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00:00:01,543 --> 00:00:05,839
♪ (HBO INTRO PLAYS) ♪
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00:00:07,632 --> 00:00:10,552
One of the things that we
talked about for a while...
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00:00:10,844 --> 00:00:12,321
"How do you start this show?"
4
00:00:12,345 --> 00:00:15,056
♪ (TENSE MUSIC PLAYS) ♪
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00:00:15,974 --> 00:00:19,477
CRAIG MAZIN: It was an enormous
undertaking for everyone.
6
00:00:20,353 --> 00:00:23,690
I wouldn't want it to deliver
CG pew-pew (IMITATES EXPLOSION),
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00:00:24,149 --> 00:00:26,711
but to deliver... reality.
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00:00:26,735 --> 00:00:28,587
♪ (MUSIC INTENSIFIES) ♪
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00:00:28,611 --> 00:00:30,989
CREW MEMBER: Two, one, action!
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00:00:32,782 --> 00:00:34,343
PEDRO PASCAL:
Negative degree temperatures,
11
00:00:34,367 --> 00:00:36,887
with the wind machine
going like this...
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00:00:36,911 --> 00:00:37,954
(MIMICS RUDDER SPINNING)
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(CHUCKLES) Yeah,
so that was hard. (LAUGHS)
14
00:00:41,791 --> 00:00:44,627
And fun. It was so fun.
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00:00:45,795 --> 00:00:47,606
The amount of detail
is incredible.
16
00:00:47,630 --> 00:00:50,735
The color schemes, the textures,
how things would flourish.
17
00:00:50,759 --> 00:00:52,759
(INFECTED SCREECHES)
18
00:00:52,759 --> 00:00:52,719
There's everything on this show.
19
00:00:53,052 --> 00:00:57,140
From big scopes of airplanes
to smaller tendrils.
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00:00:59,309 --> 00:01:02,621
NICO PARKER: You're immediately
just so immersed in.
21
00:01:02,645 --> 00:01:04,189
The Last of Us world.
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00:01:05,273 --> 00:01:08,836
JASON NOLAN: Shooting in Canada,
we're not doing anything small.
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It was quite the endeavor.
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♪ (MUSIC ESCALATES) ♪
25
00:01:13,865 --> 00:01:15,492
(BLOATER GROWLS)
26
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♪ ("THE LAST OF US" MAIN THEME
BY GUSTAVO SANTAOLALLA PLAYS) ♪
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00:01:23,917 --> 00:01:26,312
ASHLEY JOHNSON: I remember
when the game came out,
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there were so many people saying,
29
00:01:28,296 --> 00:01:30,149
"This needs to be made into
a live action."
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I was in conflict with it at first because
I was like, "We've already done it.
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00:01:32,842 --> 00:01:35,279
We've shot it, we've
performed it, we've edited it.
32
00:01:35,303 --> 00:01:37,323
"Why do we need to go in
and do this again?"
33
00:01:37,347 --> 00:01:39,450
Neil said,
"At the end of the day,
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there are people out there that
will never pick up a controller,
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and they will never experience
this story.
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00:01:44,687 --> 00:01:47,565
And I think our story is special
enough to bring it to them."
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00:01:47,857 --> 00:01:49,776
MERLE DANDRIDGE: The HBO series,
38
00:01:50,068 --> 00:01:52,463
uh, I don't remember
when I first heard about it,
39
00:01:52,487 --> 00:01:56,634
but when I did, I was like,
"Mommy want that." (LAUGHS)
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00:01:56,658 --> 00:01:59,386
'Cause I knew it was gonna
be spectacular,
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00:01:59,410 --> 00:02:01,472
especially when I heard that
it was a collaboration
42
00:02:01,496 --> 00:02:03,164
and that Neil would also
be involved.
43
00:02:04,040 --> 00:02:06,310
When you're casting
these iconic characters,
44
00:02:06,334 --> 00:02:09,855
these characters are iconic
in a cinematic way already.
45
00:02:09,879 --> 00:02:11,879
So now, it's like,
46
00:02:11,879 --> 00:02:13,734
we need to find someone
that can elevate it
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00:02:13,758 --> 00:02:16,111
or make it their own
in a really interesting way
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00:02:16,135 --> 00:02:18,197
so it doesn't feel like
they're just duplicating
49
00:02:18,221 --> 00:02:19,698
this other medium.
50
00:02:19,722 --> 00:02:22,076
I learned very quickly
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00:02:22,100 --> 00:02:25,704
the massive fanbase
that I was stepping into.
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I called my sister
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00:02:26,980 --> 00:02:29,375
to tell her about
the possibility of the job.
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00:02:29,399 --> 00:02:31,502
And she was in the car
with my nephews.
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00:02:31,526 --> 00:02:35,506
I didn't even get the S and T
out from the word "Last"
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00:02:35,530 --> 00:02:36,674
when I said it.
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00:02:36,698 --> 00:02:39,260
"There's this job,
it's based on a video game.
58
00:02:39,284 --> 00:02:40,344
It's called The La... ".
59
00:02:40,368 --> 00:02:42,537
And they were like,
"The Last of Us?!"
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00:02:42,871 --> 00:02:45,224
And I was like, okay,
I definitely have to do this.
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00:02:45,248 --> 00:02:47,309
BELLA RAMSEY: I was actually
advised not to play the game,
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00:02:47,333 --> 00:02:49,061
so that I wouldn't try
and like copy.
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00:02:49,085 --> 00:02:51,438
Ashley Johnson's version
of Ellie, which is incredible.
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00:02:51,462 --> 00:02:53,673
But I just watched
some of the gameplay though,
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00:02:53,965 --> 00:02:55,025
secretly, on my own.
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00:02:55,049 --> 00:02:58,028
JOHNSON: When I met Bella
for the first time,
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I was so excited because, obviously,
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I'd seen her in Game of Thrones.
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00:03:02,599 --> 00:03:04,577
And seeing her in person
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00:03:04,601 --> 00:03:07,162
and even just seeing her on set
and doing scenes,
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00:03:07,186 --> 00:03:10,082
she has the essence
of Ellie already in her.
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Seven, eight, fuck... you.
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PASCAL: What's incredible
about what they've done
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00:03:17,572 --> 00:03:19,216
with these scripts,
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was to be able to explore
and nourish things that I think
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00:03:24,370 --> 00:03:27,057
are very much a part
of the experience of the game.
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One of those things
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00:03:28,124 --> 00:03:31,020
is the internal life
of these characters.
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And to really get into the flesh
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00:03:33,504 --> 00:03:35,566
of what's happening
inside of them.
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00:03:35,590 --> 00:03:37,067
You want to know what
the biggest surprise
82
00:03:37,091 --> 00:03:38,861
of adapting The Last of Us is?
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00:03:38,885 --> 00:03:40,446
It's the Neil Druckmann,
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00:03:40,470 --> 00:03:43,324
the genius who made the game
in the first place,
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00:03:43,348 --> 00:03:45,367
who created this story,
these characters,
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the whole world,
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00:03:46,517 --> 00:03:50,521
he was so generous
and flexible and smart
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00:03:50,855 --> 00:03:54,043
about how to re-present
The Last of Us
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00:03:54,067 --> 00:03:56,569
in a different format
to a whole new audience.
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♪ (TENSE MUSIC PLAYS) ♪
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00:04:01,115 --> 00:04:03,636
(SPEAKING INDONESIAN)
92
00:04:03,660 --> 00:04:06,805
The scientific vision
that the show presents to people
93
00:04:06,829 --> 00:04:08,641
is based absolutely in reality.
94
00:04:08,665 --> 00:04:12,019
That fungus is real,
it does those things to insects,
95
00:04:12,043 --> 00:04:14,688
and if it were to be able
to infect humans,
96
00:04:14,712 --> 00:04:16,231
it would go like that.
97
00:04:16,255 --> 00:04:17,257
It's terrifying.
98
00:04:17,590 --> 00:04:20,778
We want people to feel
the reality of the science here.
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00:04:20,802 --> 00:04:22,905
(INFECTED PANTING)
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Cordyceps, it's a fungus.
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00:04:24,764 --> 00:04:26,992
And what that fungus does
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00:04:27,016 --> 00:04:30,496
is it attaches to the brain stem
of an ant,
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00:04:30,520 --> 00:04:33,082
takes motor control
of the ant's body,
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00:04:33,106 --> 00:04:35,834
and then attacks the rest
of the ant colony,
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00:04:35,858 --> 00:04:38,963
spreading the disease
and devouring the other ants.
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00:04:38,987 --> 00:04:41,531
♪ (UNNERVING MUSIC PLAYS) ♪
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MAZIN: Fungus is a funny word,
108
00:04:43,533 --> 00:04:46,637
but there's so much more of it
than we realize.
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Pretty much anywhere
you see grass,
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there's fungus
right underneath it.
111
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(INFECTED SCREAMING)
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They're connected.
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More than you know.
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MAZIN: One of the changes
that Neil and I felt
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00:05:00,675 --> 00:05:01,860
we needed to make early on
116
00:05:01,884 --> 00:05:04,279
was the way the fungus
would spread.
117
00:05:04,303 --> 00:05:05,781
We loved the idea of biting.
118
00:05:05,805 --> 00:05:10,268
We thought that
that was primal and violent.
119
00:05:11,477 --> 00:05:13,872
But we started looking at
something called mycelium,
120
00:05:13,896 --> 00:05:17,334
which are these threads
that make up fungus.
121
00:05:17,358 --> 00:05:18,711
And those threads,
122
00:05:18,735 --> 00:05:21,255
if they get into an insect,
for instance,
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00:05:21,279 --> 00:05:23,382
that's what starts
to worm its way
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00:05:23,406 --> 00:05:24,866
towards the insect's brain.
125
00:05:28,161 --> 00:05:31,015
Barrie Gower and his team
did this beautiful work
126
00:05:31,039 --> 00:05:34,125
to mesh humans
and fungus together.
127
00:05:35,752 --> 00:05:38,772
BARRIE GOWER: Initially, we'd
created various practical tendrils,
128
00:05:38,796 --> 00:05:40,607
which was basically
like a dental plate
129
00:05:40,631 --> 00:05:42,985
that we had inside
the infected character's mouth,
130
00:05:43,009 --> 00:05:46,405
which had all these little
silicon cords joined to.
131
00:05:46,429 --> 00:05:47,656
As soon as you pulled away,
132
00:05:47,680 --> 00:05:49,033
everything started to...
(MIMICS TENDRILS PULLING)
133
00:05:49,057 --> 00:05:50,701
Practically, it looked great.
134
00:05:50,725 --> 00:05:51,952
I think the reality of it
135
00:05:51,976 --> 00:05:55,354
was going to be
the resettability on the day.
136
00:05:57,899 --> 00:06:00,335
Having huge, big fungal pieces
all over the head,
137
00:06:00,359 --> 00:06:01,670
as soon as you took
the eyebrows away,
138
00:06:01,694 --> 00:06:04,280
you started veering into
zombie territory.
139
00:06:05,323 --> 00:06:06,675
NEIL DRUCKMANN: When it has
more of a human side,
140
00:06:06,699 --> 00:06:09,219
more of a beautiful side,
it makes it even scarier.
141
00:06:09,243 --> 00:06:11,221
As a person,
you can relate to it more.
142
00:06:11,245 --> 00:06:12,848
PAUL SPATERI:
From an infected point of view,
143
00:06:12,872 --> 00:06:14,832
we had the first-stage infected.
144
00:06:15,333 --> 00:06:17,436
Very shortly after
they've been bitten,
145
00:06:17,460 --> 00:06:19,460
there's a lot of redness,
146
00:06:19,460 --> 00:06:20,213
a lot of tenderness
around the skin.
147
00:06:20,963 --> 00:06:24,902
Stage two, tiny little things
start breaking through the skin.
148
00:06:24,926 --> 00:06:27,196
They're a bit like the cordyceps
you actually see on ants
149
00:06:27,220 --> 00:06:29,430
or spiders when they've
taken over by the fungus.
150
00:06:30,139 --> 00:06:31,950
Stage three is a slightly bigger
version of that
151
00:06:31,974 --> 00:06:34,495
where you've got real mushrooms
that you can begin to see.
152
00:06:34,519 --> 00:06:35,788
Until you get to stage five,
153
00:06:35,812 --> 00:06:38,106
where the head shape
is distorting.
154
00:06:38,481 --> 00:06:40,918
GOWER: Just basically
breaks through the cranium
155
00:06:40,942 --> 00:06:43,295
and just splits the skull
down the front,
156
00:06:43,319 --> 00:06:45,089
and you have these huge
sort of blooms,
157
00:06:45,113 --> 00:06:46,531
these sort of petals.
158
00:06:46,823 --> 00:06:48,050
No, I didn't want
to look at them.
159
00:06:48,074 --> 00:06:50,260
I didn't want that in my head
to go home and sleep,
160
00:06:50,284 --> 00:06:51,869
and then you have to be kind of,
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00:06:52,203 --> 00:06:55,748
you're like, "Hi! How are you?"
(GROANS)
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00:06:57,208 --> 00:06:58,936
And it's not just kind of
what they look like,
163
00:06:58,960 --> 00:07:01,647
it's the physicality
and the way that they move
164
00:07:01,671 --> 00:07:04,817
is what makes them so creepy.
But impressive.
165
00:07:04,841 --> 00:07:07,111
Not just the prosthetic, obviously,
166
00:07:07,135 --> 00:07:09,822
but the inhabiting of it.
167
00:07:09,846 --> 00:07:13,099
DRUCKMANN:
168
00:07:17,937 --> 00:07:19,623
(GROWLS)
169
00:07:19,647 --> 00:07:20,773
ALEX WANG:
Coming from visual effects,
170
00:07:21,065 --> 00:07:23,127
I think the clicker performances
can be quite challenging
171
00:07:23,151 --> 00:07:25,504
just 'cause
they're very specific.
172
00:07:25,528 --> 00:07:29,299
DRUCKMANN:
173
00:07:29,323 --> 00:07:32,427
He just had this really
amazing performance
174
00:07:32,451 --> 00:07:34,871
and movement study to him.
175
00:07:36,080 --> 00:07:37,516
Those are the type of things
176
00:07:37,540 --> 00:07:41,436
that is quite difficult
to reproduce digitally.
177
00:07:41,460 --> 00:07:44,213
(INFECTED GASPS)
178
00:07:45,631 --> 00:07:48,235
GOWER: These are a lot of our
very early concept and busts.
179
00:07:48,259 --> 00:07:51,530
We're following real reference
and real nature
180
00:07:51,554 --> 00:07:53,472
of real fungus
and real mushrooms.
181
00:07:53,931 --> 00:07:56,243
And just down to the shapes
of the petals.
182
00:07:56,267 --> 00:07:59,061
Underneath, you've got all
these slits which are called "gills,"
183
00:07:59,353 --> 00:08:01,582
and we always had to make sure
that the orientation
184
00:08:01,606 --> 00:08:04,835
was as such that all the gills
were facing downwards.
185
00:08:04,859 --> 00:08:06,859
And occasionally,
186
00:08:06,859 --> 00:08:07,379
you'd have a piece which
looked really, really great,
187
00:08:07,403 --> 00:08:08,797
but the mushroom's
around the wrong way,
188
00:08:08,821 --> 00:08:09,965
so it's just like... (WHISTLES)
189
00:08:09,989 --> 00:08:11,175
Just move that over
a little bit.
190
00:08:11,199 --> 00:08:13,826
(INFECTED CLICKING)
191
00:08:14,952 --> 00:08:16,221
The sound of the clickers,
192
00:08:16,245 --> 00:08:19,558
we worked so hard to make sure
they sounded just like the game.
193
00:08:19,582 --> 00:08:21,310
MAZIN: Why don't we try some
194
00:08:21,334 --> 00:08:23,395
good, old-fashioned
clicking in the dark?
195
00:08:23,419 --> 00:08:25,419
PHILLIP KOVATS: Yeah.
196
00:08:25,419 --> 00:08:27,232
- Let me just practice a few so we can make sure...
- AUDIO ENGINEER: Yeah, sure.
197
00:08:27,256 --> 00:08:33,346
(CLICKS)
198
00:08:33,638 --> 00:08:36,116
KOVATS: Misty was the originator
of the sound itself,
199
00:08:36,140 --> 00:08:38,493
and she did these amazing
like throat sounds,
200
00:08:38,517 --> 00:08:39,560
which were like, "That's it!"
201
00:08:40,436 --> 00:08:43,081
And they were like, "Now we gotta find
somebody who can do it too, like a guy."
202
00:08:43,105 --> 00:08:46,043
- SPEAKER: Right.
- KOVATS: And then I was like, "I figured it out."
203
00:08:46,067 --> 00:08:48,670
Mr. and Mrs. Clicker.
The original.
204
00:08:48,694 --> 00:08:50,363
The Adam and Eve of clicking.
205
00:08:51,030 --> 00:08:53,967
- (VOCAL RUN) Yeah.
- It's also here, like...
206
00:08:53,991 --> 00:08:55,219
(CLICKING)
207
00:08:55,243 --> 00:08:56,887
MAZIN: I think it's that first
little bit, right?
208
00:08:56,911 --> 00:08:58,388
It's just the initial...
(MIMICS CLICKER)
209
00:08:58,412 --> 00:09:02,226
Which I think isn't bad here,
I just want the real thing.
210
00:09:02,250 --> 00:09:03,894
- Sure.
- Let's do some clicking.
211
00:09:03,918 --> 00:09:10,007
(CLICKING)
212
00:09:10,299 --> 00:09:12,277
- That was good stuff. I like that.
- MISTY LEE: Thank you.
213
00:09:12,301 --> 00:09:14,071
MAZIN: I love sound,
but it's like...
214
00:09:14,095 --> 00:09:16,114
I don't actually think
I've ever had anything like this
215
00:09:16,138 --> 00:09:18,116
where there was somebody
who knew
216
00:09:18,140 --> 00:09:19,493
how to do this
incredibly specific thing,
217
00:09:19,517 --> 00:09:21,787
and I have the incredibly
specific thing people
218
00:09:21,811 --> 00:09:23,854
doing the incredi...
Oh, this is so cool.
219
00:09:24,230 --> 00:09:25,499
All right, I think
it might be time
220
00:09:25,523 --> 00:09:28,001
to go to the bullpen
and bring in the ol' lefty.
221
00:09:28,025 --> 00:09:33,423
(CLICKING)
222
00:09:33,447 --> 00:09:35,447
Oh, that was a good one.
223
00:09:35,447 --> 00:09:36,009
MISTY: Yeah,
that was a good one!
224
00:09:36,033 --> 00:09:38,119
- I was back here going, "Oh!"
- That felt juicy.
225
00:09:40,454 --> 00:09:42,683
(INFECTED SCREAMS)
226
00:09:42,707 --> 00:09:46,019
♪ ("THE CHOICE"
BY GUSTAVO SANTAOLALLA PLAYS) ♪
227
00:09:46,043 --> 00:09:47,145
DRUCKMANN:
When we made the game,
228
00:09:47,169 --> 00:09:48,772
we don't make any
physical things,
229
00:09:48,796 --> 00:09:49,815
it's all digital.
230
00:09:49,839 --> 00:09:51,441
It's all two-dimensional
on the screen.
231
00:09:51,465 --> 00:09:54,343
The first time I walked on set,
it was Joel's house.
232
00:09:55,261 --> 00:09:57,447
There's Sarah's room,
there's their living room,
233
00:09:57,471 --> 00:09:59,700
there's the sheets
that are just like the game.
234
00:09:59,724 --> 00:10:03,996
And you already got to see
the love this crew had
235
00:10:04,020 --> 00:10:05,521
for the original material.
236
00:10:05,771 --> 00:10:07,857
And I was like
emotionally moved by it.
237
00:10:09,066 --> 00:10:12,087
ANNA TORV: The sets have just
been so fucking incredible.
238
00:10:12,111 --> 00:10:13,672
I mean, you just
don't even appreciate it
239
00:10:13,696 --> 00:10:15,716
until you're in the space
that you can like,
240
00:10:15,740 --> 00:10:17,718
just fucking shoot things in 360
241
00:10:17,742 --> 00:10:20,077
because everything
is like magic.
242
00:10:21,203 --> 00:10:22,973
PASCAL:
In the practical shooting of it,
243
00:10:22,997 --> 00:10:28,061
there was strangely little
left to the imagination
244
00:10:28,085 --> 00:10:30,856
because of the quality
of its production.
245
00:10:30,880 --> 00:10:32,649
The game is beautifully realized
246
00:10:32,673 --> 00:10:35,193
and has a beautiful tone
and story.
247
00:10:35,217 --> 00:10:37,279
The Last of Us
is about a journey,
248
00:10:37,303 --> 00:10:39,096
going across the United States.
249
00:10:39,388 --> 00:10:41,366
And so, having that variety
of landscape
250
00:10:41,390 --> 00:10:43,893
really helps make it feel
as authentic as possible.
251
00:10:46,020 --> 00:10:49,291
JOHN PAINO: Fort Macleod was
a good stand-in for Austin, Texas.
252
00:10:49,315 --> 00:10:52,044
We really tried
to go to town there with neon.
253
00:10:52,068 --> 00:10:56,280
Colors you wouldn't see
once the infection starts.
254
00:10:57,406 --> 00:11:01,720
The QZ, that was a challenge
to make the wall.
255
00:11:01,744 --> 00:11:03,513
You know,
built it out of actual concrete
256
00:11:03,537 --> 00:11:05,182
and I could have people
walk on it.
257
00:11:05,206 --> 00:11:09,293
I think it really lended a lot
to the realism of things.
258
00:11:10,378 --> 00:11:12,880
NOLAN: Edmonton was a key
for the statehouse.
259
00:11:13,297 --> 00:11:15,216
PAUL HEALY:
The Fireflies' set was stunning.
260
00:11:15,549 --> 00:11:18,844
'Cause now we're outside the QZ,
it's way more run down.
261
00:11:19,595 --> 00:11:21,323
TORV: When we're going
through the tunnel,
262
00:11:21,347 --> 00:11:23,241
like the underground,
and up to the office,
263
00:11:23,265 --> 00:11:25,911
and we're standing behind,
about to get through the door,
264
00:11:25,935 --> 00:11:26,995
and I look down,
265
00:11:27,019 --> 00:11:29,873
and there's like
little sesame seeds
266
00:11:29,897 --> 00:11:32,542
to look like mouse poo
on the ground.
267
00:11:32,566 --> 00:11:36,153
The detail is, like,
from this to like...
268
00:11:36,737 --> 00:11:38,423
That you put that there,
I just...
269
00:11:38,447 --> 00:11:42,993
It's... It's... It's just amazing!
270
00:11:43,619 --> 00:11:45,204
They created a village!
I mean...
271
00:11:45,579 --> 00:11:48,141
NOLAN: Bill's town, the way it
was written was very particular.
272
00:11:48,165 --> 00:11:50,143
The action involved
and the look of the town
273
00:11:50,167 --> 00:11:51,502
and the feel of the town.
274
00:11:52,086 --> 00:11:53,855
And I kind of had
in the back of my mind
275
00:11:53,879 --> 00:11:55,315
that this location existed
276
00:11:55,339 --> 00:11:57,818
after the floods in High River
in 2013.
277
00:11:57,842 --> 00:11:59,611
It's on the... kind of
the wrong side of the berm,
278
00:11:59,635 --> 00:12:01,321
and they had to tear
all the homes down.
279
00:12:01,345 --> 00:12:02,864
And what was left was
all the streets
280
00:12:02,888 --> 00:12:05,057
and the sidewalks
and the infrastructure.
281
00:12:06,016 --> 00:12:07,577
PAINO: There's a town here, Canmore,
282
00:12:07,601 --> 00:12:11,164
that stood in quite nicely
for Jackson Hole, Wyoming.
283
00:12:11,188 --> 00:12:14,024
This is a town
that's self-sufficient.
284
00:12:15,025 --> 00:12:17,025
My favorite part of that
285
00:12:17,025 --> 00:12:18,880
was building the paddock
and the stables and everything
286
00:12:18,904 --> 00:12:21,449
in the parking lot
right in the middle of town.
287
00:12:22,283 --> 00:12:23,468
I was just like,
288
00:12:23,492 --> 00:12:26,138
"There's the bank!
There's a zoo! Lights!"
289
00:12:26,162 --> 00:12:29,039
I was like... (LAUGHS)
I was like... Everything was...
290
00:12:29,331 --> 00:12:30,708
I was like,
"They got everything!"
291
00:12:31,333 --> 00:12:34,479
GABRIEL LUNA: I was really
impressed with our production design.
292
00:12:34,503 --> 00:12:38,817
Everything was just so faithful
to the game,
293
00:12:38,841 --> 00:12:42,178
and so detailed and specific.
294
00:12:43,179 --> 00:12:47,159
But the mall was, I think, one of
the most amazing sets there is.
295
00:12:47,183 --> 00:12:49,143
You know,
we had to get a carousel,
296
00:12:49,393 --> 00:12:51,103
we had to do a Halloween store,
297
00:12:51,353 --> 00:12:52,998
we had to do
a Victoria's Secret store.
298
00:12:53,022 --> 00:12:55,792
Even though this was
an abandoned mall before,
299
00:12:55,816 --> 00:12:59,713
the authenticity
of what the mall looks like,
300
00:12:59,737 --> 00:13:01,737
it's really cool.
301
00:13:01,737 --> 00:13:03,616
RAMSEY: Plants growing
everywhere, there's algae.
302
00:13:04,074 --> 00:13:05,409
It's just a mess.
303
00:13:06,160 --> 00:13:08,412
This location has been perfect
to shoot in
304
00:13:08,662 --> 00:13:10,456
because they were gonna
tear down this mall anyway.
305
00:13:10,831 --> 00:13:13,310
So, that's given
the amazing art department
306
00:13:13,334 --> 00:13:16,229
like free reign
to completely destroy it
307
00:13:16,253 --> 00:13:17,564
and make it their own.
308
00:13:17,588 --> 00:13:19,757
So, as soon as we finish this,
like, this mall is gone.
309
00:13:20,799 --> 00:13:22,009
DIRECTOR: And let's cut.
310
00:13:24,637 --> 00:13:26,281
MATT PALMER: Okotoks,
the challenge was
311
00:13:26,305 --> 00:13:28,742
that we needed
a cul-de-sac neighborhood
312
00:13:28,766 --> 00:13:30,476
to situate
this big action scene.
313
00:13:30,851 --> 00:13:34,039
And it's actually a bit freaky,
in terms of how perfect it fits
314
00:13:34,063 --> 00:13:35,689
within the visuals
within the game.
315
00:13:37,441 --> 00:13:39,377
When we scouted,
it was exactly what we wanted.
316
00:13:39,401 --> 00:13:41,338
We had extreme winds
where literally,
317
00:13:41,362 --> 00:13:42,863
you could almost...
You couldn't stand up.
318
00:13:43,280 --> 00:13:46,134
When Craig was there, I mean, it
was just like, "This is what I wrote."
319
00:13:46,158 --> 00:13:48,386
And that's the best compliment
you can get.
320
00:13:48,410 --> 00:13:51,598
We went to Waterton
because it was known to have
321
00:13:51,622 --> 00:13:53,749
a massive amount of snow.
322
00:13:54,208 --> 00:13:57,145
And what happened was,
there was no snow.
323
00:13:57,169 --> 00:13:59,898
There was drifts
up against some buildings,
324
00:13:59,922 --> 00:14:02,692
but all the roads,
all the grass,
325
00:14:02,716 --> 00:14:05,135
everywhere that you looked,
the snow was gone.
326
00:14:06,053 --> 00:14:08,823
You couldn't bring in snow
from outside the park.
327
00:14:08,847 --> 00:14:11,642
I had to use
whatever was in the town.
328
00:14:12,101 --> 00:14:17,398
So in three days,
we did 350 dump trucks of snow.
329
00:14:17,690 --> 00:14:21,920
Shoveling, brooming,
raking, snow blowers
330
00:14:21,944 --> 00:14:23,946
to cover ten city blocks.
331
00:14:24,321 --> 00:14:26,448
That night, it snowed.
332
00:14:28,951 --> 00:14:32,871
There was a day of shooting,
and we were out in the elements,
333
00:14:33,205 --> 00:14:34,891
and there was snow everywhere,
334
00:14:34,915 --> 00:14:36,810
and we were on the side
of a mountain,
335
00:14:36,834 --> 00:14:38,645
and it was really cold,
336
00:14:38,669 --> 00:14:41,690
and there was a trek
through the snow.
337
00:14:41,714 --> 00:14:45,902
And there were three or four
house-sized wind machines.
338
00:14:45,926 --> 00:14:48,262
I loved it. I love it.
I wanna go back.
339
00:14:49,263 --> 00:14:55,644
♪ (PLAYS "THE LAST OF US"
MAIN THEME) ♪
340
00:14:56,020 --> 00:15:00,357
(SPEAKING SPANISH)
341
00:15:02,484 --> 00:15:03,652
SPEAKER 2: How do you want it?
342
00:15:03,944 --> 00:15:05,237
- For me.
- SPEAKER 2: Sí, for you.
343
00:15:07,489 --> 00:15:10,427
Gustavo Santaolalla,
our composer,
344
00:15:10,451 --> 00:15:13,305
has such a different way
of working.
345
00:15:13,329 --> 00:15:15,098
The way I worked with Gustavo,
346
00:15:15,122 --> 00:15:17,122
starting with the game
347
00:15:17,122 --> 00:15:17,434
and now continuing
with the show,
348
00:15:17,458 --> 00:15:19,126
is pitch him the story.
349
00:15:19,418 --> 00:15:21,813
I think Gustavo as well
is very much about minimalism.
350
00:15:21,837 --> 00:15:24,149
Like what's the least
we need to do
351
00:15:24,173 --> 00:15:26,173
to achieve this moment?
352
00:15:26,173 --> 00:15:28,427
Which is very much mine
and Craig's philosophy as well.
353
00:15:28,677 --> 00:15:32,490
The whole thing in the music
of The Last of Us from what I do
354
00:15:32,514 --> 00:15:36,536
is to preserve
this organic element.
355
00:15:36,560 --> 00:15:39,980
Kind of minimalism
because I have to play less.
356
00:15:40,230 --> 00:15:44,919
The pipes, the cans, all that
has a little bit to do with
357
00:15:44,943 --> 00:15:49,883
the reality of
a post-disaster world
358
00:15:49,907 --> 00:15:52,802
of found objects, broken things.
359
00:15:52,826 --> 00:15:54,054
But it's very organic.
360
00:15:54,078 --> 00:15:57,307
It's almost like
in primitive folk instrument.
361
00:15:57,331 --> 00:15:59,291
Like a modern primitive folk.
362
00:16:02,378 --> 00:16:04,397
The beginning, you know,
was trying to find
363
00:16:04,421 --> 00:16:08,860
how do we translate the language
from the game to the series,
364
00:16:08,884 --> 00:16:13,263
but I think we have found now
something that kind of flows.
365
00:16:15,015 --> 00:16:16,016
DRUCKMANN: He would go off,
366
00:16:16,350 --> 00:16:19,537
and he's come back with
an hour or more of music.
367
00:16:19,561 --> 00:16:21,105
And we'd just
sit here listening.
368
00:16:21,355 --> 00:16:24,250
"And he's just like, "Here's this
moment that you talked about
369
00:16:24,274 --> 00:16:25,669
that has inspired this theme.
370
00:16:25,693 --> 00:16:27,629
And that's very much what
it's like working with Gustavo.
371
00:16:27,653 --> 00:16:29,130
It's like starting with a lot
372
00:16:29,154 --> 00:16:31,091
and then continuing
to trim it down, trim it down,
373
00:16:31,115 --> 00:16:34,118
and find the right elements
and how they fit.
374
00:16:35,786 --> 00:16:36,787
♪ (PLAYS BANJO) ♪
375
00:16:37,287 --> 00:16:38,682
GUSTAVO SANTAOLALLA: There's
stuff that was created for the game
376
00:16:38,706 --> 00:16:40,475
that you can just take it
and put it,
377
00:16:40,499 --> 00:16:42,185
and it works fantastic.
378
00:16:42,209 --> 00:16:45,879
Which, for me, says a lot also
about what they have done
379
00:16:46,171 --> 00:16:48,525
'cause it means
that there is a connection
380
00:16:48,549 --> 00:16:53,011
between the game
and what the series is.
381
00:16:53,345 --> 00:16:59,226
♪ (PLAYS BANJO) ♪
382
00:17:04,314 --> 00:17:07,192
SEAN NOWLAN: Visual effects
is a big part of this show.
383
00:17:08,944 --> 00:17:10,446
Every shot that we shoot
384
00:17:10,696 --> 00:17:13,198
needs to be touched in some way
by visual effects.
385
00:17:14,366 --> 00:17:18,471
There's such an effort
to really push the boundaries
386
00:17:18,495 --> 00:17:22,416
on both what is practical
and what is a visual effect.
387
00:17:22,833 --> 00:17:24,102
Right from the get-go,
388
00:17:24,126 --> 00:17:28,672
the impetus was to try and do
as much practical as possible.
389
00:17:29,381 --> 00:17:32,068
Alex understands
that the dovetail
390
00:17:32,092 --> 00:17:34,386
between practical
and visual effects,
391
00:17:34,803 --> 00:17:38,640
when you make it seamless,
that's the magic.
392
00:17:42,936 --> 00:17:46,082
GOWER: It is very interesting
working with Alex and the VFX team.
393
00:17:46,106 --> 00:17:48,168
The visual effects department
is probably the one department
394
00:17:48,192 --> 00:17:49,586
we work probably
the closest with
395
00:17:49,610 --> 00:17:51,111
on any given show or film.
396
00:17:51,570 --> 00:17:54,507
They benefit a lot more from
having something there on the day,
397
00:17:54,531 --> 00:17:57,177
which they can either manipulate
or augment in post
398
00:17:57,201 --> 00:17:59,161
or they've got something there
that needs a touch.
399
00:18:00,120 --> 00:18:01,264
There's everything on this show,
400
00:18:01,288 --> 00:18:03,499
from airplane crashes,
401
00:18:05,167 --> 00:18:07,002
to big environments,
402
00:18:07,920 --> 00:18:11,465
to war-torn destruction
in a big city,
403
00:18:12,424 --> 00:18:14,360
to smaller tendrils.
404
00:18:14,384 --> 00:18:17,221
So, there's a lot
for visual effects to work on.
405
00:18:17,596 --> 00:18:19,240
Because there's
a lot of environments,
406
00:18:19,264 --> 00:18:21,826
we've actually used
a lot of drone scanning,
407
00:18:21,850 --> 00:18:24,603
so that we're able
to recreate it digitally.
408
00:18:25,270 --> 00:18:28,291
BLAINE LOUGHEED: On this show, we
used a combination of drones and LiDAR.
409
00:18:28,315 --> 00:18:32,462
LiDAR scanning is
light imaging distance ranging.
410
00:18:32,486 --> 00:18:36,633
And it basically gives you a 3D
model of what you're scanning.
411
00:18:36,657 --> 00:18:39,511
We knew that there would be
a lot of environment work,
412
00:18:39,535 --> 00:18:40,577
in line with the game.
413
00:18:41,078 --> 00:18:44,432
There's a lot of overgrowth,
and everything's deteriorated.
414
00:18:44,456 --> 00:18:46,976
And we knew that
we would have to pretty much
415
00:18:47,000 --> 00:18:49,878
help out in every episode
in that respect.
416
00:18:54,925 --> 00:18:58,154
So, there's a couple of different types
of scanning that we're doing on the show.
417
00:18:58,178 --> 00:19:00,365
One of them is cyber scanning.
418
00:19:00,389 --> 00:19:02,951
It's a circle of cameras
and lights
419
00:19:02,975 --> 00:19:04,810
that flash simultaneously.
420
00:19:05,144 --> 00:19:06,955
We scan every character
that's on a show,
421
00:19:06,979 --> 00:19:09,857
in case we need to build
a digital version of them.
422
00:19:10,732 --> 00:19:12,836
(SIRENS WAIL)
423
00:19:12,860 --> 00:19:14,212
For all the gamers,
424
00:19:14,236 --> 00:19:17,632
I know everyone knows the scene
when they're escaping.
425
00:19:17,656 --> 00:19:19,634
And they're in the car,
426
00:19:19,658 --> 00:19:21,469
and you can watch everything,
427
00:19:21,493 --> 00:19:24,180
what's happening
from Sarah's perspective.
428
00:19:24,204 --> 00:19:26,015
WANG: The amazing thing
with that scene
429
00:19:26,039 --> 00:19:28,500
is that it's very true
to the game.
430
00:19:28,876 --> 00:19:32,230
We feel like we're with Sarah
and Joel
431
00:19:32,254 --> 00:19:34,256
in Tommy's truck
the entire time.
432
00:19:34,715 --> 00:19:37,777
And because of our desire
working 360,
433
00:19:37,801 --> 00:19:40,137
it was a big challenge
how should we do that.
434
00:19:40,387 --> 00:19:44,057
So, the car was built
with a stunt pod on top.
435
00:19:44,808 --> 00:19:48,580
So, the stunt drivers were
sitting on the rooftop driving a car
436
00:19:48,604 --> 00:19:50,707
while actors
could do their thing.
437
00:19:50,731 --> 00:19:53,275
Tilt up. (CHUCKLES)
438
00:19:57,988 --> 00:19:59,988
Run!
439
00:19:59,988 --> 00:20:00,258
JEREMY WEBB: The cul-de-sac
sequence was certainly
440
00:20:00,282 --> 00:20:03,052
the toughest sequence
that we had to do.
441
00:20:03,076 --> 00:20:06,222
The combination of VFX,
the choreography,
442
00:20:06,246 --> 00:20:08,165
and the explosions.
443
00:20:08,540 --> 00:20:11,084
Just the kind of craziness
of it all, really.
444
00:20:11,501 --> 00:20:13,187
EBEN BOLTER: And this used to
just be a field.
445
00:20:13,211 --> 00:20:15,398
This was nothing but grass.
446
00:20:15,422 --> 00:20:17,275
Craig wrote
this amazing sequence
447
00:20:17,299 --> 00:20:18,860
where our cast,
448
00:20:18,884 --> 00:20:23,281
they walk their way onto this
seemingly innocent cul-de-sac
449
00:20:23,305 --> 00:20:24,407
and come under attack.
450
00:20:24,431 --> 00:20:25,533
(BULLETS FLYING)
451
00:20:25,557 --> 00:20:29,329
And then behind them,
a whole convoy of rebels
452
00:20:29,353 --> 00:20:30,496
come up behind them.
453
00:20:30,520 --> 00:20:32,957
So at that point,
we actually opened this up
454
00:20:32,981 --> 00:20:34,751
into the main road behind,
455
00:20:34,775 --> 00:20:37,086
and that gave us
all that extra distance
456
00:20:37,110 --> 00:20:39,422
out there in the real world,
on a real road
457
00:20:39,446 --> 00:20:41,257
for the convoy
to get up to speed
458
00:20:41,281 --> 00:20:42,282
and start chasing them.
459
00:20:42,574 --> 00:20:44,344
These trucks come through,
there's a "run" truck
460
00:20:44,368 --> 00:20:46,763
that just plows through
all these vehicles,
461
00:20:46,787 --> 00:20:48,306
knocking them
all over the place.
462
00:20:48,330 --> 00:20:49,724
WHIST: Yeah, it was a big deal
463
00:20:49,748 --> 00:20:52,435
plowing through all these cars,
making it look realistic.
464
00:20:52,459 --> 00:20:54,812
We had to reinforce the plow
465
00:20:54,836 --> 00:20:56,463
because the first night,
it broke.
466
00:20:59,299 --> 00:21:01,927
And then it was the driving
into the house
467
00:21:02,844 --> 00:21:04,989
without destroying the building
468
00:21:05,013 --> 00:21:07,951
because the building
was prepped for fire.
469
00:21:07,975 --> 00:21:10,995
Meaning that post-crash,
we would pull the truck out
470
00:21:11,019 --> 00:21:14,856
and put another truck in there
that would then explode.
471
00:21:15,482 --> 00:21:17,460
Special effects did
an amazing job
472
00:21:17,484 --> 00:21:20,463
piping those houses and vehicles
with propane,
473
00:21:20,487 --> 00:21:23,782
but we'll go in there and
just add the finishing touches.
474
00:21:26,827 --> 00:21:28,429
NOWLAN: In the big,
climactic battle scene,
475
00:21:28,453 --> 00:21:30,974
most of that
was done practically
476
00:21:30,998 --> 00:21:32,332
with real performers.
477
00:21:33,083 --> 00:21:36,312
However, we felt like we needed
to triple that amount.
478
00:21:36,336 --> 00:21:40,173
So, everything in addition
was visual effects.
479
00:21:40,507 --> 00:21:42,694
When we need to make
these creatures in CG,
480
00:21:42,718 --> 00:21:44,612
it's always good to have
a reference
481
00:21:44,636 --> 00:21:47,031
from the actual performers themselves,
482
00:21:47,055 --> 00:21:49,450
so an animator doesn't have to
do it frame-by-frame.
483
00:21:49,474 --> 00:21:54,789
Mocap is a methodology of
capturing movement of characters.
484
00:21:54,813 --> 00:21:56,374
We did a mocap session,
485
00:21:56,398 --> 00:21:59,168
tried to record as many
different movements
486
00:21:59,192 --> 00:22:01,421
from the stuntmen
as we possibly could.
487
00:22:01,445 --> 00:22:03,947
We had multiple cameras set up.
488
00:22:04,281 --> 00:22:07,552
WANG: So much of what we do
in post with animation
489
00:22:07,576 --> 00:22:09,178
depends on the performances.
490
00:22:09,202 --> 00:22:11,556
We shot a library
of their movements,
491
00:22:11,580 --> 00:22:14,082
and we selected the best ones
that we could have.
492
00:22:21,256 --> 00:22:24,527
NOWLAN: Of course, we try to do
as much practically as possible.
493
00:22:24,551 --> 00:22:27,220
The makeup people were awesome.
494
00:22:29,306 --> 00:22:32,559
The design work from Barrie
Gower's team was complete.
495
00:22:33,101 --> 00:22:35,038
We took these designs
and we scanned them,
496
00:22:35,062 --> 00:22:38,273
and this helped create
visual assets for us in post.
497
00:22:41,151 --> 00:22:42,462
GOWER: With the infected,
498
00:22:42,486 --> 00:22:44,946
we started exploring all these
other paint schemes.
499
00:22:45,530 --> 00:22:47,216
SPATERI: Once we knew
what the colors were,
500
00:22:47,240 --> 00:22:49,719
then we would paint a suit
to match.
501
00:22:49,743 --> 00:22:52,013
We would glue all the mushrooms
and everything onto the suits,
502
00:22:52,037 --> 00:22:54,807
and then the suits would
go over to Sage and her team,
503
00:22:54,831 --> 00:22:56,267
and they would cut the costumes
504
00:22:56,291 --> 00:22:58,895
for the mushrooms
to be growing through
505
00:22:58,919 --> 00:23:00,980
and sort of dripping stains
506
00:23:01,004 --> 00:23:02,732
as they kind of came through
the skin
507
00:23:02,756 --> 00:23:04,108
and the flesh broke down.
508
00:23:04,132 --> 00:23:07,570
Each clicker is designed individually.
509
00:23:07,594 --> 00:23:08,946
And the costume
had to be durable enough
510
00:23:08,970 --> 00:23:13,993
to go through all of the crazy
contortionist sort of moves
511
00:23:14,017 --> 00:23:16,269
that the clickers have
in the fight scenes.
512
00:23:17,479 --> 00:23:18,956
STEVE HOLLOWAY: Then they run
through the breakdown department,
513
00:23:18,980 --> 00:23:21,084
so it looks like they've been
rotting and molding
514
00:23:21,108 --> 00:23:22,251
for months or years.
515
00:23:22,275 --> 00:23:24,087
And so, when you see
the whole thing together,
516
00:23:24,111 --> 00:23:25,153
with the prosthetics
517
00:23:25,529 --> 00:23:28,382
and the sort of muddy, drippy
costume that's coming off them,
518
00:23:28,406 --> 00:23:30,158
it just looks so amazing.
519
00:23:30,408 --> 00:23:32,428
CYNTHIA SUMMERS: You never
go into battle with one costume,
520
00:23:32,452 --> 00:23:33,513
but these guys did.
521
00:23:33,537 --> 00:23:35,473
So, you know, makeup, effects,
and costumes
522
00:23:35,497 --> 00:23:37,683
would be sitting on set,
biting their nails,
523
00:23:37,707 --> 00:23:39,519
just hoping that everything
stays together.
524
00:23:39,543 --> 00:23:41,562
GOWER: So, one thing we did
for a lot of our shots
525
00:23:41,586 --> 00:23:43,606
was we actually had
a little area
526
00:23:43,630 --> 00:23:45,733
that we could remove
from the crown
527
00:23:45,757 --> 00:23:47,235
of the clicker's appliance.
528
00:23:47,259 --> 00:23:49,695
We would either have
complete vision for the actors
529
00:23:49,719 --> 00:23:51,531
and you'd see their eyes
looking through,
530
00:23:51,555 --> 00:23:53,366
which would then be
replaced in post,
531
00:23:53,390 --> 00:23:55,701
or we'd be able to do
some more close up stuff
532
00:23:55,725 --> 00:23:56,953
and put that plug back in.
533
00:23:56,977 --> 00:23:58,579
NOWLAN: The amount of work
they had to do
534
00:23:58,603 --> 00:24:00,957
just to get the 200
we had in there,
535
00:24:00,981 --> 00:24:02,357
it was amazing.
536
00:24:06,653 --> 00:24:08,780
(BLOATER GROWLS)
537
00:24:10,031 --> 00:24:11,634
NOWLAN:
There are several creatures
538
00:24:11,658 --> 00:24:13,678
that we had to make the decision
fairly early on
539
00:24:13,702 --> 00:24:16,722
whether they'd be done
practically with prosthetics,
540
00:24:16,746 --> 00:24:18,123
in visual effects entirely,
541
00:24:18,540 --> 00:24:20,584
or if it might be a hybrid
approach of the both.
542
00:24:20,876 --> 00:24:23,020
In the case of
the bloater itself,
543
00:24:23,044 --> 00:24:25,523
because it's
an enormous creature,
544
00:24:25,547 --> 00:24:27,650
it's meant to stand about
seven feet tall,
545
00:24:27,674 --> 00:24:30,027
you can get a man and put him
in a prosthetic suit,
546
00:24:30,051 --> 00:24:32,051
which they did.
547
00:24:32,051 --> 00:24:32,155
At the end of the day,
548
00:24:32,179 --> 00:24:33,573
there's only a certain amount
of mobility
549
00:24:33,597 --> 00:24:34,907
in this prosthetic suit.
550
00:24:34,931 --> 00:24:37,451
As good as it looked,
he just couldn't do the things
551
00:24:37,475 --> 00:24:39,895
that he needed to do
as the bloater.
552
00:24:40,353 --> 00:24:43,166
Very early on, we kind of
planned for doing it
553
00:24:43,190 --> 00:24:44,208
practically on set,
554
00:24:44,232 --> 00:24:46,669
in a prosthetic suit
that Barrie Gower made.
555
00:24:46,693 --> 00:24:49,630
But we reserved the option
and shot a lot of clean plates,
556
00:24:49,654 --> 00:24:52,466
which means we took the bloater,
the physical bloater,
557
00:24:52,490 --> 00:24:55,887
out of the shot so that we had
a clean background to use
558
00:24:55,911 --> 00:24:58,306
in case we wanted to go
the CG route
559
00:24:58,330 --> 00:25:00,266
in some or in all cases.
560
00:25:00,290 --> 00:25:02,685
WANG: Barrie Gower
and his team did a fantastic job
561
00:25:02,709 --> 00:25:05,337
creating the bloater suit
with so much detail.
562
00:25:05,670 --> 00:25:07,982
However, we found that
what we needed
563
00:25:08,006 --> 00:25:10,067
was the bloater to be
a little bit bigger.
564
00:25:10,091 --> 00:25:12,445
And it needed to move
a little faster, as well.
565
00:25:12,469 --> 00:25:15,740
NOWLAN: This CG creature is
doing some very fantastical things.
566
00:25:15,764 --> 00:25:18,075
Things that a normal human
couldn't do.
567
00:25:18,099 --> 00:25:21,746
We ended up just feeling like
it was necessary to create
568
00:25:21,770 --> 00:25:23,247
a full digital version
of the bloater.
569
00:25:23,271 --> 00:25:25,166
(GUNFIRE)
570
00:25:25,190 --> 00:25:29,861
(BLOATER ROARS)
571
00:25:31,404 --> 00:25:33,007
NOWLAN: In the case of
the child clicker,
572
00:25:33,031 --> 00:25:34,675
very much like
the bloater early on,
573
00:25:34,699 --> 00:25:37,720
what we did was we sussed out
574
00:25:37,744 --> 00:25:38,971
a person that could
play the role.
575
00:25:38,995 --> 00:25:40,330
And in this case,
it happened to be
576
00:25:40,580 --> 00:25:44,185
a girl from Toronto called Skye,
who was also a contortionist.
577
00:25:44,209 --> 00:25:47,897
So she could move her body
very, very effectively
578
00:25:47,921 --> 00:25:51,675
and do all sorts of clicker-y,
kind of stutter-y motions.
579
00:25:52,926 --> 00:25:55,947
What we did was we shot Skye
on set, like the bloater.
580
00:25:55,971 --> 00:25:59,575
And then we also decided
to sort of change the design
581
00:25:59,599 --> 00:26:03,329
just ever so slightly, in terms
of the prosthetic makeup.
582
00:26:03,353 --> 00:26:06,207
We wanted to feel frightened
by her character,
583
00:26:06,231 --> 00:26:08,900
but also have a sense
of sympathy for her.
584
00:26:09,484 --> 00:26:12,112
We had more of her face exposed,
585
00:26:12,362 --> 00:26:15,424
we could see her long hair,
her pigtails.
586
00:26:15,448 --> 00:26:18,451
These were all the aspects that
were important to Craig and Neil.
587
00:26:19,744 --> 00:26:24,267
NOWLAN: What started out as just
replacing Skye's head as a CG element,
588
00:26:24,291 --> 00:26:27,687
we realized we might as well
go a full CG body on it.
589
00:26:27,711 --> 00:26:29,897
And then we can get
this child clicker to do
590
00:26:29,921 --> 00:26:31,816
exactly what we want it to do.
591
00:26:31,840 --> 00:26:35,486
So, now she's able to do that
in a much more fantastical way
592
00:26:35,510 --> 00:26:37,345
because we went CG with it.
593
00:26:39,973 --> 00:26:43,160
LOUGHEED: The fight
at the Silver Lake Steakhouse,
594
00:26:43,184 --> 00:26:45,162
special effects did
an excellent job
595
00:26:45,186 --> 00:26:48,374
of essentially piping
the entire set.
596
00:26:48,398 --> 00:26:50,334
Of course, we can see
some of this piping,
597
00:26:50,358 --> 00:26:52,628
which, this is where
visual effects will come in
598
00:26:52,652 --> 00:26:57,574
and remove the piping
and also blend in more flames.
599
00:26:58,074 --> 00:27:01,220
WHIST: At one point, we were not
going to do any practical fire
600
00:27:01,244 --> 00:27:04,205
because the discussion was
that it was too much money,
601
00:27:04,581 --> 00:27:06,267
and we couldn't do it
in the time we had.
602
00:27:06,291 --> 00:27:08,894
That's where I come in to say,
"No, we can do it."
603
00:27:08,918 --> 00:27:10,521
Basically, I said,
"You can have...
604
00:27:10,545 --> 00:27:14,174
Of this size set, you can have
a quarter of it on fire."
605
00:27:14,924 --> 00:27:17,635
NOWLAN: Joel Whist,
our special effects supervisor,
606
00:27:18,053 --> 00:27:19,280
is amazing,
607
00:27:19,304 --> 00:27:21,615
and he designed that entire set
608
00:27:21,639 --> 00:27:25,036
to be fireproof in the areas
that we needed it to be.
609
00:27:25,060 --> 00:27:27,645
And that helped immeasurably
for us.
610
00:27:29,439 --> 00:27:34,361
♪ ("THE LAST OF US (YOU AND ME)"
BY GUSTAVO SANTAOLALLA PLAYS) ♪
611
00:27:35,111 --> 00:27:37,214
PALMER: Shooting with
Nabo the giraffe
612
00:27:37,238 --> 00:27:40,450
will certainly be
one of my favorite experiences.
613
00:27:40,825 --> 00:27:44,472
What I quickly learned after
doing the research on the game
614
00:27:44,496 --> 00:27:47,224
was just how
critically important
615
00:27:47,248 --> 00:27:50,960
this one moment is
to the whole story of the game.
616
00:27:51,669 --> 00:27:53,463
Giraffes are pretty massive.
617
00:27:54,756 --> 00:27:58,051
It's like a spiritual experience almost,
618
00:27:58,301 --> 00:28:02,013
being so close
to such a magnificent animal.
619
00:28:02,514 --> 00:28:04,950
Yes, you can create a giraffe
in visual effects,
620
00:28:04,974 --> 00:28:06,434
but it's just not the same.
621
00:28:07,769 --> 00:28:11,374
Fortunately, the one thing Alberta
does have is a zoo with giraffes.
622
00:28:11,398 --> 00:28:15,920
And we spent quite a while
putting things in the enclosure,
623
00:28:15,944 --> 00:28:19,048
so that we could shoot it
and getting the giraffes acclimated.
624
00:28:19,072 --> 00:28:21,574
Like panels with blue screen,
625
00:28:21,825 --> 00:28:25,054
so that we could go in there
and just shoot the giraffe
626
00:28:25,078 --> 00:28:26,830
and have Ellie feed the giraffe.
627
00:28:27,205 --> 00:28:30,959
PALMER: And then, visual effects
in all the other pieces around it.
628
00:28:32,877 --> 00:28:34,877
Something that was
so fascinating
629
00:28:34,877 --> 00:28:35,356
about this experience was that
630
00:28:35,380 --> 00:28:37,608
the visual effects
and the special effects
631
00:28:37,632 --> 00:28:39,276
and all of the departments
working together,
632
00:28:39,300 --> 00:28:41,278
building all of these
practical elements.
633
00:28:41,302 --> 00:28:45,723
To be able to actually see it
in front of you was everything
634
00:28:46,015 --> 00:28:48,119
in terms of the playing
of these characters
635
00:28:48,143 --> 00:28:51,229
and the being in
this fungus apocalypse
636
00:28:51,646 --> 00:28:52,772
20 years in.
637
00:28:57,527 --> 00:29:00,864
♪ ("THE PATH (A NEW BEGINNING)"
BY GUSTAVO SANTAOLALLA PLAYS) ♪
638
00:29:01,948 --> 00:29:04,510
DRUCKMANN: I don't know how
to describe this feeling of pride.
639
00:29:04,534 --> 00:29:06,595
And I can't wait for everybody
at Naughty Dog
640
00:29:06,619 --> 00:29:08,139
that worked so hard on the game
641
00:29:08,163 --> 00:29:11,267
and realize that the first time
to see this version
642
00:29:11,291 --> 00:29:12,792
does all their work justice.
643
00:29:13,084 --> 00:29:15,670
There's something really
beautiful and moving about that.
644
00:29:16,838 --> 00:29:18,899
When people talk to me
about the game,
645
00:29:18,923 --> 00:29:19,984
we are the same.
646
00:29:20,008 --> 00:29:21,902
We understand each other.
647
00:29:21,926 --> 00:29:23,845
We have a shared language.
648
00:29:24,554 --> 00:29:26,554
Arts are so important
649
00:29:26,554 --> 00:29:27,640
because it holds a mirror
to our social condition,
650
00:29:28,016 --> 00:29:30,619
and it helps us
have better understanding
651
00:29:30,643 --> 00:29:33,664
for someone who doesn't look
or act like us,
652
00:29:33,688 --> 00:29:35,416
who might come from
a different culture,
653
00:29:35,440 --> 00:29:38,919
and I think that we'll be able
to jump over some of these
654
00:29:38,943 --> 00:29:40,880
skyscraper-high hurdles
655
00:29:40,904 --> 00:29:43,573
that we have in the things
that divide us.
656
00:29:43,990 --> 00:29:46,802
And that will never end.
657
00:29:46,826 --> 00:29:50,872
That right there is the crux
of The Last of Us.
658
00:29:51,998 --> 00:29:54,894
PASCAL: One of the most
exciting experiences of my life
659
00:29:54,918 --> 00:29:57,104
was getting this job.
660
00:29:57,128 --> 00:30:01,525
To come back to HBO,
which basically raised me,
661
00:30:01,549 --> 00:30:06,197
to meet Craig, to meet Bella,
all of our different actors,
662
00:30:06,221 --> 00:30:09,450
there was something of where
I knew this was going to be
663
00:30:09,474 --> 00:30:14,538
the hardest and the best
experience of my life.
664
00:30:14,562 --> 00:30:16,123
And weirdly, there was something
665
00:30:16,147 --> 00:30:19,793
that I knew was special
and terrifying.
666
00:30:19,817 --> 00:30:22,111
And it all came true. (LAUGHS)
667
00:30:23,905 --> 00:30:28,344
On the first day,
I set a fairly reasonable goal
668
00:30:28,368 --> 00:30:30,804
to make the best
television show ever.
669
00:30:30,828 --> 00:30:32,413
That was our reasonable goal.
670
00:30:33,164 --> 00:30:37,502
I just want to say thank you.
I love you guys. Thank you.
671
00:30:37,835 --> 00:30:40,296
(CHEERING, CLAPPING)
672
00:30:40,547 --> 00:30:45,134
♪ ("THE LAST OF US" MAIN THEME
CONTINUES) ♪
673
00:31:05,572 --> 00:31:07,490
And that's the end
of this story.
54251
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