:03,663
through his soundbar and recording it,
but it's so distorted, you can't tell.

1705
01:24:03,756 --> 01:24:08,466
With the phenomenal
camera operating of Chunky.

1706
01:24:08,553 --> 01:24:10,840
And the timing of that lens flare
and everything.

1707
01:24:12,265 --> 01:24:16,350
So we really found the sonic identity
of the Entity at that point,

1708
01:24:16,435 --> 01:24:19,803
which was, again, very late in the day
in our sound mix.

1709
01:24:19,897 --> 01:24:23,060
And one of the sensational things
that's happening in the story,

1710
01:24:23,151 --> 01:24:25,939
these graphics that are playing
on the screen,

1711
01:24:26,028 --> 01:24:29,362
there are many times
when you feel them sync with the dialogue.

1712
01:24:29,448 --> 01:24:31,359
- Extraordinary.
- It's all coincidental.

1713
01:24:31,450 --> 01:24:33,111
It's all so—

1714
01:24:33,202 --> 01:24:37,571
It's all just kind of the magic
of being there and being in the moment,

1715
01:24:37,665 --> 01:24:41,454
and the actors are just playing and the—

1716
01:24:41,544 --> 01:24:43,535
Watch this. "Keep the key."

1717
01:24:43,629 --> 01:24:45,586
When she says, "Keep the key,"
that's like the—

1718
01:24:45,673 --> 01:24:47,004
Yeah, all the lights.

1719
01:24:47,091 --> 01:24:49,298
The lights go off with her. You can feel—

1720
01:24:49,385 --> 01:24:51,843
It's this almost oddly synchronous—

1721
01:24:51,929 --> 01:24:54,011
All of these little moments
that are happening,

1722
01:24:54,515 --> 01:24:57,849
and as a result,
that's why we chose some of those takes.

1723
01:24:57,935 --> 01:25:04,227
But in many cases, the best take happened
to have the right vibe going on behind it.

1724
01:25:04,317 --> 01:25:07,855
There was something ethereal
happening in this scene

1725
01:25:07,945 --> 01:25:10,186
beyond anything we had really anticipated.

1726
01:25:10,281 --> 01:25:11,817
These are—

1727
01:25:11,908 --> 01:25:16,618
When you're an editor and you read
the pages for a scene like this,

1728
01:25:16,704 --> 01:25:19,571
you are SO anxious

1729
01:25:19,665 --> 01:25:25,502
about how to keep the scene vibrant
and dynamic and alive.

1730
01:25:25,588 --> 01:25:29,377
And, you know, when I saw
these dailies coming in, it was—

1731
01:25:29,467 --> 01:25:31,083
I mean, everything is just so well—

1732
01:25:31,177 --> 01:25:33,339
You've got actors, like,
firing on all cylinders

1733
01:25:33,429 --> 01:25:38,390
but the compositions and the lighting
and the dynamic choice of angles,

1734
01:25:38,476 --> 01:25:42,310
it's just a joy
to put this stuff together.

1735
01:25:42,396 --> 01:25:44,433
And, you know, we work on it for days.

1736
01:25:44,523 --> 01:25:48,187
I mean, this scene
took us several days to put together,

1737
01:25:48,277 --> 01:25:53,647
and then we refined it in the weeks
and months that followed many, many times

1738
01:25:53,741 --> 01:25:56,859
to get the tonal shifts right

1739
01:25:56,953 --> 01:25:59,786
and each little beat
with each character correct.

1740
01:26:00,665 --> 01:26:03,783
- It was painstaking. It really was.
- Yeah.

1741
01:26:03,876 --> 01:26:05,867
And who to be on and when.

1742
01:26:05,962 --> 01:26:08,044
We rearranged the dialogue many times.

1743
01:26:08,130 --> 01:26:09,120
Endlessly.

1744
01:26:09,215 --> 01:26:11,547
And it really did evolve

1745
01:26:11,634 --> 01:26:16,549
throughout the course
of the entire editing of the film.

1746
01:26:16,639 --> 01:26:19,882
We went back to this scene many times.
Never satisfied.

1747
01:26:19,976 --> 01:26:21,592
Tom had phenomenal notes on this scene.

1748
01:26:21,686 --> 01:26:23,347
He had a phenomenal sense of—

1749
01:26:25,982 --> 01:26:27,973
Of presence in the scene

1750
01:26:28,067 --> 01:26:32,026
and feeling connected
to the protagonist in the scene.

1751
01:26:33,072 --> 01:26:34,528
So it's such a juggling act.

1752
01:26:34,615 --> 01:26:39,075
You have so many characters
you have to create presence for,

1753
01:26:39,161 --> 01:26:42,654
but you can never lose
whose point of view the scene is,

1754
01:26:42,748 --> 01:26:45,456
and point of view is something
we haven't really talked about.

1755
01:26:45,543 --> 01:26:49,832
Yeah, it's something which we lean into.

1756
01:26:49,922 --> 01:26:53,290
I mean, obviously,
protagonist-driven films like this,

1757
01:26:53,384 --> 01:26:55,091
where Ethan is—

1758
01:26:55,177 --> 01:26:57,919
We're in his point of view
almost all the time

1759
01:26:58,014 --> 01:27:01,382
whenever we're with the characters.

1760
01:27:01,475 --> 01:27:04,012
It's the same with Maverick
in Top Gun: Maverick.

1761
01:27:04,103 --> 01:27:06,561
You know, you rarely leave
his point of view.

1762
01:27:07,231 --> 01:27:11,395
So you're experiencing the emotions
of the scene through the character.

1763
01:27:12,778 --> 01:27:14,860
And point of view is a very—

1764
01:27:16,198 --> 01:27:19,566
It's a simple and yet very complex thing...

1765
01:27:21,996 --> 01:27:23,236
to identify.

1766
01:27:23,331 --> 01:27:25,447
And, again, a lot of it
has to do with blocking,

1767
01:27:25,541 --> 01:27:28,454
a lot of it has to do with editing
and the structuring of the scene,

1768
01:27:28,544 --> 01:27:31,832
but always remembering
whose point of view you're in

1769
01:27:31,922 --> 01:27:33,253
and how quickly you can lose it,

1770
01:27:33,341 --> 01:27:36,049
how quickly you can step out
of a character's point of view,

1771
01:27:36,135 --> 01:27:38,172
often unconsciously.

1772
01:27:38,262 --> 01:27:42,130
And Tom was very good
at coming in at key moments

1773
01:27:42,224 --> 01:27:43,806
and looking at it and just saying,

1774
01:27:43,893 --> 01:27:46,851
"I've lost the point of view
of this scene.”

1775
01:27:46,937 --> 01:27:50,271
He's also the only actor
I've ever worked with

1776
01:27:50,358 --> 01:27:52,065
who says, "Don't cut to me there."

1777
01:27:52,151 --> 01:27:53,391
Yes. Yes, yes.

1778
01:27:53,486 --> 01:27:56,069
So it's not to say that he's coming in
and going, "Cut to Ethan."

1779
01:27:56,155 --> 01:27:59,022
He's just very astute at understanding

1780
01:27:59,116 --> 01:28:02,780
when to reconnect the audience
to the protagonist.

1781
01:28:02,870 --> 01:28:06,579
And that is the challenge of these movies.

1782
01:28:06,665 --> 01:28:11,660
They are protagonist-driven movies,
but with these large ensemble casts,

1783
01:28:11,754 --> 01:28:13,995
and you can never lose that point of view.

1784
01:28:15,966 --> 01:28:19,755
And here's the fabulous Pom Klementieff.

1785
01:28:19,845 --> 01:28:21,631
Which is her second line in the movie.

1786
01:28:21,722 --> 01:28:23,929
I know the speaking French
was something you discovered.

1787
01:28:24,016 --> 01:28:26,758
- I remember watching her screen test...
- Yes.

1788
01:28:26,852 --> 01:28:29,059
and the moment she spoke French—

1789
01:28:29,146 --> 01:28:31,228
Was she slightly off-camera
when she did that?

1790
01:28:32,108 --> 01:28:36,818
No, I was off-set,
and I was over by the monitor.

1791
01:28:38,030 --> 01:28:42,319
And she mentioned, casually,
as she was running lines with Tom,

1792
01:28:42,410 --> 01:28:44,492
that English wasn't her first language.

1793
01:28:45,037 --> 01:28:47,074
I said,
"Wait, what's your first language?"

1794
01:28:47,164 --> 01:28:48,950
- She said, "French."
- Yeah.

1795
01:28:49,041 --> 01:28:52,784
And Tom, who was on the set,
just said, "McQ,"

1796
01:28:52,878 --> 01:28:54,869
and I said, "I'm way ahead of you."

1797
01:28:54,964 --> 01:28:57,752
I said, "Pom, just throw out
all your dialogue. Just speak”--

1798
01:28:57,842 --> 01:29:00,209
- This is sensational.
- Look at Vanessa here.

1799
01:29:00,302 --> 01:29:04,591
Vanessa, her performance in this movie,
I can't get enough of it.

1800
01:29:04,682 --> 01:29:07,014
She gave us
such an embarrassment of riches,

1801
01:29:07,101 --> 01:29:09,559
and it's really been sensational
watching her.

1802
01:29:09,645 --> 01:29:11,636
She's extremely humble about it as well.

1803
01:29:11,730 --> 01:29:13,186
Yes, she really is.

1804
01:29:13,274 --> 01:29:18,895
But she has such, such command,
and is a lovely person to boot.

1805
01:29:20,281 --> 01:29:22,272
This, all of this stuff kicking off,

1806
01:29:22,908 --> 01:29:26,401
all of this coverage,
very, very challenging, very little time.

1807
01:29:26,495 --> 01:29:29,032
And designing all this fight sequence,

1808
01:29:29,123 --> 01:29:32,081
and then you remember how we were
struggling to cut this stuff together

1809
01:29:32,168 --> 01:29:35,706
and get this shot in the story
to see her leaving.

1810
01:29:35,796 --> 01:29:37,662
It was extremely, extremely challenging.

1811
01:29:37,756 --> 01:29:39,747
And you were telling me,
"I can't get it in there."

1812
01:29:39,842 --> 01:29:41,458
I said, " Doesn't matter.
We have to get it in."

1813
01:29:41,552 --> 01:29:42,633
Yeah, yeah.

1814
01:29:43,888 --> 01:29:45,424
Again, a little more sleight of hand.

1815
01:29:45,514 --> 01:29:48,632
This is amazing sleight of hand here,
again, all in camera.

1816
01:29:48,726 --> 01:29:52,515
This shot coming up now, where the key
disappears, all in camera. It's so good.

1817
01:29:52,605 --> 01:29:56,098
And again, her performance,
the subtleties in her expressions.

1818
01:29:56,192 --> 01:30:00,026
There's ten emotions happening
in that moment.

1819
01:30:00,112 --> 01:30:04,822
And now we're into, again, another
significantly challenging sequence,

1820
01:30:04,909 --> 01:30:07,776
which is the foot chase in Venice.

1821
01:30:09,038 --> 01:30:11,075
There are no easy sequences in this movie.

1822
01:30:11,165 --> 01:30:14,078
- No, I would say there are no easy shots.
- No. Exactly.

1823
01:30:14,168 --> 01:30:16,250
Again, all of this shot
at the height of COVID.

1824
01:30:16,337 --> 01:30:19,250
All the dancers were in one pod,
all the extras were in another.

1825
01:30:21,884 --> 01:30:24,592
There's our little nod to Michael Curtiz.

1826
01:30:24,678 --> 01:30:30,469
I saw, when Hayley walked by that light
the first time, she cast a little shadow,

1827
01:30:30,559 --> 01:30:34,052
and so we moved the light to give her
much more of a dramatic shadow.

1828
01:30:34,146 --> 01:30:35,682
Thing we found on the day.

1829
01:30:35,773 --> 01:30:38,891
This was a fight scene we developed
the night before.

1830
01:30:39,902 --> 01:30:41,484
This is all done—

1831
01:30:41,570 --> 01:30:45,564
When we found this location
and started to find the—

1832
01:30:48,410 --> 01:30:52,119
The scale of this location and what
we could do there in the time we had.

1833
01:30:52,206 --> 01:30:53,913
Because we shot the courtyard so quickly,

1834
01:30:53,999 --> 01:30:56,491
we bought ourselves the time
to shoot this,

1835
01:30:56,585 --> 01:31:00,419
and the actors did
a phenomenal, phenomenal job.

1836
01:31:00,506 --> 01:31:05,296
But this was all developed
in the days before we shot it.

1837
01:31:07,555 --> 01:31:09,922
This music cue, by the way, this was a—

1838
01:31:10,015 --> 01:31:11,801
This was a slam dunk from Lorne.

1839
01:31:11,892 --> 01:31:14,384
Yeah, this was one
that was presented to us,

1840
01:31:14,478 --> 01:31:17,311
and when we dropped it
on the scene the first time, it was just—

1841
01:31:17,398 --> 01:31:18,763
We edit without music.

1842
01:31:18,857 --> 01:31:24,352
Yeah, and the way Lorne works is he will
write suites of music not to picture.

1843
01:31:24,446 --> 01:31:28,280
Just he'll get a vibe from some
of the dailies that he might have seen

1844
01:31:28,367 --> 01:31:29,983
or with conversations with Chris

1845
01:31:30,077 --> 01:31:32,239
and then write, like,
an eight-minute suite,

1846
01:31:32,329 --> 01:31:33,819
and then we'll build—

1847
01:31:33,914 --> 01:31:37,999
We'll dive into the suites after
we've cut the scene and see what lands.

1848
01:31:38,085 --> 01:31:39,325
But this was always—

1849
01:31:39,420 --> 01:31:41,752
And because we don't cut with—

1850
01:31:41,839 --> 01:31:43,921
- I got to talk about Raffaella.
- Go ahead. Yes.

1851
01:31:44,008 --> 01:31:46,420
This is Raffaella Giovannetti.

1852
01:31:47,595 --> 01:31:49,962
I asked her to shape a few candles

1853
01:31:50,055 --> 01:31:55,095
just to create the sense of direction
going down this corridor,

1854
01:31:55,185 --> 01:31:58,428
and the next night when I got there,
she, in Venice,

1855
01:31:58,522 --> 01:32:00,183
had managed to get more candles.

1856
01:32:00,274 --> 01:32:02,140
- I know.
- I don't know how she got them overnight.

1857
01:32:02,234 --> 01:32:04,771
- She's an amazing set decorator.
- I never asked for that whole thing.

1858
01:32:04,862 --> 01:32:08,480
Actually, the voice of the police radio
in Italy is Raffaella's voice,

1859
01:32:08,574 --> 01:32:10,315
'cause she's Italian.

1860
01:32:10,409 --> 01:32:13,902
And I spent the next several years
talking about Raffaella's candles.

1861
01:32:13,996 --> 01:32:16,909
Look at the projections on the wall there.
I think they're just stunning.

1862
01:32:16,999 --> 01:32:19,240
Gary Freeman, again, designing—

1863
01:32:19,335 --> 01:32:22,873
He did a phenomenal job of finding
the designers for those graphics.

1864
01:32:22,963 --> 01:32:24,169
There's a Stabileye shot.

1865
01:32:24,256 --> 01:32:27,044
These are really, really challenging,
running in Venice.

1866
01:32:27,134 --> 01:32:29,717
- I love this.
- You can't have vehicles in Venice,

1867
01:32:29,803 --> 01:32:33,012
so everything you're seeing
is being operated by hand

1868
01:32:33,098 --> 01:32:35,385
by Ross Sheppard and Chunky Richmond.

1869
01:32:35,476 --> 01:32:39,435
Ross is carrying the Stabileye.
Chunky is operating the wheels.

1870
01:32:39,521 --> 01:32:43,890
And, of course, you're shooting
in these tight alleys with an entire crew,

1871
01:32:43,984 --> 01:32:46,726
hundreds of people, during COVID.

1872
01:32:46,820 --> 01:32:48,777
It was really, really challenging.

1873
01:32:48,864 --> 01:32:50,775
And all the little source lights there
you've added.

1874
01:32:51,367 --> 01:32:52,232
Yes.

1875
01:32:52,326 --> 01:32:54,613
Well, the interesting thing about Venice,

1876
01:32:54,703 --> 01:32:57,491
if you try to shoot in Venice
with practical light,

1877
01:32:57,581 --> 01:32:59,572
it looks like a set.

1878
01:32:59,667 --> 01:33:02,329
- Yeah.
- It's lit very expressly.

1879
01:33:02,419 --> 01:33:07,459
And so all of the source lights you're
seeing in this sequence were brought in,

1880
01:33:07,549 --> 01:33:08,710
carried in by hand,

1881
01:33:08,801 --> 01:33:11,418
and they were all there
to create backlight,

1882
01:33:11,512 --> 01:33:13,844
to get rid of the sort of—

1883
01:33:13,931 --> 01:33:17,674
Everything looks a little bit like
Disney World because it's all top lit.

1884
01:33:17,768 --> 01:33:20,510
It's just— There is no mystery,
there's no shadow,

1885
01:33:20,604 --> 01:33:22,436
and we had to create all of that.

1886
01:33:23,190 --> 01:33:24,772
Which, when you're in Venice,

1887
01:33:24,858 --> 01:33:28,396
everything has to be carried
to set by hand, brought in by boat.

1888
01:33:29,154 --> 01:33:33,614
Setting up your power is very difficult
because you need to have a nearby square.

1889
01:33:33,701 --> 01:33:40,243
Every single location was dictated by
its proximity to our ability to add power.

1890
01:33:41,458 --> 01:33:43,574
Martin Smith's lighting,
even in this boat—

1891
01:33:44,211 --> 01:33:45,997
His choice to add these tubes

1892
01:33:46,088 --> 01:33:48,375
and just to give everything
a sense of light.

1893
01:33:48,465 --> 01:33:53,380
And then this we shot back on a set
much, much later

1894
01:33:54,221 --> 01:33:55,507
so we would have control,

1895
01:33:55,597 --> 01:33:57,964
and the thought was, because we had walls,

1896
01:33:58,058 --> 01:34:00,174
we'd be able to cut holes
to get the camera in,

1897
01:34:00,269 --> 01:34:04,388
and we discovered you don't need to.

1898
01:34:04,481 --> 01:34:05,562
Yeah. This—

1899
01:34:05,649 --> 01:34:07,936
The way this was all intercut
was quite a challenge...

1900
01:34:08,026 --> 01:34:09,357
And very late.

1901
01:34:09,445 --> 01:34:15,111
because we wanted both fights
to kind of kick off at the same time.

1902
01:34:15,200 --> 01:34:18,909
And so, originally, we had a version
where Ethan started first,

1903
01:34:18,996 --> 01:34:22,830
and then we cut to Hayley and she—
or Grace, I should say, and then—

1904
01:34:22,916 --> 01:34:29,379
But this way,
we get to find an elegant build

1905
01:34:29,465 --> 01:34:32,002
so that you're with Ethan
and you're seeing his predicament,

1906
01:34:32,092 --> 01:34:34,459
and you're with Grace
and you're seeing her predicament.

1907
01:34:35,512 --> 01:34:39,255
Pom had the best time filming this.
I mean, she worked insanely hard.

1908
01:34:40,517 --> 01:34:42,474
- She did.
- But then the music cue.

1909
01:34:42,561 --> 01:34:43,972
You get that, "So be it,"

1910
01:34:44,062 --> 01:34:46,599
and then the music cue starts here,
and we're off with the fight.

1911
01:34:46,690 --> 01:34:47,930
And we're off again.

1912
01:34:48,025 --> 01:34:53,361
And again, another sensational cue
which was a lot—

1913
01:34:53,447 --> 01:34:54,562
It was a real challenge.

1914
01:34:54,656 --> 01:35:00,151
And this is Gabriel's theme,
essentially, that came—

1915
01:35:00,245 --> 01:35:03,158
A variation of it—
that came in very late.

1916
01:35:03,248 --> 01:35:06,286
What you're seeing here is the camera
operating of Chunky Richmond

1917
01:35:06,376 --> 01:35:09,789
in sync with the unbelievable physicality
of the actors.

1918
01:35:09,880 --> 01:35:13,168
- It's all very, very physically punishing.
- It's really difficult.

1919
01:35:13,258 --> 01:35:15,090
But you can see the camera Chunky's using,

1920
01:35:15,177 --> 01:35:18,590
which is a Rialto,
a very small handheld unit,

1921
01:35:19,598 --> 01:35:22,181
which creates a real energy.

1922
01:35:23,060 --> 01:35:26,223
Whereas here,
we're being much more presentational.

1923
01:35:26,313 --> 01:35:27,769
It's a different kind of energy.

1924
01:35:27,856 --> 01:35:31,724
It's also a different stage
of the shooting of the movie.

1925
01:35:31,819 --> 01:35:34,561
And so you can see our visual style

1926
01:35:34,655 --> 01:35:39,991
and our understanding
of the equipment we're using is evolving.

1927
01:35:40,077 --> 01:35:44,241
We're being very particular
as to when to use certain cameras

1928
01:35:44,331 --> 01:35:47,369
and communicate certain energies.

1929
01:35:48,961 --> 01:35:50,668
This was something I was excited about,

1930
01:35:50,754 --> 01:35:54,213
the notion of bringing in a sword fight
into all the different—

1931
01:35:55,175 --> 01:35:57,837
Bringing in deserts and horses and swords.

1932
01:35:57,928 --> 01:36:01,796
It was all these things
which are the iconography of adventure.

1933
01:36:02,724 --> 01:36:06,513
They all subtly kind of bring
in that sense of adventure,

1934
01:36:06,603 --> 01:36:08,059
even Hayley's costume.

1935
01:36:08,689 --> 01:36:13,980
The wardrobe she's wearing
has a slightly pirate feel to it.

1936
01:36:14,069 --> 01:36:16,310
Same with Rebecca.

1937
01:36:16,405 --> 01:36:18,521
God, I remember
when you were shooting this

1938
01:36:18,615 --> 01:36:21,482
and how dynamic
all these different moves were,

1939
01:36:21,577 --> 01:36:24,160
and these moments with Pom.

1940
01:36:24,246 --> 01:36:26,704
And the intercutting
that we then had to do.

1941
01:36:26,790 --> 01:36:29,031
And also, I feel for Hayley

1942
01:36:29,126 --> 01:36:32,414
because the fight with Gabriel
was originally quite a bit longer,

1943
01:36:32,504 --> 01:36:34,996
and we cut it down to the bones,

1944
01:36:35,090 --> 01:36:38,173
because you're focused more on Ethan.

1945
01:36:38,260 --> 01:36:40,046
Well, it just— You felt—

1946
01:36:40,762 --> 01:36:42,924
You've just felt an imbalance.

1947
01:36:43,015 --> 01:36:46,428
This was a very challenging scene
to create the balance

1948
01:36:46,518 --> 01:36:48,759
- between the three fights...
- Correct.

1949
01:36:48,854 --> 01:36:49,889
that are happening.

1950
01:36:49,980 --> 01:36:53,189
We tried this endless different ways,

1951
01:36:53,275 --> 01:36:57,234
intercutting it so many different ways
before we landed on this version of—

1952
01:36:58,155 --> 01:36:59,737
Yes. And it also—

1953
01:36:59,823 --> 01:37:03,908
The really important thing
for us is Grace had to have—

1954
01:37:04,494 --> 01:37:08,328
She had to have ability,
but she doesn't have honed skills.

1955
01:37:08,415 --> 01:37:09,246
Yes.

1956
01:37:09,333 --> 01:37:12,041
What you're doing is you're seeing
the development of a character

1957
01:37:12,127 --> 01:37:16,291
over the course of these two movies
and she enters into it as raw material,

1958
01:37:16,381 --> 01:37:19,965
and so you had to give her space to grow.

1959
01:37:21,136 --> 01:37:24,674
That was shot much, much later
on a green screen, you remember?

1960
01:37:24,765 --> 01:37:27,223
- Yes, "I hoped it would be you." Yeah.
- Yeah.

1961
01:37:28,101 --> 01:37:30,388
All of that. And then this—

1962
01:37:30,479 --> 01:37:32,220
This we had, I think—

1963
01:37:32,314 --> 01:37:36,524
I seem to remember
we only had one night to shoot—

1964
01:37:37,361 --> 01:37:41,605
To shoot all of the coverage
of their fight with the two of them.

1965
01:37:41,698 --> 01:37:43,905
This was really,
really challenging stuff to do.

1966
01:37:44,618 --> 01:37:46,450
Lots of rehearsal went into it.

1967
01:37:47,454 --> 01:37:49,821
And Tom's running. When to cut to Tom.

1968
01:37:50,999 --> 01:37:52,285
And again, that's point of view.

1969
01:37:52,376 --> 01:37:55,744
Keeping that character in there,
keeping that point of view alive.

1970
01:37:58,090 --> 01:37:59,205
This is a drone.

1971
01:37:59,299 --> 01:38:04,465
It was the only kind of camera you could
use that was a vehicle was a drone.

1972
01:38:04,554 --> 01:38:08,639
We used it very sparingly in Venice.

1973
01:38:08,725 --> 01:38:11,387
And you can also see
all the backlight we put in.

1974
01:38:11,478 --> 01:38:14,937
And all the atmosphere,
all that fog you're seeing, that's ours.

1975
01:38:15,023 --> 01:38:20,393
We brought it in and pumped in tons
of this water-based mist.

1976
01:38:22,781 --> 01:38:24,522
And the knife changed. Do you remember?

1977
01:38:24,616 --> 01:38:26,198
Yes, that's right.

1978
01:38:27,119 --> 01:38:31,238
I mean, some of you may have picked up
on the fact that the knife here is the one

1979
01:38:31,331 --> 01:38:34,699
that Gabriel puts down
on the table in the nightclub,

1980
01:38:34,793 --> 01:38:39,162
which Grace then picks up and then uses
to fight Gabriel on the bridge.

1981
01:38:39,256 --> 01:38:41,497
The journey of the knife
and the journey of Pom's sword.

1982
01:38:41,591 --> 01:38:43,002
Yes, exactly.

1983
01:38:43,093 --> 01:38:47,712
Pom's sword is the one that
she shows the Widow earlier in the film.

1984
01:38:47,806 --> 01:38:50,639
This was a shot, Tom said,
"You know what, just in case,

1985
01:38:50,726 --> 01:38:53,343
let's just get this. Just get this shot.”

1986
01:38:53,437 --> 01:38:57,977
We were getting ready to go, and he—
and we just had a little time left.

1987
01:38:58,066 --> 01:38:59,852
We were getting really close
to the end of the day,

1988
01:38:59,943 --> 01:39:02,310
and he goes, "I just have a feeling.
Let's just get this shot.”

1989
01:39:02,404 --> 01:39:06,819
We really hadn't settled
on how we were gonna play this reveal.

1990
01:39:08,410 --> 01:39:12,995
And we also were dealing with the fact
that there were paparazzi watching us,

1991
01:39:13,081 --> 01:39:15,573
and some of it we couldn't
shoot on location

1992
01:39:15,667 --> 01:39:18,125
because we didn't want
to give any of this away,

1993
01:39:18,211 --> 01:39:21,920
so it created a lot
of technical challenges for us.

1994
01:39:22,007 --> 01:39:24,920
We shot this a long time later
on the stage.

1995
01:39:27,345 --> 01:39:28,676
And we actually had to—

1996
01:39:28,764 --> 01:39:31,096
You remember,
we had to digitally remove her pulse.

1997
01:39:31,183 --> 01:39:33,675
- You could see her pulse on her neck.
- I remember, in her neck.

1998
01:39:35,771 --> 01:39:37,387
She's doing a phenomenal job, by the way.

1999
01:39:37,481 --> 01:39:39,188
You can't see her eyes moving.

2000
01:39:39,274 --> 01:39:42,266
This was also another music cue

2001
01:39:42,360 --> 01:39:46,319
which was so difficult
to get the balance right

2002
01:39:46,406 --> 01:39:48,773
and yet works so well.

2003
01:39:48,867 --> 01:39:52,735
And it's the same cue that's playing
when they're in the gondola.

2004
01:39:52,829 --> 01:39:54,615
And it's something I love about...

2005
01:39:57,125 --> 01:39:59,287
When you can take a piece of music

2006
01:39:59,377 --> 01:40:03,291
and it can actually convey
two completely separate emotions.

2007
01:40:03,381 --> 01:40:07,796
It's very romantic and then suddenly
very tragic with very little variation.

2008
01:40:07,886 --> 01:40:09,877
And one of the reasons that that works—

2009
01:40:09,971 --> 01:40:13,805
Again, here, sensational camera operating
by Chunky Richmond.

2010
01:40:14,476 --> 01:40:16,058
This was shot at like 4:00 a.m.

2011
01:40:16,144 --> 01:40:17,430
This was shot, yeah,

2012
01:40:17,521 --> 01:40:20,013
- like 5:00 a.m. the following morning.
- At sunup.

2013
01:40:20,107 --> 01:40:23,975
But one of the things
I love about the music is that,

2014
01:40:24,069 --> 01:40:27,187
- because we cut with no temp...
- Yes.

2015
01:40:27,280 --> 01:40:30,272
the movie develops
its own internal rhythm

2016
01:40:30,367 --> 01:40:34,201
and we find ourselves very often
taking the same piece of music

2017
01:40:34,287 --> 01:40:38,906
and it lays almost cut for cut
on multiple scenes in the movie.

2018
01:40:39,876 --> 01:40:40,991
And then here we are.

2019
01:40:42,462 --> 01:40:44,544
This was kind of
a revelation to us, this scene.

2020
01:40:44,631 --> 01:40:46,963
- You remember, we started shooting this—
- I remember this.

2021
01:40:47,050 --> 01:40:49,917
We shot completely different coverage
of Hayley,

2022
01:40:50,470 --> 01:40:52,757
and the camera was front on.

2023
01:40:52,848 --> 01:40:55,590
- And her hair was down.
- And her hair was down.

2024
01:40:55,684 --> 01:40:57,595
- And nothing about it worked.
- Yeah.

2025
01:40:57,686 --> 01:40:59,268
It was the same dialogue,

2026
01:40:59,354 --> 01:41:01,265
but when we pulled her hair back,

2027
01:41:01,356 --> 01:41:05,771
and when we shot over her shoulder
and kept the audience from—

2028
01:41:05,861 --> 01:41:09,525
We had the audience
kind of peering around.

2029
01:41:09,614 --> 01:41:12,481
It created a completely different energy
or way into the scene.

2030
01:41:13,535 --> 01:41:16,653
I love Ving and her together.

2031
01:41:17,205 --> 01:41:19,116
And then this is very, very critical,

2032
01:41:19,207 --> 01:41:23,451
the recognition that this person has—

2033
01:41:23,545 --> 01:41:28,210
This person
has sacrificed their life for her,

2034
01:41:28,300 --> 01:41:30,257
and the feeling that it creates

2035
01:41:30,343 --> 01:41:36,305
that's gonna resonate
all the way into chapter two.

2036
01:41:38,059 --> 01:41:41,051
But here, we now start playing with—

2037
01:41:42,189 --> 01:41:44,351
There's gotta be a tonal shift.
It's a real challenge.

2038
01:41:44,441 --> 01:41:47,149
- We've allowed the audience...
- To mourn.

2039
01:41:47,235 --> 01:41:48,691
- ... to have a moment of grief.
- Yeah.

2040
01:41:48,778 --> 01:41:50,940
And the story can't stop.

2041
01:41:51,031 --> 01:41:52,613
That's the real challenge.

2042
01:41:52,699 --> 01:41:54,906
And so you have to create all that space—

2043
01:41:54,993 --> 01:41:57,530
Tom up on the roof,
Benji's behavior there—

2044
01:41:57,621 --> 01:42:01,114
And because of who they are
and what they do,

2045
01:42:01,208 --> 01:42:02,664
they have to keep going.

2046
01:42:02,751 --> 01:42:04,241
And that was a real challenge.

2047
01:42:04,336 --> 01:42:06,623
We talked about this at length,
and of course,

2048
01:42:06,713 --> 01:42:12,834
we know that the ambition is
that these unresolved emotions,

2049
01:42:12,928 --> 01:42:17,297
they end up resonating
into the second chapter.

2050
01:42:18,808 --> 01:42:20,719
And you remember,
we compressed this scene.

2051
01:42:20,810 --> 01:42:23,552
- We had it playing much longer.
- Yeah.

2052
01:42:24,689 --> 01:42:28,478
And we started to—
We started to play with the idea—

2053
01:42:28,568 --> 01:42:31,310
We were just lingering on people too long,

2054
01:42:31,404 --> 01:42:35,864
and we started to accelerate—

2055
01:42:35,951 --> 01:42:37,157
Or, actually, not accelerate,

2056
01:42:37,244 --> 01:42:39,827
- but overlap a little bit more.
- Yeah, exactly.

2057
01:42:40,538 --> 01:42:42,154
Another great music cue here.

2058
01:42:42,249 --> 01:42:45,162
And then, I remember seeing
these dailies come in.

2059
01:42:45,252 --> 01:42:49,337
We had a completely different concept
for the reveal, and it didn't work.

2060
01:42:49,422 --> 01:42:50,708
It was absolutely terrible.

2061
01:42:50,799 --> 01:42:54,633
And we completely constructed this shot
on the day.

2062
01:42:54,719 --> 01:42:57,552
And what's amazing is this shot here,
Vanessa is actually lying—

2063
01:42:57,639 --> 01:42:59,926
Vanessa is lying there
and we just painted out her body.

2064
01:43:00,016 --> 01:43:02,428
So that's why it looks absolutely real.

2065
01:43:02,519 --> 01:43:05,011
- There's a wipe behind Benji's back.
- Yeah.

2066
01:43:05,105 --> 01:43:07,972
- And then a second one's coming.
- I love this moment of behavior here.

2067
01:43:08,066 --> 01:43:09,181
It's so human.

2068
01:43:09,734 --> 01:43:11,941
This, like, "Oh, my God, here I go.
I'm gonna do this."

2069
01:43:12,028 --> 01:43:13,860
Yes, and that's, again—

2070
01:43:13,947 --> 01:43:17,315
Those are the things that Tom
is always keenly, keenly aware of.

2071
01:43:18,660 --> 01:43:22,073
And that was one where
he was looking at it and just saying,

2072
01:43:22,163 --> 01:43:24,780
"Just take a moment.
Just take a moment, kind of show her."

2073
01:43:24,874 --> 01:43:27,081
I love the first time people see this,
they're just like,

2074
01:43:27,168 --> 01:43:29,876
"Wait a second. How— What—
How did you do that?"

2075
01:43:29,963 --> 01:43:32,079
- "Where was the switch?"
- Yeah, "How did you do that?"

2076
01:43:32,173 --> 01:43:36,292
And again, you're looking at, you know,
Vanessa just doing such an amazing job.

2077
01:43:36,386 --> 01:43:37,626
She's so sensational,

2078
01:43:37,721 --> 01:43:42,807
and the work that we did with
visual effects to keep her eyes brown.

2079
01:43:42,892 --> 01:43:46,977
You don't see her put in contact lenses,
and we just ran with that idea.

2080
01:43:47,063 --> 01:43:49,555
We left her eyes brown
through the sequence

2081
01:43:49,649 --> 01:43:52,607
so you could see what we call
the White Widow and the Gray Widow.

2082
01:43:52,694 --> 01:43:55,607
It got too confusing
talking about Grace and the Widow.

2083
01:43:56,740 --> 01:44:02,281
And one of the amazing things,
the incredible things here, is that

2084
01:44:02,370 --> 01:44:07,581
Vanessa Kirby, who delivers such
a sensational performance, is overlooked

2085
01:44:07,667 --> 01:44:09,374
for her sensational performance,

2086
01:44:09,461 --> 01:44:12,078
because you're thinking about
another actor the entire time.

2087
01:44:12,172 --> 01:44:14,789
- It's Hayley Atwell in there.
- It's very, very generous.

2088
01:44:14,883 --> 01:44:17,215
- It's incredible.
- This is always a great payoff.

2089
01:44:17,302 --> 01:44:19,839
I remember reading this in the script
and thinking this was a terrific—

2090
01:44:19,929 --> 01:44:22,546
This was really fun,
the first time the audience saw it.

2091
01:44:22,640 --> 01:44:23,755
Yeah.

2092
01:44:23,850 --> 01:44:29,016
And again, you've managed
to transition past an emotion,

2093
01:44:29,105 --> 01:44:31,392
but Tom hangs on to it.

2094
01:44:31,483 --> 01:44:34,726
The whole idea is that Ethan
is hanging on to that emotion

2095
01:44:34,819 --> 01:44:38,778
because again,
we can't accelerate past what's happened,

2096
01:44:38,865 --> 01:44:43,655
so you're feeling an emotional transition
happening here.

2097
01:44:45,830 --> 01:44:46,820
That was another—

2098
01:44:46,915 --> 01:44:49,623
That was all originally
one move with Chunky.

2099
01:44:49,709 --> 01:44:51,325
It's really phenomenal the way Hayley

2100
01:44:51,419 --> 01:44:55,208
and Chunky particular
really worked well together.

2101
01:44:55,298 --> 01:44:57,164
They really— They really just—

2102
01:44:57,258 --> 01:45:02,844
It's another person with whom
she is dancing in all this coverage.

2103
01:45:02,931 --> 01:45:06,925
And you'll also notice that when you cut
to Ethan throughout this scene,

2104
01:45:07,018 --> 01:45:11,103
you're cutting to him on the first part
of somebody else's line,

2105
01:45:11,189 --> 01:45:15,604
so that the person is saying
what Ethan is thinking.

2106
01:45:15,693 --> 01:45:16,933
Sometimes you're on a profile—

2107
01:45:17,028 --> 01:45:19,645
Like there, Benji's talking
and that's what Ethan's thinking.

2108
01:45:19,739 --> 01:45:22,777
And what you're feeling now is
the relationship

2109
01:45:22,867 --> 01:45:24,232
between these three characters.

2110
01:45:24,327 --> 01:45:26,659
They are all of the same mind.
That's all intentional.

2111
01:45:26,746 --> 01:45:28,032
It's all by design,

2112
01:45:28,123 --> 01:45:32,583
and it's all created to constantly create
a sense of affinity

2113
01:45:32,669 --> 01:45:36,207
without the kind of stale idea
of, you know,

2114
01:45:36,297 --> 01:45:40,040
actors just talking about their—
busting each other's chops.

2115
01:45:40,969 --> 01:45:42,960
It's creating friendship.

2116
01:45:43,054 --> 01:45:45,762
It's like, "How do you create friendship
and keep the story moving,"

2117
01:45:45,849 --> 01:45:48,011
and you do it through composition.

2118
01:45:50,353 --> 01:45:54,597
Tom here— This was really phenomenal,
his delivery of that,

2119
01:45:54,691 --> 01:45:56,853
and Hayley's reaction, the subtlety of it.

2120
01:45:56,943 --> 01:46:00,311
First time I saw
your first assembly of this scene—

2121
01:46:00,405 --> 01:46:01,440
This always worked.

2122
01:46:01,531 --> 01:46:03,522
- This always worked, this moment.
- This killed.

2123
01:46:03,616 --> 01:46:05,653
This really, really worked.

2124
01:46:05,743 --> 01:46:09,953
It's like what she's wanted to hear
someone say to her her entire life.

2125
01:46:10,039 --> 01:46:13,077
- Yes. And how do you write that?
- I know.

2126
01:46:13,168 --> 01:46:15,910
- And the idea...
- Look at her.

2127
01:46:16,004 --> 01:46:18,746
of understanding what that is
and communicating it,

2128
01:46:18,840 --> 01:46:22,959
and communicating it to such an extent
that she can then pull it back.

2129
01:46:23,470 --> 01:46:27,213
That is an extraordinary,
extraordinary performance.

2130
01:46:27,849 --> 01:46:29,715
All four of these actors working together,

2131
01:46:29,809 --> 01:46:33,768
really, really carrying one another
through the scene.

2132
01:46:34,522 --> 01:46:35,933
And then, here, this was—

2133
01:46:36,024 --> 01:46:38,140
Boy, this was a challenge to edit,

2134
01:46:38,234 --> 01:46:41,317
and we knew we had to get
into the third act,

2135
01:46:41,404 --> 01:46:45,398
but we also knew we had to tell
this very important story,

2136
01:46:45,492 --> 01:46:47,984
which is Luther's departure.

2137
01:46:48,828 --> 01:46:50,785
Luther has to leave the story.

2138
01:46:50,872 --> 01:46:52,488
This was twofold.

2139
01:46:52,582 --> 01:46:55,620
One, there really wasn't anything
for Luther to be doing

2140
01:46:56,252 --> 01:46:57,617
in the third act of the movie.

2141
01:46:58,296 --> 01:47:04,963
Two, there's a very important element
in chapter two that is coming,

2142
01:47:05,053 --> 01:47:10,014
and where Luther is going and where
they will find him in the second story.

2143
01:47:10,099 --> 01:47:16,186
It was important to begin creating
the threads that were setting up Part Two.

2144
01:47:16,272 --> 01:47:17,683
I love these scenes,

2145
01:47:17,774 --> 01:47:22,234
when you have the history
between these two characters resonating

2146
01:47:22,320 --> 01:47:25,529
through the decades
of watching these movies

2147
01:47:25,615 --> 01:47:28,357
and seeing the two of them together.

2148
01:47:28,451 --> 01:47:31,193
And that is both the characters
and the actors.

2149
01:47:31,287 --> 01:47:32,277
100%.

2150
01:47:32,372 --> 01:47:34,579
The idea that these are the two guys
who've been together

2151
01:47:34,666 --> 01:47:36,156
since the very first mission.

2152
01:47:36,251 --> 01:47:38,663
And here we are again, crossing the line.

2153
01:47:38,753 --> 01:47:40,209
Just look at the 75.

2154
01:47:40,296 --> 01:47:43,584
- It's 135, sorry, this one.
- I think this was a 135, yeah.

2155
01:47:43,675 --> 01:47:46,383
- It's so internal with Ethan.
- Yes.

2156
01:47:46,469 --> 01:47:48,585
And it's very rare.
We use it in this movie.

2157
01:47:48,680 --> 01:47:50,512
We used it quite a lot more in Fallout.

2158
01:47:51,015 --> 01:47:55,760
Chunky came to me
in the first Cary Elwes scene

2159
01:47:56,437 --> 01:48:00,931
and said,
"You know you wanna use this 60 mm lens."

2160
01:48:01,025 --> 01:48:02,060
I was like—

2161
01:48:02,151 --> 01:48:05,860
Robert Elswit had kind of discouraged me
from using a 60

2162
01:48:05,947 --> 01:48:09,906
for a lot of Rogue Nation,

2163
01:48:10,743 --> 01:48:13,701
and I had just developed the habit
of not using it.

2164
01:48:13,788 --> 01:48:17,201
And the 60 mil that Chunky liked
was a close-focus 60 mil,

2165
01:48:17,292 --> 01:48:19,283
so it was a slightly wider lens,

2166
01:48:19,377 --> 01:48:23,712
but it allowed you to get closer
without it being unflattering.

2167
01:48:23,798 --> 01:48:28,133
And we went from using a variety
of lenses to primarily using two.

2168
01:48:28,219 --> 01:48:31,507
We used a 40 and 60 for much of the movie.

2169
01:48:31,598 --> 01:48:33,680
This is very granular, dorky stuff.

2170
01:48:35,935 --> 01:48:38,768
But, yeah, this was—

2171
01:48:38,855 --> 01:48:41,813
Listen, you just have to imagine me
listening to this stuff

2172
01:48:41,899 --> 01:48:43,310
when I was 12 years old.

2173
01:48:43,401 --> 01:48:46,644
Listening to my DVD commentaries,
and this is where I have my film school.

2174
01:48:46,738 --> 01:48:48,775
So honestly, like, dive in and be—

2175
01:48:48,865 --> 01:48:50,651
All the dorky stuff is
what people want to hear.

2176
01:48:50,742 --> 01:48:52,528
- That's why we're here.
- I love it.

2177
01:48:52,619 --> 01:48:55,407
Okay, so I can do some dorky
editorial stuff real quick.

2178
01:48:55,496 --> 01:48:56,702
So if you want—

2179
01:48:56,789 --> 01:48:59,622
So the Sony VENICE camera shoots at 6K,

2180
01:48:59,709 --> 01:49:03,293
and in the Avid Media Composer timeline,

2181
01:49:03,379 --> 01:49:06,963
we're actually using
ultra-high-definition resolution,

2182
01:49:07,050 --> 01:49:09,382
which is 3840 by 2160.

2183
01:49:09,469 --> 01:49:13,212
And we're using an offline resolution
called Avid DNxHR LB,

2184
01:49:14,515 --> 01:49:18,600
which allows us to edit
in ultra-high-definition quality

2185
01:49:18,686 --> 01:49:23,806
and allows us to screen and create
trailers and promo reels and, you know—

2186
01:49:23,900 --> 01:49:27,894
So we're just working with, like,
phenomenal resolution

2187
01:49:27,987 --> 01:49:30,479
and color from the word "go,"
which is great.

2188
01:49:30,573 --> 01:49:35,488
And also, it means all our visual effects
come in at ultra HD and 4K,

2189
01:49:35,578 --> 01:49:38,787
and we can review them
without having to compromise.

2190
01:49:39,582 --> 01:49:40,572
Now, this was a—

2191
01:49:40,667 --> 01:49:42,624
And the reason I work
with Eddie Hamilton is

2192
01:49:42,710 --> 01:49:44,496
so I don't have to understand any of that.

2193
01:49:44,587 --> 01:49:48,205
All that nonsense. But there's people
out there who will hear it and enjoy it.

2194
01:49:48,299 --> 01:49:49,881
Now, what were you gonna say
about the train?

2195
01:49:49,967 --> 01:49:52,504
Well, this whole scene was interesting

2196
01:49:52,595 --> 01:49:56,304
because we had a different setup
for the third act.

2197
01:49:56,391 --> 01:49:57,381
Yes.

2198
01:49:57,475 --> 01:50:02,265
And we leaned into this slightly
different version

2199
01:50:02,355 --> 01:50:05,222
where Grace is forced to go on her own.

2200
01:50:06,192 --> 01:50:09,059
But that shot of her assembling the key,
by the way, was

2201
01:50:09,153 --> 01:50:11,611
one of the last shots
of principal photography.

2202
01:50:11,698 --> 01:50:12,984
Yeah.

2203
01:50:14,992 --> 01:50:17,359
And this scene, in fact, was—

2204
01:50:17,453 --> 01:50:18,989
We built this set later,

2205
01:50:19,080 --> 01:50:22,789
realizing we needed a different
transition into the third act.

2206
01:50:22,875 --> 01:50:24,832
Grace needed to join the team.

2207
01:50:24,919 --> 01:50:26,751
She was really...

2208
01:50:28,214 --> 01:50:30,672
We had a completely different construct

2209
01:50:30,758 --> 01:50:33,876
for how and why
they ended up on the train,

2210
01:50:35,596 --> 01:50:39,760
and this really brought
them together as a team.

2211
01:50:41,394 --> 01:50:44,512
And Tom was wearing a wig there,
'cause he was already in his...

2212
01:50:44,605 --> 01:50:46,095
That's right.

2213
01:50:46,190 --> 01:50:48,932
- ... Part Two hairstyle.
- Yeah.

2214
01:50:49,026 --> 01:50:51,393
There are a couple of shots
throughout the movie like that.

2215
01:50:51,487 --> 01:50:53,854
This, I remember,
was one of our first days on the train.

2216
01:50:53,948 --> 01:50:57,066
And I remember walking in here
as Gary had designed the set.

2217
01:50:57,160 --> 01:50:59,197
As soon as I walked on the set, I said,

2218
01:50:59,287 --> 01:51:02,370
"My God, there's only one character
that can be in this car."

2219
01:51:02,457 --> 01:51:05,495
What's so great about that moment there
with the Widow is that

2220
01:51:05,585 --> 01:51:07,496
you think it's Grace.

2221
01:51:08,004 --> 01:51:08,994
The audience is going,

2222
01:51:09,088 --> 01:51:11,500
- "Grace is already dead."
- We hope you think it's Grace.

2223
01:51:11,591 --> 01:51:13,798
I think there's a percentage
of the audience.

2224
01:51:13,885 --> 01:51:14,966
Now, this was real.

2225
01:51:15,052 --> 01:51:16,338
This was done for real.

2226
01:51:16,429 --> 01:51:19,672
Like Pom just lost her mind
doing all these stunts

2227
01:51:19,766 --> 01:51:21,222
on the actual roof of the train.

2228
01:51:21,309 --> 01:51:25,348
She's tied on with cables
which we remove with VFX.

2229
01:51:25,438 --> 01:51:28,430
And this is completely her,
this little moment with the heart.

2230
01:51:28,524 --> 01:51:30,390
This is all Pom just doing her thing.

2231
01:51:30,485 --> 01:51:34,854
And, in fact, every actor in the movie
has some flourish,

2232
01:51:34,947 --> 01:51:38,906
some great little bit of behavior
that's entirely improvised.

2233
01:51:39,577 --> 01:51:42,319
How to get backlight in a shot?
Knock a lamp on the floor.

2234
01:51:43,873 --> 01:51:44,863
And this—

2235
01:51:44,957 --> 01:51:46,994
We should give credit to Mark Taylor,
our sound mixer,

2236
01:51:47,084 --> 01:51:52,045
for coming up with this idea
of having the Entity on this mask.

2237
01:51:52,131 --> 01:51:54,247
- Yeah, that was added in post.
- Yeah.

2238
01:51:54,342 --> 01:51:57,801
Because people were asking,
"How does he communicate?"

2239
01:51:57,887 --> 01:52:01,050
And so, Mark said—
when we were mixing the sound, he said,

2240
01:52:01,140 --> 01:52:03,222
"Maybe you should add something there."

2241
01:52:03,309 --> 01:52:05,391
He was actually a little nervous of—

2242
01:52:05,478 --> 01:52:08,596
- Oh, yeah, this was—
- The last shot of the first phase

2243
01:52:08,689 --> 01:52:10,475
- of principal photography.
- A beautiful shot.

2244
01:52:10,566 --> 01:52:12,773
There were many phases
of principal photography.

2245
01:52:13,277 --> 01:52:15,393
Mark was worried about telling you,
and I said,

2246
01:52:15,488 --> 01:52:17,604
"No, it's a genius idea.
Go and tell Chris."

2247
01:52:17,698 --> 01:52:19,564
That's what I was so shocked by is, like,

2248
01:52:19,659 --> 01:52:21,991
how many other great ideas
were people afraid to tell me?

2249
01:52:22,078 --> 01:52:23,193
Sound mixers, you know,

2250
01:52:23,287 --> 01:52:27,406
they don't feel it's appropriate
to say that kind of stuff.

2251
01:52:27,500 --> 01:52:30,583
The Internet doesn't have any problem
telling me how to do my job.

2252
01:52:30,670 --> 01:52:32,502
Well, why shouldn't the crew?

2253
01:52:33,673 --> 01:52:36,461
You should talk about Rocky,
on the right there.

2254
01:52:36,551 --> 01:52:40,966
- Rocky is a legend in stunt movies.
- This guy driving the train, there.

2255
01:52:41,055 --> 01:52:44,173
Yeah, he was in Goldfinger,
for goodness' sake. Yeah.

2256
01:52:44,267 --> 01:52:47,430
Amazing. He's been around for
a million years. He's the loveliest guy.

2257
01:52:48,187 --> 01:52:49,268
Love that cut.

2258
01:52:49,355 --> 01:52:52,097
See, this was great directing, I swear.

2259
01:52:52,191 --> 01:52:57,186
This was you, coming up with this idea
of knocking the wine glass.

2260
01:52:57,280 --> 01:52:59,897
And then all these phenomenal shots
of the train.

2261
01:52:59,991 --> 01:53:02,858
- I love them.
- I love the moving Dutch.

2262
01:53:02,952 --> 01:53:06,035
- That's Chunky working with Esai.
- Yeah.

2263
01:53:06,122 --> 01:53:08,454
It was really lovely,
all of this behavior.

2264
01:53:08,541 --> 01:53:11,078
We had very little time shooting
in the locomotive.

2265
01:53:11,168 --> 01:53:14,456
These shots on the wheels
were done in Yorkshire, I remember.

2266
01:53:14,547 --> 01:53:16,663
Yeah, we never had time
to get them in Norway.

2267
01:53:16,757 --> 01:53:20,375
You had incredible luck with the weather
that one week you shot in Yorkshire.

2268
01:53:20,469 --> 01:53:22,335
We did. We shot in four days.

2269
01:53:22,430 --> 01:53:26,389
We shot everything
that we shot in Yorkshire,

2270
01:53:26,475 --> 01:53:31,311
which is the majority of Hayley
and Tom's business on the train together.

2271
01:53:32,023 --> 01:53:33,229
It's quite a lot of coverage.

2272
01:53:33,316 --> 01:53:35,853
This is for real, you know, in Norway.

2273
01:53:36,527 --> 01:53:39,144
- Yeah.
- With Tom riding the—

2274
01:53:39,238 --> 01:53:40,649
That's in Yorkshire.

2275
01:53:41,240 --> 01:53:43,106
And here's the—

2276
01:53:44,285 --> 01:53:45,867
This scene came in and out, didn't it?

2277
01:53:45,953 --> 01:53:48,615
- This whole idea of the two of them.
- It wasn't in the first cut of the film.

2278
01:53:48,706 --> 01:53:50,868
We were looking at length,
and we left it out.

2279
01:53:50,958 --> 01:53:54,246
We really debated,
with all the momentum we were creating,

2280
01:53:54,337 --> 01:53:58,376
could we stop and have a moment
with these two characters?

2281
01:53:58,466 --> 01:54:01,754
And there's two things happening here.

2282
01:54:01,844 --> 01:54:06,589
One, it's setting up the development
of these two characters

2283
01:54:06,682 --> 01:54:08,764
for where they go in the second story.

2284
01:54:08,851 --> 01:54:09,841
That's not as critical.

2285
01:54:09,936 --> 01:54:15,682
What it's really doing is it's reminding
you of the importance of the key,

2286
01:54:15,775 --> 01:54:20,144
- but also why it matters to Ethan.
- Yeah.

2287
01:54:21,113 --> 01:54:27,860
And it's really contextualizing for you
the stakes of what's to come.

2288
01:54:27,954 --> 01:54:31,163
And those are things that
you're not necessarily aware of,

2289
01:54:31,248 --> 01:54:34,081
but it's all working to create a feeling.

2290
01:54:34,168 --> 01:54:39,004
And this sequence was very, very
particular in creating the balance

2291
01:54:39,090 --> 01:54:42,299
that if you didn't get enough
of the information,

2292
01:54:42,385 --> 01:54:44,296
- the action didn't matter.
- Yep.

2293
01:54:44,387 --> 01:54:47,095
If you spent too much time
on the information,

2294
01:54:47,181 --> 01:54:48,842
the action was exhausting.

2295
01:54:48,933 --> 01:54:50,924
And it was like an accordion, this scene.

2296
01:54:51,435 --> 01:54:57,056
We kept squeezing and pulling
in different directions,

2297
01:54:57,149 --> 01:55:00,767
trying to find the right balance
of information and emotion

2298
01:55:00,861 --> 01:55:04,775
so that you had the maximum effect
at the end.

2299
01:55:04,865 --> 01:55:08,529
And that's why I recommend everybody,
when they watch this movie,

2300
01:55:09,078 --> 01:55:11,740
just let the movie take you.

2301
01:55:12,957 --> 01:55:18,168
The reason you're feeling certain things
is because of the presentation of others.

2302
01:55:18,254 --> 01:55:20,336
This is a really fun camera move

2303
01:55:22,133 --> 01:55:25,251
by virtue of the fact that a camera
could never physically do that.

2304
01:55:25,344 --> 01:55:27,961
And there's a little trickery
in that we removed one window

2305
01:55:28,055 --> 01:55:31,593
that allowed Chunky to step out of the way
and then step back in.

2306
01:55:32,518 --> 01:55:36,728
And, again, it's these shots
that don't call attention to themselves

2307
01:55:37,982 --> 01:55:39,347
and great visual effects work.

2308
01:55:39,442 --> 01:55:42,855
All those reflections on the brass,
all of that,

2309
01:55:42,945 --> 01:55:44,606
that's all green screen.

2310
01:55:44,697 --> 01:55:47,860
This is all on a set on a sound stage.

2311
01:55:47,950 --> 01:55:52,569
Phenomenal lighting
by Martin Smith and Fraser

2312
01:55:53,289 --> 01:55:55,826
that creates this very subtle,
interactive feeling.

2313
01:55:55,916 --> 01:55:57,907
It's always creating a sense of movement.

2314
01:55:58,544 --> 01:56:03,505
The train very, very much feels alive, but
again, never gets in the way of the story.

2315
01:56:03,591 --> 01:56:04,752
Sound design as well.

2316
01:56:07,636 --> 01:56:12,381
And this we shot a long time later,
the shots looking up at Vanessa,

2317
01:56:12,475 --> 01:56:15,763
when we changed—
we tweaked the story a little bit.

2318
01:56:15,853 --> 01:56:18,470
But again,
because you have these tiny, little sets,

2319
01:56:18,564 --> 01:56:22,558
you can go back and shape character,
create moments of tension and suspense.

2320
01:56:23,569 --> 01:56:27,563
And all of that is about creating reasons,
things that motivate characters.

2321
01:56:27,656 --> 01:56:30,694
So this is the best bit,
this blowing the hair.

2322
01:56:30,785 --> 01:56:33,903
- Just a fun bit—
- Exactly what she does in the Fiat.

2323
01:56:33,996 --> 01:56:35,452
Well, and it's Vanessa.

2324
01:56:35,539 --> 01:56:40,534
She's such a brilliant study
and is doing such a phenomenal job.

2325
01:56:40,628 --> 01:56:41,618
You can see her—

2326
01:56:41,712 --> 01:56:45,046
You're absolutely connected to Grace
through her performance.

2327
01:56:45,132 --> 01:56:48,750
Our director— Sorry, sorry, sorry.

2328
01:56:48,844 --> 01:56:51,506
- Somebody will have found it by now.
- Somebody would have found it by now.

2329
01:56:51,597 --> 01:56:54,055
Okay, I won't say any more. All right.

2330
01:56:55,101 --> 01:56:59,311
This was—
God, we had so much fun with Vanessa.

2331
01:56:59,396 --> 01:57:03,731
She spent a lot of time playing with
the comedy and finding the right balance.

2332
01:57:03,818 --> 01:57:06,435
- And again, here are the brown eyes.
- Yeah.

2333
01:57:07,947 --> 01:57:09,278
This is—

2334
01:57:09,365 --> 01:57:13,074
And here's Jonathan,
the guy standing behind Henry Czerny.

2335
01:57:13,160 --> 01:57:16,824
- The bodyguard.
- He was cast as a—

2336
01:57:16,914 --> 01:57:19,906
- We needed another...
- Another bodyguard.

2337
01:57:20,000 --> 01:57:22,332
of the Widow's henchmen.

2338
01:57:22,419 --> 01:57:25,332
And Jonathan was only supposed to be on
the movie for a day,

2339
01:57:25,840 --> 01:57:26,875
and by circumstance,

2340
01:57:26,966 --> 01:57:29,924
as the story evolved and he turned into
the guy who picked up the key,

2341
01:57:30,010 --> 01:57:31,921
he ended up working on the movie
for months.

2342
01:57:32,012 --> 01:57:35,846
- Yeah.
- It was really a lovely opportunity.

2343
01:57:36,976 --> 01:57:40,310
And all of that was shot
on a track much, much later in the UK,

2344
01:57:40,396 --> 01:57:42,262
all of Benji's work in the car.

2345
01:57:42,356 --> 01:57:43,346
All because of—

2346
01:57:43,440 --> 01:57:46,432
Astonishing shots done
on helicopters in Norway.

2347
01:57:46,527 --> 01:57:47,938
That was in Norway.

2348
01:57:48,028 --> 01:57:49,689
That was really great work...

2349
01:57:52,616 --> 01:57:55,324
- by Will and Phil.
- Phil.

2350
01:57:57,246 --> 01:58:03,868
Our camera operator and pilot
Will Banks and Phil Arntz.

2351
01:58:03,961 --> 01:58:05,292
- That's right.
- Really extraordinary.

2352
01:58:05,379 --> 01:58:08,121
- Collectively known as "Phwill."
- "Phwill." Yeah.

2353
01:58:08,215 --> 01:58:11,048
- An extraordinary camera team.
- Yeah.

2354
01:58:11,135 --> 01:58:15,049
- And whose real moment to sing—
- Tour de force comes in Part Two.

2355
01:58:15,139 --> 01:58:16,880
Their tour de force is coming in Part Two.

2356
01:58:16,974 --> 01:58:18,260
Amazing work in Part Two.

2357
01:58:18,350 --> 01:58:24,187
And I love this, as we see
the old Kittridge enter into the story.

2358
01:58:24,273 --> 01:58:28,858
You realize he's still Kittridge,
and he brings the heat.

2359
01:58:28,944 --> 01:58:30,855
And Henry does it so effectively.

2360
01:58:30,946 --> 01:58:34,689
Henry and Vanessa together,
working with them together—

2361
01:58:34,783 --> 01:58:36,740
They had such an affinity for one another.

2362
01:58:36,827 --> 01:58:39,364
They were really enjoying
working together.

2363
01:58:39,455 --> 01:58:41,241
And you can feel it in this scene,

2364
01:58:41,332 --> 01:58:45,542
as the actors are really playing together
and exploring and finding—

2365
01:58:46,128 --> 01:58:50,292
You know, Vanessa mixing up her—

2366
01:58:50,382 --> 01:58:54,250
- Her pronouns of "she" and "I."
- Yes, yes.

2367
01:58:54,345 --> 01:58:56,302
That was the one wide shot
in the scene as well.

2368
01:58:56,388 --> 01:58:58,299
Yep. And the only one that was necessary.

2369
01:58:58,390 --> 01:58:59,380
There you go.

2370
01:58:59,475 --> 01:59:02,638
Again, when you jumped out to a wide,
you just felt yourself—

2371
01:59:02,728 --> 01:59:06,096
And I was very careful
to hide Grace's name.

2372
01:59:06,190 --> 01:59:07,271
Yeah.

2373
01:59:07,358 --> 01:59:11,226
I wanted to keep that air of mystery,
so we went back and reshot that.

2374
01:59:11,320 --> 01:59:14,904
Erik Jendresen had suggested another name
that was in the passport.

2375
01:59:14,990 --> 01:59:15,855
Yep.

2376
01:59:15,950 --> 01:59:18,942
And I saw it a hundred times
before I finally went,

2377
01:59:19,036 --> 01:59:20,777
"Where did he get the name Rose Fleming?"

2378
01:59:20,871 --> 01:59:22,862
- Yes.
- And I went, "I know where he got it."

2379
01:59:22,957 --> 01:59:26,370
And I looked up Ian Fleming,
and of course it was his mother.

2380
01:59:26,460 --> 01:59:30,579
I was like, "We're not putting
a James Bond reference in the passport.”

2381
01:59:30,673 --> 01:59:32,755
I don't want to hear about that forever.

2382
01:59:33,592 --> 01:59:37,881
So, yes, I changed her name,
and only Hayley and I know her real name.

2383
01:59:39,139 --> 01:59:43,724
And Vanessa here
is just sensational twice.

2384
01:59:43,811 --> 01:59:47,475
Here she is again,
coming from a character—

2385
01:59:47,564 --> 01:59:50,056
Totally unafraid to play as well
and just—

2386
01:59:50,150 --> 01:59:51,140
All the—

2387
01:59:51,235 --> 01:59:54,398
- From broad comedy to dark and sinister.
- Exactly.

2388
01:59:54,488 --> 01:59:58,527
She did it all and was really—
never had an issue,

2389
01:59:58,617 --> 01:59:59,857
very, very fearless,

2390
01:59:59,952 --> 02:00:01,568
just gave us lots of options.

2391
02:00:01,662 --> 02:00:03,198
Did you direct this on Zoom?

2392
02:00:03,289 --> 02:00:05,496
- I was directing this on Zoom.
- Oh, my word.

2393
02:00:05,582 --> 02:00:08,290
I had been contact-traced
and had to direct all—

2394
02:00:08,377 --> 02:00:12,086
Everything in this car
had to be directed on Zoom.

2395
02:00:13,215 --> 02:00:14,546
Very, very frustrating.

2396
02:00:16,427 --> 02:00:17,508
Cary Elwes.

2397
02:00:18,137 --> 02:00:21,550
This was a really fun couple of days
in the train.

2398
02:00:21,640 --> 02:00:23,051
We had very little time to shoot.

2399
02:00:23,142 --> 02:00:26,100
We had to be very surgical
in terms of how we planned all of this.

2400
02:00:26,812 --> 02:00:30,146
We designed these fights
so that they could be covered

2401
02:00:30,232 --> 02:00:33,896
with minimum coverage and maximum speed.

2402
02:00:34,987 --> 02:00:37,570
I think that we knew there was a lot
going on in this train

2403
02:00:37,656 --> 02:00:39,021
that couldn't be involved.

2404
02:00:39,116 --> 02:00:42,950
And again, movement, behavior,

2405
02:00:43,829 --> 02:00:45,820
all of which is telling story

2406
02:00:45,914 --> 02:00:48,781
and introducing characters,
reintroducing characters.

2407
02:00:48,876 --> 02:00:53,461
There was a great shot of Esai Morales
walking on the roof of the train,

2408
02:00:53,547 --> 02:00:56,005
which explained how he got
from one end of the train to the other.

2409
02:00:56,091 --> 02:00:58,128
- But in the end, we cut it out.
- Yes.

2410
02:00:58,218 --> 02:01:01,836
But he did do it for real,
walked on the roof of a moving train.

2411
02:01:01,930 --> 02:01:03,716
And he looked great doing it.

2412
02:01:03,807 --> 02:01:07,050
It removed an air of mystery
to what he was doing.

2413
02:01:07,144 --> 02:01:08,600
Again, Dutch angles.

2414
02:01:08,687 --> 02:01:10,428
The Dutch angle is just there to—

2415
02:01:10,522 --> 02:01:11,978
You're in Cary's point of view.

2416
02:01:12,066 --> 02:01:15,400
You have to Dutch the camera
in order to keep Pom in it.

2417
02:01:15,486 --> 02:01:22,199
This is also one of the rare instances
of Pom and Esai in the same frame.

2418
02:01:22,284 --> 02:01:26,152
And it was really about the power that we
were giving each character individually.

2419
02:01:26,830 --> 02:01:28,946
It was all about keeping a balance
between the two of them.

2420
02:01:29,041 --> 02:01:32,375
We never wanted Pom
to feel like a subordinate.

2421
02:01:32,461 --> 02:01:37,046
We wanted Pom
to feel very much like a character

2422
02:01:37,132 --> 02:01:39,169
who was on a level with Gabriel.

2423
02:01:39,259 --> 02:01:44,049
And if you put them together in the frame
too much, it started to disrupt that.

2424
02:01:44,139 --> 02:01:47,598
Now what you feel—
He's seated. She's standing.

2425
02:01:47,684 --> 02:01:50,301
There's an equality
in all of their framing,

2426
02:01:50,396 --> 02:01:52,137
an equality to all their power.

2427
02:01:52,231 --> 02:01:54,848
Never wanted one character
to take away from another.

2428
02:01:55,984 --> 02:02:00,399
And this, the notion of bringing
back the flashbacks of the Sevastopol,

2429
02:02:00,489 --> 02:02:02,446
is a very late development.

2430
02:02:02,533 --> 02:02:06,401
And also, you know, one of those things
that was so obvious, we were—

2431
02:02:06,495 --> 02:02:08,987
Yeah, exactly. Originally, it just plays—

2432
02:02:09,081 --> 02:02:10,663
Originally, the scene was much shorter.

2433
02:02:10,749 --> 02:02:11,739
- Yep.
- And—

2434
02:02:11,834 --> 02:02:12,949
And in our first test,

2435
02:02:13,043 --> 02:02:16,001
one of the guys in the focus group said,
"What was with that scene?"

2436
02:02:16,088 --> 02:02:19,080
He said,
"Either make it longer or cut it out.”

2437
02:02:19,174 --> 02:02:20,585
- Yeah.
- We were—

2438
02:02:20,676 --> 02:02:22,292
We were, again, being subtle,

2439
02:02:22,386 --> 02:02:25,674
and we were alluding to things
that were gonna show up in Part Two.

2440
02:02:25,764 --> 02:02:28,256
And really, what the audience wanted
at this point,

2441
02:02:28,350 --> 02:02:32,844
and what we really realized we were
obligated to do is,

2442
02:02:32,938 --> 02:02:33,973
"Let's clear all this up."

2443
02:02:34,064 --> 02:02:36,556
Yeah. And explain what happened
with the keys.

2444
02:02:36,650 --> 02:02:37,811
- Yep.
- Yeah.

2445
02:02:37,901 --> 02:02:42,737
And of course the journey of the keys
is gonna feature in Part Two,

2446
02:02:42,823 --> 02:02:45,155
or at least that's the plan today.

2447
02:02:45,242 --> 02:02:48,735
Here we are again, moving back and forth
to other sides of the line

2448
02:02:49,496 --> 02:02:52,409
and doing a high and low pass
with each side.

2449
02:02:52,499 --> 02:02:55,992
So, essentially, what you do is
you just shoot two cameras.

2450
02:02:56,086 --> 02:02:59,420
You shoot one pass
where the cameras are low,

2451
02:02:59,506 --> 02:03:00,871
one pass where they're high.

2452
02:03:00,966 --> 02:03:03,298
And now you've got four different angles
to cut from,

2453
02:03:03,385 --> 02:03:06,844
each one conveying a different sense
of emotional pressure,

2454
02:03:07,639 --> 02:03:11,598
some of which are giving a sense
of control and power, like this angle.

2455
02:03:11,685 --> 02:03:13,767
And then other angles,
when you go high on him,

2456
02:03:13,854 --> 02:03:16,141
you're creating pressure,
looking down on him.

2457
02:03:17,983 --> 02:03:21,476
And all of this is very
carefully assembled

2458
02:03:21,570 --> 02:03:24,358
in such a way that we understand.

2459
02:03:24,448 --> 02:03:25,563
It's a dialogue scene.

2460
02:03:25,657 --> 02:03:27,944
You're probably not listening
to everything.

2461
02:03:28,035 --> 02:03:29,696
You're tuning in and out of the scene.

2462
02:03:29,786 --> 02:03:32,528
And so what we're doing
with each and every cut,

2463
02:03:32,623 --> 02:03:34,330
each and every shift in the angle,

2464
02:03:34,416 --> 02:03:36,953
is keeping you alert,
keeping you on your toes

2465
02:03:37,044 --> 02:03:40,958
and doing it in a way that you
don't have to concentrate on the scene.

2466
02:03:41,882 --> 02:03:44,624
And then at key moments like this,
just a little push-in.

2467
02:03:44,718 --> 02:03:49,804
That's Chunky operating a Steadicam
in an extremely confined space,

2468
02:03:49,890 --> 02:03:52,973
extremely precise measurements.

2469
02:03:53,060 --> 02:03:54,892
Very, very difficult to do.

2470
02:03:54,978 --> 02:03:56,309
Focus pulling in this—

2471
02:03:56,396 --> 02:03:57,727
- Paul Wheeldon.
- Pauly Sharps. Yeah.

2472
02:03:57,814 --> 02:04:01,478
Paul Wheeldon, our focus puller.
Pauly Sharps, we call him.

2473
02:04:01,568 --> 02:04:04,777
Very difficult job,
and one that's very particular,

2474
02:04:04,863 --> 02:04:06,524
because in certain instances,

2475
02:04:06,615 --> 02:04:12,452
we're using focus to edit or to shift
between two characters.

2476
02:04:12,538 --> 02:04:16,156
And Paul had to really develop
a sense of our storytelling

2477
02:04:16,250 --> 02:04:19,242
in order to be able to catch that
in real time.

2478
02:04:20,420 --> 02:04:23,333
And then here we go.
We've got a deceptive power angle.

2479
02:04:23,423 --> 02:04:24,504
So this one—

2480
02:04:24,591 --> 02:04:27,834
This is one shot we did later on
in front of a green screen.

2481
02:04:27,928 --> 02:04:29,794
- Pom's not there.
- Yeah, this was a pickup...

2482
02:04:29,888 --> 02:04:33,347
- We stole the shots from earlier.
- ... suggested by Tom, wasn't it?

2483
02:04:33,433 --> 02:04:36,801
It was just the— Yes, it was Tom
just being that much more specific,

2484
02:04:36,895 --> 02:04:40,684
being that much clearer
about why Cary was on that train.

2485
02:04:41,733 --> 02:04:44,475
And the specificity of things
is something—

2486
02:04:44,570 --> 02:04:48,063
You can never, ever be too specific.
You can always take it out.

2487
02:04:49,116 --> 02:04:52,780
Just explain and over-explain.
You can always pull it back.

2488
02:04:53,537 --> 02:04:56,746
And it's a lesson we have to learn
over and over again.

2489
02:04:57,499 --> 02:04:58,489
And here's Pom.

2490
02:04:58,584 --> 02:05:01,246
This shot, she really connected.

2491
02:05:03,005 --> 02:05:05,667
And Esai, I have to say,
was a great sport about it.

2492
02:05:05,757 --> 02:05:08,340
He thanked her. He was like,
"That was great. I looked awesome."

2493
02:05:08,427 --> 02:05:11,840
I remember this shot you took—
It was very, very hard.

2494
02:05:11,930 --> 02:05:15,719
We had a very different idea for I,
and that was the one that

2495
02:05:17,519 --> 02:05:19,681
- we actually settled on.
- It's really great.

2496
02:05:19,771 --> 02:05:21,307
You know, in order to do the inserts

2497
02:05:21,398 --> 02:05:24,516
where you have the object in
the foreground and the character behind—

2498
02:05:24,610 --> 02:05:27,398
Yes, that's the whole idea,
that we don't shoot at an object.

2499
02:05:27,487 --> 02:05:28,773
We shoot across it.

2500
02:05:28,864 --> 02:05:30,901
That's a very rare instance
of shooting at it,

2501
02:05:30,991 --> 02:05:33,323
and it's because it's so important.

2502
02:05:33,410 --> 02:05:37,278
You also saw these—
Watch the push-ins that are happening.

2503
02:05:37,372 --> 02:05:39,704
The Steadicam is very low.
It's on a Bazooka.

2504
02:05:39,791 --> 02:05:43,830
It's mounted on a base,
but it's still being held by hand.

2505
02:05:43,920 --> 02:05:48,539
And Chunky is pushing in
to create this sense of emotion.

2506
02:05:48,634 --> 02:05:51,592
Again, low angle that's conveying power.

2507
02:05:51,678 --> 02:05:54,295
We originally had done
pressure angles on her.

2508
02:05:54,389 --> 02:05:56,847
- We were up above her eyeline.
- We didn't use any of them, really.

2509
02:05:56,933 --> 02:05:59,345
No, they didn't communicate
the right emotion.

2510
02:05:59,436 --> 02:06:03,145
We realized that just—
It's sometimes counterintuitive.

2511
02:06:03,231 --> 02:06:05,017
- There's a pressure angle.
- Yeah.

2512
02:06:05,984 --> 02:06:07,600
And—

2513
02:06:07,694 --> 02:06:11,437
But the camera moves,
everything that's happening between—

2514
02:06:11,531 --> 02:06:14,068
- This, the pullback to the reveal.
- Yes.

2515
02:06:14,159 --> 02:06:17,072
These moves,
which are kind of imperceptible,

2516
02:06:17,162 --> 02:06:20,780
are extraordinarily challenging
and precise to do.

2517
02:06:20,874 --> 02:06:23,832
And all because we made a decision
very early on

2518
02:06:23,919 --> 02:06:26,832
to use Steadicam
and never put the camera on rails,

2519
02:06:26,922 --> 02:06:29,630
that it would always leave
the coverage feeling alive.

2520
02:06:29,716 --> 02:06:31,832
And when we did put the camera on rails,

2521
02:06:31,927 --> 02:06:34,168
whenever we would lock it down
for any reason,

2522
02:06:34,262 --> 02:06:35,502
you feel it immediately.

2523
02:06:35,597 --> 02:06:37,338
Here's another push-in from Chunky.

2524
02:06:37,432 --> 02:06:39,264
I will say, a little Easter egg for you.

2525
02:06:39,351 --> 02:06:42,469
The lights flashing
on the key are actually flashing

2526
02:06:42,562 --> 02:06:44,303
in the rhythm of the Mission theme.

2527
02:06:44,398 --> 02:06:47,186
That was you. That was your gift to them.

2528
02:06:48,485 --> 02:06:51,523
So that's just if you're paying attention,
you can hum that to yourself.

2529
02:06:51,613 --> 02:06:53,024
That was Eddie's nerdy little note.

2530
02:06:53,115 --> 02:06:56,574
I was like, "Let's do it in the rhythm
of the Mission theme just for fun."

2531
02:06:56,660 --> 02:06:58,025
- This was—
- I remember—

2532
02:06:58,120 --> 02:07:00,111
Tom shot that for real in Norway.

2533
02:07:00,205 --> 02:07:01,366
- Yeah.
- Incredibly dangerous.

2534
02:07:01,456 --> 02:07:05,916
This was the first day of dialogue
on the movie.

2535
02:07:06,002 --> 02:07:08,790
And Simon Pegg came to Norway

2536
02:07:08,880 --> 02:07:13,295
and sat on an apple box just out of frame

2537
02:07:13,385 --> 02:07:17,504
and was yelling his dialogue for Tom
in the wind.

2538
02:07:17,597 --> 02:07:22,262
Very cold,
and all shot on the edge of this cliff.

2539
02:07:22,352 --> 02:07:27,688
And again, this was the first test
of our camera philosophy,

2540
02:07:27,774 --> 02:07:32,268
which was cranes, Steadicam, Stabileye,

2541
02:07:32,362 --> 02:07:36,481
no dolly, no rails, no locked-off cameras.

2542
02:07:36,575 --> 02:07:39,909
The only time camera's locked off
is when it's on vehicles like this,

2543
02:07:39,995 --> 02:07:41,406
and the vehicle itself is moving.

2544
02:07:41,496 --> 02:07:42,986
Correct.

2545
02:07:43,081 --> 02:07:44,663
And what you end up with

2546
02:07:44,750 --> 02:07:47,833
over the course of the movie is
a very specific visual texture,

2547
02:07:47,919 --> 02:07:51,287
very specific visual energy
that's different from Fallout,

2548
02:07:51,381 --> 02:07:53,122
which is, in turn, different from Rogue.

2549
02:07:53,216 --> 02:07:56,550
This is a terrific piece of directing,
just revealing the ramp behind him there.

2550
02:07:56,636 --> 02:07:58,798
- I always felt like this was too subtle.
- I just love that.

2551
02:07:58,889 --> 02:08:00,505
I feel like I'm the only person seeing it.

2552
02:08:00,599 --> 02:08:02,636
No, no, I think it definitely works.

2553
02:08:02,726 --> 02:08:05,514
It's so satisfying. It's just so fun.

2554
02:08:05,604 --> 02:08:08,517
Every time I'm watching it with an
audience, I can feel them not getting it.

2555
02:08:08,607 --> 02:08:10,939
- Okay.
- It's so funny you say that.

2556
02:08:11,026 --> 02:08:12,232
That was shot on the back lot.

2557
02:08:12,319 --> 02:08:15,983
It was just a little piece of ridge,
and all those mountains were added later.

2558
02:08:16,656 --> 02:08:18,647
There was no way to get that
on the edge of the cliff.

2559
02:08:18,742 --> 02:08:21,951
- Should we talk about the train whistles?
- Oh, my God, the shrill whistle.

2560
02:08:22,037 --> 02:08:24,278
- Yeah.
- John Frankenheimer's The Train.

2561
02:08:24,873 --> 02:08:28,457
You wanna talk about movies
that are inspiring to this film?

2562
02:08:28,543 --> 02:08:30,375
Almost none of the films
that people pick out

2563
02:08:30,462 --> 02:08:34,501
as inspirations or references are,
in fact, inspirations or—

2564
02:08:34,591 --> 02:08:37,458
If you haven't seen it, it's what, 19647
Black-and-white.

2565
02:08:37,552 --> 02:08:39,418
- I think it's '64.
- Burt Lancaster.

2566
02:08:39,513 --> 02:08:43,757
It is the grandaddy of all action films—
practical action films.

2567
02:08:43,850 --> 02:08:47,889
It's an extraordinary,
extraordinary piece of cinema,

2568
02:08:47,979 --> 02:08:50,437
a piece of logistics, action.

2569
02:08:50,524 --> 02:08:53,061
Many, many, many trains gave their lives.

2570
02:08:54,611 --> 02:08:57,649
And it's—

2571
02:08:57,739 --> 02:09:00,106
It's a logistical
and technical masterpiece.

2572
02:09:00,200 --> 02:09:01,565
It's also actually substantial.

2573
02:09:01,660 --> 02:09:03,276
- It's about something.
- Yeah.

2574
02:09:03,370 --> 02:09:05,577
It's a really, really phenomenal film.

2575
02:09:05,664 --> 02:09:11,501
And in it, the train whistles are
extremely shrill and urgent-sounding.

2576
02:09:11,586 --> 02:09:14,374
And all the whistles that we kept hearing

2577
02:09:14,464 --> 02:09:16,580
in our sound design were just—
they were quaint.

2578
02:09:16,675 --> 02:09:20,134
They were Thomas the Tank Engine,
and we needed that pitch.

2579
02:09:20,220 --> 02:09:22,131
We've got to talk about
this stunt here, surely.

2580
02:09:22,222 --> 02:09:25,180
- Hang on. Oh, my word. Oh, my word.
- Do we?

2581
02:09:25,267 --> 02:09:27,508
- We were all there on day one...
- This is not the only commentary!

2582
02:09:27,602 --> 02:09:30,139
- ... of principal photography.
- Day one of principal photography.

2583
02:09:30,230 --> 02:09:32,267
- Yeah.
- Tom Cruise.

2584
02:09:32,357 --> 02:09:35,315
And we were all
just heart-in-mouth watching this.

2585
02:09:35,402 --> 02:09:37,143
- Six times.
- And he's doing this for real.

2586
02:09:37,237 --> 02:09:39,274
He jumped out of a helicopter
and the cameraman—

2587
02:09:39,364 --> 02:09:42,152
- This is more impressive than the stunt.
- This is insane.

2588
02:09:42,242 --> 02:09:45,780
He is in free fall.
He's falling at 240 miles an hour.

2589
02:09:45,871 --> 02:09:47,612
- He's acting in free fall.
- Yeah.

2590
02:09:47,706 --> 02:09:49,572
- He's just—
- Let's not forget the cameraman.

2591
02:09:49,666 --> 02:09:50,781
The cameraman is also—

2592
02:09:50,876 --> 02:09:53,413
Jon Devore, who has a camera on his head...

2593
02:09:53,503 --> 02:09:54,493
Yeah.

2594
02:09:54,588 --> 02:09:57,831
and has to be looking at Tom
while in free fall,

2595
02:09:57,924 --> 02:09:59,460
so he can't watch where he's going.

2596
02:09:59,551 --> 02:10:01,383
- Yeah, yeah, yeah.
- It's—

2597
02:10:01,469 --> 02:10:04,678
I love the rhythms that you came up with
here, intercutting the—

2598
02:10:04,764 --> 02:10:09,759
The way you came up with the idea
of this phone decoding—

2599
02:10:09,853 --> 02:10:12,641
- Decrypting in order to buy us time.
- Buy us time.

2600
02:10:12,731 --> 02:10:14,768
- Yeah, it's so elegant.
- And to extend time.

2601
02:10:14,858 --> 02:10:17,099
We were really feeling our way
through these scenes

2602
02:10:17,193 --> 02:10:20,652
and had to figure out
how to intercut them later.

2603
02:10:20,739 --> 02:10:25,404
And, you know, there was so much story
that had to be feathered in together.

2604
02:10:25,493 --> 02:10:26,483
And yes, ultimately,

2605
02:10:26,578 --> 02:10:29,161
the idea of an upload
gave us a ticking clock.

2606
02:10:29,247 --> 02:10:30,908
It created space for us.

2607
02:10:30,999 --> 02:10:35,118
But then even then, this intercutting
was extraordinarily challenging.

2608
02:10:35,211 --> 02:10:39,375
Here's our little, tiny, tiny nods
to the pickpocket coming up.

2609
02:10:40,008 --> 02:10:41,874
And Vanessa's performance is
just sensational.

2610
02:10:41,968 --> 02:10:43,550
This shot here, you just get—

2611
02:10:43,637 --> 02:10:47,551
This was really just to get the insert
of him putting the key in his pocket,

2612
02:10:47,641 --> 02:10:48,676
and we just stayed there.

2613
02:10:48,767 --> 02:10:49,757
And I love this here.

2614
02:10:49,851 --> 02:10:52,013
If you watch what she does
with her right hand just there,

2615
02:10:52,103 --> 02:10:53,639
just slides the key in her pocket.

2616
02:10:53,730 --> 02:10:55,346
It's very subtle. It's so good.

2617
02:10:55,440 --> 02:10:56,646
It's really great.

2618
02:10:56,733 --> 02:10:58,940
She's just sensational.

2619
02:10:59,027 --> 02:11:00,483
Anyway, so back to the whistle.

2620
02:11:00,570 --> 02:11:04,313
So the whistle is almost identical
to the one in The Train.

2621
02:11:04,407 --> 02:11:07,900
I kept pointing them to The Train,
saying, "Nope, it's not urgent enough."

2622
02:11:07,994 --> 02:11:11,237
But if it was too shrill,
it became punishing.

2623
02:11:11,331 --> 02:11:12,366
Correct.

2624
02:11:12,457 --> 02:11:15,199
A big thing that we had—
and it was a big note Tom had—

2625
02:11:15,293 --> 02:11:20,538
Many, many notes throughout the movie
that sounds that were meant to be—

2626
02:11:20,632 --> 02:11:23,545
You know, that were meant to be urgent
or "action-y,"

2627
02:11:23,635 --> 02:11:28,004
explosions that you felt,
but they were also punishing.

2628
02:11:28,098 --> 02:11:29,088
- Yeah.
- They were.

2629
02:11:29,182 --> 02:11:34,302
And what Tom really insisted upon in the
mix was that the mix always be pleasant,

2630
02:11:34,396 --> 02:11:35,761
even when the sounds weren't.

2631
02:11:35,855 --> 02:11:38,517
- He said, "Make it satisfying."
- Yes.

2632
02:11:38,608 --> 02:11:41,020
He said the explosions
need to be satisfying, not punishing.

2633
02:11:41,111 --> 02:11:44,445
- His note was "fireworks."
- Yeah. Yes, yes.

2634
02:11:44,531 --> 02:11:47,273
And if you look here,
you see it for the blink of an eye,

2635
02:11:47,367 --> 02:11:50,576
the name of the train is
the General Rive-Reine.

2636
02:11:50,662 --> 02:11:51,652
That is a—

2637
02:11:51,746 --> 02:11:54,659
The "general" is obviously
Buster Keaton's The General,

2638
02:11:54,749 --> 02:11:56,535
and "Rive-Reine" is the train station

2639
02:11:56,626 --> 02:11:58,993
- in The Train.
- The Train. Yeah.

2640
02:11:59,087 --> 02:12:01,545
And "rive," I think it means "riverbank."

2641
02:12:01,631 --> 02:12:04,589
So that was a subtle nod
to Bridge on the River Kwai.

2642
02:12:04,676 --> 02:12:08,010
- I love it.
- The three train wreck movies that were—

2643
02:12:08,096 --> 02:12:12,215
That were huge, huge influences on me

2644
02:12:13,268 --> 02:12:16,556
just in terms of filmmaking,
not so much in terms of a train sequence,

2645
02:12:16,646 --> 02:12:18,853
and what started this whole movie for me.

2646
02:12:18,940 --> 02:12:22,934
When Tom said, "What do you wanna do?"
I said, "I wanna wreck a train."

2647
02:12:23,028 --> 02:12:26,987
And he said, "Why?"
And I said, "Frankenheimer and—

2648
02:12:27,073 --> 02:12:31,567
And Buster Keaton and David Lean all did,

2649
02:12:31,661 --> 02:12:33,868
and I'd really like to try one."

2650
02:12:33,955 --> 02:12:36,322
And, boy, I paid the price for that,

2651
02:12:37,042 --> 02:12:39,158
as this sequence just took on
a life of its own.

2652
02:12:39,252 --> 02:12:41,664
Shooting on a train is
extremely difficult.

2653
02:12:41,755 --> 02:12:45,168
This is all on a set,
but as you can see, the train is moving.

2654
02:12:45,258 --> 02:12:47,625
It's on a gimbal.
It's on a system of airbags.

2655
02:12:47,719 --> 02:12:52,464
And of course, as the train is a runaway,
we started turning up the heat on those.

2656
02:12:52,557 --> 02:12:58,519
And only in very few shots do we stabilize
the train just so that the camera—

2657
02:12:58,605 --> 02:13:00,391
This, editorially, is a challenge,

2658
02:13:00,482 --> 02:13:04,146
getting the balance of these cuts right
and building the suspense.

2659
02:13:04,235 --> 02:13:06,693
And ultimately, it was the music there,

2660
02:13:06,780 --> 02:13:10,364
having the music end right before
you were anticipating the gunshot.

2661
02:13:10,450 --> 02:13:13,488
The music was actually playing
through the smash.

2662
02:13:14,746 --> 02:13:18,831
And when we changed the music, the
audience's reaction shifted immediately.

2663
02:13:18,917 --> 02:13:23,627
And it's a delicate balance of editing,
tension, performance, music.

2664
02:13:23,713 --> 02:13:28,799
It's an extraordinarily, extraordinarily
delicate balance, all of this.

2665
02:13:29,552 --> 02:13:33,887
Freddie lifting the gun
and how all of these elements play.

2666
02:13:33,973 --> 02:13:35,463
And then the editing of these emotions.

2667
02:13:35,558 --> 02:13:39,973
The actors gave us so much,
and we wanted to stay with them.

2668
02:13:40,063 --> 02:13:41,519
And originally, they had a hug.

2669
02:13:41,606 --> 02:13:44,098
At the end of this moment,
they hugged each other.

2670
02:13:44,192 --> 02:13:45,978
It was very short. It was only—

2671
02:13:46,069 --> 02:13:48,185
- Seconds.
- We're talking seven seconds, maybe.

2672
02:13:48,279 --> 02:13:51,237
But it contributed to a sense
of resolution.

2673
02:13:51,324 --> 02:13:52,439
I know.

2674
02:13:52,534 --> 02:13:54,901
And we had to save the hug till later
in the scene.

2675
02:13:54,994 --> 02:13:57,156
And also, you felt that the actors—

2676
02:13:57,247 --> 02:14:01,332
That the characters were making it
about them and not the mission.

2677
02:14:01,417 --> 02:14:02,748
And the audience is going,

2678
02:14:02,836 --> 02:14:05,077
"The key! The key!
You forgot about the key!"

2679
02:14:05,171 --> 02:14:07,663
Exactly. You could only spend
so much time there

2680
02:14:07,757 --> 02:14:10,715
before you felt yourself
losing the audience.

2681
02:14:11,469 --> 02:14:13,301
This was a reshoot for geography.

2682
02:14:13,388 --> 02:14:15,049
Yeah, we had to explain that they were—

2683
02:14:15,140 --> 02:14:18,007
The original was so great.
I didn't want to reshoot it.

2684
02:14:18,101 --> 02:14:19,933
And then we reshot it,
and it was so much better.

2685
02:14:20,019 --> 02:14:22,977
And I continually ribbed Tom in saying,

2686
02:14:23,064 --> 02:14:25,476
"Thank God I had the idea
to reshoot this."

2687
02:14:26,985 --> 02:14:31,320
And this is one
of my favorite compositions in the film.

2688
02:14:31,406 --> 02:14:34,194
And this is where I really developed
an addiction

2689
02:14:34,284 --> 02:14:36,400
to extreme and punishing conditions.

2690
02:14:37,162 --> 02:14:40,951
I started to realize
that the drama that came with,

2691
02:14:41,708 --> 02:14:44,200
you know,
adding really miserable elements—

2692
02:14:44,294 --> 02:14:47,753
- Yes, yes. Exactly.
- Wind and sand and water and everything.

2693
02:14:47,839 --> 02:14:50,922
And if you just— having them
and not confronting them,

2694
02:14:51,009 --> 02:14:52,670
not turning them up to 11—

2695
02:14:52,760 --> 02:14:55,502
If you're not going to go for it,
don't bother going for it at all.

2696
02:14:55,597 --> 02:14:58,259
Tom really did climb up
onto the roof of a train, of course.

2697
02:14:58,349 --> 02:14:59,464
He really did.

2698
02:14:59,559 --> 02:15:01,891
This is very elegant setup
for what's to come,

2699
02:15:01,978 --> 02:15:03,969
seeing Grace run through the kitchen car.

2700
02:15:04,063 --> 02:15:05,553
This is shot in Yorkshire and Norway.

2701
02:15:05,648 --> 02:15:09,812
They absolutely are stood
on a train for real.

2702
02:15:09,903 --> 02:15:13,021
And just all of these little pieces—

2703
02:15:13,114 --> 02:15:15,151
The backlight again. It's so—

2704
02:15:15,241 --> 02:15:18,700
Backlight is something we could do
a whole commentary about.

2705
02:15:19,537 --> 02:15:23,656
It's an essential part of texture
in the photography

2706
02:15:23,750 --> 02:15:25,240
of this movie and in Fallout

2707
02:15:25,335 --> 02:15:28,578
- Yeah.
- Fallout is "backlight-apalooza."

2708
02:15:29,672 --> 02:15:32,460
But all of these, where they're going
right through the sun—

2709
02:15:32,550 --> 02:15:35,713
A lot of these shots, you can see
how foggy and misty it is in Norway.

2710
02:15:35,803 --> 02:15:37,419
The weather was very temperamental,

2711
02:15:37,513 --> 02:15:40,551
and when you got the sun,
you were very, very lucky to get it,

2712
02:15:41,226 --> 02:15:42,716
and we were.

2713
02:15:42,810 --> 02:15:44,926
You did shoot a version of this scene

2714
02:15:45,021 --> 02:15:47,433
where Ethan and Grace
both went through the luggage car.

2715
02:15:47,523 --> 02:15:49,855
I did. That was very early on.

2716
02:15:49,943 --> 02:15:52,150
- They went through the luggage car.
- We went back and did it,

2717
02:15:52,237 --> 02:15:53,568
one with just Grace on the train.

2718
02:15:53,655 --> 02:15:56,738
We were still figuring out
all of these many pieces

2719
02:15:56,824 --> 02:15:58,360
and how it all played.

2720
02:15:58,451 --> 02:16:00,783
All of this stuff is
very physically challenging.

2721
02:16:00,870 --> 02:16:03,908
It's extremely, extremely,
physically difficult

2722
02:16:04,499 --> 02:16:07,161
even with a train
that isn't moving 200 miles an hour.

2723
02:16:07,252 --> 02:16:11,462
This is a sensational oner operated
by Ross Sheppard

2724
02:16:11,547 --> 02:16:14,084
and Chunky Richmond using the Stabileye.

2725
02:16:14,175 --> 02:16:17,793
That is a lot of storytelling
in one very quick camera move.

2726
02:16:18,596 --> 02:16:20,428
Really did a sensational job.

2727
02:16:20,515 --> 02:16:22,847
And again, those are shots that are not—

2728
02:16:22,934 --> 02:16:24,516
They're all just telling story.

2729
02:16:24,602 --> 02:16:28,812
They're not calling attention
to themselves and their performance.

2730
02:16:28,898 --> 02:16:30,229
Shea Whigham,

2731
02:16:30,316 --> 02:16:33,809
that was an improv, by the way,
when he grabbed Henry's face.

2732
02:16:36,364 --> 02:16:38,822
And that little beat was a pickup,

2733
02:16:39,701 --> 02:16:44,161
and it was based on all the energy
we had learned with the Rialto.

2734
02:16:44,247 --> 02:16:45,078
Yeah.

2735
02:16:45,164 --> 02:16:47,781
And again, these shots
all were much longer.

2736
02:16:47,875 --> 02:16:52,745
It was a phenomenal performance,
and we really didn't want to cut it down.

2737
02:16:52,839 --> 02:16:57,800
And you felt the movie just waiting
and getting frustrated.

2738
02:16:57,885 --> 02:16:59,546
And the more we cut it,

2739
02:16:59,637 --> 02:17:03,130
the more you connected to the character,
the more urgency you felt for them.

2740
02:17:03,224 --> 02:17:05,886
This was real on the roof—
Grace on that train.

2741
02:17:05,977 --> 02:17:08,059
- Yeah, story is king.
- Yeah.

2742
02:17:08,855 --> 02:17:10,562
And then this was—

2743
02:17:11,399 --> 02:17:15,518
This was an idea that developed
as we were rehearsing the fight,

2744
02:17:16,279 --> 02:17:19,067
and suddenly came up with the idea
of 18 inches of clearance

2745
02:17:19,699 --> 02:17:24,409
and what kind of complication
that would present for the characters,

2746
02:17:24,495 --> 02:17:26,702
but also for the camera.

2747
02:17:26,789 --> 02:17:32,205
Because suddenly, we realized the camera
could at no time be higher than the actors

2748
02:17:32,295 --> 02:17:35,833
or you'd be disconnected
from the reality of the scene,

2749
02:17:35,923 --> 02:17:40,133
when you suddenly realize the camera was
looking through the roof of the tunnel.

2750
02:17:40,219 --> 02:17:41,459
Yeah, we're down to the bone.

2751
02:17:41,554 --> 02:17:43,511
All these scenes were down
to the absolute bone.

2752
02:17:43,598 --> 02:17:45,464
All of these sequences were much longer.

2753
02:17:45,558 --> 02:17:48,676
You interrogate every shot,
every frame of every shot.

2754
02:17:48,770 --> 02:17:53,185
And many of the shots were pulled out
and then later put back in.

2755
02:17:53,274 --> 02:17:56,767
They all really had to
have their day in court.

2756
02:17:56,861 --> 02:17:59,603
They all had to fight for their existence.

2757
02:17:59,697 --> 02:18:01,279
And all of it was because—

2758
02:18:01,366 --> 02:18:04,950
Yeah, if you took too much time
in any one moment,

2759
02:18:05,036 --> 02:18:07,869
by the time you got to
the most important part of the sequence,

2760
02:18:07,955 --> 02:18:09,320
you're already worn out.

2761
02:18:09,415 --> 02:18:11,577
Tom would always say,
"Leave them wanting more."

2762
02:18:11,667 --> 02:18:12,907
- Yeah.
- That was his mantra.

2763
02:18:13,002 --> 02:18:17,337
It's like you never want any one course
of this movie to fill you up.

2764
02:18:17,965 --> 02:18:22,584
You always want to be thinking, "I could
have just had a little bit more of that,"

2765
02:18:22,678 --> 02:18:23,839
and then move on.

2766
02:18:24,972 --> 02:18:26,053
We were very, very sensitive.

2767
02:18:26,140 --> 02:18:28,552
And we can assure everybody
who's saying, "But why didn't you?"

2768
02:18:28,643 --> 02:18:30,554
Because the movie was really—

2769
02:18:30,645 --> 02:18:33,103
- Yeah.
- You were worn out.

2770
02:18:33,189 --> 02:18:36,022
- The movie is not better.
- It wasn't better.

2771
02:18:36,109 --> 02:18:37,850
And we had the same thing with Fallout.

2772
02:18:37,944 --> 02:18:41,482
We did cut Fallout five minutes shorter
than its final running time.

2773
02:18:42,073 --> 02:18:45,111
And when we did that,
the movie didn't work.

2774
02:18:45,201 --> 02:18:48,034
And people out there listening
may think five minutes is—

2775
02:18:48,121 --> 02:18:49,361
Doesn't sound like a lot,

2776
02:18:49,455 --> 02:18:52,618
but it's actually a huge amount
of screen time if you're trying to—

2777
02:18:52,708 --> 02:18:58,545
Well, last cuts we did to this movie
amounted to about 90 seconds...

2778
02:18:58,631 --> 02:19:00,713
- Yes, exactly.
- ... throughout the entire film.

2779
02:19:00,800 --> 02:19:02,757
And you're constantly looking
at the running time.

2780
02:19:02,844 --> 02:19:04,676
- Significant difference.
- Yeah, it really is.

2781
02:19:04,762 --> 02:19:07,504
You really can't—
You just can't believe—

2782
02:19:07,598 --> 02:19:09,214
We'll talk about a scene later,

2783
02:19:09,308 --> 02:19:12,596
the scene with Ethan and Paris
where we did a really short version,

2784
02:19:12,687 --> 02:19:14,769
and it was just information,
had no emotion.

2785
02:19:14,856 --> 02:19:16,938
You just felt
no emotional connection to it.

2786
02:19:17,024 --> 02:19:17,889
Yeah.

2787
02:19:17,984 --> 02:19:19,895
A lot of these were pickups we did later.

2788
02:19:20,403 --> 02:19:24,613
Just the intimacy of it.
It was too difficult to do on a train.

2789
02:19:24,699 --> 02:19:26,406
You really had to get the performance.

2790
02:19:26,492 --> 02:19:30,030
I mean, I will say though,
Shea and Tarzan were on that train.

2791
02:19:30,121 --> 02:19:32,579
- This is—
- Tarzan's first time on a train.

2792
02:19:32,665 --> 02:19:36,704
And I don't mean on top of it.
He'd never been in or on a train.

2793
02:19:36,794 --> 02:19:38,159
- I know. Amazing.
- It's extraordinary.

2794
02:19:38,254 --> 02:19:39,870
It was his first time out of the country.

2795
02:19:39,964 --> 02:19:41,750
They're actually stood
on the roof of that train.

2796
02:19:41,841 --> 02:19:43,297
- It's just extraordinary.
- Yeah.

2797
02:19:43,384 --> 02:19:45,250
We were all—
the crew were all underneath them,

2798
02:19:45,344 --> 02:19:48,052
inside, where we were monitoring
what you were doing.

2799
02:19:48,139 --> 02:19:51,382
I was there that day,
and we were all just spellbound

2800
02:19:51,476 --> 02:19:52,932
by what was going on.

2801
02:19:53,019 --> 02:19:54,350
It was hard.

2802
02:19:54,437 --> 02:19:56,804
- It was very hard.
- That was a really tough environment.

2803
02:19:56,898 --> 02:19:59,435
But look at what
a tough environment gives you.

2804
02:19:59,525 --> 02:20:02,438
You can't— You just can't fake it.

2805
02:20:02,528 --> 02:20:06,317
And it's really—
the energy that it gives you,

2806
02:20:06,407 --> 02:20:08,023
the presence that it gives you,

2807
02:20:08,618 --> 02:20:11,201
it's something sensational.

2808
02:20:11,287 --> 02:20:15,155
And Shea and Tom,

2809
02:20:16,250 --> 02:20:19,242
they're—
the whole story being communicated

2810
02:20:19,337 --> 02:20:20,998
through these two characters

2811
02:20:21,088 --> 02:20:23,045
over the course
of about three lines of dialogue

2812
02:20:23,132 --> 02:20:25,043
and some behavior in the film.

2813
02:20:25,134 --> 02:20:29,503
And all of that
is gonna be followed up in Part Two.

2814
02:20:29,597 --> 02:20:32,180
Design of Gabriel's watch.

2815
02:20:32,266 --> 02:20:33,927
This was interesting,

2816
02:20:34,227 --> 02:20:35,433
because we originally scored this.

2817
02:20:35,520 --> 02:20:37,010
- We had music running throughout.
- Yes.

2818
02:20:37,104 --> 02:20:40,187
In our second preview,
we did not have score,

2819
02:20:40,274 --> 02:20:41,890
and it played better.

2820
02:20:41,984 --> 02:20:45,443
It played better because there was music
running through this whole sequence.

2821
02:20:45,530 --> 02:20:46,361
Correct.

2822
02:20:46,447 --> 02:20:48,984
You were exhausted
by the time we got to the end.

2823
02:20:49,075 --> 02:20:52,363
And you could feel right where the music
was wearing out its welcome.

2824
02:20:52,453 --> 02:20:55,070
- Yeah.
- And you wanted sound design.

2825
02:20:55,164 --> 02:20:57,701
- Yeah.
- The design is so sensational.

2826
02:20:58,626 --> 02:21:02,039
And you remember, there was that time
when we were playing with the mix

2827
02:21:02,129 --> 02:21:04,461
and trying to do both,
have our cake and eat it too.

2828
02:21:04,549 --> 02:21:05,539
Yes, yes.

2829
02:21:05,633 --> 02:21:07,123
And it just was mud.

2830
02:21:07,218 --> 02:21:09,255
- It's very difficult to do that.
- No.

2831
02:21:09,345 --> 02:21:12,679
- One truly has to battle for the other.
- If you have loud sound effects and music.

2832
02:21:12,765 --> 02:21:15,598
And then this is so satisfying,
this moment.

2833
02:21:15,685 --> 02:21:18,427
He got the key. Then we have the hug.

2834
02:21:18,521 --> 02:21:20,512
And then we have
this immensely satisfying tale.

2835
02:21:20,606 --> 02:21:22,938
- Which wasn't in earlier cuts.
- Yes.

2836
02:21:23,025 --> 02:21:25,767
But this was always something
that Tom said, "No, no, no.

2837
02:21:25,861 --> 02:21:28,444
We need to have this moment
where Gabriel finds the lighter."

2838
02:21:28,531 --> 02:21:31,614
He was very specific about the timing,
and he was driving us crazy.

2839
02:21:31,701 --> 02:21:34,284
- And he was right. He's always right.
- He was. Absolutely was.

2840
02:21:34,370 --> 02:21:36,532
And it's so much fun.

2841
02:21:36,622 --> 02:21:38,533
You can hear the audience
reacting to this.

2842
02:21:38,624 --> 02:21:41,207
Well, this satisfaction again.
You get a win.

2843
02:21:41,294 --> 02:21:43,285
- Yeah.
- Because of what's gonna happen.

2844
02:21:43,379 --> 02:21:45,211
That is the victory of the movie.

2845
02:21:45,298 --> 02:21:48,211
He's got the key,
and the villain's out of the story.

2846
02:21:49,010 --> 02:21:51,502
But he's not safe.
He's not home and dry yet.

2847
02:21:51,596 --> 02:21:53,553
- Another oner.
- That's fabulous.

2848
02:21:53,639 --> 02:21:56,848
This is another great moment of humor
which works so well.

2849
02:21:56,934 --> 02:21:59,301
People love to see the boss get—

2850
02:21:59,395 --> 02:22:03,059
- Yes, they love to see it when the—
- Yeah, the boss is humiliated.

2851
02:22:03,149 --> 02:22:05,265
I know. It's just so much fun.

2852
02:22:05,359 --> 02:22:07,396
- Look at this! For real.
- This is real.

2853
02:22:07,486 --> 02:22:09,477
Real, real, real amazing.

2854
02:22:09,572 --> 02:22:11,939
The two actors, smoke, backlighting.

2855
02:22:12,033 --> 02:22:16,152
- Yeah.
- It's just an extraordinary miracle.

2856
02:22:16,245 --> 02:22:18,782
All those things working together,

2857
02:22:18,873 --> 02:22:21,740
and just a lot of really—
I say, a miracle.

2858
02:22:21,834 --> 02:22:24,371
It's a lot of hard work
from a lot of very skilled people.

2859
02:22:24,462 --> 02:22:26,294
Hayley and Tom trained—

2860
02:22:26,380 --> 02:22:29,714
I mean, they are in incredible
physical condition, both of them...

2861
02:22:29,800 --> 02:22:32,542
- They really are.
- ... in order to do this over and over again.

2862
02:22:32,637 --> 02:22:35,379
- It's punishing.
- In such amazing sync with one another.

2863
02:22:35,473 --> 02:22:38,932
Also, never losing the sense of adventure.

2864
02:22:39,018 --> 02:22:40,679
Or there's a lightness to it,

2865
02:22:40,770 --> 02:22:42,977
as much as they're playing
the urgency in the drama.

2866
02:22:43,898 --> 02:22:45,639
Huge props to the sound design crew here.

2867
02:22:45,733 --> 02:22:48,521
The amount of detail in the clanking.

2868
02:22:48,611 --> 02:22:53,105
And let's talk about the special effects
crew who built this rig.

2869
02:22:53,199 --> 02:22:54,360
Yes, yes!

2870
02:22:54,450 --> 02:22:55,565
Yeah. Who built—

2871
02:22:55,660 --> 02:23:00,746
All of the work and special effects
going into building these rigs

2872
02:23:00,831 --> 02:23:04,574
which are all being pushed
on real train tracks by diesel trains.

2873
02:23:04,669 --> 02:23:05,784
I know. Amazing.

2874
02:23:05,878 --> 02:23:07,164
It's really quite extraordinary.

2875
02:23:07,254 --> 02:23:09,621
There's the General Rive-Reine
on the side there.

2876
02:23:09,715 --> 02:23:11,672
A little Easter egg nobody's caught yet.

2877
02:23:11,759 --> 02:23:14,467
And then, of course—

2878
02:23:14,553 --> 02:23:17,170
- Yeah, you did this for real.
- This was a 70-ton train.

2879
02:23:17,264 --> 02:23:20,222
- Yeah.
- And tossed it off a cliff.

2880
02:23:21,644 --> 02:23:23,806
- And you couldn't get that—
- Yeah.

2881
02:23:23,896 --> 02:23:28,140
Like, those things where we
attached the cameras to the train

2882
02:23:28,234 --> 02:23:29,895
and discovered the physics of it

2883
02:23:29,985 --> 02:23:32,647
only when it went off the tracks.

2884
02:23:32,738 --> 02:23:34,479
And we only had one take to get it.

2885
02:23:34,573 --> 02:23:38,157
And the cameras did not survive,
but the tiny little memory cards did.

2886
02:23:38,244 --> 02:23:40,076
- No, the cameras did survive.
- They did?

2887
02:23:40,162 --> 02:23:42,324
- Oh, yeah. Every camera survived.
- I love it. Okay.

2888
02:23:42,415 --> 02:23:44,497
One camera took a direct hit
from the locomotive.

2889
02:23:44,583 --> 02:23:46,199
- And was still fine?
- And it survived.

2890
02:23:46,293 --> 02:23:47,875
- Amazing.
- It was a usable camera.

2891
02:23:47,962 --> 02:23:51,080
You get the little cards out
and send them off

2892
02:23:51,173 --> 02:23:52,663
and you get this amazing footage.

2893
02:23:52,758 --> 02:23:56,592
Now, the structure of this sequence is—

2894
02:23:57,179 --> 02:24:01,548
It has to be
the most complicated thing that we—

2895
02:24:01,642 --> 02:24:04,475
Beyond the opera,
beyond anything we've ever had to execute

2896
02:24:04,562 --> 02:24:07,304
in terms of, well,
the logistics of shooting it.

2897
02:24:07,398 --> 02:24:08,229
Yes.

2898
02:24:08,315 --> 02:24:13,481
Then getting the sequence to actually work
as a climax to a movie.

2899
02:24:13,571 --> 02:24:15,733
There's so much sensational photography,

2900
02:24:15,823 --> 02:24:18,861
SO many sensational stunts,
things going on.

2901
02:24:18,951 --> 02:24:22,740
Just amazing shots
that were the work of so many people.

2902
02:24:23,497 --> 02:24:26,455
And yet, we just kept hearing
the sequence was too long.

2903
02:24:26,542 --> 02:24:28,909
- Yeah, too long, too long.
- One car too many.

2904
02:24:29,003 --> 02:24:32,792
Yeah, we originally prevised this
over three years ago,

2905
02:24:32,882 --> 02:24:34,372
from when we're talking now.

2906
02:24:34,467 --> 02:24:37,505
- Yes. February of two-thousand—
- So it was February 2020.

2907
02:24:37,595 --> 02:24:38,505
Twenty, yeah.

2908
02:24:38,596 --> 02:24:41,679
And the scene,
the previs evolved over that summer

2909
02:24:41,766 --> 02:24:43,848
while we were finishing Top Gun: Maverick.

2910
02:24:43,934 --> 02:24:46,926
And then I remember thinking,

2911
02:24:47,021 --> 02:24:49,353
"We may have action fatigue here," Chris.

2912
02:24:49,440 --> 02:24:51,852
But we kept working at this scene,

2913
02:24:51,942 --> 02:24:54,354
and we are literally down to the bone.

2914
02:24:54,445 --> 02:24:58,313
Every shot is the absolute minimum length
it can be to tell the story.

2915
02:24:58,407 --> 02:25:01,616
And we cut out pieces
of action from each car.

2916
02:25:01,702 --> 02:25:05,195
I mean this, I remember just—
When I saw these dailies, it was amazing.

2917
02:25:05,289 --> 02:25:07,496
The zero G. Everyone loves the zero G.

2918
02:25:07,583 --> 02:25:10,541
But there was a whole extra section here.

2919
02:25:10,628 --> 02:25:12,995
Where the furniture was blocking the door.

2920
02:25:13,088 --> 02:25:15,250
We just cut straight to this
so that they get out.

2921
02:25:15,341 --> 02:25:18,379
We just cut this out.
There's actually a leap in geography.

2922
02:25:18,469 --> 02:25:19,300
It's a huge cross...

2923
02:25:19,386 --> 02:25:21,127
We used to wait and see
this whole car fall.

2924
02:25:21,222 --> 02:25:23,133
We were like, "No, let's get them inside."

2925
02:25:23,224 --> 02:25:26,717
When you did that, when we took it out,
that was the one that...

2926
02:25:26,811 --> 02:25:28,427
- It was so much better.
- ... made it work.

2927
02:25:28,521 --> 02:25:31,809
- And this is for real. They did this—
- This is a giant vertical set.

2928
02:25:31,899 --> 02:25:35,938
Giant set that's kind of moving
from 45 degrees to 90 degrees.

2929
02:25:36,612 --> 02:25:39,354
And, yeah, very difficult.

2930
02:25:39,448 --> 02:25:41,485
The piano. Oh, my word.

2931
02:25:41,575 --> 02:25:43,361
This was— The piano—

2932
02:25:43,452 --> 02:25:45,659
Shooting the piano
and getting the inserts correct.

2933
02:25:45,746 --> 02:25:49,660
I remember when
you originally told me that

2934
02:25:49,750 --> 02:25:51,661
this is what was gonna happen at the end,

2935
02:25:51,752 --> 02:25:54,210
I remember thinking
what a genius idea it was,

2936
02:25:54,296 --> 02:25:56,128
and if we could pull it off.

2937
02:25:56,215 --> 02:26:00,425
And it's incredible
how successfully it works,

2938
02:26:00,511 --> 02:26:02,093
this vertical set.

2939
02:26:02,179 --> 02:26:04,887
This piece of behavior here
is just utterly marvelous.

2940
02:26:04,974 --> 02:26:07,841
- It's like the car chase.
- Yeah.

2941
02:26:07,935 --> 02:26:10,723
- As much work—
- This, when she grabs him!

2942
02:26:10,813 --> 02:26:12,724
- It's so good.
- It's great.

2943
02:26:12,815 --> 02:26:13,930
This is our favorite.

2944
02:26:14,024 --> 02:26:16,982
This is the biggest laugh in the movie,
when he goes, "Do you trust me?"

2945
02:26:17,069 --> 02:26:18,685
- No.
- She shakes her head.

2946
02:26:19,446 --> 02:26:22,905
Well, what's great is there's
enormous humor in what's happening,

2947
02:26:22,992 --> 02:26:25,359
but they don't stop acting dramatically.

2948
02:26:25,452 --> 02:26:27,534
- No, no.
- They're not playing it for laughs.

2949
02:26:27,621 --> 02:26:30,613
And that was Tom. That was really—
It's a testament to Tom.

2950
02:26:30,708 --> 02:26:33,575
It was really him finding
those flourishes with Hayley.

2951
02:26:33,669 --> 02:26:34,875
- Yeah.
- And her performance.

2952
02:26:34,962 --> 02:26:38,626
Look here,
just the last, split-second cut to her.

2953
02:26:39,300 --> 02:26:41,712
The performance is telling me
she's not gonna go.

2954
02:26:41,802 --> 02:26:45,340
She does— She's doing
such a great job of building tension.

2955
02:26:45,431 --> 02:26:49,800
The reaction from the audience
at this moment is just bewildered.

2956
02:26:49,894 --> 02:26:51,476
- This—
- Astonishment.

2957
02:26:51,562 --> 02:26:55,021
The months and the physical exertion,

2958
02:26:55,107 --> 02:26:57,018
all the energy that went into this,

2959
02:26:57,109 --> 02:27:01,103
the hard work of so many
amazing, amazing people...

2960
02:27:01,196 --> 02:27:02,061
Yeah.

2961
02:27:02,156 --> 02:27:04,614
for all the physical exertion
you're seeing going on.

2962
02:27:04,700 --> 02:27:07,692
I'm getting all
my Poseidon Adventure flashbacks as well.

2963
02:27:07,786 --> 02:27:11,745
And it really— none of this would work,
for all of its spectacle—

2964
02:27:11,832 --> 02:27:16,622
It wouldn't work if not for
your connection to these two performers.

2965
02:27:16,712 --> 02:27:17,702
It really is.

2966
02:27:17,796 --> 02:27:19,662
None of it works. None of it.

2967
02:27:20,299 --> 02:27:23,837
It's just a sensational, sensational
amount of storytelling.

2968
02:27:23,928 --> 02:27:26,636
They are hanging vertically.
They were there for hours and hours.

2969
02:27:26,722 --> 02:27:28,304
- Tom's being stretched like taffy.
- Yeah.

2970
02:27:28,390 --> 02:27:30,256
- His shoulders were killing him.
- It was brutal.

2971
02:27:30,351 --> 02:27:32,137
And then, hallelujah.

2972
02:27:32,728 --> 02:27:35,390
- And this, where we played with the music.
- Pom Klementieff comes back.

2973
02:27:35,481 --> 02:27:37,722
Tom had a really great note
on the music here.

2974
02:27:37,816 --> 02:27:41,559
Shifted the cue,
and it made all the difference.

2975
02:27:41,654 --> 02:27:45,067
- Just a few— like one second...
- Yeah.

2976
02:27:45,157 --> 02:27:48,821
to the right, and it changed it all.

2977
02:27:48,911 --> 02:27:51,619
Look at this little look
that Paris gives Ethan here.

2978
02:27:51,705 --> 02:27:53,116
- She's sensational.
- Just so good.

2979
02:27:53,207 --> 02:27:55,995
- And it wasn't the take we originally had...
- No.

2980
02:27:56,085 --> 02:27:58,873
because we cut out of this shot
at a different time.

2981
02:27:58,963 --> 02:28:00,829
And when we changed that,

2982
02:28:00,923 --> 02:28:03,585
we were able to use the take
that was right.

2983
02:28:03,676 --> 02:28:06,168
Again, it was just not being precious.

2984
02:28:06,261 --> 02:28:07,797
Just obeying the story,

2985
02:28:07,888 --> 02:28:11,506
following the stuff that connects you
emotionally to the characters.

2986
02:28:11,600 --> 02:28:14,683
Not the technical excellence
of a given shot.

2987
02:28:16,981 --> 02:28:20,849
And this was— this scene,

2988
02:28:22,277 --> 02:28:24,018
another scene I directed over Zoom.

2989
02:28:24,113 --> 02:28:28,107
Yeah. Another scene though which,
even in its earliest iterations,

2990
02:28:28,200 --> 02:28:30,612
was just absolutely firing
on all cylinders.

2991
02:28:30,703 --> 02:28:32,694
- One of my favorite shots.
- I love this shot.

2992
02:28:32,788 --> 02:28:35,871
And the connection
between these two characters.

2993
02:28:35,958 --> 02:28:41,670
Another thing I really like
about working with this cast is

2994
02:28:41,755 --> 02:28:44,713
just momentary connections
between characters

2995
02:28:44,800 --> 02:28:48,009
who don't otherwise
really interact with one another.

2996
02:28:48,095 --> 02:28:50,132
They just all have a feeling to them.

2997
02:28:50,222 --> 02:28:53,214
And this,
because I was directing over Zoom

2998
02:28:53,308 --> 02:28:55,970
- and in a low resolution...
- Yeah.

2999
02:28:56,061 --> 02:28:58,723
- ... I didn't see Pom's tears.
- Yeah.

3000
02:28:58,814 --> 02:29:01,681
And I was really taken
with her performance.

3001
02:29:02,526 --> 02:29:06,190
- Not seeing so much of the subtlety of it...
- Yeah.

3002
02:29:06,280 --> 02:29:08,863
- ... for months later.
- Look at that tear.

3003
02:29:08,949 --> 02:29:09,939
It's amazing.

3004
02:29:10,034 --> 02:29:11,945
It's sensational. It's really—

3005
02:29:12,036 --> 02:29:16,246
And that, of course, came later,
when I realized I should—

3006
02:29:16,999 --> 02:29:18,535
I just asked Hayley very quickly.

3007
02:29:18,625 --> 02:29:21,162
I said, "Just give me a moment.
Just give me a beat here."

3008
02:29:21,253 --> 02:29:22,835
She conjured that up.

3009
02:29:22,921 --> 02:29:25,913
It was the kind of thing
that she could just turn on like a switch.

3010
02:29:26,008 --> 02:29:28,750
Really, three sensational actors here.

3011
02:29:28,844 --> 02:29:31,006
And Tom,

3012
02:29:31,096 --> 02:29:33,588
really, you know,
when we cut the scene shorter—

3013
02:29:33,682 --> 02:29:35,969
- Yeah.
- Everything was about Tom.

3014
02:29:36,060 --> 02:29:38,643
I did a brutally short version,
which you have to do.

3015
02:29:38,729 --> 02:29:40,140
You have to try it.

3016
02:29:40,230 --> 02:29:41,720
And we both looked at it.

3017
02:29:41,815 --> 02:29:44,352
- We both felt the same thing.
- There was just nothing there.

3018
02:29:44,443 --> 02:29:45,854
- It ceased to be emotional.
- Yeah.

3019
02:29:45,944 --> 02:29:47,059
It was a conversation.

3020
02:29:47,154 --> 02:29:50,112
We put back all the air.
Like, we barely trimmed this down.

3021
02:29:50,199 --> 02:29:53,112
Well, this is a scene
in which the air is earned.

3022
02:29:53,202 --> 02:29:54,738
Yeah.

3023
02:29:54,828 --> 02:29:59,743
And it mattered more that you connected
emotionally to this character

3024
02:29:59,833 --> 02:30:02,746
than the information in the scene,

3025
02:30:02,836 --> 02:30:05,294
which is A, information we all know.

3026
02:30:05,380 --> 02:30:07,496
We're just seeing Ethan learn it.

3027
02:30:07,591 --> 02:30:09,173
Chunky, that push-in.

3028
02:30:09,259 --> 02:30:12,217
- Again, camera and actor working together.
- Beautiful.

3029
02:30:12,304 --> 02:30:15,296
Really sensational work
from everybody here.

3030
02:30:16,934 --> 02:30:21,804
And Pom describing to me
kind of her mental process

3031
02:30:21,897 --> 02:30:25,606
and how she prepared for this
was really something else.

3032
02:30:25,692 --> 02:30:31,233
Her taking on the idea of a character
who was dying.

3033
02:30:31,323 --> 02:30:36,159
And her interpretation of death
was really something quite beautiful.

3034
02:30:36,245 --> 02:30:37,235
Wow.

3035
02:30:37,329 --> 02:30:38,911
It was all about letting go.

3036
02:30:38,997 --> 02:30:42,206
And so she's in the state of letting go
throughout the scene.

3037
02:30:42,292 --> 02:30:43,657
Wow.

3038
02:30:43,752 --> 02:30:46,961
Really, really,
I'm not remotely articulating it.

3039
02:30:47,047 --> 02:30:49,254
Yes, I understand.

3040
02:30:49,341 --> 02:30:53,460
And then here's a moment coming up
that we reshot.

3041
02:30:53,554 --> 02:30:57,422
This little exchange between them,
which is remarkably simple

3042
02:30:57,516 --> 02:31:00,349
in this finished version of the movie,

3043
02:31:00,435 --> 02:31:04,053
we experimented with
and iterated many times because—

3044
02:31:04,148 --> 02:31:06,640
Just the goodbye.
Just how they leave each other.

3045
02:31:06,733 --> 02:31:09,896
Everything else was
from the original coverage

3046
02:31:09,987 --> 02:31:11,694
but how they left one another.

3047
02:31:11,780 --> 02:31:14,112
Here, this moment here was reshot.

3048
02:31:14,199 --> 02:31:16,611
Yes, this is two years later.
Tom's wearing a wig.

3049
02:31:18,078 --> 02:31:19,785
And then you're back in real time.

3050
02:31:19,872 --> 02:31:24,332
Chunky, terrified of heights, by the way,
is a hundred-and-some feet in the air,

3051
02:31:24,418 --> 02:31:27,501
operating off of that platform
with nothing but a little rope,

3052
02:31:27,588 --> 02:31:30,330
standing on an 18-inch-wide piece of wood.

3053
02:31:30,424 --> 02:31:33,712
- Exquisite bit of Shea Whigham...
- Extraordinary coverage. Yeah.

3054
02:31:33,802 --> 02:31:36,385
- Shea, what he's able to deliver.
- ... thought-acting. Yeah.

3055
02:31:36,471 --> 02:31:40,055
And really, again, it's in moments.

3056
02:31:40,142 --> 02:31:42,429
These actors
were fully developed characters.

3057
02:31:42,519 --> 02:31:45,307
I remember one time you asked Tarzan
to say, "I don't feel a pulse.”

3058
02:31:45,397 --> 02:31:47,058
- "I don't feel a pulse!"
- Pom said, "What?"

3059
02:31:47,149 --> 02:31:48,935
Pom woke up and was like, "No, no!"

3060
02:31:49,026 --> 02:31:51,484
Pom was so terrified
we were gonna Kill her.

3061
02:31:51,570 --> 02:31:56,986
This, here's another elegant rewrite
from Henry Czerny.

3062
02:31:57,075 --> 02:31:58,816
Just adding the word "authentic.”

3063
02:31:58,911 --> 02:32:00,401
Yes. "Face."

3064
02:32:00,495 --> 02:32:02,406
- "That's better, isn't it?"
- Yeah.

3065
02:32:04,499 --> 02:32:07,116
"Face to authentic face." So good.

3066
02:32:07,711 --> 02:32:10,749
And the first time
we watched this in a theater,

3067
02:32:11,340 --> 02:32:14,833
in a cut much longer,
with no music in the third act,

3068
02:32:14,927 --> 02:32:16,713
no visual effects.

3069
02:32:16,803 --> 02:32:19,170
And Hayley said her line,

3070
02:32:19,264 --> 02:32:22,097
and what was really sensational—

3071
02:32:23,227 --> 02:32:25,343
The audience cheered,
and that's how we knew,

3072
02:32:25,437 --> 02:32:27,974
"Okay, we might actually
get away with this.

3073
02:32:28,065 --> 02:32:30,978
We still have a lot of work to do.
We can still do better."

3074
02:32:31,818 --> 02:32:33,650
Now, the speed flying,

3075
02:32:33,737 --> 02:32:36,069
this is extremely dangerous.

3076
02:32:36,156 --> 02:32:39,990
While it may look delicate,
it may look peaceful,

3077
02:32:40,077 --> 02:32:44,867
that— any gust of wind
can drive you right into those rocks.

3078
02:32:44,957 --> 02:32:47,824
Any gust of wind can invert Tom,

3079
02:32:47,918 --> 02:32:51,661
and the speed wings,
it can just collapse on him.

3080
02:32:51,755 --> 02:32:55,623
And you can go on YouTube and watch
a lot of really terrifying malfunctions

3081
02:32:55,717 --> 02:32:58,675
of speed wings.

3082
02:32:58,762 --> 02:33:01,345
And then this landing.

3083
02:33:01,431 --> 02:33:03,468
You couldn't predict your trajectory.

3084
02:33:03,558 --> 02:33:05,469
You approximate your trajectory,

3085
02:33:06,103 --> 02:33:08,219
but a crosswind could blow you
in either direction,

3086
02:33:08,313 --> 02:33:10,805
and we're in a vehicle
driving towards him.

3087
02:33:10,899 --> 02:33:13,766
He's just gone by the crane
by just a few feet.

3088
02:33:13,860 --> 02:33:16,568
If the wind had just pushed him
just a little bit to his left,

3089
02:33:17,155 --> 02:33:18,395
there was no way for him to stop,

3090
02:33:18,490 --> 02:33:21,027
and he would have wrapped himself
right around our crane.

3091
02:33:22,744 --> 02:33:24,075
But I got the shot.

3092
02:33:25,580 --> 02:33:28,368
And, again, all of this,
the language of our film,

3093
02:33:28,458 --> 02:33:31,541
these 180-degree hinges

3094
02:33:31,628 --> 02:33:33,335
all telling you in cover—

3095
02:33:33,422 --> 02:33:35,413
You know, just eliminating coverage

3096
02:33:35,507 --> 02:33:37,794
and focusing on character.

3097
02:33:37,884 --> 02:33:40,046
That all just became...

3098
02:33:41,972 --> 02:33:44,134
the bread and butter of our film.

3099
02:33:44,224 --> 02:33:48,058
This was shot many months later than this,

3100
02:33:48,145 --> 02:33:52,184
when we changed the context
of the end scene.

3101
02:33:52,274 --> 02:33:55,938
We realized we had a different idea
for how we were gonna

3102
02:33:56,028 --> 02:33:57,814
take the audience out of the movie.

3103
02:33:57,904 --> 02:34:01,238
And then this is a practical shot
shot in Svalbard...

3104
02:34:01,325 --> 02:34:02,531
That's it.

3105
02:34:02,617 --> 02:34:05,075
while we were shooting pieces
of Part Two,

3106
02:34:05,162 --> 02:34:08,450
while we were on hiatus from Part One.

3107
02:34:09,833 --> 02:34:11,915
And then this, of course, is a sequence—

3108
02:34:12,002 --> 02:34:14,414
Mark Bristol, by the way,
our storyboard artist, is the guy

3109
02:34:14,504 --> 02:34:17,337
who had the concept
of starting upside down under the ice.

3110
02:34:17,424 --> 02:34:18,414
Thank you, Mark.

3111
02:34:18,508 --> 02:34:21,341
And that was to match
the dunes in the desert

3112
02:34:21,428 --> 02:34:24,011
for a match cut that never was.

3113
02:34:24,598 --> 02:34:29,217
And then, of course, here is our promise

3114
02:34:29,478 --> 02:34:32,095
for what's coming in Part Two.

3115
02:34:32,939 --> 02:34:35,055
More great graphics from Filmograph.

3116
02:34:35,150 --> 02:34:36,140
Yes.

3117
02:34:36,234 --> 02:34:40,649
And "Part One" to remind the audience
that, you know, it is a part one.

3118
02:34:40,739 --> 02:34:43,401
Our sensational crew.

3119
02:34:43,492 --> 02:34:46,905
Chris Brock, our unit production manager,
the hardest-working man in show business.

3120
02:34:46,995 --> 02:34:48,531
- First assistant director...
- Mary.

3121
02:34:48,622 --> 02:34:52,035
Tommy Gormley who—
And then, of course, Mary Boulding...

3122
02:34:52,125 --> 02:34:54,116
- And Nick Degan.
- ... who took over for Tommy.

3123
02:34:54,211 --> 02:34:56,077
- And Wade. And Nick.
- You want to talk about—

3124
02:34:56,171 --> 02:34:59,289
Yes, Wade Eastwood,
who's been with us for many, many years.

3125
02:34:59,383 --> 02:35:04,219
But Mary Boulding is somebody
that I don't talk about nearly enough.

3126
02:35:05,597 --> 02:35:09,841
A director is nothing
without a great first AD.

3127
02:35:09,935 --> 02:35:13,929
And Mary is somebody who we've known
since Edge of Tomorrow...

3128
02:35:14,022 --> 02:35:16,605
- Yeah.
- ... where she was working as—

3129
02:35:16,691 --> 02:35:20,104
- Accidentally credited as Mark Boulding.
- Mark Boulding.

3130
02:35:20,195 --> 02:35:22,186
She was credited as Mark Boulding.

3131
02:35:23,490 --> 02:35:26,107
- It's absolutely terrible.
- I know!

3132
02:35:26,201 --> 02:35:29,364
Terrible. And now finds herself,

3133
02:35:30,205 --> 02:35:32,742
or rather worked very, very hard,

3134
02:35:32,833 --> 02:35:35,165
and at the age of 30,

3135
02:35:35,252 --> 02:35:39,337
was working as a first AD on this movie.

3136
02:35:39,423 --> 02:35:43,382
And really did
an unbelievably phenomenal job.

3137
02:35:43,468 --> 02:35:46,335
And you look at all of the people
in these credits.

3138
02:35:46,430 --> 02:35:49,218
They're all people
that are being managed and wrangled

3139
02:35:49,307 --> 02:35:52,425
by Chris Brock, Tommy Gormley,

3140
02:35:53,854 --> 02:35:54,844
Mary.

3141
02:35:55,564 --> 02:35:57,555
Really an extraordinary,
extraordinary team.

3142
02:35:57,649 --> 02:36:00,311
You can't make even the smallest movie—

3143
02:36:00,402 --> 02:36:02,939
Cecile Tournesac,
supervising music editor,

3144
02:36:03,029 --> 02:36:06,021
who cut together all of these
extraordinary cues and edited—

3145
02:36:06,116 --> 02:36:08,608
My team just went past.

3146
02:36:08,702 --> 02:36:10,659
Thank you to Tom Coope and Chris Frith.

3147
02:36:10,745 --> 02:36:14,113
Ben Piltz, production manager
for all of our locations.

3148
02:36:14,207 --> 02:36:16,824
When you talk about different departments,

3149
02:36:17,586 --> 02:36:19,953
it's really interesting
to listen to people,

3150
02:36:20,046 --> 02:36:22,162
you know, talking about so-and-so's work.

3151
02:36:22,257 --> 02:36:25,466
- And isolating it by department head.
- Yes.

3152
02:36:26,595 --> 02:36:30,179
The truth of the matter is—
There went Martin Smith, our gaffer.

3153
02:36:30,265 --> 02:36:31,505
The truth of the matter is,

3154
02:36:31,600 --> 02:36:34,934
no one department makes
any movie look like it does.

3155
02:36:35,020 --> 02:36:38,604
And great cinematography is relying
on great production design.

3156
02:36:38,690 --> 02:36:42,854
And great production design
is relying on great locations

3157
02:36:42,944 --> 02:36:46,778
and costume design, hair and makeup.

3158
02:36:46,865 --> 02:36:50,324
It's all working together
to make the image you see.

3159
02:36:50,410 --> 02:36:52,242
And it's a really important thing
to remember

3160
02:36:52,329 --> 02:36:56,072
that when you're looking at the work
of one sensational person,

3161
02:36:56,166 --> 02:36:58,203
one sensational performance,

3162
02:36:58,293 --> 02:37:02,787
one sensational credit on the movie,

3163
02:37:02,881 --> 02:37:06,840
it's actually the work of so many
other people supporting that person.

3164
02:37:06,927 --> 02:37:08,884
Yeah, all the costume department.

3165
02:37:08,970 --> 02:37:10,460
- Amazing.
- Yes, costume department.

3166
02:37:10,555 --> 02:37:13,673
- And I say all of this—
- Amy, hair and makeup.

3167
02:37:13,767 --> 02:37:17,806
And I say all of this
because all of it applies to my job.

3168
02:37:17,896 --> 02:37:21,730
You know, you're the last name
in the opening credits,

3169
02:37:21,816 --> 02:37:24,558
and you get a lot of credit,
and you get a lot of glory.

3170
02:37:24,653 --> 02:37:29,648
And the truth of the matter is that
I'm here because of all these people.

3171
02:37:29,741 --> 02:37:32,608
- There's Will Banks and Phil Arntz.
- Yeah.

3172
02:37:32,702 --> 02:37:35,694
Our helicopter— Our aerial unit.

3173
02:37:37,207 --> 02:37:39,414
And then, of course,
all the countries that we shot in:

3174
02:37:39,501 --> 02:37:41,333
Abu Dhabi, Italy,

3175
02:37:41,419 --> 02:37:43,831
Norway, United Kingdom.

3176
02:37:43,922 --> 02:37:48,086
Extraordinary local crew
in all of those places.

3177
02:37:48,176 --> 02:37:51,544
Amazing people
and really amazing cultures.

3178
02:37:51,638 --> 02:37:57,179
And one of the true privileges of this job
is being able to travel the world,

3179
02:37:57,269 --> 02:37:59,852
go places that many people will never go,

3180
02:37:59,938 --> 02:38:02,851
see things that other people
never have access to.

3181
02:38:02,941 --> 02:38:03,772
Yeah.

3182
02:38:03,858 --> 02:38:06,190
- Just going on the roof of the airport...
- Yeah!

3183
02:38:06,278 --> 02:38:08,019
- ... in Abu Dhabi.
- In Abu Dhabi. Absolutely.

3184
02:38:08,119 --> 02:38:10,281
And you find yourself there,
going, "This is my office."

3185
02:38:10,365 --> 02:38:12,481
It's all, again, the work—

3186
02:38:12,576 --> 02:38:15,694
The roof of a train,
driving at high speeds through Norway.

3187
02:38:15,787 --> 02:38:17,403
Driving at high speed through Norway.

3188
02:38:17,497 --> 02:38:19,534
- Norway, who lent us a railroad.
- I know.

3189
02:38:19,624 --> 02:38:21,456
Allowed us to take over and do that.

3190
02:38:21,543 --> 02:38:24,956
The extraordinary resources

3191
02:38:26,339 --> 02:38:30,958
and goodwill from all of these people.

3192
02:38:31,052 --> 02:38:33,168
And it's something
we take very, very seriously.

3193
02:38:33,263 --> 02:38:35,129
We go to all these countries,

3194
02:38:35,223 --> 02:38:38,181
and we go there
to celebrate those cultures

3195
02:38:38,268 --> 02:38:40,100
and celebrate those countries

3196
02:38:40,186 --> 02:38:43,144
and hopefully inspire people to go there.

3197
02:38:43,231 --> 02:38:47,941
And then for anybody who can't go there,
we want to bring it to you.

3198
02:38:48,028 --> 02:38:53,774
That is, again, all of the hard work
of all of these people bringing it to you.

3199
02:38:53,867 --> 02:38:58,031
And in this case, and I get
somewhat emotional thinking about it,

3200
02:38:58,121 --> 02:39:00,453
these are all people,
every single one of these people,

3201
02:39:00,540 --> 02:39:05,250
who were away from their families
for sometimes months at a time,

3202
02:39:06,421 --> 02:39:10,836
all during very, very difficult times
of making this particular film.

3203
02:39:11,635 --> 02:39:13,421
Not a single name that you're looking at—

3204
02:39:13,511 --> 02:39:16,503
Yeah, we should probably, given that
we're looking at Industrial Light & Magic,

3205
02:39:16,598 --> 02:39:22,059
we should give enormous credit
to Robin Saxen, who is the VFX producer.

3206
02:39:22,145 --> 02:39:24,056
- VFX producer.
- Alex Wuttke.

3207
02:39:24,147 --> 02:39:27,640
- Alex Wuttke.
- Who was our visual effects supervisor.

3208
02:39:27,734 --> 02:39:31,068
And the whole team, the whole VFX team,
who just worked miracles.

3209
02:39:31,154 --> 02:39:35,148
And in a department that,
in the circumstances,

3210
02:39:35,241 --> 02:39:38,575
you would think that because
they're not on all of these locations,

3211
02:39:38,662 --> 02:39:42,075
they're back at home,
and shots are being shipped to them.

3212
02:39:42,916 --> 02:39:48,082
The extreme difficulties
of this production trickled down to them,

3213
02:39:48,171 --> 02:39:50,333
and they were under enormous pressure

3214
02:39:50,423 --> 02:39:52,790
right up until the day
before the premiere.

3215
02:39:52,884 --> 02:39:57,128
I remember we were still tweaking shots
and getting things done.

3216
02:39:59,015 --> 02:40:02,303
The work that they do,
the unsung work that they do,

3217
02:40:02,394 --> 02:40:07,184
and the extraordinary pressure
of it is something

3218
02:40:07,273 --> 02:40:09,355
that cannot be overstated.

3219
02:40:09,442 --> 02:40:10,523
I mean, very much so.

3220
02:40:10,610 --> 02:40:14,820
So, we edited this movie over a period
of about two and a half years,

3221
02:40:16,574 --> 02:40:22,786
from September 2020
until pretty much June 2023.

3222
02:40:23,665 --> 02:40:25,281
Yeah. And...

3223
02:40:26,710 --> 02:40:31,830
Yeah, it was, you know,
quite an intense experience for everybody,

3224
02:40:31,923 --> 02:40:36,759
and— but we love it, and I love—

3225
02:40:36,845 --> 02:40:41,089
I'm very privileged to work with Chris
McQuarrie and Tom Cruise on these films.

3226
02:40:41,182 --> 02:40:43,469
- We are the ones who are privileged.
- Both terrific leaders.

3227
02:40:43,560 --> 02:40:45,426
- I speak for Tom without hesitation.
- Thank you.

3228
02:40:45,520 --> 02:40:50,435
Terrific leaders to collaborate with
and great, great filmmakers

3229
02:40:50,525 --> 02:40:54,814
who really understand,
you know, in detail,

3230
02:40:54,904 --> 02:41:00,570
how to make really entertaining movies
that work for worldwide audiences.

3231
02:41:00,660 --> 02:41:03,994
Well, as this is the editorial commentary,
I'm gonna cut you off

3232
02:41:04,080 --> 02:41:06,321
and talk about you, Eddie Hamilton.

3233
02:41:06,416 --> 02:41:09,454
The number of times on a movie
where I will turn to Eddie and say,

3234
02:41:09,544 --> 02:41:12,161
"Does this work? And is this gonna work?

3235
02:41:12,255 --> 02:41:15,043
Is this too long,
and is an audience gonna understand this?"

3236
02:41:15,133 --> 02:41:17,625
And you're always the one to say,
"That doesn't matter now."

3237
02:41:17,719 --> 02:41:19,209
- Yeah.
- "It doesn't matter now.

3238
02:41:19,304 --> 02:41:20,544
The audience will tell us."

3239
02:41:20,638 --> 02:41:24,222
And you never ever,
ever lose your positive spirit,

3240
02:41:24,309 --> 02:41:26,676
your amazing attention to detail.

3241
02:41:26,770 --> 02:41:30,183
The way you manage your team,
the way you manage the crew—

3242
02:41:31,149 --> 02:41:33,641
How, in a very high-pressure environment,

3243
02:41:33,735 --> 02:41:38,571
I have never once seen you lose your shit.

3244
02:41:38,656 --> 02:41:41,148
- Very kind of you to say, Chris.
- I gotta say that.

3245
02:41:41,242 --> 02:41:42,903
You are a gentleman,

3246
02:41:42,994 --> 02:41:47,534
and it infuriates me
because you're, frankly—

3247
02:41:47,624 --> 02:41:50,036
It's an admonishment to everybody else.

3248
02:41:50,126 --> 02:41:53,084
It's a great privilege to be
on these journeys with you.

3249
02:41:53,171 --> 02:41:55,162
We really are the ones who are privileged.

3250
02:41:55,256 --> 02:41:56,872
You all out there, watching the movie.

3251
02:41:56,966 --> 02:41:58,923
I say this without hyperbole.

3252
02:41:59,010 --> 02:42:01,968
You are the ballast that holds
this whole thing together, man.

3253
02:42:02,055 --> 02:42:04,968
We all face a lot of pressure

3254
02:42:05,058 --> 02:42:07,265
and a lot of difficulty
and a lot of strife,

3255
02:42:08,144 --> 02:42:09,509
and it all comes down to you.

3256
02:42:09,604 --> 02:42:11,845
- Thank you, Chris.
- We really appreciate it.

3257
02:42:11,940 --> 02:42:14,807
And of course,
we appreciate you, the audience.

3258
02:42:14,901 --> 02:42:17,484
Thank you for watching,
everyone out there at home.

3259
02:42:17,570 --> 02:42:19,857
Great to talk to you. Bye-bye.

3260
02:42:23,034 --> 02:42:24,024
English (US)