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WES BALL: And here we are,
the final journey.
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T.S. NOWLIN: Indeed.
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Hello, everybody. This is Wes Ball.
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Sitting next to me
is T.S. Nowlin, writer.
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NOWLIN: Hello.
JOE HARTWICK JR.: Hmm. T.S.
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BALL: And producer, Joe Hartwick Jr.
HARTWICK JR.: Hmm.
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BALL: I think I've never said
"Junior" before.
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NOWLIN: Yeah, it's weird.
BALL: It's true.
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BALL: I just have
your email in my head.
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(HARTWICK JR. CHUCKLES)
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NOWLIN: So, here we are,
doing the last movie...
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Commentary for the last movie.
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BALL: The opening.
You should talk about that.
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NOWLIN: We had a different opening,
I think, at first, right?
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-It was the...
-BALL: There's different versions
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but it always centered around a train.
(LAUGHING) Remember?
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NOWLIN: No, no, yeah,
but I mean like the very beginning,
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there was the idea of opening
on a microscopic view of the virus,
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it was a title card sort of thing.
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BALL: Yeah, sure.
No, actually originally,
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I wanted to open up
on a solar flare, remember?
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-That was...
-NOWLIN: Well, that was before we had...
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BALL: That was the original version.
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That I wanted to open up
on the title on a solar flare.
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I had this really cool design
and set it up and it just didn't work,
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and then I started doing
this virus thing.
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It was about the virus,
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and at one of our test screenings,
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someone complained
about how silly it looked.
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And so I lost my nerve and we cut it out
and just went straight into this,
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which is cool, opening up on the ruins.
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But this basic opening
was, I think, always kind of the idea.
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NOWLIN: It was always the idea.
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BALL: We were gonna just be thrown into
this sort of rescue attempt.
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NOWLIN: Yeah, I think, as soon as we
knew the ending of the second movie,
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that it was gonna end with
Minho getting taken
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and the group deciding
that they were gonna stop running
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and fight back against WICKED.
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It was always the idea
that we would be...
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With the time jump opening up
with a mission already in progress.
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BALL: Yeah, I had two things in my mind.
It was Return of the Jedi
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-and Last Crusade. (LAUGHS)
-NOWLIN: Mmm-hmm. Right.
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BALL: Last Crusade,
obviously the train thing,
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but Return of the Jedi was that whole...
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That first little chunk of the movie
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really isn't connected
to the rest of the story.
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It's just it's own thing.
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And it is about rescuing.
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In that case Han Solo
and here it was ours about Minho.
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And I thought it was cool
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'cause that
right in the very first three minutes
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you knew what this movie was about,
which was about rescuing Minho.
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Of course, it evolves
into being much more than that,
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but it was just
a good, simple, I think, device.
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And I think fans were always
ticked off with us on the last movie
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for stealing Minho,
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but I think we felt like we needed it,
even in the second one,
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to give this movie stakes.
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NOWLIN: Right. Well, there was a point
before the second movie came out
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where we had
a couple of drafts of the script
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where we actually did rescue Minho
earlier in the story
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and he rejoined the group.
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And it was like an early instinct
I think you had
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that they can't get Minho.
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They can succeed in the mission
and get a bunch of kids
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and there are gonna be familiar faces
like Aris and Sonya,
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but if they don't have Minho,
if he's in the city,
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that's the emotional hook.
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That's what's driving them together.
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BALL: It's a very powerful carrot
to dangle in front of our characters.
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NOWLIN: Right.
BALL: Yeah.
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BALL: Nothing will stop them
until that happens.
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And after that happens
you feel like everything's over
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and I think we do a good job of,
as soon as they get him, it's not over.
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There's something else that comes next.
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NOWLIN: Right. And there was
a question, too, of like,
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"Well, what are we gonna do with Minho
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"if he's gonna be in captivity
for a lot of the movie?"
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And we started talking
about Teresa's storyline
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and the idea
that she's not just experimenting
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on nameless, faceless kids
that we've never met,
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but someone that we know and love
and someone that arguably she knows.
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And how does she justify that to herself
and how does she justify that to him?
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And it just started creating
all these little opportunities
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that felt like
a lot of fun to play with.
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HARTWICK JR.: Mmm-hmm.
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BALL: So, the movie was all shot
in South Africa.
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HARTWICK JR.: Mmm-hmm.
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BALL: This is in the Kalahari Desert.
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Looks very much like an old Western.
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I don't know,
there's something cool about it.
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I think early on, I don't know why
a train always popped in my head.
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It's just
some kind of a cool vehicular...
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Like an old Western,
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except with horses, they have
old beat-up trucks and vehicles,
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as they attempt
to basically steal a train car.
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And this also came about partly from
in The Death Cure when they're escaping.
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I think one of the differences is
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they wind up back with WICKED
in the second book,
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at the end of the second book.
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And in the third book
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they have this escape
from WICKED headquarters or something.
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And they steal a Berg,
Jorge steals a Berg
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and we still incorporated that
into this sequence. But...
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NOWLIN: We also felt
like we did that sequence
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at the beginning of Scorch Trials.
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That was how we launched
into that journey.
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BALL: Something else worth mentioning
here, and just on a technical level,
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this stuff is... Almost every one
of these moving vehicle shots is CG.
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That's all CG.
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Every one of these shots with the train,
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except for some of the second-unit stuff
is a CG environment,
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which WETA did a good job on.
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NOWLIN: Looks good.
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(GRUNTING)
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Shit!
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Let's go!
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Hey! Berg!
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PILOT: Zero-one-niner, be advised.
You've taken on boarders at the rear.
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We're engaging the truck now.
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BALL: There's only one shot,
or two shots in here I think
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that we actually used from Vancouver
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when we first started
and the rest of it's all re-shot.
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Like all that, all those explosions,
those are all CG.
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That wasn't really there.
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WETA did a good job with that, too,
I thought.
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HARTWICK JR.: Yeah,
they did do a really good job.
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NOWLIN: But remember, you did...
Some of those were practical, right?
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BALL: That's real.
Yeah, only that one's real,
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but you can tell
it doesn't look quite the same.
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NOWLIN: It doesn't
look as good as the CG?
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BALL: Not as big. (LAUGHS)
NOWLIN: Yeah. Bigger.
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BALL: But it was a good sequence.
It's long.
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It's a super long cold open basically.
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It's a 10-minute-long open of...
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Thrown in the middle of a rescue attempt
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and you get to meet
all the characters again,
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and it was kinda fun
to come up with this thing.
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NOWLIN: I think it's all little...
It's all fun I think.
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I think what's interesting, too,
is comparing it
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to the way the first two movies opened,
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because the first two movies
are really about
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putting the audience
in Thomas' point of view,
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putting them in his shoes.
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He's completely disoriented, thrown into
a world he doesn't understand
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and here you see that they've...
They know their place in the world.
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They've evolved
into this kind of tactical position.
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BALL: Yeah, exactly. I think
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it's really setting up
the rest of the movie, I thought,
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was like all these characters
are capable but limited.
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You know what I mean?
They work together as a team,
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they can do pretty accomplished things
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and you saw some of these things
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being set up in the earlier movies
is their capabilities,
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but now they're working
as a unit together.
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I thought it was cool.
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Get down! Get down!
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Vince?
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We're set! Cover your ass!
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GUARD: Go, go, go!
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VINCE: Take cover!
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BALL: And they steal a train.
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So like all these shots,
they're all on a green screen,
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you know, parking lot basically.
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We shot it in daylight cause
that was very important VFX wise.
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A lot of the big problems...
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Like Dylan there is on green screen
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and the other train was shot
for real actually in the background.
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That's a real train obviously.
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And we actually really did separate
the trains while it was moving.
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That was our train we had
for what, like a week?
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NOWLIN: A week, yeah.
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BALL: It was our train
and our tracks to use for
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however long we wanted.
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And it was cool.
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We had our own train to run around on.
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NOWLIN: And that was the difference
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between Vancouver
and South Africa, right?
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Like, you didn't have tracks
in Vancouver.
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BALL: Yeah, we didn't have tracks.
HARTWICK JR.: Yeah.
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BALL: We had to build 200 freight tracks
and tried to make them work.
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HARTWICK JR.: Yeah,
this wound up being better.
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BALL: This stuff, we did shoot all this.
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This whole sequence here,
we actually did shoot this in Vancouver,
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but we couldn't use it
because it was so different,
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so we had to reshoot it all.
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So all this is still...
All this is new stuff,
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but it's all pretty close.
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If I were to compare frames
from Vancouver to this stuff,
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it's pretty close.
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It's maybe a little bit more
efficient I guess
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-in terms of what we got.
-HARTWICK JR.: Hmm.
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But still... I could have spent another
two days on this stuff out here,
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but we ended up cutting up
a lot of stuff in this,
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in this sequence.
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But I think at one point
it was 18 minutes long
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and now it's 11 minutes
or something like that.
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So this stuff, like here,
more technical stuff I guess,
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but there it is being towed on a truck.
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And the guys aren't really driving,
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but that is real backgrounds and stuff.
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And all of this stuff here
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is all one little ranch basically
in the desert,
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we found all these different locations
for this opening sequence.
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So it was right on the corner,
so right around that little ridge
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was where we'd do
some of the train tracks stuff
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and bouncing around for five days
shooting all this stuff basically.
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Stop right there. Don't move.
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I said freeze, asshole!
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Whatever you say, hermano.
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NOWLIN: I just
like watching Giancarlo here.
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BALL: Yeah, Giancarlo's fun.
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Yeah, it was fun to come back
and do all this stuff,
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and the locations were cool.
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Probably cooler than
what we had in Vancouver actually.
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Just the look and feel of it
is very desert, you know?
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-Old West.
-NOWLIN: It's kinda good that
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you're opening with the environment
of the second movie
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before we start venturing out into
a completely new terrain.
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BALL: It's pretty much
like we did in the second one, too.
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I think end of the first one
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we opened up into the Scorch,
and you kinda tease that world.
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And then we start right back
where we left off in the second one
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and kind of pull back further
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on that world of the Scorch
and the desert and all that stuff.
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And then we kinda finish it here
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and then start setting off
towards the city,
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which is like a big player in the books.
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NOWLIN: I think that was one of the
first things we talked about in the book
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is the idea that a lot of the action
was centered around a city
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and that's something that
we haven't seen in the movies.
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BALL: Yeah, a new stage.
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NOWLIN: And you had an instinct early on
that it had to be a discovery.
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It couldn't be something
that we just cut to
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-as if it was no big deal.
-BALL: Yeah.
236
00:09:33,197 --> 00:09:35,282
NOWLIN: It was
so different from the ruins
237
00:09:35,365 --> 00:09:36,700
that we had seen in the Scorch.
238
00:09:36,784 --> 00:09:39,286
It's a reveal to the audience
and it should be the characters as well,
239
00:09:39,369 --> 00:09:41,121
but there is a place like this
240
00:09:41,205 --> 00:09:42,956
that is protected
and that exists in the world.
241
00:09:43,040 --> 00:09:46,668
BALL: Yeah, hopefully it just kind of
expands on the universe of these movies
242
00:09:46,752 --> 00:09:49,505
where you've got these giant mazes
with robot spiders and...
243
00:09:49,588 --> 00:09:50,589
NOWLIN: Right.
244
00:09:50,672 --> 00:09:51,757
BALL: You know, destroyed civilization
245
00:09:51,840 --> 00:09:55,094
and you got one last city
that's kind of...
246
00:09:55,302 --> 00:09:59,223
I think that the big design thing there
was trying to make sure that that city
247
00:09:59,306 --> 00:10:01,225
still felt like
it belonged in our world,
248
00:10:01,308 --> 00:10:02,601
so that's why we kind of designed it
249
00:10:02,684 --> 00:10:04,311
very much like the maze
in the first movie.
250
00:10:04,394 --> 00:10:05,687
NOWLIN: Mmm-hmm.
251
00:10:05,771 --> 00:10:07,481
Yeah, it needs to feel
a little bit like a homecoming.
252
00:10:07,564 --> 00:10:09,483
It needs to feel like
you're going back to
253
00:10:10,025 --> 00:10:11,777
where it started,
to the same sort of environment.
254
00:10:11,860 --> 00:10:13,570
But at the same time
I think it's fun that...
255
00:10:13,654 --> 00:10:16,532
It's a hard thing with a story
that's so interconnected and serialized,
256
00:10:16,615 --> 00:10:19,326
that builds off each other
from 1 into 2, and 2 into 3,
257
00:10:19,409 --> 00:10:23,163
that the movies are also distinct
and that they have their own identity
258
00:10:23,580 --> 00:10:24,581
and their own palette.
259
00:10:24,665 --> 00:10:25,874
-Like we always talked about looking...
-BALL: I always liked that...
260
00:10:25,958 --> 00:10:27,251
NOWLIN: The box...
BALL: Yeah, the posters, you know?
261
00:10:27,334 --> 00:10:28,794
NOWLIN: Like the boxed set, yeah.
BALL: Each one's so different.
262
00:10:28,877 --> 00:10:30,963
NOWLIN: Like the green and the concrete
of Maze Runner
263
00:10:31,046 --> 00:10:32,589
and the orange and the desert of Scorch,
264
00:10:32,673 --> 00:10:36,135
and then the kind of Blade Runner
sort of world of Death Cure.
265
00:10:36,218 --> 00:10:38,011
BALL: Yeah, it's cool.
266
00:10:38,095 --> 00:10:39,680
And I don't know,
267
00:10:39,972 --> 00:10:44,351
I'm really happy we got to do that
268
00:10:44,434 --> 00:10:46,311
because I just don't know if
I could just keep doing the same thing
269
00:10:46,395 --> 00:10:47,688
over and over again for each movie.
270
00:10:48,355 --> 00:10:51,066
It's fun that we got to explore
different things in all these movies.
271
00:10:51,150 --> 00:10:53,068
NOWLIN: Well, it's funny, people say
"Oh, I like the maze in the first one.
272
00:10:53,152 --> 00:10:54,153
"Bring the maze back."
273
00:10:54,236 --> 00:10:55,571
I'm like, "All right, well,
what do you want us to do in here?"
274
00:10:55,654 --> 00:10:56,655
BALL: Yeah, what do you do differently?
275
00:10:56,738 --> 00:10:58,532
-Well then, you get silence because...
-BALL: Yeah.
276
00:10:58,615 --> 00:10:59,616
NOWLIN: There's nothing else to do.
277
00:10:59,700 --> 00:11:01,243
And it wasn't just about the maze.
278
00:11:01,326 --> 00:11:03,203
It was about the mystery of
who gets to go back to what's outside.
279
00:11:03,287 --> 00:11:04,913
BALL: You don't go back to the maze
in the books either really, except...
280
00:11:04,997 --> 00:11:06,373
-They kinda do at the end, but...
-BALL: Yeah.
281
00:11:06,999 --> 00:11:08,167
BALL: But it's...
282
00:11:10,169 --> 00:11:13,046
The maze only is effective
as long as there's mystery around it.
283
00:11:13,130 --> 00:11:16,175
And as soon as
you pull that out, it's...
284
00:11:16,508 --> 00:11:17,801
-NOWLIN: You can't rebottle the ketchup.
-Exactly.
285
00:11:17,885 --> 00:11:20,095
BALL: It's not very interesting anymore.
286
00:11:20,846 --> 00:11:22,264
Like it's another thing here, too.
287
00:11:22,347 --> 00:11:23,390
That's a giant drone shot.
288
00:11:23,473 --> 00:11:26,810
I do a ton of drone footage
or drone shots in this movie this time.
289
00:11:27,102 --> 00:11:28,103
It's the first time
we actually used that.
290
00:11:28,187 --> 00:11:30,314
HARTWICK JR.: Yeah, that's true.
BALL: It's a really cool tool,
291
00:11:30,397 --> 00:11:32,941
where it's not really a helicopter shot,
not really a crane shot.
292
00:11:33,025 --> 00:11:34,026
It's kind of in between.
293
00:11:34,109 --> 00:11:35,360
And that wasn't always the case, too,
294
00:11:35,444 --> 00:11:37,946
putting the title
in the middle after that.
295
00:11:38,030 --> 00:11:40,240
Originally we had it in the beginning,
296
00:11:40,324 --> 00:11:43,327
but it just felt like it
separated that opening
297
00:11:43,410 --> 00:11:46,288
from the rest of the movie
in a cool way.
298
00:11:46,371 --> 00:11:49,249
And also it followed
what we've done in the previous movies
299
00:11:49,333 --> 00:11:54,046
where we have this little
throw-the-audience-in cold open,
300
00:11:55,380 --> 00:11:58,926
and then, the movie begins
after that opening.
301
00:11:59,009 --> 00:12:00,677
Same thing with
Thomas coming up in the box
302
00:12:00,761 --> 00:12:04,556
and then Thomas and the group
being brought into that
303
00:12:04,640 --> 00:12:07,476
in the second movie,
into the bunker, you know?
304
00:12:07,976 --> 00:12:09,645
So it kinda fit with us I guess.
305
00:12:09,728 --> 00:12:14,316
Just in this case it's a 10-minute
little cold open that we have to watch.
306
00:12:14,775 --> 00:12:15,776
Hopefully you enjoy it.
307
00:12:15,859 --> 00:12:16,985
NOWLIN: People might not realize
it's 10 minutes watching it.
308
00:12:17,069 --> 00:12:20,822
BALL: It's a very fast scene.
HARTWICK JR.: Yeah, for sure it's fast.
309
00:12:20,906 --> 00:12:23,659
BALL: And I remember John's score,
310
00:12:23,742 --> 00:12:26,453
that was a really tough one to get
'cause it's a solid score.
311
00:12:26,536 --> 00:12:28,205
It's a real battle between
sound and music there.
312
00:12:28,288 --> 00:12:29,331
I think they did a good job.
313
00:12:29,414 --> 00:12:31,166
HARTWICK JR.: That was a cool location.
314
00:12:31,250 --> 00:12:34,169
BALL: Yeah, another cool little spot
in South Africa.
315
00:12:34,253 --> 00:12:35,963
-Saint Helen's Bay?
-HARTWICK JR.: Look at the... Yeah...
316
00:12:36,046 --> 00:12:37,047
BALL: Was it Helena's Bay?
317
00:12:37,130 --> 00:12:39,174
HARTWICK JR.: Yeah,
it was like an old lobster thing?
318
00:12:39,258 --> 00:12:40,425
BALL: Yeah.
HARTWICK JR.: An old fish...
319
00:12:40,884 --> 00:12:43,387
BALL: It was basically
in the middle of nowhere.
320
00:12:43,470 --> 00:12:46,640
And it was just this building
that was just falling into the sea
321
00:12:46,723 --> 00:12:49,351
and we obviously put all the boats in
322
00:12:49,434 --> 00:12:51,687
but like that boat
behind Barry was not really there.
323
00:12:51,937 --> 00:12:55,023
Surprisingly being in Cape Town
on the ocean,
324
00:12:55,107 --> 00:12:58,694
there was no boats for us to use,
at least that we liked.
325
00:12:58,777 --> 00:13:00,988
And so we had to just do it all CG.
326
00:13:01,071 --> 00:13:02,072
Thought it worked out really well.
327
00:13:02,155 --> 00:13:04,157
I think it's for the most part
pretty seamless.
328
00:13:04,241 --> 00:13:06,827
Like you'd ever know that
that boat behind him is full CG.
329
00:13:06,910 --> 00:13:09,037
He's actually just standing on
blue sky there.
330
00:13:09,496 --> 00:13:10,789
Well, I don't.
331
00:13:12,124 --> 00:13:13,375
So in two days...
332
00:13:14,001 --> 00:13:16,503
when we get
this tub of rust seaworthy...
333
00:13:16,670 --> 00:13:18,171
we're getting the hell outta here.
334
00:13:18,338 --> 00:13:20,841
We're gonna go to a place
where WICKED will never find you.
335
00:13:20,924 --> 00:13:22,926
BALL: And this is also kinda
bringing back the second movie, too.
336
00:13:23,010 --> 00:13:27,931
You know, the idea of the safe haven
and that there is a place for them to go
337
00:13:28,015 --> 00:13:31,143
and they have this chance to
basically be done with it all.
338
00:13:31,226 --> 00:13:33,270
You could literally end the movie
right there if you want to.
339
00:13:33,353 --> 00:13:34,938
If they all just got on that boat
and left.
340
00:13:35,022 --> 00:13:36,523
They'd never have to
deal with this ever again,
341
00:13:36,606 --> 00:13:39,276
but of course Thomas' character
and his friends,
342
00:13:40,319 --> 00:13:41,820
-they aren't done yet, you know?
-NOWLIN: Right.
343
00:13:41,903 --> 00:13:43,113
NOWLIN: There was a little work
that kinda had to be done
344
00:13:43,196 --> 00:13:46,908
because they had joined up essentially
with an army at end of the second movie.
345
00:13:46,992 --> 00:13:48,243
But what you really want is to get to
346
00:13:48,327 --> 00:13:50,203
your core group of characters
on a mission,
347
00:13:50,287 --> 00:13:52,873
so the idea they've succeeded,
the mission is over,
348
00:13:52,956 --> 00:13:55,751
but not for Thomas
because he doesn't have Minho yet.
349
00:13:55,834 --> 00:13:56,835
BALL: Yeah, and it centers it,
350
00:13:56,918 --> 00:13:58,837
which I think this movie's
much more centered around character
351
00:13:58,920 --> 00:14:02,507
and the emotional track of this movie
352
00:14:02,591 --> 00:14:05,427
is stronger I think than
the last one for sure.
353
00:14:05,510 --> 00:14:07,429
NOWLIN: Well, it's not as driven by
the question of
354
00:14:07,512 --> 00:14:09,306
-what is this world?
-BALL: Plot.
355
00:14:09,389 --> 00:14:10,515
NOWLIN: And why are they important?
356
00:14:10,599 --> 00:14:11,975
What Vince does in that previous scene
357
00:14:12,059 --> 00:14:13,643
is pretty much a scene that we
358
00:14:13,727 --> 00:14:15,520
never really let ourselves have
in the other movies,
359
00:14:15,604 --> 00:14:17,856
which is laying out very clearly
360
00:14:17,939 --> 00:14:20,525
the essential conflict
of the two different sides and...
361
00:14:20,609 --> 00:14:23,403
BALL: And how like Thomas in particular
is kinda caught in the middle.
362
00:14:23,487 --> 00:14:24,821
NOWLIN: Yeah.
363
00:14:24,905 --> 00:14:26,531
BALL: I always liked
how this stuff looked here.
364
00:14:26,615 --> 00:14:28,283
It's really good-looking stuff.
365
00:14:28,367 --> 00:14:30,452
Again, it's not a set,
we like locations,
366
00:14:30,535 --> 00:14:33,205
so this is just one of those buildings
in that location
367
00:14:33,288 --> 00:14:35,665
that we were shooting in and it just
has a great feel.
368
00:14:35,749 --> 00:14:37,042
We did knock out some walls.
369
00:14:38,043 --> 00:14:40,253
All that brick stuff back there,
but that texture was really there.
370
00:14:40,337 --> 00:14:42,089
It was really a great place to be.
371
00:14:45,092 --> 00:14:46,301
All I know is...
372
00:14:47,135 --> 00:14:48,762
they kept talking about a city.
373
00:14:52,432 --> 00:14:54,142
BALL: And we had
Nathalie and Kat come back.
374
00:14:54,226 --> 00:14:55,227
HARTWICK JR.: Yeah.
375
00:14:55,310 --> 00:14:57,854
Well, it was a shame
we weren't able to get more of them in,
376
00:14:57,938 --> 00:14:58,980
-but it's just...
-BALL: Yeah, there's two things.
377
00:14:59,064 --> 00:15:00,816
BALL: Remember
when we were in Vancouver,
378
00:15:00,899 --> 00:15:02,109
someone wasn't available.
379
00:15:02,192 --> 00:15:03,402
-It was like two days.
-NOWLIN: It was Nathalie, yeah.
380
00:15:03,485 --> 00:15:04,486
BALL: We had two days with her,
381
00:15:04,569 --> 00:15:05,570
so we had to kinda figure out
that in the script.
382
00:15:05,654 --> 00:15:08,198
And then when we got back,
Kat was on another shoot.
383
00:15:08,281 --> 00:15:09,491
-She was doing her TV show.
-HARTWICK JR.: Yeah.
384
00:15:09,574 --> 00:15:10,617
BALL: So we had to really...
385
00:15:10,700 --> 00:15:12,285
I think we had
a couple of days with them,
386
00:15:12,369 --> 00:15:15,038
so we had to just make
what we had with them work.
387
00:15:15,122 --> 00:15:16,289
HARTWICK JR.: Yeah.
388
00:15:16,373 --> 00:15:18,959
BALL: But I think they did a good job
and they went back.
389
00:15:19,042 --> 00:15:20,585
NOWLIN: They at least have
a clear role in the story,
390
00:15:20,669 --> 00:15:21,670
but, I mean, I think when you get...
391
00:15:21,753 --> 00:15:22,921
BALL: That was the main thing I think.
NOWLIN: Yeah.
392
00:15:23,004 --> 00:15:24,297
BALL: We didn't wanna find ourselves,
393
00:15:24,381 --> 00:15:26,341
you know, I felt that a little bit
in the second movie
394
00:15:26,425 --> 00:15:28,718
where we have so many characters
standing around that
395
00:15:28,802 --> 00:15:30,679
it's all they're doing
is standing around.
396
00:15:30,762 --> 00:15:36,685
And it's hard to give everyone
some kind of dramatic, you know...
397
00:15:38,687 --> 00:15:39,855
-Agency in the story.
-NOWLIN: Right.
398
00:15:39,938 --> 00:15:43,066
BALL: But this, we just wanted
to keep this very simple and focus on
399
00:15:43,150 --> 00:15:46,069
rescuing Minho, and Thomas,
and the gang, you know?
400
00:15:46,236 --> 00:15:47,446
So it works out, but...
401
00:15:47,529 --> 00:15:48,530
NOWLIN: It's also
a different type of movie,
402
00:15:48,613 --> 00:15:49,614
like in The Scorch Trials
403
00:15:49,698 --> 00:15:51,241
it was a fugitive story,
they were on the run.
404
00:15:51,324 --> 00:15:52,409
And so we've talked about this,
405
00:15:52,492 --> 00:15:54,119
the idea that is a shape for a story
406
00:15:54,202 --> 00:15:56,455
where it's hard to explore the dynamics
407
00:15:56,538 --> 00:15:58,582
of an ensemble of
seven or eight main characters
408
00:15:58,665 --> 00:16:00,876
'cause the situations
just aren't varied enough.
409
00:16:00,959 --> 00:16:02,335
But in a mission movie,
410
00:16:02,419 --> 00:16:04,171
it's easy enough to
split them off and say that
411
00:16:04,254 --> 00:16:06,965
everybody kinda has
their role in the mission.
412
00:16:07,048 --> 00:16:09,009
With Nathalie and Kat,
413
00:16:09,092 --> 00:16:12,095
and Jacob, who was I think a really
good addition in the second movie,
414
00:16:12,179 --> 00:16:15,891
I think as soon as we decided that
Minho was not going to be on the train,
415
00:16:15,974 --> 00:16:18,351
that he was gonna be in the city,
you wanted familiar faces,
416
00:16:18,435 --> 00:16:20,520
which is Aris and Sonya on the train.
417
00:16:20,604 --> 00:16:22,606
And that would have been
Nathalie's reason or Harriet's reason
418
00:16:22,689 --> 00:16:25,859
for going on the mission with them,
as if her friends were in the city.
419
00:16:25,942 --> 00:16:27,486
Otherwise she would just be in the shot.
420
00:16:27,569 --> 00:16:28,987
BALL: Right.
421
00:16:31,531 --> 00:16:32,741
HARTWICK JR.: It was a good scene.
422
00:16:33,783 --> 00:16:34,784
NOWLIN: But, yeah, I mean,
that's the hard thing.
423
00:16:34,868 --> 00:16:35,952
You get three movies deep here.
424
00:16:36,036 --> 00:16:37,621
You got all this big ensemble
from the first movie.
425
00:16:37,704 --> 00:16:39,122
BALL: It's a lot to wrap up.
HARTWICK JR.: Yeah, it is.
426
00:16:39,206 --> 00:16:40,582
NOWLIN: You have all the new characters
in the second movie.
427
00:16:40,665 --> 00:16:42,250
And I think if you just make a list
at the start of this
428
00:16:42,334 --> 00:16:44,044
of all the characters we have
and the plot threads we have...
429
00:16:44,127 --> 00:16:45,128
BALL: And service, yeah.
430
00:16:45,212 --> 00:16:47,088
NOWLIN: And that's where it can
get away from you, you know?
431
00:16:47,172 --> 00:16:49,132
Because you have all this business
you have to attend to,
432
00:16:49,216 --> 00:16:51,343
questions that have to be answered,
threads that have to be addressed.
433
00:16:51,510 --> 00:16:53,637
There was an earlier scene
with Jorge and Brenda
434
00:16:53,720 --> 00:16:55,514
that's basically just to
remind the audience
435
00:16:55,597 --> 00:16:58,517
that she got infected and that
she's living on borrowed time.
436
00:16:58,600 --> 00:17:00,519
And there was an idea that
we sort of removed from there,
437
00:17:00,602 --> 00:17:03,313
that because of that she's not planning
to go to the safe haven.
438
00:17:03,396 --> 00:17:07,108
But you just have to find opportunities
to weave that into something like this.
439
00:17:07,192 --> 00:17:09,069
'Cause we just wanna
tell a story, you know?
440
00:17:09,152 --> 00:17:10,904
You're not trying to do
franchise homework.
441
00:17:10,987 --> 00:17:12,531
HARTWICK JR.: Right, right.
BALL: Right.
442
00:17:13,823 --> 00:17:15,325
NOWLIN: But it was good
to make that list early on
443
00:17:15,408 --> 00:17:17,118
of every question we wanted to answer
444
00:17:17,202 --> 00:17:18,787
and every beat we wanted to hit
445
00:17:18,870 --> 00:17:20,914
to really make sure that
we're wrapping up the story
446
00:17:20,997 --> 00:17:23,083
because this is the finale,
the conclusion.
447
00:17:23,166 --> 00:17:26,253
And then put that aside,
just try to tell a good story,
448
00:17:26,336 --> 00:17:30,590
and then realize there's an opportunity
to tie that up or, you know?
449
00:17:31,508 --> 00:17:32,676
BALL: I also think we probably said
450
00:17:32,759 --> 00:17:35,929
we had at least a rough idea of
what we wanted this third one to be.
451
00:17:36,137 --> 00:17:37,430
-NOWLIN: Mmm-hmm.
-On the second one, we didn't,
452
00:17:37,514 --> 00:17:38,598
-on the first one...
-NOWLIN: No.
453
00:17:38,682 --> 00:17:40,016
BALL: I mean,
we assumed there would be more,
454
00:17:40,100 --> 00:17:42,894
but had we known,
if we put a little bit more thought
455
00:17:42,978 --> 00:17:46,898
into the second and third movie
during the first one,
456
00:17:47,607 --> 00:17:49,484
we probably would have done this
a little differently
457
00:17:49,568 --> 00:17:50,569
just to set ourselves up.
458
00:17:50,652 --> 00:17:51,653
NOWLIN: Yeah, definitely.
We definitely...
459
00:17:51,736 --> 00:17:53,488
BALL: And that would probably, honestly,
it would have been going
460
00:17:53,572 --> 00:17:56,366
a little further away from the book
just because it...
461
00:17:56,783 --> 00:18:00,912
And it's not to speak negatively
about the book at all,
462
00:18:00,996 --> 00:18:02,831
but it's just difficult sometimes,
these books,
463
00:18:02,914 --> 00:18:07,586
there's so much in them that
it's hard to put that all into a movie.
464
00:18:07,669 --> 00:18:11,881
So you end up putting the narrative
in this kind of pretzel shape
465
00:18:11,965 --> 00:18:13,758
to try to hit all the beats,
466
00:18:13,842 --> 00:18:17,095
and it makes things kind of complicated
in terms of movie viewing.
467
00:18:17,387 --> 00:18:18,638
NOWLIN: Mmm-hmm.
468
00:18:19,806 --> 00:18:20,890
BALL: But we always spent a lot of time
469
00:18:20,974 --> 00:18:22,809
trying to keep as much
from the books as we can,
470
00:18:22,892 --> 00:18:24,561
even in some form or fashion.
471
00:18:25,353 --> 00:18:27,689
Even if we changed something,
we tried to keep something in like that,
472
00:18:27,772 --> 00:18:28,857
for instance, stealing the Berg,
473
00:18:28,940 --> 00:18:31,735
we still tried to keep that idea
and make it a part of the story.
474
00:18:31,818 --> 00:18:32,944
NOWLIN: Right.
475
00:18:33,028 --> 00:18:35,989
BALL: Same thing with drones
and all these different little things
476
00:18:36,072 --> 00:18:39,451
and the idea of guns
and the WICKED defenses
477
00:18:39,534 --> 00:18:41,161
and things like that we'll see later.
478
00:18:41,244 --> 00:18:43,121
We take it very seriously.
479
00:18:43,204 --> 00:18:45,123
The book fans
are really important to us.
480
00:18:45,206 --> 00:18:49,127
But sometimes we just have to focus
on the movie experience.
481
00:18:51,171 --> 00:18:54,049
Again, CG boat back there.
482
00:18:54,132 --> 00:18:55,550
Obviously, all that stuff back there.
483
00:18:56,676 --> 00:18:57,719
I always liked this scene, too.
484
00:18:57,802 --> 00:18:59,888
This is kinda to me like what...
485
00:18:59,971 --> 00:19:02,098
It's really the heart of the movie
in a way.
486
00:19:02,265 --> 00:19:05,560
It's about these friends that are
willing to do anything for each other.
487
00:19:06,227 --> 00:19:07,354
And that gets to the core
488
00:19:07,437 --> 00:19:08,980
of what that first movie
I think it was all about,
489
00:19:09,064 --> 00:19:12,692
that family coming together
and willing to die together
490
00:19:12,817 --> 00:19:14,110
and that's this, you know?
491
00:19:14,486 --> 00:19:17,072
And it's kinda fun that Newt gets to
have the surprises.
492
00:19:17,447 --> 00:19:19,240
He knows Thomas so well,
he's waiting for them.
493
00:19:19,324 --> 00:19:21,242
And then this little cool surprise,
which was I think...
494
00:19:21,326 --> 00:19:22,410
I think it was actually Gyula's idea,
495
00:19:22,494 --> 00:19:27,082
the idea of Frypan sitting in there
and just opening the door for him.
496
00:19:28,333 --> 00:19:30,251
I remember in Vancouver
we talked about this idea,
497
00:19:30,335 --> 00:19:34,589
like, we had some other version
that revealed Frypan
498
00:19:34,673 --> 00:19:36,633
and then he gave me that idea of
499
00:19:36,716 --> 00:19:38,051
opening the door
and he's already sitting there.
500
00:19:38,134 --> 00:19:40,303
NOWLIN: Yeah, I think it was Frypan kind
of announcing himself into the scene
501
00:19:40,428 --> 00:19:42,305
-or walking up like, "I'm here, too."
-BALL: Yeah, something like that.
502
00:19:42,389 --> 00:19:44,432
BALL: It thought that was a funny.
It was a good visual gag though.
503
00:19:44,516 --> 00:19:45,600
It's like, "Yeah, I'm gonna steal that."
504
00:19:45,684 --> 00:19:47,811
it's something a little different
and then we ended up doing that...
505
00:19:47,894 --> 00:19:49,354
NOWLIN: Well, what's nice about him
being motionless and just sitting there
506
00:19:49,437 --> 00:19:50,605
already behind the wheel.
507
00:19:50,689 --> 00:19:52,399
The tone of it is like,
"Of course I'm coming.
508
00:19:52,482 --> 00:19:54,317
"Of course I'm coming.
You don't need to say anything."
509
00:19:54,401 --> 00:19:55,568
BALL: You don't need to sit there,
have a big discussion.
510
00:19:55,652 --> 00:19:56,653
NOWLIN: Right.
511
00:19:57,404 --> 00:20:00,573
HARTWICK JR.: Our cow pasture.
BALL: So, yeah, this scene
512
00:20:00,657 --> 00:20:02,117
I don't know, this scene actually
513
00:20:02,200 --> 00:20:05,495
more or less came together
after Vancouver I think.
514
00:20:05,578 --> 00:20:07,038
I remember we had some version of this,
515
00:20:07,122 --> 00:20:09,457
but it was after Vancouver
when we went to...
516
00:20:09,541 --> 00:20:11,376
NOWLIN: I think you had a problem
finding a Glade in Vancouver.
517
00:20:11,459 --> 00:20:13,253
BALL: Yeah, exactly,
so we were doing something else.
518
00:20:13,336 --> 00:20:15,964
But in here, we went twice as big
519
00:20:16,047 --> 00:20:17,549
-I think than we originally planned.
-NOWLIN: There were so many options.
520
00:20:17,632 --> 00:20:18,800
NOWLIN: I remember location scouting
with you guys.
521
00:20:18,883 --> 00:20:20,468
-There were so many Glade options.
-BALL: Yeah.
522
00:20:20,552 --> 00:20:22,345
BALL: But no matter what, we felt...
523
00:20:22,429 --> 00:20:25,390
I felt it was really important to
see this image again of
524
00:20:25,473 --> 00:20:27,183
someone in the maze with the walls.
525
00:20:27,267 --> 00:20:30,770
I thought that was
a really cool kinda throwback.
526
00:20:30,854 --> 00:20:33,356
I always felt like
they would put this in the teaser
527
00:20:33,440 --> 00:20:35,191
and people would say, "Oh, my gosh,
we're going back to the maze," but...
528
00:20:35,275 --> 00:20:36,651
NOWLIN: No, they did.
It's in the trailer.
529
00:20:36,735 --> 00:20:38,069
BALL: Yeah, pan' of it.
530
00:20:38,778 --> 00:20:40,447
Not the good part of it. (LAUGHS)
531
00:20:42,365 --> 00:20:43,575
But it was interesting.
532
00:20:43,658 --> 00:20:46,453
This was the very first day
of shooting actually.
533
00:20:46,536 --> 00:20:49,164
It was actually considered a pre-shoot,
which is not really an official shoot,
534
00:20:49,247 --> 00:20:52,667
but we steal time and we shoot
two days early basically.
535
00:20:53,501 --> 00:20:54,627
NOWLIN: You just did all the key...
536
00:20:54,711 --> 00:20:57,297
You did like this, and then
the Griever stuff the first two days.
537
00:20:57,380 --> 00:20:58,381
BALL: Yeah, those are the first two days
538
00:20:58,465 --> 00:21:00,383
so all this stuff here
was done in a day.
539
00:21:00,508 --> 00:21:01,593
Actually, about seven hours
or something.
540
00:21:01,676 --> 00:21:03,094
We didn't really spend all day.
541
00:21:03,636 --> 00:21:07,056
But it was fun to kind of revisit
542
00:21:07,140 --> 00:21:11,102
the textures and aesthetic
of the first movie again, you know?
543
00:21:11,186 --> 00:21:13,229
It was a weird feeling.
544
00:21:13,313 --> 00:21:16,274
I remember Wyck called me,
'cause he didn't come to South Africa,
545
00:21:16,357 --> 00:21:19,152
but he called
and he had watched the dailies,
546
00:21:19,235 --> 00:21:23,698
and he said he felt this weird feeling
of seeing that imagery again, you know?
547
00:21:23,782 --> 00:21:25,533
NOWLIN: Right.
BALL: It's cool. It's fun.
548
00:21:25,617 --> 00:21:27,577
NOWLIN: Now, this actually,
I'm gonna tell a story about this.
549
00:21:27,660 --> 00:21:28,703
So we actually had...
550
00:21:28,787 --> 00:21:30,538
And there was a part of
the opening dream sequence,
551
00:21:30,622 --> 00:21:32,248
the memory in the beginning
of Scorch Trials.
552
00:21:32,332 --> 00:21:34,083
We start with Thomas a young man.
553
00:21:34,167 --> 00:21:36,044
As a little boy
getting handed over to WICKED,
554
00:21:36,127 --> 00:21:37,295
and then suddenly he's in the box.
555
00:21:37,378 --> 00:21:39,047
And then we were gonna have
another little section...
556
00:21:39,130 --> 00:21:40,173
BALL: Yeah, him up top.
557
00:21:40,256 --> 00:21:42,550
NOWLIN: He was gonna be in the Glade,
and that shot of Alby and Chuck
558
00:21:42,634 --> 00:21:45,804
turning to him from the walls
was always a part of that script.
559
00:21:45,887 --> 00:21:48,056
I think it was the same thing of
no Glade in Albuquerque.
560
00:21:48,139 --> 00:21:49,182
BALL: Yeah.
561
00:21:49,265 --> 00:21:50,975
NOWLIN: And so we finally got that.
BALL: And also it was a time thing,
562
00:21:51,059 --> 00:21:52,060
we abandoned it.
563
00:21:52,143 --> 00:21:54,771
NOWLIN: Actually, yeah, the pace of it
works better without it.
564
00:21:54,854 --> 00:21:56,856
BALL: Yeah.
NOWLIN: That single rising crescendo.
565
00:21:56,940 --> 00:22:00,193
BALL: That shot was really cool, too,
going into the hut
566
00:22:00,276 --> 00:22:02,654
and it just kinda seamlessly transitions
into this tunnel.
567
00:22:03,112 --> 00:22:04,113
That was fun to do.
568
00:22:04,197 --> 00:22:05,365
NOWLIN: This was something
you discovered later
569
00:22:05,448 --> 00:22:06,491
was the idea of the doors,
570
00:22:06,574 --> 00:22:09,744
almost like the doors of the maze
opening in the hallway.
571
00:22:09,828 --> 00:22:10,995
That wasn't in the script.
572
00:22:11,079 --> 00:22:13,164
BALL: Yeah, originally,
it was just a long hallway
573
00:22:13,248 --> 00:22:15,333
and it felt like we needed something.
574
00:22:15,416 --> 00:22:17,961
And that imagery of the maze,
575
00:22:18,044 --> 00:22:20,547
of those walls, those doors
were so iconic
576
00:22:20,630 --> 00:22:23,091
that it'd be nice to include
that kind of concept.
577
00:22:23,174 --> 00:22:24,175
NOWLIN: Yeah.
578
00:22:24,551 --> 00:22:26,803
This feels like the first night
in the maze with Thomas.
579
00:22:26,886 --> 00:22:28,805
BALL: It was different
'cause we never had fluorescent lights.
580
00:22:28,888 --> 00:22:30,390
Again, we're starting to bring in
some of the world.
581
00:22:30,473 --> 00:22:34,269
If you notice, the color schemes of this
are the same color schemes of the world
582
00:22:34,352 --> 00:22:38,314
that we're gonna see him in
when he's dreaming in that lab set.
583
00:22:38,648 --> 00:22:41,609
So, there's super bright greens
and these cool blues.
584
00:22:41,943 --> 00:22:43,862
It was cool to... It's the maze,
585
00:22:43,945 --> 00:22:48,700
but it's more tech-based.
586
00:22:49,659 --> 00:22:51,035
It was just a way to...
587
00:22:51,119 --> 00:22:54,289
Obviously, what we're getting
at here is that
588
00:22:54,372 --> 00:22:59,294
his dream is starting to fall apart
and become more his actual...
589
00:22:59,669 --> 00:23:05,633
Circumstances of being tied up
and tested on in this lab setting.
590
00:23:05,717 --> 00:23:07,385
This was a cool shoot, too.
I love this shot.
591
00:23:07,468 --> 00:23:08,469
We actually really did hang him up.
592
00:23:08,553 --> 00:23:09,554
HARTWICK JR.:
We did that for real, yeah.
593
00:23:10,889 --> 00:23:13,057
BALL: He was on a wire, basically,
and we just yanked him up.
594
00:23:13,141 --> 00:23:17,270
He's using his strength to keep his arms
attached to the ceiling.
595
00:23:17,604 --> 00:23:19,606
But he has a couple of wires there,
596
00:23:19,689 --> 00:23:22,775
just yanked him up to the ceiling
and he really did it.
597
00:23:24,652 --> 00:23:27,405
Gyula was up on an apple box
walking around up there.
598
00:23:27,530 --> 00:23:28,740
(HARTWICK JR. CHUCKLES)
599
00:23:28,823 --> 00:23:30,408
NOWLIN: Something I hope
you can clarify here.
600
00:23:30,491 --> 00:23:32,410
-This is not a simulation.
-BALL: Yeah.
601
00:23:32,493 --> 00:23:33,912
NOWLIN: This is an induced nightmare.
602
00:23:33,995 --> 00:23:37,832
BALL: It's for whatever people want,
but I always thought, yeah,
603
00:23:37,916 --> 00:23:40,793
it's not like they're projecting images
into his brain.
604
00:23:40,877 --> 00:23:42,170
It's actually just
605
00:23:42,253 --> 00:23:45,506
they're stimulating some part of
his brain that they needed to stimulate
606
00:23:45,590 --> 00:23:47,675
which is kind of the mythology, I guess,
607
00:23:47,759 --> 00:23:52,096
is that the brain is the important part
of finding a cure here.
608
00:23:53,514 --> 00:23:56,392
That might be his own invention
in his mind, that world.
609
00:23:56,476 --> 00:23:58,519
NOWLIN: But the idea is, yeah, you're
stimulating something in the brain
610
00:23:58,603 --> 00:23:59,771
that produces the antibodies
611
00:23:59,854 --> 00:24:01,856
that are separated from the blood,
which we thought we...
612
00:24:01,940 --> 00:24:04,108
We had tried to be a little more subtle
in communicating that
613
00:24:04,192 --> 00:24:06,110
in the second movie
with the hanging bodies.
614
00:24:06,527 --> 00:24:08,446
Here now, we realized
you need to see it happen,
615
00:24:08,529 --> 00:24:09,948
-that someone needs to say...
-BALL: Say it.
616
00:24:10,031 --> 00:24:11,240
NOWLIN: "Not as effective as the maze,
617
00:24:11,324 --> 00:24:12,492
"but it seems to be working."
618
00:24:12,575 --> 00:24:13,952
BALL: Hit it on the nose
and be done with it.
619
00:24:14,035 --> 00:24:16,371
-It is what it is, but...
-NOWLIN: It is what it is, but yeah.
620
00:24:16,454 --> 00:24:18,331
BALL: I think people can go back
and look at the second movie
621
00:24:18,414 --> 00:24:20,083
and they'll see, "Oh, this all lines up.
622
00:24:20,166 --> 00:24:21,668
-"It still is the same stuff."
-NOWLIN: Mmm-hmm.
623
00:24:21,751 --> 00:24:25,046
BALL: It might be more clear now
when they watch that movie,
624
00:24:25,129 --> 00:24:26,881
that we don't really
hold your hand as much.
625
00:24:26,965 --> 00:24:28,967
'Cause maybe we should have,
but, you know...
626
00:24:29,050 --> 00:24:31,469
NOWLIN: Something that's really
satisfying for me watching this movie
627
00:24:31,552 --> 00:24:33,596
is the kind of organic way
you get to re-introduce
628
00:24:33,680 --> 00:24:35,223
all of these characters
throughout the story,
629
00:24:35,306 --> 00:24:37,183
like the way Teresa comes in,
the way Ava comes in.
630
00:24:37,266 --> 00:24:38,267
BALL: Without dialogue,
which I think is fun.
631
00:24:38,351 --> 00:24:39,394
NOWLIN: Without dialogue.
632
00:24:39,477 --> 00:24:40,728
-Yeah. It's the storytelling.
-BALL: Visual storytelling.
633
00:24:40,812 --> 00:24:41,813
NOWLIN: And we've never
done this before.
634
00:24:41,896 --> 00:24:43,940
We've never really cut away
from Thomas in these movies.
635
00:24:44,023 --> 00:24:45,900
We've never shown
multiple points of view.
636
00:24:45,984 --> 00:24:48,736
Even just the way you open
with these big overview shots
637
00:24:48,820 --> 00:24:50,947
of the Scorch and the ruins,
638
00:24:51,531 --> 00:24:54,450
it was much more, it's subjective,
the word I guess.
639
00:24:55,118 --> 00:24:57,203
Just subtly preparing the audience
for something
640
00:24:57,286 --> 00:25:00,748
that feels very structurally, tonally
different from the other two movies.
641
00:25:00,832 --> 00:25:04,460
BALL: It also comes
to just being a bigger movie.
642
00:25:04,711 --> 00:25:08,756
It's like, part of that first movie
was all a singular point of view.
643
00:25:08,840 --> 00:25:09,924
I liked that.
644
00:25:10,008 --> 00:25:11,884
I liked the intimacy of that movie,
645
00:25:11,968 --> 00:25:13,594
but we just couldn't
do that again this time.
646
00:25:13,678 --> 00:25:17,056
So it needed to be bigger
and finish off in a big way.
647
00:25:17,140 --> 00:25:18,516
-This was a cool location, too.
-HARTWICK JR.: Yeah.
648
00:25:18,599 --> 00:25:22,186
BALL: There was a ton of great locations
in this country.
649
00:25:23,688 --> 00:25:24,814
Right to the right of that building,
650
00:25:24,897 --> 00:25:28,693
there is actually a freeway or a highway
that goes underneath the mountain.
651
00:25:28,776 --> 00:25:33,281
This is a giant seven-kilometer long
service tunnel
652
00:25:33,364 --> 00:25:37,201
that goes along for emergency access
to the main highway in there.
653
00:25:38,369 --> 00:25:41,748
I had WETA go and create
in that wide shot
654
00:25:41,831 --> 00:25:44,167
a lot of destruction and stuff
on the building itself,
655
00:25:44,250 --> 00:25:45,585
but that building was really there.
656
00:25:45,668 --> 00:25:48,546
It's a good example of real footage
657
00:25:48,629 --> 00:25:51,424
that's been extended
and enhanced digitally
658
00:25:51,507 --> 00:25:53,593
instead of just being a full CG thing.
659
00:25:54,886 --> 00:25:55,970
But it was cool. It was fun.
660
00:25:56,054 --> 00:25:59,182
This was our first five days
of shooting,
661
00:25:59,265 --> 00:26:00,767
or I think first three days,
662
00:26:00,850 --> 00:26:02,810
and then we had
a couple of days on the weekend
663
00:26:02,894 --> 00:26:04,187
to clean up some of the stuff.
664
00:26:04,270 --> 00:26:05,313
HARTWICK JR.: That was a tough location.
665
00:26:05,396 --> 00:26:06,522
It was so dusty in there.
666
00:26:06,606 --> 00:26:08,024
It would really mess with your lights.
667
00:26:08,107 --> 00:26:09,942
BALL: Yeah, all the crews
would just suddenly drive in
668
00:26:10,026 --> 00:26:12,403
and then, we'd be sitting there
for 10, 20 minutes
669
00:26:12,487 --> 00:26:15,198
just waiting for the dust
to clear out of the tunnel.
670
00:26:15,406 --> 00:26:16,824
NOWLIN: This was another scene
that I think changed
671
00:26:16,908 --> 00:26:18,785
when we changed
from Vancouver to Cape Town.
672
00:26:18,868 --> 00:26:20,578
BALL: Yeah. It got way bigger.
NOWLIN: It got way bigger,
673
00:26:20,661 --> 00:26:21,913
but also, there were
no tunnels like this.
674
00:26:21,996 --> 00:26:23,706
I think we had a sequence
that was more on a bridge.
675
00:26:23,790 --> 00:26:25,708
HARTWICK JR.: Yeah, it was on a bridge
with some stalled-out cars and stuff.
676
00:26:25,792 --> 00:26:27,293
BALL: Honestly, it was kinda weak.
677
00:26:27,376 --> 00:26:28,377
It wasn't very interesting,
678
00:26:28,461 --> 00:26:29,545
but that's when we found this location.
679
00:26:29,629 --> 00:26:32,215
We just, "Okay, yeah,
we have to do something here."
680
00:26:32,298 --> 00:26:36,469
We wrote this scene
to take place in here,
681
00:26:36,552 --> 00:26:38,054
just come up with a cool little...
682
00:26:38,137 --> 00:26:40,515
We needed to, again,
remind people of the Cranks.
683
00:26:40,598 --> 00:26:41,933
There was a conscious effort this time
684
00:26:42,016 --> 00:26:43,726
for us to not make Cranks
just monsters this time.
685
00:26:43,810 --> 00:26:45,853
They were actually human beings
that were infected.
686
00:26:45,937 --> 00:26:46,938
NOWLIN: It was always the plan, right?
687
00:26:47,021 --> 00:26:48,773
It was always the plan
that we would see them as monsters
688
00:26:48,856 --> 00:26:50,942
and then we would see them
as infected patients.
689
00:26:51,025 --> 00:26:53,820
BALL: Then we started to see...
And that ties us into Teresa's story
690
00:26:53,903 --> 00:26:56,489
and how she views the Cranks,
these monsters,
691
00:26:56,572 --> 00:26:58,282
that we witnessed in the second movie.
692
00:26:59,033 --> 00:27:02,537
The whole goal is to set up
why WICKED's doing this
693
00:27:02,620 --> 00:27:06,415
and blur that line
between good and evil again, right?
694
00:27:06,499 --> 00:27:09,627
Make it gray, that maybe
you would agree with the fact
695
00:27:09,710 --> 00:27:11,921
that maybe it's worth
breaking a few eggs
696
00:27:12,004 --> 00:27:13,798
to make an omelet kinda thing.
(CHUCKLES)
697
00:27:13,881 --> 00:27:16,008
NOWLIN: Yeah. That ties into the...
698
00:27:16,092 --> 00:27:17,343
-(EXHALES SHARPLY) That's good.
-(BALL LAUGHS)
699
00:27:17,468 --> 00:27:19,428
NOWLIN: That ties into
what we were talking about,
700
00:27:19,512 --> 00:27:21,889
the structure of incorporating
multiple points of view.
701
00:27:21,973 --> 00:27:24,308
It actually works thematically
to what this movie's about,
702
00:27:24,392 --> 00:27:26,561
which is that it's not ail
black and white, good and evil.
703
00:27:26,644 --> 00:27:28,938
BALL: Which was honestly why we changed,
a little bit, Teresa's betrayal.
704
00:27:29,021 --> 00:27:32,150
We made it have real teeth,
like she really did do something bad,
705
00:27:32,233 --> 00:27:33,359
because of her views.
706
00:27:34,152 --> 00:27:36,320
NOWLIN: Dashner's books are all about
that kind of ambiguity,
707
00:27:36,404 --> 00:27:39,949
and that's why he keeps repeating,
"WICKED is good, WICKED is good."
708
00:27:40,116 --> 00:27:44,287
And so, you know you need to give
a voice to WICKED's side of the story,
709
00:27:44,370 --> 00:27:46,581
and it's easier to do that
through a character like Teresa.
710
00:27:46,664 --> 00:27:47,915
BALL: That you know.
NOWLIN: That you know,
711
00:27:47,999 --> 00:27:49,292
as opposed to
a remote authority figure...
712
00:27:49,375 --> 00:27:50,960
BALL: And hopefully care about.
713
00:27:51,043 --> 00:27:52,545
NOWLIN: ...like an Ava or a Janson.
714
00:27:52,628 --> 00:27:53,796
Like it wouldn't work as well.
715
00:27:53,880 --> 00:27:55,590
It was also important to see the Cranks
716
00:27:55,673 --> 00:27:57,925
the way we saw them
in Scorch Trials here
717
00:27:58,009 --> 00:28:00,011
before we get to the stuff
with Teresa later
718
00:28:00,094 --> 00:28:03,264
where we see them a little earlier
and it's a little girl and she's scared.
719
00:28:03,347 --> 00:28:05,266
BALL: But even here,
they're not quite as far gone
720
00:28:05,349 --> 00:28:06,851
as we saw in the second movie,
721
00:28:06,934 --> 00:28:08,186
-which was straight-up horror.
-NOWLIN: Right.
722
00:28:08,269 --> 00:28:09,312
BALL: This is more like...
723
00:28:09,395 --> 00:28:10,938
That lady that bangs on the door
was a great actress.
724
00:28:11,022 --> 00:28:12,023
NOWLIN: She's desperate.
725
00:28:12,106 --> 00:28:15,818
BALL: She's a real person who's scared,
but, in fact, that's scary.
726
00:28:15,902 --> 00:28:17,528
NOWLIN: This might be
my favorite shot in the movie.
727
00:28:17,612 --> 00:28:21,699
BALL: So this shot was actually
an accident, which is fantastic.
728
00:28:21,782 --> 00:28:25,411
Originally, the plan was for the car
just to flip over on its side
729
00:28:25,494 --> 00:28:27,663
and I had this whole thing
about how they were gonna
730
00:28:27,747 --> 00:28:30,374
crawl, punch out,
or kick out the sunroof and climb out.
731
00:28:30,666 --> 00:28:32,960
So, we did a couple of practice takes
and got close
732
00:28:33,044 --> 00:28:34,045
and we did this take,
733
00:28:34,128 --> 00:28:36,339
we had to leave,
it was almost time to go.
734
00:28:37,048 --> 00:28:38,049
The car goes.
735
00:28:38,132 --> 00:28:40,509
We set up the shot
and the car flips over
736
00:28:40,593 --> 00:28:43,179
and it rolls over
and everyone held their breath.
737
00:28:43,262 --> 00:28:45,139
"Oh, my gosh."
Someone was about to call, "Cut."
738
00:28:45,223 --> 00:28:47,099
I said, "Don't! Don't call cut!"
739
00:28:47,183 --> 00:28:48,684
I said, "Is everyone okay?
740
00:28:48,768 --> 00:28:50,311
"Move your flashlights around.
741
00:28:50,394 --> 00:28:52,772
"Take the camera, start pushing in.
Slow, slow, slow.
742
00:28:52,855 --> 00:28:54,565
"Okay, go in. Okay, now, cut."
743
00:28:54,649 --> 00:28:56,859
It was this great little happy accident
744
00:28:56,943 --> 00:29:00,821
that turned into a great, great shot
that's all in-camera.
745
00:29:01,072 --> 00:29:02,949
There's nothing CG about it.
746
00:29:03,032 --> 00:29:05,201
You'll see that there's a person
in there that you see...
747
00:29:05,284 --> 00:29:07,036
If you turn the frame upside down,
it's actually the stunt double.
748
00:29:07,119 --> 00:29:08,162
It's not Dylan.
749
00:29:08,246 --> 00:29:09,330
NOWLIN: That's my favorite part
of the shot.
750
00:29:09,413 --> 00:29:11,123
-You see the truck roll over.
-BALL: Yeah, you see people in there.
751
00:29:11,207 --> 00:29:13,876
NOWLIN: The pull back becomes a push in
and there's someone in there,
752
00:29:13,960 --> 00:29:15,461
-and they're acting!
-BALL: Right.
753
00:29:15,544 --> 00:29:17,171
NOWLIN: It's pretty horrific.
I don't know.
754
00:29:17,255 --> 00:29:18,506
(ALL CHUCKLE)
755
00:29:20,383 --> 00:29:22,218
-Come on!
-Hold on!
756
00:29:23,010 --> 00:29:24,387
-Frypan gotta go! Come on!
-Wait!
757
00:29:24,470 --> 00:29:25,471
Come on!
758
00:29:26,305 --> 00:29:30,309
BALL: This is the most Scorch Trials-y
scene in the movie, I think really.
759
00:29:30,393 --> 00:29:33,688
NOWLIN: But we get it out of the way in
the first half hour or wherever we are.
760
00:29:33,771 --> 00:29:35,231
BALL: It also serves the story.
761
00:29:35,314 --> 00:29:39,735
It's setting up the issue that we're
about to be faced with, of the infected.
762
00:29:39,819 --> 00:29:42,905
Also, it brings Jorge and Brenda
back into the scene.
763
00:29:42,989 --> 00:29:45,700
NOWLIN: You need them to bail them out.
I like the idea, yeah, it's...
764
00:29:45,783 --> 00:29:46,909
There's something a little cavalier.
765
00:29:46,993 --> 00:29:49,161
"The three of us, we're gonna go
and take on WICKED."
766
00:29:49,245 --> 00:29:50,913
BALL: Let them get in over their heads
a little bit.
767
00:29:50,997 --> 00:29:52,540
NOWLIN: Giancarlo has this...
BALL: You're lucky to have friends...
768
00:29:52,623 --> 00:29:55,835
NOWLIN: "I'm impressed you made it
a day," and it's kind of a funny line.
769
00:29:56,544 --> 00:29:58,087
But yeah, so there's more to...
770
00:29:58,796 --> 00:30:02,341
(SIGHS) I remember... We tried to do
so much with Brenda,
771
00:30:02,425 --> 00:30:06,137
the idea that because she's infected,
and she's gonna turn eventually
772
00:30:06,220 --> 00:30:07,555
if she's not going to the safe haven,
773
00:30:07,638 --> 00:30:10,099
we had an idea in the script
that Thomas didn't know that.
774
00:30:10,182 --> 00:30:12,977
So when Thomas leaves Brenda,
he's not just abandoning her.
775
00:30:13,060 --> 00:30:14,353
He's leaving because he assumes
776
00:30:14,437 --> 00:30:16,856
that she's gonna go to the safe haven
with everyone else.
777
00:30:16,939 --> 00:30:18,524
That part, I think, would've worked.
778
00:30:18,607 --> 00:30:20,818
The problem is then you have to do...
779
00:30:20,901 --> 00:30:24,071
Thomas has to find out
and then he has to confront her.
780
00:30:24,155 --> 00:30:25,656
You don't really feel
a ticking clock here.
781
00:30:25,740 --> 00:30:28,159
You don't really feel like
they're trying to get Minho back
782
00:30:28,242 --> 00:30:30,703
with enough time to get back to the boat
and get to the safe haven.
783
00:30:30,786 --> 00:30:32,788
They're just trying to get Minho back.
784
00:30:32,872 --> 00:30:35,791
That's why it's such a decision
for them to leave earlier.
785
00:30:35,875 --> 00:30:37,710
They're walking away from paradise.
786
00:30:37,793 --> 00:30:39,628
BALL: Those hills back there are all CG.
787
00:30:39,962 --> 00:30:42,590
It's actually the same entrance
they went into the first time.
788
00:30:42,673 --> 00:30:44,675
They just replaced the background.
789
00:30:44,759 --> 00:30:47,219
This was the only entrance
or exit we had.
790
00:30:49,221 --> 00:30:50,473
NOWLIN: This was day one, wasn't it?
791
00:30:50,556 --> 00:30:52,308
BALL: This was official day one.
HARTWICK JR.: Yeah.
792
00:30:54,018 --> 00:30:55,603
BALL: Ugh, I hate shooting...
793
00:30:55,686 --> 00:30:59,982
I mean, I certainly love
the look of real car stuff,
794
00:31:02,026 --> 00:31:08,366
but it's so hellish shooting this stuff
on a real moving car,
795
00:31:09,283 --> 00:31:11,619
and it's just slow, so slow.
796
00:31:12,286 --> 00:31:16,374
It's painful, but it's worth it,
I think, visually.
797
00:31:16,916 --> 00:31:19,251
You've always seen
those fake process shots,
798
00:31:19,335 --> 00:31:20,961
they're on green screen.
799
00:31:21,045 --> 00:31:22,338
It just never works.
800
00:31:25,841 --> 00:31:28,427
That's actually Jorge.
He really did drive that.
801
00:31:28,511 --> 00:31:31,764
That rock, if you see there,
it's actually his mark to try to hit.
802
00:31:33,015 --> 00:31:35,726
He really did all that several times.
803
00:31:37,520 --> 00:31:39,313
You've probably seen
a couple of times now
804
00:31:39,397 --> 00:31:43,192
where I do a lot of
long shots this time.
805
00:31:44,485 --> 00:31:45,694
I wanted to...
806
00:31:47,238 --> 00:31:52,243
Something... As a filmmaker,
I hate being forced into coverage.
807
00:31:52,952 --> 00:31:55,204
It feels like almost like
a TV show where it's like
808
00:31:55,287 --> 00:31:58,707
close-up, close-up, wide master,
you know, that kind of stuff.
809
00:31:59,291 --> 00:32:02,211
I like letting an audience sink in
810
00:32:02,294 --> 00:32:06,257
and see the close-ups
when it really, really mattered.
811
00:32:06,340 --> 00:32:08,509
It's hard to do sometimes
when you're shooting a movie
812
00:32:08,592 --> 00:32:11,470
because you're looking at
a little tiny monitor on set
813
00:32:11,554 --> 00:32:13,264
and so you wanna get closer.
814
00:32:13,347 --> 00:32:17,101
But on a big giant screen,
that is a close-up right there.
815
00:32:17,435 --> 00:32:20,104
You can read everything on his face
that you need to read.
816
00:32:20,187 --> 00:32:22,231
So, I tried to make it
a conscious effort this time
817
00:32:22,314 --> 00:32:23,649
to just be a little more cinematic
818
00:32:23,732 --> 00:32:27,945
and a little bit bigger
aesthetically this time,
819
00:32:28,028 --> 00:32:29,280
which I like personally.
820
00:32:31,157 --> 00:32:32,408
I think it has a good flow to it.
821
00:32:32,491 --> 00:32:34,618
It's really simple shots.
There's nothing crazy.
822
00:32:35,578 --> 00:32:37,496
Everyone doesn't need their own shot,
823
00:32:37,580 --> 00:32:39,331
their own coverage,
you know what I mean?
824
00:32:39,415 --> 00:32:41,000
NOWLIN: I like that.
You write in the script
825
00:32:41,083 --> 00:32:42,376
these little moments between characters
826
00:32:42,460 --> 00:32:44,003
and you just let it play out
in the frame
827
00:32:44,086 --> 00:32:47,673
rather than like rack focus to Brenda,
then reaction, then close-up.
828
00:32:47,756 --> 00:32:48,757
BALL: Right.
829
00:32:49,884 --> 00:32:51,385
We still shoot lot of that stuff.
830
00:32:51,469 --> 00:32:53,053
I just don't end up using it.
831
00:32:55,097 --> 00:32:56,640
Here, you can see
the design of the city.
832
00:32:56,724 --> 00:33:00,478
It was very much, if you saw
the last shot of The Maze Runner,
833
00:33:00,561 --> 00:33:02,062
it's very similar in design
834
00:33:02,146 --> 00:33:04,899
in terms of the walls
and the structure of it.
835
00:33:05,399 --> 00:33:07,985
So, it has that echo of the first movie.
836
00:33:11,947 --> 00:33:17,244
I think it was cool to meet Teresa
in this new world,
837
00:33:17,328 --> 00:33:19,455
a way we've never really
seen her before.
838
00:33:19,538 --> 00:33:23,167
I think that first scene also
with her and Minho being tested on,
839
00:33:24,418 --> 00:33:29,048
I think it was a great little thing
where you see her having...
840
00:33:29,673 --> 00:33:32,051
Maybe it's regret? Maybe it's doubts?
841
00:33:32,134 --> 00:33:34,762
It's like she's not just,
"I'm evil now,"
842
00:33:34,845 --> 00:33:36,430
or, "I'm with the bad guys now."
843
00:33:36,514 --> 00:33:40,726
She's still doing what she believes
is right, but it does affect her.
844
00:33:41,894 --> 00:33:44,104
It's this little look right here
when she sees his picture,
845
00:33:44,188 --> 00:33:47,983
she's obviously
reflecting on what she's done.
846
00:33:48,150 --> 00:33:50,903
I think that's the cool thing about
her character is that she did it anyway.
847
00:33:50,986 --> 00:33:51,987
NOWLIN: Yeah, she's torn, but...
848
00:33:52,071 --> 00:33:53,405
BALL: She did
what she thought was right.
849
00:33:53,489 --> 00:33:56,534
Whether we agree with that or not,
I think there's something that...
850
00:33:58,452 --> 00:33:59,954
Something cool about that.
851
00:34:00,329 --> 00:34:02,039
NOWLIN: That's why it was important
that she had this scene,
852
00:34:02,122 --> 00:34:03,958
that she had a mission-statement moment.
853
00:34:04,041 --> 00:34:06,335
Like, this is why
we're doing what we're doing.
854
00:34:06,877 --> 00:34:08,128
Oh, there's James by the way.
855
00:34:08,212 --> 00:34:10,506
BALL: There's James Dashner, author.
856
00:34:10,631 --> 00:34:12,007
NOWLIN: Actually, there's consistency.
857
00:34:12,091 --> 00:34:13,217
He played the board member
in the first movie.
858
00:34:13,342 --> 00:34:15,135
BALL: He was in the first movie
in the boardroom, yeah.
859
00:34:15,219 --> 00:34:16,470
-Here he is again.
-NOWLIN: Yeah.
860
00:34:16,554 --> 00:34:17,721
NOWLIN: Now there's many less.
861
00:34:17,805 --> 00:34:19,765
so we assume that
it's gotten worse out in the world.
862
00:34:19,848 --> 00:34:21,350
We're gonna put a skeleton
in one of the chairs.
863
00:34:21,433 --> 00:34:22,560
-BALL: Only three board members remain.
-(ALL LAUGHING)
864
00:34:22,643 --> 00:34:25,437
NOWLIN: Just a skeleton
in one of the board chairs.
865
00:34:25,896 --> 00:34:27,189
That was Harold.
866
00:34:27,273 --> 00:34:28,315
He didn't make it.
867
00:34:28,607 --> 00:34:29,817
Two thousand?
868
00:34:30,985 --> 00:34:33,028
And that's assuming
your protected areas...
869
00:34:33,195 --> 00:34:34,405
stay protected...
870
00:34:35,239 --> 00:34:36,532
which we know they won't.
871
00:34:36,615 --> 00:34:39,159
BALL: Yeah, it was good
to give Kaya a scene.
872
00:34:40,327 --> 00:34:43,998
Like you said, a statement of
what she believes essentially.
873
00:34:44,081 --> 00:34:45,791
Again, it's also setting up
874
00:34:45,874 --> 00:34:49,003
what we tried to start telling
in the second movie,
875
00:34:49,086 --> 00:34:52,798
was the story of WICKED's search
for a cure to the virus.
876
00:34:52,881 --> 00:34:55,759
And that's why the maze,
why the kids have been rounded up,
877
00:34:55,843 --> 00:34:57,761
why the immunes, all that stuff.
878
00:34:57,845 --> 00:35:00,222
And hopefully now, we're just
giving clarity out to all that,
879
00:35:00,306 --> 00:35:01,348
that if it wasn't there,
880
00:35:01,432 --> 00:35:05,352
hopefully it's concrete enough now
to let go of that
881
00:35:05,436 --> 00:35:07,479
and just enjoy the experience
and the ride of this adventure.
882
00:35:07,563 --> 00:35:08,897
NOWLIN: I'll admit,
I was a little surprised
883
00:35:08,981 --> 00:35:10,232
when the second movie came out
884
00:35:10,316 --> 00:35:13,777
that people, even fans, weren't
a little bit more understanding
885
00:35:13,861 --> 00:35:15,362
of Teresa and why she did what she did
886
00:35:15,446 --> 00:35:17,906
'cause I thought Kaya was so good
in the betrayal scene.
887
00:35:17,990 --> 00:35:21,160
She tells the story about her mother
who died of this virus.
888
00:35:21,952 --> 00:35:26,665
But it's a generational thing,
where the younger audiences,
889
00:35:26,749 --> 00:35:29,293
they're... I don't know what's the word.
890
00:35:30,044 --> 00:35:31,795
Tribalists. They're about their squad,
their group.
891
00:35:31,879 --> 00:35:36,050
The worst crime you can commit
is to betray your group, your friends.
892
00:35:36,675 --> 00:35:38,677
I think what this movie's about,
it's kind of...
893
00:35:38,761 --> 00:35:39,928
That's part of the appeal of the series.
894
00:35:40,012 --> 00:35:43,515
It's not about just a Katniss
or a single hero raising the army.
895
00:35:43,599 --> 00:35:44,600
It's about a group.
896
00:35:44,683 --> 00:35:46,143
This movie's an argument against that
897
00:35:46,226 --> 00:35:47,936
saying that you also
have to think for yourself
898
00:35:48,020 --> 00:35:49,605
and make your own decisions.
899
00:35:50,105 --> 00:35:51,398
BALL: And also it's like...
HARTWICK JR.: That's all CG.
900
00:35:51,482 --> 00:35:53,150
BALL: Yeah, all the city's CG, yeah.
901
00:35:55,486 --> 00:35:57,988
Again, one long shot here. (CHUCKLES)
902
00:36:00,074 --> 00:36:02,493
It's the only way
to really shoot this scene to be honest.
903
00:36:02,576 --> 00:36:05,996
But also it's, I think,
along the lines of Teresa.
904
00:36:06,080 --> 00:36:07,915
It's like there's nothing much...
905
00:36:08,916 --> 00:36:10,793
Redemption stories are really fun.
906
00:36:10,876 --> 00:36:12,002
(CHUCKLES) They're fun to watch.
907
00:36:12,086 --> 00:36:13,504
And hopefully... We have no idea
908
00:36:13,587 --> 00:36:16,131
because the movie hasn't come out yet
while we're recording this.
909
00:36:16,340 --> 00:36:20,344
Hopefully, the people that maybe
were against Teresa vehemently
910
00:36:20,427 --> 00:36:21,428
in the start of this movie,
911
00:36:21,512 --> 00:36:24,306
hopefully they're won over
a little bit by the end.
912
00:36:24,390 --> 00:36:28,769
I mean, at least if nothing else,
even if they don't agree with her,
913
00:36:28,852 --> 00:36:33,857
can appreciate her stance on it,
and, obviously, her sacrifice,
914
00:36:33,941 --> 00:36:37,152
which I think was necessary narratively,
915
00:36:37,986 --> 00:36:39,363
but hopefully earned it.
916
00:36:40,906 --> 00:36:41,949
HARTWICK JR.: The abattoir.
917
00:36:42,783 --> 00:36:46,578
BALL: Yeah, this was a really cool
abandoned meatpacking area or something.
918
00:36:46,662 --> 00:36:48,163
HARTWICK JR.: Slaughterhouse.
BALL: Yeah, slaughterhouse.
919
00:36:48,247 --> 00:36:49,248
HARTWICK JR.: Yeah.
920
00:36:49,957 --> 00:36:52,543
BALL: This is the most extras
I've ever had,
921
00:36:52,626 --> 00:36:53,711
like 400 extras or something.
922
00:36:53,794 --> 00:36:54,795
It's huge.
923
00:36:56,171 --> 00:36:58,298
NOWLIN: I always like that throw from,
"I hope you're right,"
924
00:36:58,382 --> 00:37:00,175
down to, "What's outside the walls?"
925
00:37:00,259 --> 00:37:01,719
BALL: Yeah, again, that's
what was fun about this stuff, too,
926
00:37:01,802 --> 00:37:03,095
-is the transitions.
-NOWLIN: Mmm-hmm.
927
00:37:03,178 --> 00:37:04,430
It's like she's talking about Thomas.
928
00:37:04,513 --> 00:37:08,225
She's looking out at the world
and what they're fighting against.
929
00:37:08,308 --> 00:37:11,687
And then you cut down to it,
body bags of infected people,
930
00:37:11,770 --> 00:37:16,275
and you also see this intro
of the group that are...
931
00:37:17,276 --> 00:37:20,362
They're not a Right Arm Glader group.
They're not WICKED.
932
00:37:20,446 --> 00:37:23,198
They're someone else on the other side,
the far extreme.
933
00:37:23,282 --> 00:37:24,867
So it's interesting that our characters
934
00:37:24,950 --> 00:37:26,994
are caught in the middle
of these two forces,
935
00:37:27,077 --> 00:37:31,206
the people outside
that are just angry and scared,
936
00:37:31,290 --> 00:37:34,042
and then WICKED on the inside
that are just probably as scared, too.
937
00:37:34,126 --> 00:37:35,586
NOWLIN: There's no bad guys
in the story, really.
938
00:37:35,669 --> 00:37:36,920
Other than Janson, speaking of which...
939
00:37:37,004 --> 00:37:38,922
BALL: Janson's the true villain,
which is fun.
940
00:37:39,006 --> 00:37:41,425
NOWLIN: But what makes him
the villain honestly, this is a spoiler,
941
00:37:41,508 --> 00:37:43,802
but he's a sick guy
who wants to make sure
942
00:37:43,886 --> 00:37:45,262
he always has his medicine.
943
00:37:45,345 --> 00:37:46,346
That's not all that evil.
944
00:37:46,430 --> 00:37:48,891
BALL: I always thought that boils down
to selfless versus selfish,
945
00:37:48,974 --> 00:37:49,975
-you know what I mean?
-NOWLIN: Yeah.
946
00:37:50,058 --> 00:37:53,020
BALL: That's really what
this movie stems from.
947
00:37:53,353 --> 00:37:54,354
NOWLIN: And Janson, I think,
948
00:37:54,438 --> 00:37:56,607
he fundamentally
just misunderstands Teresa,
949
00:37:56,690 --> 00:37:58,817
-like, he thinks that she is like him.
-BALL: Right.
950
00:37:58,901 --> 00:38:00,903
NOWLIN: That she made a decision
for her own survival.
951
00:38:00,986 --> 00:38:03,739
She was joining the winning side
of a conflict.
952
00:38:03,989 --> 00:38:05,783
But she was thinking about the world.
953
00:38:07,367 --> 00:38:12,414
She was putting the needs of others
over her own desires, I guess.
954
00:38:12,831 --> 00:38:14,750
HARTWICK JR.:
Which is why you see her turn later
955
00:38:14,833 --> 00:38:17,211
when he's talking about,
"Tough choices will have to be made."
956
00:38:17,294 --> 00:38:18,420
NOWLIN: He misjudges her.
957
00:38:18,504 --> 00:38:20,130
I think that moment in the elevator.
958
00:38:20,214 --> 00:38:21,298
We're getting ahead of it now.
959
00:38:25,427 --> 00:38:27,971
BALL: Another one of the biggest
green screens we've ever had.
960
00:38:28,055 --> 00:38:30,307
-We had this huge, really cool location.
-HARTWICK JR.: Yeah.
961
00:38:30,390 --> 00:38:31,391
BALL: That's real,
962
00:38:31,475 --> 00:38:33,936
except for on the left,
those buildings are CG,
963
00:38:34,019 --> 00:38:35,938
but that main structure is real.
964
00:38:36,939 --> 00:38:39,233
We had this gigantic green screen
in front of them.
965
00:38:39,316 --> 00:38:43,487
So, the backgrounds all real,
and the foreground stuff is all CG.
966
00:38:43,570 --> 00:38:45,739
Set up those gates and the wall.
967
00:38:48,242 --> 00:38:51,328
I asked Aidan once,
"It's fun playing a villain, right?"
968
00:38:51,411 --> 00:38:53,622
He just smiled at me
and he said, "Of course, it is."
969
00:38:53,747 --> 00:38:54,915
(ALL CHUCKLE)
970
00:38:54,998 --> 00:38:58,627
It is fun though to watch him
'cause he does do it well.
971
00:38:58,710 --> 00:39:01,171
We needed someone good to root against,
you know what I mean?
972
00:39:01,255 --> 00:39:04,007
'Cause so much of the movie,
Ava, Teresa,
973
00:39:04,091 --> 00:39:07,594
they're painted in a way that
it's not easy to hate them.
974
00:39:07,678 --> 00:39:09,137
NOWLIN: Right.
BALL: You disagree with them possibly.
975
00:39:09,221 --> 00:39:13,725
BALL: We needed someone to really just
wanna and get what's coming to them.
976
00:39:13,809 --> 00:39:14,810
NOWLIN: I think
that's something we knew,
977
00:39:14,893 --> 00:39:16,854
you mentioned this before,
the idea of planning ahead.
978
00:39:16,937 --> 00:39:19,314
I think we knew in the second movie
with introducing Janson
979
00:39:19,398 --> 00:39:20,732
that he was gonna be the main villain,
980
00:39:20,816 --> 00:39:23,944
and that ultimately, we had with Ava
this character that we...
981
00:39:24,027 --> 00:39:25,070
BALL: An adversary.
982
00:39:25,153 --> 00:39:28,240
NOWLIN: We had... We would hold her up
as the typical corporate,
983
00:39:28,323 --> 00:39:30,617
-ice-queen kind of villain...
-BALL: Yeah.
984
00:39:30,701 --> 00:39:32,786
NOWLIN: ...but always with the intention
of eventually subverting her.
985
00:39:32,870 --> 00:39:34,746
BALL: Yeah, we were gonna let her hair
down, which you see in this movie.
986
00:39:34,830 --> 00:39:36,039
BALL: Her hair's down this time.
NOWLIN: Right.
987
00:39:36,123 --> 00:39:37,207
BALL: We meet her first
with her hair up...
988
00:39:37,291 --> 00:39:38,292
NOWLIN: Right.
989
00:39:38,375 --> 00:39:39,877
BALL: ...but it's fun to...
990
00:39:39,960 --> 00:39:40,961
She's not the person you think she is.
991
00:39:41,044 --> 00:39:42,296
NOWLIN: Peel back
the layers a little. Yeah.
992
00:39:42,379 --> 00:39:44,089
We had a great scene at one point.
993
00:39:44,172 --> 00:39:46,550
It was when the board meeting
was a different kind of moment.
994
00:39:46,633 --> 00:39:47,634
It was later in the story.
995
00:39:47,718 --> 00:39:50,178
but the idea of her
putting her armor on,
996
00:39:50,262 --> 00:39:51,513
pulling the hair back,
997
00:39:51,597 --> 00:39:55,559
becoming the Ava Paige that we know
from the first two movies.
998
00:39:56,143 --> 00:39:58,353
Oh, that's cool,
that little body in there.
999
00:39:58,437 --> 00:40:00,439
BALL: Yeah, that body's
actually a CG double.
1000
00:40:00,522 --> 00:40:01,607
-It's not even there.
-NOWLIN: Of course it is.
1001
00:40:01,690 --> 00:40:03,734
BALL: Well, actually, in that shot
there, with the wide shot,
1002
00:40:03,817 --> 00:40:06,111
there's a lot of CG people
that you can't tell.
1003
00:40:06,194 --> 00:40:09,406
We did a lot of that in this movie.
I'll try and point them out as we go.
1004
00:40:16,038 --> 00:40:17,789
NOWLIN: "Gee, I wonder
why they're so upset."
1005
00:40:17,873 --> 00:40:18,874
-BALL: Yeah.
-(LAUGHTER)
1006
00:40:18,957 --> 00:40:21,335
That's the thing. He obviously
did something not good.
1007
00:40:21,418 --> 00:40:24,630
He's just stoking the fire
of the rebellion outside.
1008
00:40:24,713 --> 00:40:26,214
NOWLIN: But it was also
important to understand
1009
00:40:26,298 --> 00:40:28,300
why they couldn't go through there.
1010
00:40:28,383 --> 00:40:29,384
BALL: Right.
1011
00:40:29,468 --> 00:40:30,969
-Yeah, it's super important.
-NOWLIN: There's nothing we can do.
1012
00:40:31,053 --> 00:40:32,054
NOWLIN: Gally says it.
1013
00:40:32,137 --> 00:40:34,723
"There's nothing we can do
against those guns," which means
1014
00:40:34,806 --> 00:40:37,517
they need a way to get inside WICKED
and turn the guns off.
1015
00:40:37,601 --> 00:40:38,977
And Thomas can do that for them.
1016
00:40:39,061 --> 00:40:43,231
BALL: Yeah, I'm curious, when the shots
that we have of Gally and the mask,
1017
00:40:43,315 --> 00:40:45,567
-I'm curious how many people...
-NOWLIN: Yeah. "How obvious is it?"
1018
00:40:45,651 --> 00:40:47,527
BALL: I don't know.
I have a theory on it.
1019
00:40:47,611 --> 00:40:49,321
I think some people won't remember it.
1020
00:40:49,988 --> 00:40:53,617
I think some people, the big
die-hard fans, they know it's him.
1021
00:40:53,700 --> 00:40:55,827
And they actually enjoy
knowing that it's him
1022
00:40:55,911 --> 00:40:58,664
and waiting slowly for the...
This is a great shot.
1023
00:40:58,747 --> 00:40:59,915
NOWLIN: Whoa! Where'd that come from?
1024
00:40:59,998 --> 00:41:01,708
BALL: This shot's really great.
1025
00:41:03,085 --> 00:41:05,003
It's full CG, which was great.
1026
00:41:05,087 --> 00:41:09,549
And it sets up that world
of these migrants essentially
1027
00:41:09,633 --> 00:41:12,636
that have come
to the outside of these walls
1028
00:41:12,719 --> 00:41:15,013
begging for mercy or for help.
1029
00:41:15,639 --> 00:41:19,184
They set up basically a shanty town
essentially on the outside.
1030
00:41:19,267 --> 00:41:21,812
They're just camped out
in a city that's been cut off,
1031
00:41:21,895 --> 00:41:23,397
which is really cool, that...
1032
00:41:23,480 --> 00:41:28,151
I was looking images of Brazil
going from rich city to just a line.
1033
00:41:28,235 --> 00:41:30,487
And suddenly,
it's just poor in the favelas.
1034
00:41:30,570 --> 00:41:33,448
I thought it was a cool contrast
of the state of the world.
1035
00:41:34,449 --> 00:41:36,535
NOWLIN: Driving around Cape Town
tells that story, too.
1036
00:41:36,618 --> 00:41:38,203
BALL: In terms
of my thing with Gally though
1037
00:41:38,286 --> 00:41:40,080
on our first test screening we did,
1038
00:41:40,163 --> 00:41:42,374
Gally got a huge reveal,
1039
00:41:42,457 --> 00:41:45,794
-I mean, a response to his reveal here.
-NOWLIN: Response. Yeah.
1040
00:41:45,877 --> 00:41:48,755
BALL: I think it's because
they were just waiting for it.
1041
00:41:48,839 --> 00:41:52,259
It's that famous definition of suspense
of knowing what's gonna happen
1042
00:41:52,342 --> 00:41:54,011
and waiting for it to happen, right?
1043
00:41:54,094 --> 00:41:55,387
You tell them the bomb's on the table...
1044
00:41:55,470 --> 00:41:57,806
You show them the bomb on the table
and they wait for it to go off.
1045
00:41:57,889 --> 00:42:00,434
So, I think there's this feeling of,
"When is he gonna show himself?
1046
00:42:00,517 --> 00:42:01,601
"When is he gonna show himself?"
1047
00:42:01,685 --> 00:42:04,146
So, when he finally does,
it's this big thing
1048
00:42:04,229 --> 00:42:06,314
-rather than it being just a surprise.
-NOWLIN: Right.
1049
00:42:06,398 --> 00:42:08,483
BALL: I think
it might work in our favor.
1050
00:42:08,567 --> 00:42:10,569
NOWLIN: I think you get away with it,
too, in terms of who remembers
1051
00:42:10,652 --> 00:42:11,862
because at this point,
1052
00:42:11,945 --> 00:42:14,656
your audience are people
who have followed you to this point.
1053
00:42:14,740 --> 00:42:17,409
-They've seen the first movie at least.
-BALL: Yeah, exactly.
1054
00:42:17,492 --> 00:42:18,910
BALL: At some level though,
1055
00:42:18,994 --> 00:42:21,621
this can't be a movie
that stands completely on its own.
1056
00:42:21,705 --> 00:42:24,166
I mean, I think it still does.
You can still enjoy it and go with it,
1057
00:42:24,249 --> 00:42:28,003
but it does require a bit of knowledge
of the previous movies
1058
00:42:28,086 --> 00:42:29,671
to really fully enjoy it,
1059
00:42:29,755 --> 00:42:31,548
-to really appreciate it.
-NOWLIN: It's a different experience,
1060
00:42:31,631 --> 00:42:34,384
but I think we worked as hard
as we could to make the movie work,
1061
00:42:34,468 --> 00:42:36,511
especially knowing there'd be a big gap
between 2 and 3.
1062
00:42:36,595 --> 00:42:38,263
We did as much as we could, I think.
1063
00:42:38,346 --> 00:42:40,599
BALL: Yeah. And I think
if you'd never seen any of the movies,
1064
00:42:40,682 --> 00:42:42,768
we did do in our test screenings,
1065
00:42:42,851 --> 00:42:44,352
there were people
that had never seen the movies,
1066
00:42:44,436 --> 00:42:45,854
and they fully enjoyed the movie.
1067
00:42:45,937 --> 00:42:48,648
In fact, some of them
rated it higher than the others.
1068
00:42:49,274 --> 00:42:52,027
So, I think going in knowing
that it's the third one
1069
00:42:52,110 --> 00:42:53,111
and you have to go with it,
1070
00:42:53,195 --> 00:42:54,780
but if you never knew anything,
1071
00:42:54,863 --> 00:42:57,657
"Oh, that's a guy that I guess
did them wrong somehow.
1072
00:42:57,741 --> 00:42:59,326
"They thought he was dead
and he's not. Okay."
1073
00:42:59,409 --> 00:43:01,369
That's all everybody
needs to know really.
1074
00:43:01,620 --> 00:43:02,704
-He's an old foe.
-NOWLIN: Right from the beginning,
1075
00:43:02,788 --> 00:43:04,456
like, "Okay, there's some...
They're trying to rob a train.
1076
00:43:04,539 --> 00:43:05,624
"Why? There're kids on the train.
1077
00:43:05,707 --> 00:43:07,459
"They're chained up.
Oh, that's their friend.
1078
00:43:07,542 --> 00:43:09,294
"They're trying to save their friend
1079
00:43:09,377 --> 00:43:12,047
"because you're immune to a plague
wiping out the human race."
1080
00:43:12,130 --> 00:43:15,092
BALL: Yeah. You get the pieces you need
if you've never seen them before.
1081
00:43:15,175 --> 00:43:17,803
HARTWICK JR.: This Werdmuller building
was a tough place to shoot
1082
00:43:17,886 --> 00:43:18,929
'cause of sound.
1083
00:43:19,012 --> 00:43:20,013
BALL: Yeah,
it's another cool location, too.
1084
00:43:20,097 --> 00:43:22,682
There's a giant street right outside.
1085
00:43:23,642 --> 00:43:26,895
It's just a ton of noise,
but the location is fantastic.
1086
00:43:27,979 --> 00:43:31,024
A lot of really good locations
in Cape Town we looked at.
1087
00:43:31,108 --> 00:43:32,109
It's good stuff.
1088
00:43:32,192 --> 00:43:33,985
NOWLIN: It's a good-looking movie.
BALL: Yeah, Gyula.
1089
00:43:34,486 --> 00:43:36,404
BALL: Gyula came back
to DP the third one again.
1090
00:43:36,488 --> 00:43:37,864
He did the second one.
1091
00:43:38,740 --> 00:43:41,785
He's kind of become my DP man.
1092
00:43:42,744 --> 00:43:44,204
We have very similar aesthetics,
1093
00:43:44,287 --> 00:43:47,874
and we really get each other really,
really well in terms of our style.
1094
00:43:47,958 --> 00:43:51,044
We both really like to sink into shots.
1095
00:43:51,628 --> 00:43:53,296
He's really good
at lighting, I think, too.
1096
00:43:53,380 --> 00:43:54,798
I think it really shows.
1097
00:43:54,881 --> 00:43:58,176
It is probably the best-looking movie,
I think, of the three.
1098
00:44:07,477 --> 00:44:11,273
After the maze, I got picked up
by a group headed to the city.
1099
00:44:11,481 --> 00:44:14,109
They realized I was immune,
patched me up...
1100
00:44:14,276 --> 00:44:16,528
and they brought me here to Lawrence.
1101
00:44:17,904 --> 00:44:19,030
This group's been at war with WICKED
1102
00:44:19,114 --> 00:44:21,575
ever since they
took control of the city.
1103
00:44:21,658 --> 00:44:23,785
BALL: This is, again,
setting up the idea that
1104
00:44:23,869 --> 00:44:26,913
there is another group
that we're introducing
1105
00:44:26,997 --> 00:44:31,334
in this universe of Maze Runner,
which is the angry mob, essentially,
1106
00:44:31,751 --> 00:44:34,337
-the have-nots, that we're setting up.
-NOWLIN: Right.
1107
00:44:34,421 --> 00:44:36,673
BALL: And Gally
has somehow fallen into them.
1108
00:44:39,843 --> 00:44:42,345
We try to fill in the blanks
a little bit with what Gally says,
1109
00:44:42,429 --> 00:44:46,183
but for the most part, it's for people
to make up for themselves,
1110
00:44:46,266 --> 00:44:48,977
but he obviously
found his way into this group.
1111
00:44:49,060 --> 00:44:50,270
NOWLIN: Mmm-hmm.
1112
00:44:50,353 --> 00:44:51,646
Well, it makes sense if he was immune.
1113
00:44:51,730 --> 00:44:54,482
I like the idea that he was
brought here as a commodity,
1114
00:44:54,566 --> 00:44:56,693
but instead, he was taken
under the wing of these people
1115
00:44:56,776 --> 00:44:58,236
because he was a fighter.
1116
00:44:59,988 --> 00:45:01,781
BALL: There's an element
of being exploited
1117
00:45:01,865 --> 00:45:03,909
the same way WICKED exploits the others.
1118
00:45:05,994 --> 00:45:11,583
Lawrence uses him to go
get inside the city to do his spying,
1119
00:45:11,666 --> 00:45:14,377
and as they figure out a way
to storm the castle,
1120
00:45:14,461 --> 00:45:16,254
look for their opportunity in.
1121
00:45:16,338 --> 00:45:17,464
Like here, he talks about the walls.
1122
00:45:17,547 --> 00:45:19,799
There's no way to get past those walls
with those guns,
1123
00:45:19,883 --> 00:45:21,343
but they're looking for an opportunity.
1124
00:45:21,426 --> 00:45:23,220
Thomas ended up being that thing.
1125
00:45:23,303 --> 00:45:25,096
-This is a cool thing.
-NOWLIN: Yeah.
1126
00:45:26,306 --> 00:45:27,349
NOWLIN: Rose took his nose?
1127
00:45:27,432 --> 00:45:30,518
BALL: My original concept
for him was gonna be
1128
00:45:30,602 --> 00:45:32,145
the Rose-took-my-nose character
in the second,
1129
00:45:32,229 --> 00:45:35,106
but everyone was mad
that I didn't incorporate...
1130
00:45:35,190 --> 00:45:36,983
I always had this idea
in the back of my mind
1131
00:45:37,067 --> 00:45:38,735
that we would do it in the third movie.
1132
00:45:40,570 --> 00:45:42,405
It would make him
a really cool character.
1133
00:45:42,822 --> 00:45:47,035
So, we got Walton Goggins to play it
and I was really worried about R.
1134
00:45:47,118 --> 00:45:48,828
So I actually didn't...
1135
00:45:49,287 --> 00:45:50,330
When we were shooting this,
1136
00:45:50,413 --> 00:45:53,458
I didn't think we were going to
be able to take off his nose.
1137
00:45:55,460 --> 00:45:57,879
But as we were going,
1138
00:45:57,963 --> 00:46:00,882
I had concept art drawn out
with him without a nose,
1139
00:46:00,966 --> 00:46:02,634
and he just looked so cool.
1140
00:46:03,093 --> 00:46:04,928
And so, we shot it as is
1141
00:46:05,011 --> 00:46:09,057
and we had all the makeup on the
right side of his face and everything.
1142
00:46:10,141 --> 00:46:12,310
I asked WETA, I said,
"Guys, what could you do?"
1143
00:46:12,394 --> 00:46:14,729
We didn't do any tracking markers,
no nothing.
1144
00:46:15,105 --> 00:46:20,277
And they came back and showed me
what they would do to take off his nose,
1145
00:46:20,360 --> 00:46:22,529
-and it's fantastic work.
-NOWLIN: Yeah.
1146
00:46:22,737 --> 00:46:24,572
BALL: I mean, it looks totally real.
1147
00:46:24,656 --> 00:46:27,784
And the fact that
we didn't really shoot it safely,
1148
00:46:27,867 --> 00:46:30,704
thinking about markers and,
"We can't do that shot,"
1149
00:46:30,787 --> 00:46:33,707
it just has this feel
like we're shooting it
1150
00:46:33,790 --> 00:46:34,874
as if the character has no nose.
1151
00:46:34,958 --> 00:46:37,794
So, it has this really great
natural approach, I thought.
1152
00:46:37,877 --> 00:46:40,338
And the fact that WETA didn't have
any tracking markers or anything,
1153
00:46:40,422 --> 00:46:43,633
and they had to
rebuild his face practically
1154
00:46:43,717 --> 00:46:47,637
and seamlessly take off his nose,
it was really, really great work.
1155
00:46:48,179 --> 00:46:49,597
And it looks really cool, too.
1156
00:46:50,598 --> 00:46:52,517
Obviously, it's a little throwback
to a character,
1157
00:46:52,600 --> 00:46:55,061
that for people that don't know,
1158
00:46:55,145 --> 00:46:58,315
Mr. Nose is from the second movie
who's gone a little bit crazy,
1159
00:46:58,398 --> 00:46:59,524
he's a little nuts,
1160
00:46:59,607 --> 00:47:01,985
and he keeps repeating,
"Rose got my nose, Rose got my nose."
1161
00:47:02,068 --> 00:47:04,070
That's why there's roses
in the background.
1162
00:47:04,738 --> 00:47:07,490
In the very beginning of the scene,
you can hear these little whisperings,
1163
00:47:07,574 --> 00:47:09,075
-these little mutterings of...
-NOWLIN: He's whispering it, yeah.
1164
00:47:09,159 --> 00:47:10,285
BALL: "Rose took my nose I suppose."
1165
00:47:10,368 --> 00:47:11,536
He's just gone a little crazy.
1166
00:47:11,619 --> 00:47:12,996
NOWLIN: That was always the fun idea
of this character,
1167
00:47:13,079 --> 00:47:15,623
-someone who's half mad, but half sharp.
-BALL: Yeah.
1168
00:47:15,707 --> 00:47:17,500
NOWLIN: His eyes are different.
1169
00:47:18,001 --> 00:47:20,837
BALL: Yeah, he was that idea
we wanted in this movie.
1170
00:47:20,920 --> 00:47:22,797
We wanted to show a Crank
that's not monstrous this time
1171
00:47:22,881 --> 00:47:24,799
but is a real human being
that is suffering.
1172
00:47:24,883 --> 00:47:26,092
He was very much that.
1173
00:47:26,176 --> 00:47:27,177
He's the guy right in the middle.
1174
00:47:27,260 --> 00:47:28,720
He's half Crank, half human.
1175
00:47:28,803 --> 00:47:31,056
NOWLIN: Right. In the books,
they call it "you go past the gone.”
1176
00:47:31,139 --> 00:47:33,308
There's a point
where you become more monstrous.
1177
00:47:33,391 --> 00:47:35,018
BALL: Yeah, and we see that
with Newt and all that stuff.
1178
00:47:35,101 --> 00:47:37,187
NOWLIN: Yeah, and I think
it was interesting to say
1179
00:47:37,270 --> 00:47:40,690
if there's a character
that is straddling that line.
1180
00:47:41,608 --> 00:47:43,401
But we couldn't do that
with the second movie
1181
00:47:43,485 --> 00:47:47,030
'cause, I think, we purposefully wanted
that to be a reveal in movie three,
1182
00:47:47,113 --> 00:47:49,824
-that they're not just monstrous.
-BALL: The different shades, yeah.
1183
00:47:49,908 --> 00:47:52,744
BALL: To keep
expanding on the depth of the...
1184
00:47:52,827 --> 00:47:54,662
NOWLIN: There's a lot of criticism
in the second movie,
1185
00:47:54,746 --> 00:47:55,789
like "They just turned them
into zombies."
1186
00:47:55,872 --> 00:47:58,375
I kept wanting to say,
"Wait, we're not done!
1187
00:47:58,458 --> 00:48:00,210
"The movie's... You're in the middle. ”
1188
00:48:00,293 --> 00:48:03,755
BALL: That is one thing
that's for right or wrong,
1189
00:48:03,838 --> 00:48:05,340
I don't see these movies as sequels.
1190
00:48:05,423 --> 00:48:08,676
I see them all as one story,
which I think is...
1191
00:48:08,760 --> 00:48:11,638
For the fans that have stuck with us
1192
00:48:11,721 --> 00:48:14,099
and will continue
to revisit these movies,
1193
00:48:14,182 --> 00:48:17,936
it's gonna feel interesting to watch
all three movies as one saga
1194
00:48:18,019 --> 00:48:20,563
instead of just, "And another one,
and another one."
1195
00:48:20,647 --> 00:48:22,273
There are things
that are set up in the first movie
1196
00:48:22,357 --> 00:48:25,485
that aren't paid off until this movie,
or vice versa.
1197
00:48:25,568 --> 00:48:27,821
It's cool that we get to do
that kind of stuff.
1198
00:48:28,363 --> 00:48:32,158
For some ambitious people out there
that are gonna have a marathon,
1199
00:48:32,242 --> 00:48:36,371
it'll be a cool experience, I think,
to watch six hours of a story.
1200
00:48:44,587 --> 00:48:46,172
We're ready.
1201
00:48:49,592 --> 00:48:50,760
BALL: Now, the virus.
1202
00:48:51,428 --> 00:48:52,846
It's probably one of our first views.
1203
00:48:52,929 --> 00:48:54,139
There's another scene we cut out
1204
00:48:54,222 --> 00:48:58,476
where we really get to see
the hallways and the lab setting
1205
00:48:58,560 --> 00:49:00,103
that we have in this movie.
1206
00:49:00,812 --> 00:49:02,939
Which is cool.
It's a big giant set we built.
1207
00:49:03,398 --> 00:49:07,068
Dan Dorrance again returning
as a production designer
1208
00:49:07,152 --> 00:49:08,736
from the second movie.
1209
00:49:09,362 --> 00:49:12,615
Again, this was obviously
the thing of showing the...
1210
00:49:12,699 --> 00:49:14,159
NOWLIN: The humans side.
HARTWICK JR.: The state of the world.
1211
00:49:14,242 --> 00:49:16,327
NOWLIN: The face like a little girl
who's scared.
1212
00:49:16,411 --> 00:49:18,830
-And also for Teresa to be...
-BALL: The caretaker.
1213
00:49:18,913 --> 00:49:23,460
NOWLIN: To have a good bedside manner,
to be affectionate and caring.
1214
00:49:24,794 --> 00:49:26,754
BALL: This little girl,
we found her in South Africa.
1215
00:49:26,838 --> 00:49:28,047
HARTWICK JR.: Mmm-hmm.
1216
00:49:28,131 --> 00:49:30,300
Remember how we couldn't find
anybody in Vancouver?
1217
00:49:31,634 --> 00:49:33,428
BALL: She'd never acted
in anything before.
1218
00:49:33,845 --> 00:49:35,221
This was the first thing
she'd ever done.
1219
00:49:35,305 --> 00:49:38,391
NOWLIN: So, this was one of the big
steps forward we made with the script
1220
00:49:38,475 --> 00:49:40,435
between Vancouver and Cape Town
because in Vancouver,
1221
00:49:40,518 --> 00:49:42,270
we were asking too much
of this little girl.
1222
00:49:42,562 --> 00:49:45,773
We were asking her to get the injection,
1223
00:49:45,857 --> 00:49:49,319
to start to feel better,
and then to crank out, all in one scene.
1224
00:49:49,402 --> 00:49:50,403
I think we realized,
1225
00:49:50,487 --> 00:49:51,988
-"It'd be so much more effective..."
-BALL: Yeah, wait.
1226
00:49:52,071 --> 00:49:53,865
"...to let Teresa live
in that hope for a little bit."
1227
00:49:53,948 --> 00:49:55,408
When she goes to see Minho,
1228
00:49:55,492 --> 00:49:57,535
she's thinking they might have
found something.
1229
00:49:57,619 --> 00:50:00,955
And then, right when he attacks her,
you see this girl deteriorate.
1230
00:50:01,039 --> 00:50:02,332
The audience needs to feel that.
1231
00:50:02,415 --> 00:50:04,792
It can't just be,
"Oh, I guess they don't have a cure."
1232
00:50:04,876 --> 00:50:07,045
BALL: We need to let Teresa
live in the moment oi
1233
00:50:07,128 --> 00:50:08,213
"We've won" for a little bit.
1234
00:50:08,296 --> 00:50:10,381
-”We've found a cure.”
-NOWLIN: Mmm-hmm.
1235
00:50:10,590 --> 00:50:12,634
BALL: Obviously,
all her eyes are made red.
1236
00:50:13,301 --> 00:50:15,303
Another thing you notice
is that when she opens her eyes,
1237
00:50:15,386 --> 00:50:17,722
you see the red slowly just disappear.
1238
00:50:17,805 --> 00:50:19,015
NOWLIN: Mmm-hmm.
1239
00:50:20,266 --> 00:50:22,018
BALL: The midpoint is basically
1240
00:50:22,101 --> 00:50:23,895
-when Thomas finally meets Teresa.
-NOWLIN: Kidnapped, yeah.
1241
00:50:24,646 --> 00:50:25,897
BALL: Which is cool.
1242
00:50:25,980 --> 00:50:29,108
It's these two collision points
of the story, these narratives.
1243
00:50:29,817 --> 00:50:34,197
They're both talking about, or at least,
1244
00:50:34,280 --> 00:50:37,784
on different ends
of the spectrum of this one story,
1245
00:50:37,867 --> 00:50:39,661
and then they collide in the middle,
1246
00:50:39,744 --> 00:50:42,747
and then,
the story really jumps forward.
1247
00:50:43,623 --> 00:50:46,251
And missed, apparently.
1248
00:50:47,252 --> 00:50:49,254
The patrols never found a body.
1249
00:50:50,713 --> 00:50:52,549
Thomas is still out there.
1250
00:50:54,676 --> 00:50:56,511
What about her?
1251
00:50:56,678 --> 00:50:57,971
Does she know?
1252
00:50:59,264 --> 00:51:00,890
NOWLIN: It's fun to do scenes like this.
1253
00:51:01,474 --> 00:51:04,561
So many scenes in this movie that we
just couldn't have done in 1 or 2.
1254
00:51:04,644 --> 00:51:07,021
BALL: Mmm-hmm. Yeah, it's a full movie,
that's for sure.
1255
00:51:07,105 --> 00:51:09,065
I mean, we went in going in
1256
00:51:09,148 --> 00:51:13,194
we were never gonna split the movie
into two parts like it's the trend.
1257
00:51:13,278 --> 00:51:15,196
We wanted it to have a good trilogy.
1258
00:51:15,280 --> 00:51:16,781
Beginning, middle, and end.
1259
00:51:16,864 --> 00:51:18,908
And that meant that
this movie had to be packed,
1260
00:51:18,992 --> 00:51:21,160
and there are a ton of scenes
that we cut out.
1261
00:51:21,244 --> 00:51:26,332
There's actually a scene right before
this one of Gally and Thomas and Newt
1262
00:51:26,416 --> 00:51:28,084
breaking into an underground subway
1263
00:51:28,167 --> 00:51:30,962
and basically racing a train
that almost hits them,
1264
00:51:31,045 --> 00:51:32,171
a subway train.
1265
00:51:32,255 --> 00:51:35,091
That was their first little adventure
before they got into the city.
1266
00:51:35,174 --> 00:51:37,176
NOWLIN: Which we had so many...
1267
00:51:37,260 --> 00:51:39,846
There were people who told us
that we were gonna cut it,
1268
00:51:39,929 --> 00:51:41,639
and I think
where we justified it was that
1269
00:51:41,723 --> 00:51:43,349
it had to be hard to get into the city.
1270
00:51:43,433 --> 00:51:44,809
BALL: I miss it still, for sure.
1271
00:51:44,892 --> 00:51:47,186
It's just, a two and a half hour movie,
1272
00:51:47,270 --> 00:51:49,606
we had to find time somewhere,
and it was a five-minute chunk.
1273
00:51:49,689 --> 00:51:52,191
And, and for the most part,
you don't question it too much,
1274
00:51:52,275 --> 00:51:53,610
but it is something I miss.
1275
00:51:53,693 --> 00:51:56,654
Hopefully, people will get to watch
either in deleted scenes
1276
00:51:56,738 --> 00:51:58,364
or hopefully as an extended movie.
1277
00:51:58,448 --> 00:52:00,074
I think that would be really fun
1278
00:52:00,158 --> 00:52:04,746
to really experience it
in its full, uncut form.
1279
00:52:05,288 --> 00:52:07,206
NOWLIN: I think it makes sense though,
too, the challenges of just
1280
00:52:07,290 --> 00:52:08,291
-getting into the city.
-HARTWICK JR.: Cool sets here.
1281
00:52:08,374 --> 00:52:11,336
NOWLIN: The challenge is getting
into WICKED and turning off those guns.
1282
00:52:11,419 --> 00:52:13,504
That's what Lawrence has to do.
1283
00:52:15,131 --> 00:52:19,677
BALL: That was Cape Town.
So a lot of those buildings are CG.
1284
00:52:22,138 --> 00:52:27,185
But it's good work by WETA again
transforming this...
1285
00:52:31,272 --> 00:52:33,316
I don't know,
I wouldn't call it a modern city,
1286
00:52:33,399 --> 00:52:38,863
but a city into a real modern future.
1287
00:52:38,946 --> 00:52:40,156
NOWLIN: Mmm-hmm.
1288
00:52:40,239 --> 00:52:42,200
It's like, you've seen
the outside, you've seen the squalor
1289
00:52:42,283 --> 00:52:44,661
and the tightly-packed people
and the desperation,
1290
00:52:44,744 --> 00:52:47,538
and now, you come into this place
that's beautiful.
1291
00:52:47,622 --> 00:52:49,624
BALL: I just love
the color palette, too.
1292
00:52:49,707 --> 00:52:54,212
This fluorescent, harsh, sodium vapor.
1293
00:52:54,587 --> 00:52:55,588
It's a real city.
1294
00:52:55,672 --> 00:52:57,090
An urban adventure.
1295
00:52:57,173 --> 00:52:59,342
It's very similar to, think,
in the first movie,
1296
00:52:59,425 --> 00:53:03,221
to where Minho is taking Thomas
on a journey to the maze.
1297
00:53:03,304 --> 00:53:06,766
Here, Sally's doing the same thing
through a new kind of maze,
1298
00:53:06,849 --> 00:53:08,267
which I thought was a really cool thing,
1299
00:53:08,351 --> 00:53:11,854
and it happens right around
the same time in the first movie.
1300
00:53:12,855 --> 00:53:14,273
There's another scene
that was cut out here
1301
00:53:14,357 --> 00:53:15,441
where they actually end up on a freeway.
1302
00:53:15,525 --> 00:53:16,734
NOWLIN: Yeah,
it was a really good scene.
1303
00:53:16,818 --> 00:53:17,819
BALL: And they make a jump
1304
00:53:17,902 --> 00:53:19,987
from the freeway onto the wall,
which was cool,
1305
00:53:20,071 --> 00:53:21,364
but it was cut for time.
1306
00:53:21,906 --> 00:53:23,116
They're really giant shots.
1307
00:53:23,199 --> 00:53:24,742
This is another drone shot
1308
00:53:24,826 --> 00:53:29,288
we shot in a shipping yard
where boats are repaired.
1309
00:53:29,372 --> 00:53:31,457
So, that's a real wall there,
1310
00:53:31,541 --> 00:53:34,794
but obviously,
it's hugely extended by WETA.
1311
00:53:34,877 --> 00:53:38,423
That's really our guys
running along the concrete wall.
1312
00:53:38,506 --> 00:53:39,757
NOWLIN: That's a great-looking shot.
1313
00:53:39,841 --> 00:53:42,301
BALL: Yeah, and replaced
and extended by WETA,
1314
00:53:42,385 --> 00:53:46,472
which really did a good job
setting up this world, making it real.
1315
00:53:46,556 --> 00:53:47,932
NOWLIN: I remember that dry dock.
1316
00:53:48,015 --> 00:53:49,809
-It was so cool.
-BALL: It was cool.
1317
00:53:54,355 --> 00:53:55,773
HARTWICK JR.: That was another
hard night of shooting, remember?
1318
00:53:55,857 --> 00:53:56,858
We had the gas leak,
1319
00:53:56,941 --> 00:53:58,985
and then all the noise
from the boat being worked on.
1320
00:53:59,110 --> 00:54:02,947
BALL: I was up there in this...
Two stories up with the guys,
1321
00:54:03,030 --> 00:54:04,657
and all of a sudden,
we smell something funny.
1322
00:54:04,741 --> 00:54:06,075
Our nose starts burning.
1323
00:54:06,409 --> 00:54:07,660
I'm like, "What is that?
That's strange."
1324
00:54:07,744 --> 00:54:09,954
And all of a sudden,
we hear over the PA,
1325
00:54:10,037 --> 00:54:13,374
"Everyone, get to the stairs
and get to the surface immediately.
1326
00:54:13,458 --> 00:54:14,709
"Don't panic. Just go."
1327
00:54:14,792 --> 00:54:17,295
-I'm like, "What's going on?"
-(ALL LAUGHING)
1328
00:54:17,420 --> 00:54:18,880
Turned out,
it was some kind of ammonia leak.
1329
00:54:18,963 --> 00:54:20,465
And because we were shooting at night,
1330
00:54:20,548 --> 00:54:23,885
ammonia's heavier than air, so it sunk
into this pit that we're in.
1331
00:54:23,968 --> 00:54:26,721
And ammonia can be really dangerous.
1332
00:54:26,804 --> 00:54:29,515
Eventually, it cleared out
and we went back to shooting.
1333
00:54:30,183 --> 00:54:35,146
Not only that, but we had a gigantic,
huge shipping vessel, I guess,
1334
00:54:35,229 --> 00:54:37,982
parked right next to where we are here,
being worked on.
1335
00:54:38,065 --> 00:54:39,817
And the crew had to work 24 hours a day,
1336
00:54:39,901 --> 00:54:43,321
so they're just sawing and welding
right next to us
1337
00:54:43,404 --> 00:54:45,782
during all these scenes,
and we couldn't ask them to stop.
1338
00:54:45,865 --> 00:54:48,743
So, a lot of this dialogue is all ADR.
1339
00:54:51,662 --> 00:54:54,040
It's never preferable,
but they did a good job.
1340
00:54:57,210 --> 00:55:01,714
This is a cool moment where, finally,
the two stories connect I think.
1341
00:55:03,090 --> 00:55:05,593
Like what? You've seen the building.
She is our only way in.
1342
00:55:07,345 --> 00:55:09,055
NOWLIN: The fun thing, I think,
of telling a story,
1343
00:55:09,138 --> 00:55:11,057
where there's all these different
points of views and threads,
1344
00:55:11,140 --> 00:55:13,601
is the anticipation for them
to tie together and collide
1345
00:55:13,684 --> 00:55:17,897
into one propulsive track.
1346
00:55:18,397 --> 00:55:24,362
BALL: This is more necessary work
of exposing Newt
1347
00:55:24,445 --> 00:55:26,280
as somethings wrong with Newt.
1348
00:55:28,908 --> 00:55:29,909
Yeah.
1349
00:55:31,994 --> 00:55:33,246
I still wonder sometimes.
1350
00:55:33,329 --> 00:55:35,581
We experimented with actually
cutting this scene once.
1351
00:55:35,832 --> 00:55:37,542
NOWLIN: Yeah, it was the idea of,
1352
00:55:37,625 --> 00:55:40,545
"Are we revealing
Newt's infection too soon?"
1353
00:55:40,628 --> 00:55:43,089
BALL: I always thought it would be cool
to save it for later,
1354
00:55:43,172 --> 00:55:44,799
like, hint at it and save it for later,
1355
00:55:44,882 --> 00:55:47,593
but we just didn't have time
to reshoot anything.
1356
00:55:47,885 --> 00:55:49,095
It is what it is.
1357
00:55:50,179 --> 00:55:53,432
It is a cool scene
to see the two guys...
1358
00:55:53,516 --> 00:55:55,101
See a side of Newt
we've never seen before.
1359
00:55:55,184 --> 00:55:56,686
"What's going on here?"
1360
00:55:56,769 --> 00:55:59,564
You see he's slipping,
he's losing himself a little bit,
1361
00:55:59,647 --> 00:56:03,568
which is a tragic thing for him.
1362
00:56:04,068 --> 00:56:06,279
NOWLIN: I feel like the movie
wants this type of a scene here,
1363
00:56:06,362 --> 00:56:08,906
which is the interaction of the group
and conflict between the group,
1364
00:56:08,990 --> 00:56:12,910
which we haven't really had
since they left the base.
1365
00:56:13,160 --> 00:56:14,245
There's been a lot of plot.
1366
00:56:18,666 --> 00:56:21,544
BALL: It was a good throw going from
Thomas looking at Teresa
1367
00:56:21,627 --> 00:56:23,296
-to Minho going to talk to Teresa.
-NOWLIN: It was really good, yeah.
1368
00:56:23,379 --> 00:56:24,672
BALL: It was nice.
NOWLIN: That was really nice.
1369
00:56:24,755 --> 00:56:26,007
BALL: It was the momentum
that was really nice.
1370
00:56:26,090 --> 00:56:27,258
You missed all this stuff.
1371
00:56:27,800 --> 00:56:29,218
And there's one scene I miss here.
1372
00:56:29,302 --> 00:56:31,220
We had Newt talking about...
1373
00:56:31,304 --> 00:56:32,763
NOWLIN: The story
of how we got his /imp.
1374
00:56:32,847 --> 00:56:35,933
BALL: The story about how we jumped
from the wall and tried to kill himself.
1375
00:56:36,017 --> 00:56:37,310
It was good. It was just long.
1376
00:56:37,393 --> 00:56:39,061
NOWLIN: It was Minho who found him.
The point of the story is that
1377
00:56:39,145 --> 00:56:42,189
it was Minho who saved him
and gave him another chance.
1378
00:56:42,273 --> 00:56:44,191
The point of the story is that,
1379
00:56:44,275 --> 00:56:46,193
if there's anything we can do
to get him out, we have to do it.
1380
00:56:46,277 --> 00:56:47,278
That's more important.
1381
00:56:47,361 --> 00:56:48,696
BALL: It's already a three-minute scene,
1382
00:56:48,779 --> 00:56:50,740
-then it was a seven-minute scene.
-NOWLIN: Right.
1383
00:56:50,823 --> 00:56:52,366
BALL: it just had to go, unfortunately.
1384
00:56:52,450 --> 00:56:55,578
Being in the middle of the movie,
it's where most movies sag,
1385
00:56:55,661 --> 00:56:57,663
and you have to do everything you can
to keep it moving.
1386
00:56:57,747 --> 00:57:01,000
You got the information you needed here
and you got the kind of connection,
1387
00:57:01,083 --> 00:57:02,668
but it is one of those scenes
that I think
1388
00:57:02,752 --> 00:57:05,463
people, fans,
will really like to watch again,
1389
00:57:05,546 --> 00:57:07,632
either as its own deleted thing
1390
00:57:07,715 --> 00:57:12,053
or hopefully as an extended experience
to the movie
1391
00:57:12,136 --> 00:57:14,263
because I always loved it.
1392
00:57:14,805 --> 00:57:18,267
Newt did a great job
with that reading and that story,
1393
00:57:18,351 --> 00:57:20,061
and it naturally flows in.
1394
00:57:20,144 --> 00:57:21,437
Get a little bit more to it.
1395
00:57:22,605 --> 00:57:26,442
As an extended thing... In the theater,
I think it's right to be gone,
1396
00:57:26,525 --> 00:57:29,987
but when you're in the comfort
of your own home and stuff,
1397
00:57:30,071 --> 00:57:32,365
the real fans who wanna enjoy
that kind of thing,
1398
00:57:32,448 --> 00:57:36,160
they would enjoy
a 15-minute longer version of the movie.
1399
00:57:38,621 --> 00:57:40,498
NOWLIN: This is our campfire scene
from Scorch Trials.
1400
00:57:40,581 --> 00:57:41,666
BALL: Yeah. Yeah.
HARTWICK JR.: That's right.
1401
00:57:41,749 --> 00:57:43,334
BALL: Unfortunately,
another one of those.
1402
00:57:46,087 --> 00:57:48,673
It's still a regret for me.
I still regret cutting that scene.
1403
00:57:50,591 --> 00:57:54,845
NOWLIN: I think we regret not figuring
out a way to protect it in the story.
1404
00:57:55,096 --> 00:57:57,682
-BALL: /know what I would've done now.
-I know. Yeah, we've talked about it.
1405
00:57:57,765 --> 00:58:00,476
BALL: We might have talked about it
on the commentary of the last one.
1406
00:58:01,811 --> 00:58:03,396
NOWLIN: But this throw works,
too, though,
1407
00:58:03,479 --> 00:58:06,148
the idea that we have to
get Minho out, cut to Minho.
1408
00:58:06,399 --> 00:58:09,485
BALL: Yeah, it just doesn't have
quite the momentum,
1409
00:58:09,568 --> 00:58:10,611
but it is still good.
1410
00:58:10,695 --> 00:58:13,322
(LAUGHING) Then we see poor Minho
being just totally...
1411
00:58:13,406 --> 00:58:14,949
He's gone through hell.
1412
00:58:15,032 --> 00:58:17,201
Hopefully, it's just
reinforcing the idea of like,
1413
00:58:17,284 --> 00:58:19,245
"Oh, man, get in there and save him!"
1414
00:58:19,328 --> 00:58:20,705
-So, you're just really...
-NOWLIN: Yeah.
1415
00:58:20,788 --> 00:58:22,373
BALL: You're really
waiting for that chance.
1416
00:58:22,456 --> 00:58:24,083
"Are they gonna get him in time?"
1417
00:58:24,166 --> 00:58:26,836
NOWLIN: Can I say, whoever made him
wear that shirt is a jerk.
1418
00:58:26,919 --> 00:58:28,295
(LAUGHTER)
1419
00:58:28,379 --> 00:58:29,380
BALL: It's funny.
1420
00:58:29,463 --> 00:58:30,840
NOWLIN: Poor kid.
He's been through enough.
1421
00:58:30,923 --> 00:58:32,633
BALL: We have a sense of humor
in this movie. It's good.
1422
00:58:32,717 --> 00:58:33,718
NOWLIN: Right.
1423
00:58:35,845 --> 00:58:36,887
BALL: It's a good scene to have.
1424
00:58:36,971 --> 00:58:40,891
I told Teresa, "This is the first time
you've talked to him."
1425
00:58:42,393 --> 00:58:43,728
NOWLIN: I think she's been
waiting for good news.
1426
00:58:43,811 --> 00:58:46,731
She's been waiting to be able
to tell him that we're making progress.
1427
00:58:46,814 --> 00:58:47,898
This is why we're here.
1428
00:58:47,982 --> 00:58:49,233
HARTWICK JR.:
To allay some of her own guilt.
1429
00:58:49,316 --> 00:58:53,195
BALL: A thing we kept talking about
in the script is this idea of the cost.
1430
00:58:53,738 --> 00:58:56,407
She kept saying it's worth it,
which is cool.
1431
00:58:58,325 --> 00:58:59,535
NOWLIN: Mmm-hmm.
1432
00:59:00,703 --> 00:59:04,081
BALL: Kaya does a really good job
in the movie in general, I think.
1433
00:59:04,582 --> 00:59:05,583
She's really good.
1434
00:59:05,666 --> 00:59:07,251
NOWLIN: So much of her character
in the first two
1435
00:59:07,334 --> 00:59:10,004
-has been building up to this movie.
-BALL: This. Yeah.
1436
00:59:10,546 --> 00:59:12,631
NOWLIN: I'm excited
for people to see the movie
1437
00:59:12,715 --> 00:59:15,051
for what she does,
and for Teresa's arc as a character.
1438
00:59:15,134 --> 00:59:19,180
BALL: There'll still be plenty of people
who will not like her and just say that.
1439
00:59:19,263 --> 00:59:23,976
But I think there'll be some people
who genuinely find an interesting depth.
1440
00:59:25,436 --> 00:59:28,397
NOWLIN: As long as there's one person in
your opening weekend group of friends
1441
00:59:28,481 --> 00:59:31,067
-that is making the case for her...
-BALL: Yeah.
1442
00:59:31,150 --> 00:59:32,359
NOWLIN: ...then you're arguing
in the parking lot.
1443
00:59:32,443 --> 00:59:35,071
-That's all we want, is the discussion.
-BALL: Yeah. (LAUGHS)
1444
00:59:35,154 --> 00:59:36,530
NOWLIN: This isn't about
how she's the best.
1445
00:59:36,614 --> 00:59:38,449
BALL: Yeah, we're not saying
that she's right or wrong.
1446
00:59:38,532 --> 00:59:41,285
It's just that she's complicated,
and they're all complicated.
1447
00:59:41,368 --> 00:59:44,663
I think even Dylan, he might...
1448
00:59:44,747 --> 00:59:47,583
Or the character of Thomas,
1449
00:59:47,666 --> 00:59:49,502
he might be doing things wrong actually.
1450
00:59:49,585 --> 00:59:52,713
He might be putting his friends
in jeopardy coming here,
1451
00:59:52,797 --> 00:59:54,715
but he's doing what he feels is right.
1452
00:59:55,633 --> 00:59:57,802
NOWLIN: We ended the second movie with,
"I'm gonna kill Ava Paige.
1453
00:59:57,885 --> 01:00:00,554
"We're gonna take on WICKED
and I think..." (LAUGHS)
1454
01:00:00,679 --> 01:00:01,680
This is fun.
1455
01:00:03,682 --> 01:00:04,683
BALL: A little sneaky thing.
1456
01:00:04,767 --> 01:00:06,143
I don't know if people
are gonna catch this or not,
1457
01:00:06,227 --> 01:00:08,604
but he actually steals the hairpin
that was in her hair.
1458
01:00:08,687 --> 01:00:10,022
NOWLIN: If you look it at.
It's a chestnut.
1459
01:00:10,106 --> 01:00:11,440
(BOTH LAUGH)
1460
01:00:12,483 --> 01:00:14,235
The idea that Thomas
ends the second movie,
1461
01:00:14,318 --> 01:00:16,570
his growth, I guess, is figuring out
what his purpose is
1462
01:00:16,654 --> 01:00:18,697
and what he's gonna do
now that he's out of the maze.
1463
01:00:18,781 --> 01:00:19,865
He's gonna fight WICKED,
1464
01:00:19,949 --> 01:00:21,325
but he has a very
black-and-white understanding
1465
01:00:21,408 --> 01:00:22,743
of who's right and who's wrong.
1466
01:00:23,077 --> 01:00:25,037
A lot of this movie
is challenging that certainty,
1467
01:00:25,121 --> 01:00:27,957
whether it's having to work with Gally
who killed Chuck,
1468
01:00:28,040 --> 01:00:30,292
or having to confront Teresa
1469
01:00:30,376 --> 01:00:32,545
and then trust Teresa
and then go back to WICKED.
1470
01:00:32,628 --> 01:00:36,132
It's just about chipping away at that,
and it's all a coming-of-age story.
1471
01:00:36,215 --> 01:00:39,260
Starting from the blank slate that he is
at the beginning of movie one
1472
01:00:39,343 --> 01:00:41,804
to becoming a leader,
getting out of the maze,
1473
01:00:41,887 --> 01:00:44,098
and then that final step of maturity,
1474
01:00:44,181 --> 01:00:49,186
of seeing the world from someone else's
point of view other than your own.
1475
01:00:49,270 --> 01:00:51,647
BALL: This just turned into
Teresa's worst day ever.
1476
01:00:51,730 --> 01:00:52,815
HARTWICK JR.: (LAUGHS) Yeah.
NOWLIN: (LAUGHS) Right.
1477
01:00:52,898 --> 01:00:54,108
HARTWICK JR.: Yeah,
she gets like triple punched.
1478
01:00:54,191 --> 01:00:56,777
BALL: Originally, it was just,
Minho attacked her and she walked off.
1479
01:00:56,861 --> 01:01:00,072
And here, the fact that we put
that little... That thing broke down,
1480
01:01:00,156 --> 01:01:03,409
it really helped to...
You really felt her...
1481
01:01:03,492 --> 01:01:06,162
Everything she's done,
everything she had to go through,
1482
01:01:06,245 --> 01:01:09,165
betrayal, everything she's
done it for is wasted.
1483
01:01:09,248 --> 01:01:10,499
NOWLIN: It's a dead-end, yeah.
BALL: Yeah.
1484
01:01:10,583 --> 01:01:11,667
BALL: She's lost.
NOWLIN: It was for nothing.
1485
01:01:11,750 --> 01:01:12,918
BALL: Then, of course,
opportunity shows.
1486
01:01:13,002 --> 01:01:14,211
NOWLIN: That's what she says
in the boardroom.
1487
01:01:14,295 --> 01:01:15,838
"Please don't let
those sacrifices be for nothing."
1488
01:01:15,921 --> 01:01:18,174
She's talking about
her sacrifices as well.
1489
01:01:19,091 --> 01:01:20,926
We talked about this,
how important it was,
1490
01:01:21,010 --> 01:01:23,804
the first time Thomas and Teresa
see each other in this moment.
1491
01:01:23,888 --> 01:01:25,598
We're in her point of view, not his.
1492
01:01:25,681 --> 01:01:26,932
He's not stalking her.
1493
01:01:27,016 --> 01:01:28,726
BALL: Originally, it was
not that way, remember?
1494
01:01:28,809 --> 01:01:30,352
It was in Vancouver
we came up with that idea.
1495
01:01:30,436 --> 01:01:32,313
We were struggling with it
for a bit, I remember.
1496
01:01:32,396 --> 01:01:34,398
And it was Thomas...
1497
01:01:34,481 --> 01:01:38,110
It was seeing from Thomas' point of view
going after her, I remember.
1498
01:01:39,236 --> 01:01:40,446
We went out to location one day,
1499
01:01:40,529 --> 01:01:43,991
and I remember having this idea that
it'd be nice to follow her for a bit.
1500
01:01:44,074 --> 01:01:45,910
NOWLIN: We're chasing him.
BALL: And then she sees him.
1501
01:01:45,993 --> 01:01:48,954
BALL: Suddenly, the scene, for me,
clicked into place I think,
1502
01:01:49,038 --> 01:01:50,039
you know what I mean?
1503
01:01:50,122 --> 01:01:52,082
NOWLIN: Yeah, I don't remember that
other version, but it's possible.
1504
01:01:52,166 --> 01:01:53,626
We went through,
that's something to say...
1505
01:01:53,709 --> 01:01:56,170
We went through
so many iterations of the story.
1506
01:01:56,253 --> 01:01:57,796
More than the second movie.
1507
01:01:58,047 --> 01:02:00,925
I think the reason why we didn't think
as much about 2 writing 1
1508
01:02:01,008 --> 01:02:02,301
is 'cause one was so contained.
1509
01:02:02,384 --> 01:02:04,011
It was about getting out of the maze.
1510
01:02:04,094 --> 01:02:05,679
And the big reveal
we were planning is that
1511
01:02:05,763 --> 01:02:08,682
the world outside the maze is a ruin.
It's a bigger world.
1512
01:02:08,766 --> 01:02:10,017
BALL: By the way,
that movie could be the end.
1513
01:02:10,100 --> 01:02:11,936
-For all we knew, that was the end.
-NOWLIN: That could be the end. Right.
1514
01:02:12,019 --> 01:02:14,313
BALL: But when the second one came out,
we didn't know there'd be a third one.
1515
01:02:14,396 --> 01:02:15,856
HARTWICK JR.:
We didn't have as much time, too.
1516
01:02:15,940 --> 01:02:17,483
Our second movie
started shooting a month...
1517
01:02:17,566 --> 01:02:18,567
After the first one came out.
1518
01:02:18,651 --> 01:02:19,777
NOWLIN: A month
after the first one came out.
1519
01:02:19,860 --> 01:02:21,654
But also with the decision
to open the second one
1520
01:02:21,737 --> 01:02:24,156
right where the first one ended,
we're immediately...
1521
01:02:24,240 --> 01:02:25,282
You have that great opening,
1522
01:02:25,366 --> 01:02:26,450
and now we're in a corner
1523
01:02:26,533 --> 01:02:28,786
that we have to wiggle our way
out of a little bit.
1524
01:02:28,869 --> 01:02:30,955
BALL: We had to explain that,
"Wait, so she's not dead?"
1525
01:02:31,038 --> 01:02:34,750
It's just this weird thing
that we have to tie up unfortunately.
1526
01:02:34,833 --> 01:02:36,752
NOWLIN: The hardest scene
to write in that movie, frankly,
1527
01:02:36,835 --> 01:02:39,755
was Thomas spying on that conversation
between Ava and Janson.
1528
01:02:39,838 --> 01:02:41,757
That was such nightmare.
1529
01:02:42,341 --> 01:02:43,425
They did it well.
1530
01:02:44,134 --> 01:02:47,096
Here, there were so many possibilities.
1531
01:02:47,429 --> 01:02:50,432
We did a draft, I swear to God,
where the solar flares came back.
1532
01:02:50,516 --> 01:02:51,600
BALL: Yeah, right,
I remember that, yeah.
1533
01:02:51,684 --> 01:02:53,560
NOWLIN: We did a draft where
they leave the city at one point,
1534
01:02:53,644 --> 01:02:55,938
where WICKED had another...
Closer to the book.
1535
01:02:56,021 --> 01:02:57,815
They had another, like,
their version of a safe haven.
1536
01:02:57,898 --> 01:02:59,191
HARTWICK JR.:
Like an underground vault thing.
1537
01:02:59,275 --> 01:03:00,609
BALL: It just felt like every time...
1538
01:03:00,693 --> 01:03:01,986
NOWLIN: You want it to end at the city.
1539
01:03:02,069 --> 01:03:03,320
BALL: It was just too much.
NOWLIN: Right.
1540
01:03:03,404 --> 01:03:05,864
BALL: It was like you felt you wanted
to split off and do another movie,
1541
01:03:05,948 --> 01:03:08,826
and it's like it's better
to make the city the stage
1542
01:03:08,909 --> 01:03:10,327
and make WICKED's headquarter
in the city.
1543
01:03:10,411 --> 01:03:13,205
NOWLIN: And if it's the last city,
this is the last stand of civilization,
1544
01:03:13,289 --> 01:03:15,708
-when WICKED falls, it's over.
-BALL: Yeah. "There's another place."
1545
01:03:15,791 --> 01:03:17,001
BALL: And you have to go there.
1546
01:03:17,084 --> 01:03:18,294
And then you have to
spend time doing that.
1547
01:03:18,377 --> 01:03:19,378
NOWLIN: I thought about that watching...
1548
01:03:19,461 --> 01:03:20,754
I shouldn't say this,
1549
01:03:20,838 --> 01:03:22,214
-but we'll talk later.
BALL: Okay.
1550
01:03:22,298 --> 01:03:24,008
I think I know
what you're talking about.
1551
01:03:26,302 --> 01:03:29,638
I always remember
loving the idea of this scene, too,
1552
01:03:29,722 --> 01:03:32,224
just the two people coming together.
1553
01:03:32,308 --> 01:03:35,019
And the trick, essentially,
of him kidnapping her.
1554
01:03:35,644 --> 01:03:38,564
It's like, they get to actually meet
and talk to each other for a moment.
1555
01:03:38,647 --> 01:03:39,773
This quiet...
1556
01:03:39,857 --> 01:03:42,776
Originally, in Vancouver,
it was gonna be an alleyway.
1557
01:03:42,860 --> 01:03:44,862
But we found this little spot.
1558
01:03:44,945 --> 01:03:46,780
NOWLIN: Something else,
if we had been able to reshoot
1559
01:03:46,864 --> 01:03:47,865
the Newt infection reveal,
1560
01:03:47,948 --> 01:03:49,408
which, let's talk through that,
1561
01:03:49,491 --> 01:03:50,993
because if you would cut
right from seeing Teresa
1562
01:03:51,076 --> 01:03:52,077
to her point of view.
1563
01:03:52,161 --> 01:03:53,203
BALL: You wouldn't know what's going on.
1564
01:03:53,287 --> 01:03:54,955
NOWLIN: What's going on here?
This isn't part of the plan.
1565
01:03:55,039 --> 01:03:57,124
He could just be
genuinely concerned like,
1566
01:03:57,207 --> 01:03:58,834
"You gotta get out of here.
They're gonna come and get you. ”
1567
01:03:58,917 --> 01:04:00,210
BALL: Yeah, there's a lot of
good mystery there.
1568
01:04:00,294 --> 01:04:01,295
NOWLIN: A lot of good... Yeah.
1569
01:04:01,420 --> 01:04:02,504
BALL: But even there,
there's still a surprise
1570
01:04:02,588 --> 01:04:04,465
that Gally comes around and takes her.
1571
01:04:04,548 --> 01:04:05,758
NOWLIN: Yeah, that's cool.
1572
01:04:05,841 --> 01:04:07,718
This is a little structural change
you did.
1573
01:04:07,801 --> 01:04:09,636
Originally, we go from
the bag over her head
1574
01:04:09,720 --> 01:04:11,638
-to the scene with them at the church.
-BALL: Yeah, the church scene.
1575
01:04:11,722 --> 01:04:13,849
NOWLIN: This would've come right before
the heist, but it works well here.
1576
01:04:13,932 --> 01:04:17,811
BALL: Yeah, we did this in editing,
'cause you wanted to...
1577
01:04:17,895 --> 01:04:20,981
Again, the off-screen movie
is transporting her to somewhere secret.
1578
01:04:21,065 --> 01:04:23,317
So, we get to go away somewhere,
a different point of view.
1579
01:04:23,400 --> 01:04:25,986
NOWLIN: This is also one of
the slower moments in the movie
1580
01:04:26,070 --> 01:04:27,571
where it's good to have that,
1581
01:04:27,654 --> 01:04:30,407
"What's going on with Teresa
in the back of the..."
1582
01:04:30,491 --> 01:04:31,867
But I love this scene.
1583
01:04:32,993 --> 01:04:35,537
BALL: It's another one
where they really talk about
1584
01:04:35,621 --> 01:04:37,456
the state of the affairs of the movie.
1585
01:04:37,539 --> 01:04:40,125
NOWLIN: But the fact that Ava's done,
that that was her last chance,
1586
01:04:40,209 --> 01:04:44,004
and really clarifying the fact
that they're on their last leg,
1587
01:04:44,088 --> 01:04:45,923
that the virus is inside the city,
1588
01:04:46,006 --> 01:04:49,551
and this is the kind of split moment
between Ava and Janson.
1589
01:04:49,843 --> 01:04:52,763
I think going into the heist
from this scene,
1590
01:04:52,846 --> 01:04:56,600
I don't know what's gonna happen.
I don't know what I want to happen.
1591
01:04:57,142 --> 01:05:00,646
BALL: Yeah, you get that idea that,
"No, not this time."
1592
01:05:02,398 --> 01:05:03,399
The virus is airborne.
1593
01:05:03,482 --> 01:05:05,067
There's a little reaction to Janson,
1594
01:05:05,150 --> 01:05:08,070
it's because he knows he's infected,
that's how he got sick.
1595
01:05:08,153 --> 01:05:09,363
NOWLIN: Yeah, he's ahead of her on that.
1596
01:05:10,197 --> 01:05:12,908
There was a lot more about that, too,
like little setups that Janson...
1597
01:05:12,991 --> 01:05:14,827
BALL: Yeah, I cut those out,
some of them unfortunately.
1598
01:05:14,910 --> 01:05:16,495
-Mainly just for time.
-NOWLIN: I think all of them, right?
1599
01:05:16,578 --> 01:05:17,913
BALL: Yeah,
there was a scene we had earlier
1600
01:05:17,996 --> 01:05:21,041
right before Teresa was testing a little
girl where Janson steals some serum,
1601
01:05:21,125 --> 01:05:22,126
and you're not quite sure why.
1602
01:05:22,209 --> 01:05:23,210
I think you get it.
1603
01:05:23,293 --> 01:05:25,421
There was a scene early on
between the two characters here
1604
01:05:25,504 --> 01:05:27,965
talking about Thomas
after they rob the train
1605
01:05:28,048 --> 01:05:29,341
where Janson's hand is shaking.
1606
01:05:29,425 --> 01:05:30,717
We're obviously just setting it up.
1607
01:05:30,801 --> 01:05:35,931
I think pretty much any audience member
would know what we're doing there.
1608
01:05:37,224 --> 01:05:39,017
It's another little thing that I miss
1609
01:05:39,101 --> 01:05:42,271
that I think actually would be good
in a longer version,
1610
01:05:42,354 --> 01:05:43,439
'cause he was really good.
1611
01:05:43,522 --> 01:05:45,691
He made a lot more of a character
in the beginning.
1612
01:05:47,025 --> 01:05:49,278
But even this line here,
maybe it won't mean much to people,
1613
01:05:49,361 --> 01:05:52,072
but the fact that she says,
"Everything we put them through,
1614
01:05:52,156 --> 01:05:54,158
"at least we gave them the tools
they'll need to survive."
1615
01:05:54,241 --> 01:05:55,242
What she's talking about is
1616
01:05:55,325 --> 01:05:57,995
everything they've put them through
in the maze and in the Glades.
1617
01:05:58,078 --> 01:05:59,830
These kids know
how to fend for themselves.
1618
01:05:59,913 --> 01:06:01,999
They know how to grow food.
They know how to build shelter.
1619
01:06:02,082 --> 01:06:03,792
They know how to have democracy.
1620
01:06:03,876 --> 01:06:06,545
They know how to start
a new world together, which is cool.
1621
01:06:06,628 --> 01:06:08,547
NOWLIN: We've had that
in the back of our minds for so long.
1622
01:06:08,630 --> 01:06:11,258
It was always, for me,
the most satisfying explanation
1623
01:06:11,341 --> 01:06:12,968
for why they're in the maze beyond...
1624
01:06:13,051 --> 01:06:14,511
-'Cause the problem is the experience...
-BALL: They trained them
1625
01:06:14,595 --> 01:06:15,596
for a world on their own.
1626
01:06:15,679 --> 01:06:18,223
NOWLIN: Right. And for the eventuality
for their own failure,
1627
01:06:18,307 --> 01:06:20,517
that they're gonna have to carry on
and rebuild civilization.
1628
01:06:20,601 --> 01:06:25,063
So, whatever they needed to do to them
to get to test them for the cure,
1629
01:06:25,147 --> 01:06:28,275
they also had to prepare them
for starting over.
1630
01:06:28,400 --> 01:06:31,528
BALL: Which I thought
is the cool concept to me, really.
1631
01:06:32,529 --> 01:06:34,865
The concept of the movies
we always said,
1632
01:06:34,948 --> 01:06:37,034
the first movie's like being in school,
1633
01:06:37,117 --> 01:06:39,453
and then the second movie's graduating.
1634
01:06:39,536 --> 01:06:40,537
NOWLIN: Into the big world
and to college.
1635
01:06:40,662 --> 01:06:42,831
BALL: And then the third movie's
finally, "You're on your own."
1636
01:06:42,915 --> 01:06:44,625
And that first thing in the Glades,
1637
01:06:44,708 --> 01:06:49,338
it's really about preparing them
for the state of the world out there.
1638
01:06:49,421 --> 01:06:54,009
These young people have to start
a world together in some way or another.
1639
01:06:54,092 --> 01:06:55,093
NOWLIN: Right.
1640
01:06:55,928 --> 01:06:57,846
There's a little bit
of a disconnect, I think,
1641
01:06:57,930 --> 01:07:00,057
between, when people
watch the first movie,
1642
01:07:00,140 --> 01:07:02,392
the explanation feels disconnected
1643
01:07:02,476 --> 01:07:05,771
from the experience that these kids
actually went through
1644
01:07:05,854 --> 01:07:08,524
of working together and building
the food and the shelter.
1645
01:07:09,274 --> 01:07:10,734
I think that's why
it took a little while
1646
01:07:10,817 --> 01:07:14,279
to get into the world of the movie
in Scorch Trials.
1647
01:07:14,363 --> 01:07:15,572
BALL: There's definitely those...
1648
01:07:16,698 --> 01:07:18,700
There's one great critique.
1649
01:07:18,784 --> 01:07:20,953
"It's a great movie
with a terrible ending."
1650
01:07:21,036 --> 01:07:23,121
I think for a lot of people,
or some people anyway,
1651
01:07:23,205 --> 01:07:27,000
we still, I think, are pretty successful
as a movie series.
1652
01:07:28,293 --> 01:07:32,005
The people that we lost, we probably
lost them at end of the first movie
1653
01:07:32,089 --> 01:07:34,466
where the answer
wasn't satisfying for them.
1654
01:07:34,716 --> 01:07:38,387
They wanted it to be aliens or they
wanted it to be some other explanation
1655
01:07:38,470 --> 01:07:40,764
to where they were
and why they were there.
1656
01:07:41,390 --> 01:07:42,474
It is what it is.
1657
01:07:44,309 --> 01:07:48,021
NOWLIN: It wasn't an answer
to the questions they were asking.
1658
01:07:48,105 --> 01:07:50,232
-It was just new information.
-BALL: Mmm-hmm.
1659
01:07:50,357 --> 01:07:51,358
NOWLIN: And it wasn't always that way.
1660
01:07:51,441 --> 01:07:53,944
We originally had an ending
where we didn't talk about the Flare...
1661
01:07:54,027 --> 01:07:55,612
BALL: Yeah,
we didn't go into that stuff.
1662
01:07:55,696 --> 01:07:56,697
NOWLIN: ...or the Cranks.
1663
01:07:56,780 --> 01:07:58,490
The whole device
1664
01:07:58,574 --> 01:08:00,492
-of rushing them out that door.
-BALL: But at the same time,
1665
01:08:00,576 --> 01:08:01,952
we have two more books
that we have to follow.
1666
01:08:02,035 --> 01:08:05,080
So we have to hit that stuff,
and hopefully by this movie,
1667
01:08:05,163 --> 01:08:08,041
that it just becomes
a part of the universe
1668
01:08:08,125 --> 01:08:10,586
and a full experience of not just mazes,
1669
01:08:10,669 --> 01:08:17,175
but a world of destruction and infection
and the ultimate cure here.
1670
01:08:17,259 --> 01:08:18,677
NOWLIN: It's the idea that
the future belongs to these kids.
1671
01:08:18,760 --> 01:08:21,763
You're either going to support them
or you're going to exploit them.
1672
01:08:23,181 --> 01:08:26,184
They're ultimately gonna decide
their own path.
1673
01:08:26,268 --> 01:08:27,603
BALL: This scene worked out
really well, too.
1674
01:08:27,686 --> 01:08:31,481
Just in general,
I'm kinda proud of the way it flows
1675
01:08:31,565 --> 01:08:34,901
from point of view to point of view
throughout.
1676
01:08:36,528 --> 01:08:38,155
Just the way it's cut and everything,
1677
01:08:38,238 --> 01:08:40,157
I thought it came together
really, really well.
1678
01:08:41,325 --> 01:08:42,409
NOWLIN: All this stuff from...
1679
01:08:43,118 --> 01:08:45,412
BALL: Yeah, just like that one shot,
it goes from his...
1680
01:08:45,495 --> 01:08:46,830
He's been worked on, too.
1681
01:08:46,913 --> 01:08:49,833
NOWLIN: And now they're watching him
and then she walks over.
1682
01:08:49,916 --> 01:08:52,961
BALL: They have all their...
And then this little shot becomes...
1683
01:08:53,045 --> 01:08:55,088
It's all one shot, too,
which I always love, too.
1684
01:08:55,172 --> 01:08:56,757
NOWLIN: This is one
of my favorite shots in the movie.
1685
01:08:56,840 --> 01:08:59,509
It's also because of their performances
in the scene and...
1686
01:08:59,593 --> 01:09:00,594
BALL: Yeah.
1687
01:09:01,345 --> 01:09:03,055
NOWLIN: I just like watching.
I'm just gonna watch this.
1688
01:09:03,180 --> 01:09:04,264
(BOTH CHUCKLE)
1689
01:09:05,223 --> 01:09:06,308
BALL: Yeah, it was good.
1690
01:09:06,808 --> 01:09:08,560
It was a pretty fun day.
1691
01:09:08,977 --> 01:09:12,147
It was a cool real church
that we shot in Cape Town.
1692
01:09:15,275 --> 01:09:17,778
We had to clean it up every day,
didn't we, or something?
1693
01:09:17,861 --> 01:09:18,862
I forget.
1694
01:09:19,154 --> 01:09:21,907
-To get access to it, it wasn't easy.
-NOWLIN: Uh...
1695
01:09:21,990 --> 01:09:23,241
BALL: We weren't sure if we were gonna
shoot there for a while.
1696
01:09:25,077 --> 01:09:26,495
They were doing
services and stuff, yeah.
1697
01:09:26,578 --> 01:09:28,497
HARTWICK JR.: Yeah, in the front corner,
they were still doing services.
1698
01:09:28,580 --> 01:09:31,375
BALL: They let us keep parts of it
still messed up, there's churchgoers,
1699
01:09:31,458 --> 01:09:33,418
-"What's going on over there?"
-(LAUGHTER)
1700
01:09:34,503 --> 01:09:36,171
HARTWICK JR.:
It was hard for Gyula to light.
1701
01:09:36,254 --> 01:09:37,839
BALL: Yeah,
but it turned out good I thought.
1702
01:09:37,923 --> 01:09:38,924
HARTWICK JR.: It was good.
1703
01:09:39,299 --> 01:09:42,427
NOWLIN: We struggled with, "Where
are they laying low before the heist?"
1704
01:09:42,511 --> 01:09:43,679
There were different ideas.
1705
01:09:43,804 --> 01:09:45,764
BALL: I always like the idea,
it's very subtle,
1706
01:09:45,847 --> 01:09:47,849
but the idea that people
have given up on religion
1707
01:09:47,933 --> 01:09:49,518
-in a way in this world.
-NOWLIN: Exactly.
1708
01:09:49,601 --> 01:09:52,270
BALL: That people don't go to church
anymore, so that it's safe to go there.
1709
01:09:52,354 --> 01:09:54,272
NOWLIN: It's a world that's lost faith.
BALL: Yeah.
1710
01:09:54,356 --> 01:09:56,191
BALL: I thought there was
something cool about that.
1711
01:09:56,483 --> 01:09:57,567
Brenda.
1712
01:09:59,861 --> 01:10:01,822
I didn't think she'd still be alive.
1713
01:10:04,199 --> 01:10:05,826
BALL: Kaya did a really good job here.
1714
01:10:05,909 --> 01:10:09,246
This is a really tricky
story moment to have here.
1715
01:10:09,329 --> 01:10:10,789
NOWLIN: Because it's such
important information,
1716
01:10:10,872 --> 01:10:12,582
but she also needs to be clever.
1717
01:10:12,666 --> 01:10:14,543
She's fishing for information, too.
1718
01:10:15,085 --> 01:10:16,294
HARTWICK JR.: She did a good job.
1719
01:10:16,378 --> 01:10:17,963
BALL: That realization there, too.
1720
01:10:18,046 --> 01:10:20,298
I think she did a really good job
with a scene
1721
01:10:20,382 --> 01:10:22,551
that could have been...
1722
01:10:22,634 --> 01:10:23,844
It could have not worked very well.
1723
01:10:23,927 --> 01:10:26,096
NOWLIN: This is the other reason why
it was a big step forward
1724
01:10:26,179 --> 01:10:29,683
to show the limit of the serum
that they're getting from the kids,
1725
01:10:29,766 --> 01:10:30,767
seeing them turn.
1726
01:10:30,851 --> 01:10:33,061
-This is such big news for her.
-BALL: We know what she's talking about.
1727
01:10:33,145 --> 01:10:34,646
NOWLIN: It's big news for us, too.
1728
01:10:34,730 --> 01:10:37,315
BALL: The real challenge here
is that you have to remember
1729
01:10:37,399 --> 01:10:40,402
that Thomas gave Brenda his blood.
1730
01:10:40,694 --> 01:10:41,737
NOWLIN: Or even if you don't,
1731
01:10:41,820 --> 01:10:44,573
the way she chips away at him
through the rest of the movie,
1732
01:10:44,656 --> 01:10:46,158
-you start to figure out.
-BALL: You at least connect it,
1733
01:10:46,241 --> 01:10:48,076
but the people that remember that scene
1734
01:10:48,160 --> 01:10:49,911
between him giving his blood
and saving Brenda
1735
01:10:49,995 --> 01:10:52,205
for two, maybe three months.
1736
01:10:52,289 --> 01:10:55,041
Then that scene with Jorge and Brenda
saying, "How's it looking?
1737
01:10:55,125 --> 01:10:56,126
"You're looking pretty good."
1738
01:10:56,209 --> 01:10:57,753
She's like, "I'm gonna turn eventually."
1739
01:10:59,504 --> 01:11:00,839
The pieces are there.
1740
01:11:01,381 --> 01:11:04,509
If they're strong enough,
we'll find out, I guess.
1741
01:11:06,011 --> 01:11:08,597
But it all does all
start to come together now.
1742
01:11:08,680 --> 01:11:11,433
A perfect example of where something
that's set up in the second movie
1743
01:11:11,516 --> 01:11:12,684
that pays off in the third.
1744
01:11:12,768 --> 01:11:15,937
NOWLIN: I wonder if people notice her
taking the blood sample there.
1745
01:11:16,021 --> 01:11:17,230
BALL: Yeah.
NOWLIN: They do?
1746
01:11:17,314 --> 01:11:19,149
NOWLIN: So, was that
a misinterpretation on Sally's part?
1747
01:11:19,232 --> 01:11:20,650
He thought she was
reaching for the knife,
1748
01:11:20,734 --> 01:11:22,444
-but was really reaching for the...
-BALL: That's the idea.
1749
01:11:22,527 --> 01:11:23,570
NOWLIN: Yeah, okay, that's cool.
1750
01:11:23,653 --> 01:11:25,781
BALL: The idea is, yeah,
he's like, "Nice try. "
1751
01:11:25,864 --> 01:11:26,865
He always gets a laugh, too.
1752
01:11:26,948 --> 01:11:28,825
I've been surprised
in all of our test screenings
1753
01:11:28,909 --> 01:11:31,536
that people love
Gally's character in this movie.
1754
01:11:31,620 --> 01:11:32,746
I think Will did a good job.
1755
01:11:32,829 --> 01:11:34,289
HARTWICK JR.: This is a good scene, too.
1756
01:11:34,831 --> 01:11:37,167
You can't save everyone, Thomas.
1757
01:11:38,710 --> 01:11:40,212
BALL: I don't remember
why we came up with this line.
1758
01:11:40,295 --> 01:11:42,047
I'm still on the fence about it, but...
1759
01:11:42,130 --> 01:11:45,008
NOWLIN: It was pan' of another arc
for her where she was talking about...
1760
01:11:45,091 --> 01:11:46,885
She was supposed to be
talking about herself.
1761
01:11:46,968 --> 01:11:49,930
BALL: Every time we went into it,
it's like we stopped the scene again,
1762
01:11:50,013 --> 01:11:53,266
the momentum of the scene
to talk about their relationship.
1763
01:11:53,350 --> 01:11:54,351
And it's just, ugh...
1764
01:11:54,434 --> 01:11:56,102
It's just like you hit the brakes again.
1765
01:11:56,186 --> 01:11:58,188
NOWLIN: It's not where you are.
1766
01:11:58,271 --> 01:12:02,943
BALL: And I love how it's after these
15 minutes of slow pace.
1767
01:12:03,026 --> 01:12:04,569
NOWLIN: Yeah, here we go.
BALL: Boom! Here we go.
1768
01:12:04,653 --> 01:12:06,404
BALL: It's like we're going in.
The heist is beginning.
1769
01:12:06,488 --> 01:12:08,615
It's like, "I'm just ready for it. ”
1770
01:12:08,698 --> 01:12:12,327
So, from here on,
the movie basically doesn't stop.
1771
01:12:12,410 --> 01:12:13,703
It just goes.
1772
01:12:13,787 --> 01:12:15,539
NOWLIN: But I will say,
just to go back to that earlier point,
1773
01:12:15,622 --> 01:12:17,666
the idea of Brenda's relationship
with Thomas
1774
01:12:17,749 --> 01:12:19,334
and the fact that
she's gonna turn eventually,
1775
01:12:19,417 --> 01:12:22,295
it was supposed to be our vessel
of reminding the audience
1776
01:12:22,379 --> 01:12:25,465
that it was his blood that saved her,
that gave her this time.
1777
01:12:25,549 --> 01:12:26,550
BALL: I think you get it.
1778
01:12:26,633 --> 01:12:28,844
This is another one of those cases
1779
01:12:28,927 --> 01:12:31,012
where it's like less is more, I think,
in this case.
1780
01:12:31,972 --> 01:12:33,056
But this is a cool thing, too.
1781
01:12:33,139 --> 01:12:35,517
Again, no dialogue. Just, you get it.
1782
01:12:35,600 --> 01:12:36,601
They all got in.
1783
01:12:36,685 --> 01:12:42,023
They're just slowly meeting up
in one little smooth kind of way.
1784
01:12:42,107 --> 01:12:44,401
HARTWICK JR.: This is a cool location,
the convention center.
1785
01:12:44,484 --> 01:12:45,902
We shot all over this place.
1786
01:12:47,988 --> 01:12:48,989
NOWLIN: This is great.
1787
01:12:49,072 --> 01:12:51,783
Just one by one
they're all trickling in...
1788
01:12:52,284 --> 01:12:55,120
BALL: None of the lights matched.
(LAUGHS)
1789
01:12:55,328 --> 01:12:58,456
Gyula really had a tough time
lighting this one.
1790
01:12:58,665 --> 01:13:01,167
If you notice, our go-to trick
to make something look sci-fi
1791
01:13:01,251 --> 01:13:03,503
is we put fluorescent lights
in the background.
1792
01:13:03,587 --> 01:13:05,255
-Everywhere we go, that's what we do.
-(LAUGHTER)
1793
01:13:05,338 --> 01:13:07,549
NOWLIN: Her little ID badge
that just says "Teresa"
1794
01:13:07,632 --> 01:13:09,467
Does she not have a last name? (LAUGHS)
1795
01:13:09,593 --> 01:13:11,428
BALL: I think it says
"Teresa A," doesn't it?
1796
01:13:11,511 --> 01:13:13,138
NOWLIN: Oh, it does? Okay.
BALL: Yeah, I think so.
1797
01:13:13,388 --> 01:13:15,974
NOWLIN: Agnes?
BALL: Agnes, or whatever her name is?
1798
01:13:16,349 --> 01:13:17,851
BALL: Which, I guess,
we don't do that,
1799
01:13:17,934 --> 01:13:19,144
but in the books, you find out
1800
01:13:19,227 --> 01:13:21,354
that all these characters' names
are not their real names.
1801
01:13:21,897 --> 01:13:22,898
HARTWICK JR.: Can't do it.
1802
01:13:22,981 --> 01:13:23,982
NOWLIN: You just can't do it. Like...
BALL: Yeah, we just couldn't do it.
1803
01:13:24,065 --> 01:13:25,609
NOWLIN: You fall in love
with Newt as Newt.
1804
01:13:25,692 --> 01:13:26,860
BALL: Yeah.
NOWLIN: Thomas is Thomas.
1805
01:13:26,943 --> 01:13:28,028
BALL: Yeah, but this...
1806
01:13:28,111 --> 01:13:29,195
HARTWICK JR.: She notices
he's sick here.
1807
01:13:29,279 --> 01:13:31,031
NOWLIN: I think maybe in the book
that's easier. You just read, you know?
1808
01:13:31,114 --> 01:13:32,198
BALL: Yeah, exactly it is.
1809
01:13:32,282 --> 01:13:35,368
It's just one of those things where
in a movie it just kind of spoils it.
1810
01:13:36,036 --> 01:13:37,370
You know, it's like,
"I don't want that."
1811
01:13:37,454 --> 01:13:38,496
HARTWICK JR.: That was good.
1812
01:13:40,123 --> 01:13:41,833
NOWLIN: This is good. We're kind of
back to the opening train now,
1813
01:13:41,917 --> 01:13:43,084
-except you know, we're, we don't...
BALL: Yeah, exactly.
1814
01:13:43,168 --> 01:13:44,586
NOWLIN: We know
there's something unfolding.
1815
01:13:44,669 --> 01:13:45,795
We don't know exactly what the plan is.
1816
01:13:45,879 --> 01:13:47,213
BALL: Yeah, which is cool I think,
you know?
1817
01:13:47,297 --> 01:13:49,049
It's unlike a typical heist movie.
1818
01:13:49,132 --> 01:13:52,344
It's just a heist movie where they get
to really lay out all the problems
1819
01:13:52,427 --> 01:13:54,220
and how they cleverly get around them.
1820
01:13:54,304 --> 01:13:56,765
We're not so much of a heist movie,
you know,
1821
01:13:56,848 --> 01:13:58,224
as we are just a mission movie.
1822
01:13:58,308 --> 01:13:59,351
NOWLIN: It's a rescue mission.
BALL: Yeah.
1823
01:13:59,434 --> 01:14:03,855
And it is fun to be
a little behind the characters in a way
1824
01:14:03,939 --> 01:14:05,982
and we're kind of piecing together
what's happening here.
1825
01:14:06,066 --> 01:14:07,108
NOWLIN: Yeah.
1826
01:14:08,485 --> 01:14:09,903
BALL: Now there is a scene
that we cut out
1827
01:14:09,986 --> 01:14:13,114
in that scene where Newt flips out
where Lawrence
1828
01:14:13,198 --> 01:14:15,951
offers them this little device
to get them in.
1829
01:14:16,034 --> 01:14:18,912
If they can get inside, he can help them
get past the security.
1830
01:14:18,995 --> 01:14:21,206
But I felt like we just didn't need it.
1831
01:14:21,289 --> 01:14:24,084
And like you kind of, you've seen
enough of these kinds of things before
1832
01:14:24,167 --> 01:14:25,502
and this is kind of stems of the book
1833
01:14:25,585 --> 01:14:26,920
where Thomas' thumb drive, I think,
1834
01:14:27,003 --> 01:14:29,547
that he plants into the WICKED system
and disables their...
1835
01:14:29,631 --> 01:14:30,632
NOWLIN: Their weapons, yeah.
1836
01:14:30,715 --> 01:14:31,841
BALL: Their weapons or something.
1837
01:14:31,925 --> 01:14:33,969
So that's where this came from.
But yeah.
1838
01:14:34,052 --> 01:14:35,053
NOWLIN: Well, you need to know, like,
1839
01:14:35,136 --> 01:14:36,763
they can't just be walking around
to the point where...
1840
01:14:36,846 --> 01:14:38,223
BALL: That's my voice there saying
"Check it out. " (LAUGHS)
1841
01:14:38,306 --> 01:14:42,310
NOWLIN: Oh, really? I could tell.
BALL: I'll check it out.
1842
01:14:42,394 --> 01:14:44,020
NOWLIN: But I also like
that moment of where
1843
01:14:44,187 --> 01:14:45,814
with Lawrence not giving them the device
1844
01:14:45,897 --> 01:14:47,232
it's like... Oh, yeah, he's a part
of this, too, yeah.
1845
01:14:47,315 --> 01:14:48,441
He'll know what's going on.
1846
01:14:48,525 --> 01:14:49,734
NOWLIN: Yeah, but it's good
that he's a part of it.
1847
01:14:53,488 --> 01:14:55,573
NOWLIN: Keystone Kops here.
BALL: Yeah.
1848
01:14:57,325 --> 01:14:59,953
BALL: But I love
this little off-stage sound.
1849
01:15:00,036 --> 01:15:02,831
-(BALL IMITATING GUNFIRE)
-NOWLIN: Yeah. (LAUGHS)
1850
01:15:04,874 --> 01:15:06,251
BALL: It's pretty silly.
1851
01:15:07,669 --> 01:15:09,671
I don't know why,
but I always loved the shot of Newt.
1852
01:15:09,754 --> 01:15:11,506
-I just like how he looked.
-HARTWICK JR.: Yeah.
1853
01:15:12,090 --> 01:15:13,174
NOWLIN: Let's go.
1854
01:15:13,258 --> 01:15:15,427
BALL: You can see his veins
just starting to show a little bit.
1855
01:15:15,510 --> 01:15:17,220
-He's getting sicker, you know?
-NOWLIN: Mmm-hmm.
1856
01:15:19,848 --> 01:15:21,933
BALL: Trying to track
all that was crazy.
1857
01:15:22,017 --> 01:15:24,310
NOWLIN: That's something else, that if
we had waited to reveal his infection
1858
01:15:24,394 --> 01:15:26,563
that moment in the stairwell of Teresa
noticing that he's sick.
1859
01:15:26,646 --> 01:15:28,064
-That's important either way.
-BALL: Yeah.
1860
01:15:28,148 --> 01:15:29,899
-But it did work really well actually.
-NOWLIN: Yeah.
1861
01:15:29,983 --> 01:15:31,818
BALL: We didn't know,
but we kind of, like,
1862
01:15:31,901 --> 01:15:33,737
something's going on there
and she knows.
1863
01:15:34,362 --> 01:15:35,613
It did work really well.
1864
01:15:38,241 --> 01:15:39,993
Next time. (LAUGHS)
1865
01:15:43,079 --> 01:15:45,540
NOWLIN: So you know, there's always one
or two of those things when you're...
1866
01:15:45,623 --> 01:15:47,000
You get later into the process.
1867
01:15:47,083 --> 01:15:49,586
BALL: Yeah, you know, someone said it.
"Movies are abandoned, not finished."
1868
01:15:49,669 --> 01:15:50,670
NOWLIN: Right.
1869
01:15:50,754 --> 01:15:53,673
BALL: We basically ran out of the clock
on this one. Beyond, I think.
1870
01:15:53,757 --> 01:15:55,842
NOWLIN: Well, I think we learned
a lot of lessons on 1 and 2
1871
01:15:55,925 --> 01:15:58,595
that I think we incorporated really well
in writing this.
1872
01:15:58,678 --> 01:16:00,138
And then we learned still more lessons
1873
01:16:00,221 --> 01:16:02,182
in this one that we'll incorporate
into Maze Runner 4.
1874
01:16:02,265 --> 01:16:04,350
-BALL: Yeah, you never differ.
-(NOWLIN CHUCKLES)
1875
01:16:04,517 --> 01:16:06,019
BALL: Yeah, good luck with that.
1876
01:16:06,102 --> 01:16:07,312
NOWLIN: Yup.
1877
01:16:07,395 --> 01:16:08,897
BALL: Tell me how it goes.
NOWLIN: Yup.
1878
01:16:08,980 --> 01:16:10,690
BALL: I'll be there, opening day.
1879
01:16:12,734 --> 01:16:14,652
NOWLIN: Probably paying matinee price,
you jerk.
1880
01:16:14,736 --> 01:16:16,279
BALL: Yes. (CHUCKLES)
1881
01:16:16,446 --> 01:16:19,032
Thomas, that's on the other side
of the building.
1882
01:16:19,908 --> 01:16:22,160
NOWLIN: So yeah,
here things start going wrong.
1883
01:16:22,243 --> 01:16:24,621
BALL: Yeah, the little issue in the plan
1884
01:16:24,704 --> 01:16:26,706
where it wasn't
supposed to go this way...
1885
01:16:27,791 --> 01:16:30,627
It was important to get Newt to go
with them, too, you know?
1886
01:16:33,880 --> 01:16:35,548
Yeah, the group
slowly starts splitting up.
1887
01:16:35,632 --> 01:16:38,051
Like Return of the Jedi, you know?
All these different characters,
1888
01:16:38,134 --> 01:16:40,470
they kind of start splitting up,
and are they gonna come back together?
1889
01:16:40,553 --> 01:16:41,971
Are they gonna see each other again,
1890
01:16:42,055 --> 01:16:43,515
like that scene with Jorge and Brenda,
you know?
1891
01:16:43,598 --> 01:16:44,641
I'm worried I'm never gonna
see you again.
1892
01:16:44,724 --> 01:16:46,392
Hopefully you're thinking "Oh, my gosh,
1893
01:16:46,476 --> 01:16:48,144
"something's going to happen here
that..." You know.
1894
01:16:48,728 --> 01:16:51,022
NOWLIN: They're about to do
something stupid.
1895
01:16:51,106 --> 01:16:52,107
BALL: Yeah.
1896
01:16:53,733 --> 01:16:56,653
NOWLIN: So, I wonder if the audience
is wondering what's in that vault.
1897
01:16:56,736 --> 01:16:59,614
'Cause earlier, when we see Janson
stealing the serum from the vault,
1898
01:16:59,697 --> 01:17:01,741
that's kind of when you reveal
what's in there.
1899
01:17:02,200 --> 01:17:05,537
BALL: Mmm-hmm. I don't know,
it says "serum vault. " (LAUGHS)
1900
01:17:05,620 --> 01:17:06,663
NOWLIN: Does it?
BALL: I think so.
1901
01:17:06,746 --> 01:17:08,373
NOWLIN: Why would you
put the sign up? (LAUGHS)
1902
01:17:08,456 --> 01:17:10,166
BALL: It's for your question
right there.
1903
01:17:10,250 --> 01:17:11,626
NOWLIN: Yeah, okay.
1904
01:17:11,709 --> 01:17:14,045
BALL: But again, I think people
just kind of go with it.
1905
01:17:14,129 --> 01:17:15,171
I don't think...
1906
01:17:15,255 --> 01:17:18,091
HARTWICK JR.: Well, and Thomas also
has a line about the serum, so...
1907
01:17:19,801 --> 01:17:22,470
BALL: I think Gally even says so.
Yeah.
1908
01:17:22,554 --> 01:17:24,764
HARTWICK JR.: Yeah, "I'll get the serum
and meet you guys out back." Yeah.
1909
01:17:25,557 --> 01:17:27,809
BALL: I think you just go with it.
1910
01:17:27,892 --> 01:17:29,352
HARTWICK JR.: This is a good scene.
1911
01:17:29,435 --> 01:17:30,770
BALL: Yeah, this is a cool scene.
1912
01:17:30,854 --> 01:17:33,398
NOWLIN: So this was something...
We had outlined the heist,
1913
01:17:33,481 --> 01:17:35,775
the major beats of the heist.
1914
01:17:35,859 --> 01:17:37,360
And this was one
that was kind of missing.
1915
01:17:37,443 --> 01:17:38,695
And it was like
you were just riding through...
1916
01:17:38,778 --> 01:17:41,698
They get in the elevator. All right,
what if Janson walks in the elevator?
1917
01:17:41,781 --> 01:17:43,908
And then the scene
just kind of writes itself.
1918
01:17:43,992 --> 01:17:45,910
BALL: Yeah, this is one of those cases
where it works
1919
01:17:45,994 --> 01:17:47,704
because of what's come before.
1920
01:17:47,787 --> 01:17:49,831
Like, on its own, this is one
of the longest shots in the movie.
1921
01:17:49,914 --> 01:17:54,127
I just sit here in one shot, you know,
and just watch them,
1922
01:17:54,210 --> 01:17:56,421
you know, be uncomfortable. (CHUCKLES)
1923
01:17:56,504 --> 01:17:59,549
Our sound designer Ai-Ling
did a good job on the movie, too.
1924
01:17:59,632 --> 01:18:01,050
She'd been on all three movies.
1925
01:18:01,134 --> 01:18:04,554
You know, actually mixed
the movie, too, this time.
1926
01:18:04,637 --> 01:18:08,224
She had this really subtle,
kind of like a high-pitched whine
1927
01:18:08,308 --> 01:18:10,435
that's getting louder and louder
over the entire scene
1928
01:18:10,518 --> 01:18:12,145
so it adds to this
kind of level of tension.
1929
01:18:12,228 --> 01:18:14,272
As the floors go.
1930
01:18:14,355 --> 01:18:16,900
It is the longest elevator in history,
but who cares. You go with it.
1931
01:18:16,983 --> 01:18:17,984
NOWLIN: Yeah. 'Cause it's also Jansen...
BALL: But what was so funny
1932
01:18:18,067 --> 01:18:19,527
-is right here...
-NOWLIN: The little look? Yeah.
1933
01:18:19,611 --> 01:18:21,404
BALL: When he says, you know,
"Thomas is here."
1934
01:18:21,487 --> 01:18:24,282
And then in the background you see
the two guys look at each other.
1935
01:18:24,365 --> 01:18:27,202
I put a little squeak
of a sound effect, you know?
1936
01:18:27,285 --> 01:18:28,912
-(LAUGHTER)
-It's just funny.
1937
01:18:28,995 --> 01:18:30,663
And I remember
in our last test screening
1938
01:18:30,747 --> 01:18:33,208
people just kept laughing through
the entire scene, in a good way.
1939
01:18:33,291 --> 01:18:34,959
NOWLIN: You're supposed to, yeah.
It's that type of scene.
1940
01:18:35,043 --> 01:18:36,377
BALL: An uncomfortable laughter thing,
you know?
1941
01:18:36,461 --> 01:18:38,171
NOWLIN: There's also Janson there
at his most Littlefinger.
1942
01:18:38,254 --> 01:18:39,339
BALL: Yeah.
HARTWICK JR.: Yeah.
1943
01:18:39,422 --> 01:18:40,882
BALL: We give him a better death though.
1944
01:18:40,965 --> 01:18:43,509
NOWLIN: /liked his death.
BALL: I said we give him a better death.
1945
01:18:43,593 --> 01:18:45,178
NOWLIN: I said I liked
his death in Game of Thrones.
1946
01:18:45,261 --> 01:18:47,055
BALL: It was okay.
I thought they shortchanged him.
1947
01:18:47,138 --> 01:18:48,348
(HARTWICK JR. CHUCKLES)
1948
01:18:49,891 --> 01:18:51,309
Are you going to kill him?
1949
01:18:53,853 --> 01:18:55,480
Would that be a problem?
1950
01:18:58,524 --> 01:19:00,193
(ELEVATOR DOOR OPENS)
1951
01:19:01,152 --> 01:19:02,153
This is me.
1952
01:19:02,237 --> 01:19:05,114
BALL: Yeah, it's a good little
fun scene.
1953
01:19:05,198 --> 01:19:06,741
NOWLIN: Also, that little moment,
this is a little subtle thing,
1954
01:19:06,824 --> 01:19:08,701
but when she says,
"Are you going to kill him?"
1955
01:19:08,785 --> 01:19:10,078
She's obviously thinking
about the situation. She...
1956
01:19:10,161 --> 01:19:11,162
BALL: Thinking about the size
there in a way. Yeah.
1957
01:19:11,246 --> 01:19:12,247
NOWLIN: Well, she's...
It's setting up...
1958
01:19:12,372 --> 01:19:13,414
BALL: She's starting to.
1959
01:19:13,498 --> 01:19:14,832
NOWLIN: It's setting up a decision
she makes later,
1960
01:19:14,916 --> 01:19:18,419
she's not willing to let Thomas go,
but she needs to protect him.
1961
01:19:18,503 --> 01:19:19,921
She needs to make sure
he doesn't get himself killed.
1962
01:19:20,004 --> 01:19:21,130
BALL: There's a line...
1963
01:19:21,214 --> 01:19:22,966
Even in the second movie,
she says, "I can't...
1964
01:19:23,049 --> 01:19:24,884
"I made a deal with them
to protect you guys."
1965
01:19:24,968 --> 01:19:26,511
NOWLIN: Well, no, now that
she's suspecting
1966
01:19:26,594 --> 01:19:27,845
that he's the cure
is kind of what I mean,
1967
01:19:27,929 --> 01:19:31,099
is the idea that she needs to make sure
that he doesn't get himself killed.
1968
01:19:31,182 --> 01:19:32,725
BALL: What I'm saying also
there's a line for her.
1969
01:19:32,809 --> 01:19:35,311
There's a line she won't cross,
that she won't betray.
1970
01:19:35,395 --> 01:19:37,188
You know, at some level,
I know that they're...
1971
01:19:37,272 --> 01:19:40,066
That's the start of it, she's starting
to kind of feel that out I think.
1972
01:19:40,149 --> 01:19:45,071
And us as an audience, that there is,
regardless of what she believes in,
1973
01:19:45,154 --> 01:19:47,115
there is... She won't...
1974
01:19:47,198 --> 01:19:50,285
NOWLIN: Kill him.
BALL: Yeah. She won't kill Thomas.
1975
01:19:52,203 --> 01:19:54,247
NOWLIN: She'll just put them
through hell.
1976
01:19:54,330 --> 01:19:55,415
BALL: Mmm-hmm.
1977
01:19:55,498 --> 01:19:56,499
NOWLIN: But you'll live.
1978
01:19:56,582 --> 01:19:58,459
BALL: We even had a thing though,
that was her design
1979
01:19:58,543 --> 01:20:00,295
of the new procedure on Minho.
1980
01:20:00,378 --> 01:20:01,796
Instead of putting him
in the maze again...
1981
01:20:01,879 --> 01:20:04,257
It was her more humane way of...
1982
01:20:04,340 --> 01:20:05,425
You know, extracting the serum.
1983
01:20:05,508 --> 01:20:07,510
NOWLIN: It's just a little hard
to swallow. It's like, who is this girl?
1984
01:20:07,593 --> 01:20:09,095
-(NOWLIN LAUGHS)
-BALL: Yeah, right, exactly.
1985
01:20:09,679 --> 01:20:10,680
It's a little silly, but...
1986
01:20:10,763 --> 01:20:13,266
NOWLIN: How many PhDs
does this 22-year-old girl have?
1987
01:20:13,349 --> 01:20:14,350
BALL: Yeah, right.
1988
01:20:14,434 --> 01:20:16,894
Well, in the books,
they all designed the maze, you know?
1989
01:20:16,978 --> 01:20:19,439
When they're 14 or something.
1990
01:20:21,983 --> 01:20:24,819
I think the movie's always been a little
bit more grown-up than the books.
1991
01:20:24,902 --> 01:20:26,863
We've tried. And that's been
the challenge, and I think it's fine.
1992
01:20:26,946 --> 01:20:29,407
That line, you know, of believability.
1993
01:20:29,490 --> 01:20:32,618
So I think we take
the movies fairly seriously.
1994
01:20:32,702 --> 01:20:34,954
There's not as much fantasy
as maybe the books were. So I...
1995
01:20:35,413 --> 01:20:37,165
NOWLIN: I think it came
to the first movie...
1996
01:20:37,248 --> 01:20:39,208
BALL: We make it very real,
and especially the first movie. And...
1997
01:20:39,292 --> 01:20:40,585
NOWLIN: Well, you had this vision,
I think,
1998
01:20:40,668 --> 01:20:42,420
of this rustic kind of handmade world.
1999
01:20:42,503 --> 01:20:45,590
There weren't pre-existing structures
in the Glade, and so it kind of put...
2000
01:20:45,673 --> 01:20:47,175
BALL: Yeah, there's no holograms.
There's no underground maze.
2001
01:20:47,258 --> 01:20:49,260
NOWLIN: Yeah, so ideas of like
the Flat Trans and the telepathy...
2002
01:20:49,344 --> 01:20:51,888
BALL: Trying to make it
as believable as possible.
2003
01:20:51,971 --> 01:20:53,639
And that kind of echoes
throughout all the movies.
2004
01:20:53,723 --> 01:20:56,309
And sometimes it's hard
where some of the concepts
2005
01:20:56,392 --> 01:20:59,437
are difficult to portray
in such a realistic light, you know?
2006
01:20:59,520 --> 01:21:00,855
But we do our best.
2007
01:21:03,024 --> 01:21:04,776
NOWLIN: It's a nice moment.
It's kind of, "Why did you do that?"
2008
01:21:04,859 --> 01:21:06,944
BALL: Again, there's something
nice about, in this movie,
2009
01:21:07,028 --> 01:21:10,323
it has a lot of unspoken moments
between the characters, you know?
2010
01:21:10,406 --> 01:21:11,449
Which is nice.
2011
01:21:11,532 --> 01:21:12,533
NOWLIN: Well, it's something
we learned, too,
2012
01:21:12,617 --> 01:21:14,118
on the second movie
that it's not always about scenes.
2013
01:21:14,202 --> 01:21:15,578
It's about moments within scenes.
2014
01:21:17,246 --> 01:21:19,624
Janson, I need them alive.
2015
01:21:20,625 --> 01:21:22,502
-Come on. Come on!
-GUARD: All right, let's move!
2016
01:21:22,668 --> 01:21:24,670
GUARD 2: Yes, sir! Level three, now!
2017
01:21:25,046 --> 01:21:27,548
NOWLIN: He should have told the soldier,
"She doesn't tell me what to do."
2018
01:21:27,715 --> 01:21:29,550
BALL: (LAUGHS) Who is she?
2019
01:21:31,886 --> 01:21:35,223
NOWLIN: This is one of my favorite
little Gally moments. (CHUCKLES)
2020
01:21:35,348 --> 01:21:37,433
BALL: Yeah, he gets a laugh.
This always gets a laugh here.
2021
01:21:37,517 --> 01:21:38,768
And that kid was really good.
2022
01:21:38,851 --> 01:21:41,813
This whole group here of these extras,
they were fantastic.
2023
01:21:41,896 --> 01:21:43,106
They were really...
Hats off to them all.
2024
01:21:43,189 --> 01:21:44,190
They were really fantastic.
2025
01:21:44,273 --> 01:21:45,817
They sat in the train with us,
on the bus with us.
2026
01:21:45,900 --> 01:21:47,527
Hung off the bus upside down with them.
2027
01:21:47,610 --> 01:21:49,404
They were great. They never complained.
2028
01:21:49,487 --> 01:21:50,780
They just had a great time.
2029
01:21:50,863 --> 01:21:55,284
It was one of my best experiences
with extras I've had on a movie.
2030
01:21:57,912 --> 01:22:01,541
The score here I love, too. This is like
one of John's early scores.
2031
01:22:01,624 --> 01:22:04,210
He just kind of like...
Just whipped it out one day real quick.
2032
01:22:04,293 --> 01:22:08,047
It was just like,
"Try this out. See how it feels."
2033
01:22:08,131 --> 01:22:09,966
And I said "This is great."
2034
01:22:10,049 --> 01:22:11,801
And I put it all over this scene,
2035
01:22:11,884 --> 01:22:15,430
this whole reel, reel five, that's
just basically the building heist.
2036
01:22:15,513 --> 01:22:17,598
And then he started
kind of going and tinkering with it
2037
01:22:17,682 --> 01:22:18,683
and adding more stuff to it.
2038
01:22:18,766 --> 01:22:21,644
I said, "No, no, no." Just go back to...
Just something very simple.
2039
01:22:21,727 --> 01:22:23,354
And there's like a beat to it.
2040
01:22:23,438 --> 01:22:24,814
It has, like, a rhythm to it.
2041
01:22:24,897 --> 01:22:26,816
It kind of reminds me of Heat
or something in a way, you know?
2042
01:22:26,899 --> 01:22:28,025
NOWLIN: Sure.
2043
01:22:28,109 --> 01:22:29,277
Yeah, yeah, yeah, the bank heist.
2044
01:22:29,360 --> 01:22:31,237
It's more of a pulse
and a kind of tone...
2045
01:22:31,320 --> 01:22:32,405
BALL: Yeah.
NOWLIN: Like a pace.
2046
01:22:32,488 --> 01:22:34,115
BALL: See, even the way it's shot
though, the movie isn't...
2047
01:22:34,198 --> 01:22:36,701
it's shot very real.
It's not super slick.
2048
01:22:36,784 --> 01:22:38,202
It's very hand held and, you know...
2049
01:22:38,286 --> 01:22:39,745
The wandering cameras, you know?
2050
01:22:39,829 --> 01:22:41,497
It's not like...
2051
01:22:41,581 --> 01:22:44,375
It's got its own kind of energy
and tension to it,
2052
01:22:44,459 --> 01:22:45,501
you know what I mean?
2053
01:22:46,335 --> 01:22:49,630
Which was fun to do. I really liked this
little section of the movie, really.
2054
01:22:51,841 --> 01:22:53,593
NOWLIN: But how are they gonna
get out of this, you know?
2055
01:22:53,676 --> 01:22:54,760
BALL: Yeah.
2056
01:22:55,511 --> 01:22:58,639
That was another thing. That little shot
of them hiding in the closet...
2057
01:22:58,723 --> 01:23:00,725
NOWLIN: That was new.
That wasn't in the script, yeah.
2058
01:23:00,808 --> 01:23:03,561
BALL: I just felt like when we were
shooting it, I needed an out.
2059
01:23:04,312 --> 01:23:06,606
If we weren't gonna... I didn't know
if I was gonna use it or not,
2060
01:23:06,689 --> 01:23:08,274
but I needed like some way to say
2061
01:23:08,357 --> 01:23:10,943
for the time I was gonna be down here
with them, where were they?
2062
01:23:11,277 --> 01:23:13,154
And if I just left them in a place,
2063
01:23:13,237 --> 01:23:16,199
I feel like it gave us a little bit
of license to just, you know...
2064
01:23:17,241 --> 01:23:20,786
Not just have them walking the halls for
five minutes, you know what I mean?
2065
01:23:23,998 --> 01:23:25,416
GUARD: Got someone here.
2066
01:23:33,633 --> 01:23:35,760
BALL: I always saw this scene
this way, too,
2067
01:23:35,843 --> 01:23:37,428
where it's like you see it
from her point of view
2068
01:23:37,512 --> 01:23:41,057
and then you know, don't really go
into a close-up of the guys
2069
01:23:41,140 --> 01:23:42,642
walking closer.
2070
01:23:42,725 --> 01:23:45,645
There's something scary about it
from her world.
2071
01:23:46,395 --> 01:23:47,939
Except this shot. It's a funny shot.
2072
01:23:48,064 --> 01:23:49,065
Hold on!
2073
01:23:50,691 --> 01:23:54,570
BALL: And so there's a driver,
a stunt driver right behind Brenda here.
2074
01:23:55,321 --> 01:23:57,490
And that's who's driving,
looking over her shoulder.
2075
01:23:57,573 --> 01:24:00,785
And so that bus is really moving
and that guy really almost got hit.
2076
01:24:00,868 --> 01:24:02,828
It was fun. It was fun to do.
2077
01:24:05,122 --> 01:24:06,207
GUARD: Load up! Load up!
2078
01:24:06,374 --> 01:24:07,875
Let's go! Move it!
2079
01:24:08,042 --> 01:24:09,418
Move! Move!
2080
01:24:10,670 --> 01:24:14,215
ANNOUNCER: All R-16 personnel,
report to their assigned stations.
2081
01:24:14,882 --> 01:24:16,175
BALL: Yeah, I thought
we needed this moment, too,
2082
01:24:16,259 --> 01:24:18,761
just, like, Thomas finally coming
face-to-face with Ava,
2083
01:24:18,844 --> 01:24:22,431
that idea of "I'm gonna kill Ava Paige"
and he has the chance here in a way.
2084
01:24:22,515 --> 01:24:23,933
And I think it's still ambiguous
2085
01:24:24,016 --> 01:24:27,436
whether or not he does take a shot
or not, you know, is the question.
2086
01:24:27,520 --> 01:24:29,814
Before Janson starts shooting.
2087
01:24:32,567 --> 01:24:35,236
And this is really where everything
just spirals out of control and...
2088
01:24:35,319 --> 01:24:38,239
I mean, the bus is gone.
The way out is gone.
2089
01:24:38,322 --> 01:24:39,490
They haven't gotten Minho yet.
2090
01:24:39,574 --> 01:24:40,783
We don't know where he is, you know?
2091
01:24:40,866 --> 01:24:41,909
How are they gonna...
2092
01:24:41,993 --> 01:24:42,994
NOWLIN: Now they're just
shooting their way through. Right.
2093
01:24:43,077 --> 01:24:44,120
BALL: Yeah, and now they just...
It's just crazy.
2094
01:24:44,203 --> 01:24:45,246
Now they're running in the maze
2095
01:24:45,329 --> 01:24:47,331
instead of the Grievers chasing,
it's Janson with his army.
2096
01:24:48,499 --> 01:24:49,500
And it's just fun.
2097
01:24:49,584 --> 01:24:51,544
The walls are kind of closing in
around them, you know?
2098
01:24:51,627 --> 01:24:52,753
And then...
2099
01:24:52,837 --> 01:24:53,838
NOWLIN: This was always one of my...
2100
01:24:53,921 --> 01:24:56,299
I thought would be one of
the coolest moments of them just...
2101
01:24:56,382 --> 01:24:58,426
They lose control and they're
just screaming for Minho
2102
01:24:58,509 --> 01:25:00,052
and then him hearing them, you know?
2103
01:25:00,136 --> 01:25:01,137
It was cool.
2104
01:25:03,806 --> 01:25:04,890
BALL: Yeah, and building that tension of
2105
01:25:04,974 --> 01:25:07,310
What's gonna happen to Minho?
And then you kind of call back.
2106
01:25:07,393 --> 01:25:09,186
That thing he did with Teresa.
2107
01:25:09,270 --> 01:25:11,272
He's still got it, and you know...
2108
01:25:11,355 --> 01:25:14,275
Kind of a little bit of a Sarah Connor
thing from Terminator 2.
2109
01:25:14,358 --> 01:25:16,319
NOWLIN: It's also, for Minho,
it's the moment we've been waiting for.
2110
01:25:16,402 --> 01:25:18,321
Where the Minho we know and love
comes back.
2111
01:25:18,404 --> 01:25:20,990
BALL: Yeah, right. It'd be a shame if it
was just the guys come in and free him.
2112
01:25:21,073 --> 01:25:22,825
NOWLIN: Yeah. He can't be
a damsel, yeah.
2113
01:25:22,908 --> 01:25:25,119
BALL: Yeah, he's gotta do his part,
too, in a way,
2114
01:25:25,202 --> 01:25:26,579
which I thought was cool.
2115
01:25:27,538 --> 01:25:30,916
-And I always love this.
-NOWLIN: Oof!
2116
01:25:31,042 --> 01:25:32,376
BALL: (LAUGHS) I think you don't
know it, but it's cool.
2117
01:25:32,460 --> 01:25:33,586
NOWLIN: Sure seems like he shot him.
2118
01:25:33,669 --> 01:25:34,837
BALL: Well, that's what
it's supposed to... (LAUGHS)
2119
01:25:34,920 --> 01:25:36,130
But Minho's fast, so.
2120
01:25:36,213 --> 01:25:37,423
NOWLIN: Yeah.
BALL: He ducked.
2121
01:25:39,800 --> 01:25:42,261
BALL: And pay attention to the next time
you see that guard.
2122
01:25:42,345 --> 01:25:43,596
Yeah. That's Jake,
the actor Jake, and...
2123
01:25:43,679 --> 01:25:44,930
You see he's all beat up,
2124
01:25:45,014 --> 01:25:46,932
so there's a little off-screen story
that took place there.
2125
01:25:47,016 --> 01:25:48,601
NOWLIN: Minho just gave him a little...
2126
01:25:49,060 --> 01:25:51,520
BALL: So this is kind of calling back,
sort of those things from the book
2127
01:25:51,604 --> 01:25:52,605
and the second movie.
2128
01:25:52,688 --> 01:25:53,814
There's kind of, you know...
2129
01:25:53,898 --> 01:25:55,608
James described these
kind of electrical grenades.
2130
01:25:55,691 --> 01:25:57,610
You know, that we tried to keep.
2131
01:25:57,693 --> 01:26:00,738
These are non-lethal kind of weapons
that they would use.
2132
01:26:00,821 --> 01:26:02,198
NOWLIN: But it's also
this is how WICKED captured...
2133
01:26:02,281 --> 01:26:04,742
BALL: That was a real shot by the way.
He, Newt... That was the third take.
2134
01:26:04,825 --> 01:26:08,287
Newt really threw that thing and it just
perfectly spun out right in that spot.
2135
01:26:08,371 --> 01:26:09,580
It was just awesome.
2136
01:26:09,664 --> 01:26:11,791
-And this moment is...
-NOWLIN: But that's the same weapon...
2137
01:26:12,583 --> 01:26:14,043
BALL: In one of our
test screenings anyway,
2138
01:26:14,126 --> 01:26:16,837
was the biggest,
"took the house down" reaction.
2139
01:26:16,921 --> 01:26:18,381
It was amazing, you know?
2140
01:26:18,464 --> 01:26:21,509
Like when he just, you know,
Minho hulks out,
2141
01:26:21,592 --> 01:26:22,885
just there they are.
2142
01:26:22,968 --> 01:26:24,136
They just screamed.
2143
01:26:24,220 --> 01:26:25,888
They were screaming
over this entire moment here.
2144
01:26:25,971 --> 01:26:27,556
They couldn't even hear
what he said there.
2145
01:26:27,640 --> 01:26:30,559
Hopefully we'll get that in the wild,
out in the wild.
2146
01:26:30,643 --> 01:26:31,686
A little lighting stuff.
2147
01:26:31,769 --> 01:26:34,480
This little moment here
was actually meant for earlier,
2148
01:26:34,563 --> 01:26:37,149
but I put it later so that it felt like
Janson's closing in.
2149
01:26:37,233 --> 01:26:38,734
Which I thought worked really well.
2150
01:26:38,818 --> 01:26:40,111
And if you actually look
what Janson's seeing,
2151
01:26:40,194 --> 01:26:41,696
there's actually
only two guys running away.
2152
01:26:41,779 --> 01:26:43,948
It's not all three of them
'cause it was from earlier.
2153
01:26:44,031 --> 01:26:45,783
But I don't think anyone notices.
2154
01:26:46,117 --> 01:26:47,159
In here, in here.
2155
01:26:52,039 --> 01:26:53,374
(GRUNTS)
2156
01:26:54,375 --> 01:26:55,710
Newt, come on.
2157
01:27:01,424 --> 01:27:02,842
BALL: Let's see. We had another version.
2158
01:27:02,925 --> 01:27:05,094
-It wasn't them jumping out, right?
-NOWLIN: Sliding, yeah.
2159
01:27:05,177 --> 01:27:06,804
BALL: Yeah.
I had this version in Vancouver
2160
01:27:06,887 --> 01:27:10,891
where it was gonna be they were gonna
jump out of the window onto a sloped...
2161
01:27:10,975 --> 01:27:13,894
The design of the building was gonna be
kind of angled, sloped.
2162
01:27:13,978 --> 01:27:17,148
They were gonna slide down
this gigantic huge glass slide.
2163
01:27:17,231 --> 01:27:20,526
And it just turned out to be
a really complicated thing to pull off.
2164
01:27:20,609 --> 01:27:23,195
And so when we went to Cape Town
and we had that year off,
2165
01:27:23,279 --> 01:27:26,699
I found this pond outside
of the convention center.
2166
01:27:26,782 --> 01:27:27,950
I was like what if they did like
2167
01:27:28,033 --> 01:27:29,410
a Butch Cassidy
and the Sundance Kid-style thing
2168
01:27:29,493 --> 01:27:30,661
and jumped out of the place?
2169
01:27:30,745 --> 01:27:34,039
And then we started slowly working
our way into this one shot,
2170
01:27:34,123 --> 01:27:36,876
you know, of just them falling
out the window and into the pond.
2171
01:27:36,959 --> 01:27:38,878
And I think it turned out really cool.
It was fun.
2172
01:27:38,961 --> 01:27:40,504
NOWLIN: There was a moment
in the test screening
2173
01:27:40,588 --> 01:27:41,756
where this shot hadn't been done,
2174
01:27:41,839 --> 01:27:43,507
so they turned into naked
white mannequins,
2175
01:27:43,591 --> 01:27:45,217
-just motionless dropping and...
-BALL: Hmm... (LAUGHS)
2176
01:27:45,634 --> 01:27:46,886
NOWLIN: You know,
it's one of the hard things
2177
01:27:46,969 --> 01:27:49,305
about testing a movie
with so many visual effects, right?
2178
01:27:49,388 --> 01:27:51,140
BALL: That's why every time
you get your scores,
2179
01:27:51,223 --> 01:27:54,101
you always think about, you know,
you'll go up a bit
2180
01:27:54,185 --> 01:27:57,021
when your VFX and your mixes and your
sound and everything's done.
2181
01:27:57,104 --> 01:27:58,272
You know, so...
2182
01:27:58,355 --> 01:27:59,815
But the fact that we got
such high scores, you know...
2183
01:27:59,899 --> 01:28:02,067
NOWLIN: Yeah, it's worth pointing out.
We scored well with no effects.
2184
01:28:02,151 --> 01:28:03,194
BALL: Yeah.
2185
01:28:03,277 --> 01:28:05,613
Actually we had probably
a rougher test screening
2186
01:28:05,696 --> 01:28:08,199
than we had in the previous two
because it was...
2187
01:28:08,282 --> 01:28:11,869
Our post window on this was so much
shorter than our other movies.
2188
01:28:11,952 --> 01:28:13,329
NOWLIN: There you go, book fans.
2189
01:28:13,412 --> 01:28:15,581
BALL: Yeah, that's right. We added
those lines in there for them.
2190
01:28:15,664 --> 01:28:17,875
I know they're out of order. They're not
exactly like it was in the movie...
2191
01:28:17,958 --> 01:28:20,461
in the books, but they're the best
we could come up with.
2192
01:28:20,544 --> 01:28:22,463
NOWLIN: Well, when you grow up
you can make your own movies.
2193
01:28:22,546 --> 01:28:23,923
BALL: And that's the shot.
2194
01:28:24,006 --> 01:28:25,299
So the guys really did jump out
2195
01:28:25,382 --> 01:28:28,302
of something onto a 20-foot little pad.
2196
01:28:28,385 --> 01:28:30,262
And the camera
really did jump out with them.
2197
01:28:30,346 --> 01:28:33,015
And then WETA took over in CG
2198
01:28:33,098 --> 01:28:37,102
and kind of went CG doubles
and went into the water.
2199
01:28:38,437 --> 01:28:40,689
And this night, man,
it was freezing cold.
2200
01:28:40,773 --> 01:28:41,857
It was winter when we shot this.
2201
01:28:41,941 --> 01:28:44,777
It was summer in the United States,
2202
01:28:44,860 --> 01:28:48,322
but being on the other hemisphere,
it was winter in Cape Town.
2203
01:28:48,405 --> 01:28:52,326
And it was freezing cold in this water,
and they kind of...
2204
01:28:52,409 --> 01:28:53,619
They suffered through it.
2205
01:28:53,702 --> 01:28:55,579
And we had just off camera a Jacuzzi
2206
01:28:55,663 --> 01:28:57,832
that in between takes they
would jump into to get warm.
2207
01:28:57,915 --> 01:29:00,334
NOWLIN: That's a good idea.
'Cause they stay wet, you know?
2208
01:29:00,417 --> 01:29:02,378
BALL: But, you know,
tensions always run high on these days
2209
01:29:02,461 --> 01:29:04,088
and there were a lot of, you know...
2210
01:29:04,171 --> 01:29:05,214
NOWLIN: Mmm-hmm. Yeah.
HARTWICK JR.: Yeah.
2211
01:29:05,297 --> 01:29:07,508
BALL: People yelling sometimes,
including myself saying,
2212
01:29:07,591 --> 01:29:08,843
"Let's go faster. Come on."
2213
01:29:09,677 --> 01:29:13,138
But another good little moment
just to bring Gally back into the fold.
2214
01:29:13,973 --> 01:29:15,057
Here.
2215
01:29:16,809 --> 01:29:19,979
Uh-uh-uh! Don't even think about it.
2216
01:29:21,105 --> 01:29:24,024
Get on your knees
with your hands in the air.
2217
01:29:27,528 --> 01:29:30,531
You son of a bitch. (SCREAMING)
2218
01:29:30,698 --> 01:29:32,616
NOWLIN: That's good, the...
BALL: That little voice there.
2219
01:29:32,700 --> 01:29:34,034
NOWLIN: Yeah.
BALL: You son of a...
2220
01:29:34,118 --> 01:29:35,619
-That's our editor Dan doing that.
-NOWLIN: That was great.
2221
01:29:35,703 --> 01:29:36,954
BALL: He did a really good job in temp.
2222
01:29:37,037 --> 01:29:38,414
And we just ended up
using it in the movie.
2223
01:29:38,497 --> 01:29:40,624
Too bad he didn't have
long locks of hair
2224
01:29:40,708 --> 01:29:42,418
that just flew as he pulls his mask off.
2225
01:29:42,501 --> 01:29:43,878
NOWLIN: Sure, it would have been nice.
BALL: It would have been amazing.
2226
01:29:43,961 --> 01:29:46,171
NOWLIN: Unfortunately Will couldn't
grow the hair out.
2227
01:29:46,922 --> 01:29:48,132
BALL: This is a funny moment, too.
2228
01:29:48,215 --> 01:29:49,258
It's just, you know, "What!"
2229
01:29:49,341 --> 01:29:52,761
We could sit there and explain
everything to him, but it's better...
2230
01:29:52,845 --> 01:29:54,388
-To just let's leave it and move on.
-NOWLIN: Explain later.
2231
01:29:54,471 --> 01:29:55,764
Well, of course we're not going to.
2232
01:29:55,848 --> 01:29:57,224
-But that's something we kept realizing.
-BALL: See, there you can see, Jake.
2233
01:29:57,308 --> 01:29:59,560
He's all beat up to hell,
like you can imagine.
2234
01:29:59,643 --> 01:30:01,687
Minho did a number on this guy.
2235
01:30:01,770 --> 01:30:03,397
NOWLIN: If we get so caught up
in the story,
2236
01:30:03,480 --> 01:30:05,983
like even in the script, we're like
"Oh, yeah, shit, you know, we have..."
2237
01:30:06,066 --> 01:30:08,527
People have to keep reacting to the fact
that Gally's alive.
2238
01:30:09,486 --> 01:30:10,487
BALL: Right.
2239
01:30:11,822 --> 01:30:12,948
NOWLIN: Meanwhile...
2240
01:30:15,993 --> 01:30:20,372
BALL: Yeah, and that little fun
little side set piece thing.
2241
01:30:21,165 --> 01:30:23,918
NOWLIN: Mmm-hmm. Now, in terms of
run time, this was the one thing
2242
01:30:24,001 --> 01:30:27,046
that was kind of potentially
on the chopping block, you know?
2243
01:30:27,129 --> 01:30:28,172
BALL: Yeah.
2244
01:30:28,255 --> 01:30:30,466
Who knows, maybe in a couple of years
I'll look back and regret not cutting it
2245
01:30:30,549 --> 01:30:33,510
but it is a fun sequence
and it's fun to know what happened,
2246
01:30:33,594 --> 01:30:38,349
what was Brenda and Frypan's
contribution to this heist, you know?
2247
01:30:38,807 --> 01:30:42,061
NOWLIN: Mmm-hmm. Yeah. Without this,
you lose Frypan completely.
2248
01:30:42,144 --> 01:30:43,312
BALL: Yeah.
2249
01:30:43,395 --> 01:30:44,730
NOWLIN: And it's also the idea that...
2250
01:30:44,813 --> 01:30:47,107
Yeah, we leave her getting chased
by a bunch of vehicles.
2251
01:30:47,191 --> 01:30:48,275
BALL: That I don't question.
2252
01:30:48,359 --> 01:30:50,569
You know, you imagine they went
off-screen and went into the tunnels.
2253
01:30:50,653 --> 01:30:51,654
NOWLIN: Sure.
BALL: Its fine, but...
2254
01:30:51,737 --> 01:30:53,489
NOWLIN: We set up the problem
of these walls.
2255
01:30:53,572 --> 01:30:55,282
You're now escaping
within a walled-off city.
2256
01:30:55,366 --> 01:30:57,618
BALL: Yeah, but you saw him
easily walk into the city... (LAUGHS)
2257
01:30:57,701 --> 01:30:59,536
So I just feel like you go with it.
2258
01:30:59,620 --> 01:31:03,040
But it is a nice little bit of fun
2259
01:31:03,123 --> 01:31:04,541
before the movie gets really heavy
2260
01:31:04,625 --> 01:31:08,587
with a lot of emotional stuff
with Newt and Teresa.
2261
01:31:08,671 --> 01:31:12,549
So it's nice to just have
one last little shot in the arm
2262
01:31:12,633 --> 01:31:15,803
of fun adrenaline victory,
you know what I mean?
2263
01:31:15,886 --> 01:31:17,596
A complete victory, you know?
2264
01:31:17,680 --> 01:31:19,848
You actually...
Thomas and the gang got out
2265
01:31:19,932 --> 01:31:24,311
and Brenda and the kids got out in this
kind of spectacular way, you know?
2266
01:31:24,395 --> 01:31:27,523
NOWLIN: It's also one of those really
sticky, memorable kind of scenes...
2267
01:31:27,606 --> 01:31:28,649
BALL: Yeah, and the idea was...
2268
01:31:28,732 --> 01:31:30,150
NOWLIN: You're not just shooting.
You're fighting, you know?
2269
01:31:30,234 --> 01:31:34,071
BALL: And the idea was that we
originally were gonna have Brenda say,
2270
01:31:34,154 --> 01:31:35,656
"Don't worry, we do this all the time. ”
2271
01:31:35,739 --> 01:31:37,950
Which is kind of the callback to...
We did something similar
2272
01:31:38,033 --> 01:31:40,285
with the Berg lifting the train
off the things.
2273
01:31:40,369 --> 01:31:41,370
NOWLIN: Yeah. It didn't really land.
2274
01:31:41,453 --> 01:31:42,496
BALL: Yeah, it didn't really work,
2275
01:31:42,579 --> 01:31:44,581
but hopefully it comes across
that it's very...
2276
01:31:44,665 --> 01:31:48,460
It's somewhat similar to what we set up
in the opening sequence with the train.
2277
01:31:51,255 --> 01:31:54,174
-And if you look closely, there's an X.
-NOWLIN: Or we're just out of ideas.
2278
01:31:54,258 --> 01:31:56,218
-BALL: Maybe.
-(NOWLIN CHUCKLES)
2279
01:31:56,427 --> 01:31:57,970
There's an X on the ground.
2280
01:31:58,554 --> 01:32:01,682
Only I regret calling it out,
but whatever...
2281
01:32:02,266 --> 01:32:06,478
Is that when Brenda stopped the bus,
I wish I had the cars pulling up
2282
01:32:06,854 --> 01:32:07,896
and not already sitting there.
2283
01:32:07,980 --> 01:32:09,773
-So, this is kind of convenient.
-NOWLIN: Yeah.
2284
01:32:09,857 --> 01:32:12,192
BALL: (LAUGHING) They're sitting
right where the X is.
2285
01:32:12,985 --> 01:32:14,445
I don't know, we just ran out of time.
2286
01:32:15,362 --> 01:32:17,031
NOWLIN: No. I wouldn't have
noticed that if you didn't.
2287
01:32:17,114 --> 01:32:18,115
BALL: Yeah, you kind of go with it,
2288
01:32:18,198 --> 01:32:19,992
but if you really think about it,
it's a little convenient.
2289
01:32:20,951 --> 01:32:22,703
NOWLIN: It is like
where they hijack the Berg.
2290
01:32:22,786 --> 01:32:26,290
You're going to one point where
you know that you have an advantage.
2291
01:32:27,416 --> 01:32:28,459
That's fun.
2292
01:32:28,542 --> 01:32:29,960
BALL: So, we really did
hang the kids up.
2293
01:32:30,044 --> 01:32:32,254
We didn't do this.
That's obviously a CG bus up there,
2294
01:32:32,337 --> 01:32:35,007
but we actually did
hang the bus up 90 degrees,
2295
01:32:35,090 --> 01:32:37,509
and all these kids were in there,
for real.
2296
01:32:37,593 --> 01:32:40,179
Very uncomfortable, but they're wired in
2297
01:32:40,262 --> 01:32:43,057
and we just shot this sequence.
2298
01:32:46,685 --> 01:32:47,853
Shit.
2299
01:32:49,813 --> 01:32:52,900
BALL: A lot of the city, it should
be known, that's all CG behind 'em.
2300
01:32:53,400 --> 01:32:54,610
Obviously, this is CG.
2301
01:32:54,693 --> 01:32:56,737
NOWLIN: (CHUCKLES) These poor kids.
2302
01:32:56,820 --> 01:32:58,822
BALL: You see their hair
and all that stuff. It's really real.
2303
01:32:58,906 --> 01:33:02,493
Some people think we're just cheating.
We actually really did it.
2304
01:33:02,576 --> 01:33:03,994
It's only five feet off the ground,
2305
01:33:04,078 --> 01:33:08,290
but they've been hanging up
for 10 minutes at a time.
2306
01:33:08,373 --> 01:33:10,918
And you say,
"Okay, guys, just one more time!"
2307
01:33:11,752 --> 01:33:13,212
And then we do,
”One more take! One more take!
2308
01:33:13,295 --> 01:33:14,296
"Just keep the camera rolling!
2309
01:33:14,379 --> 01:33:16,381
"Okay, let him down!"
And they all have to get off
2310
01:33:16,465 --> 01:33:18,675
and let the blood rush
back to their head.
2311
01:33:18,759 --> 01:33:20,761
NOWLIN: Hurry, Frypan. (CHUCKLES)
2312
01:33:20,886 --> 01:33:22,679
BALL: Yeah, it's just a fun sequence,
I think.
2313
01:33:23,639 --> 01:33:25,390
Hold on to something!
2314
01:33:25,599 --> 01:33:27,017
(ALL SCREAMING)
2315
01:33:29,061 --> 01:33:31,271
(SCREAMING CONTINUES)
2316
01:33:37,027 --> 01:33:38,237
(THUDS)
2317
01:33:39,863 --> 01:33:42,783
BALL: And we really dropped the bus.
We really did drop this thing.
2318
01:33:42,866 --> 01:33:44,701
And this is actually
the same wall that we used.
2319
01:33:44,785 --> 01:33:47,329
We shot Thomas and them
when they're on the wall.
2320
01:33:47,412 --> 01:33:51,500
And we really towed a bus in there
and hung it upside down.
2321
01:33:51,583 --> 01:33:54,503
And hung it up 90 degrees
and actually dropped it.
2322
01:33:54,586 --> 01:33:57,589
No one was in it, of course.
But yeah, it was fun.
2323
01:33:57,673 --> 01:34:00,300
And that was an accident.
That out-of-service sign. (LAUGHS)
2324
01:34:00,384 --> 01:34:02,928
It was not planned. it just worked out.
2325
01:34:03,595 --> 01:34:06,473
I had it planned to come on in this shot
where I had control over it.
2326
01:34:06,557 --> 01:34:08,809
So, while the bus
was hanging 90 degrees...
2327
01:34:09,893 --> 01:34:11,019
It's too hard to get to it.
2328
01:34:11,103 --> 01:34:13,438
No one was allowed to go near the bus
in case something happens or falls.
2329
01:34:13,522 --> 01:34:15,023
So, we had to go
and pre-program the sign.
2330
01:34:15,107 --> 01:34:17,234
Of course, we turned off all the lights
and all that stuff.
2331
01:34:17,317 --> 01:34:19,194
And we dropped the bus
and something shorted out,
2332
01:34:19,278 --> 01:34:20,737
-and the light turned on.
-(LAUGHTER)
2333
01:34:20,821 --> 01:34:22,239
And that was one of those perfect little
2334
01:34:22,322 --> 01:34:25,159
serendipitous things
that was meant to be.
2335
01:34:31,456 --> 01:34:35,377
And that's our first real view
of the vault room now.
2336
01:34:35,460 --> 01:34:39,047
But we have some other scenes
where we got to see it in there.
2337
01:34:40,299 --> 01:34:42,885
And this is cool, too,
just seeing him and her.
2338
01:34:43,886 --> 01:34:45,095
They don't like each other.
2339
01:34:45,637 --> 01:34:50,642
He obviously already decided
he's not with her anymore.
2340
01:34:50,726 --> 01:34:53,395
She's given up and he's not going to.
2341
01:34:54,104 --> 01:34:55,314
NOWLIN: I couldn't hear.
Did he still say his line?
2342
01:34:55,397 --> 01:34:56,607
-"They're not out yet?”
-BALL: Yeah.
2343
01:34:56,690 --> 01:34:57,733
NOWLIN: Okay, cool.
2344
01:34:58,150 --> 01:34:59,318
That's another good throw though.
2345
01:35:00,861 --> 01:35:03,113
HARTWICK JR.: This is the last location
we ever found, I think.
2346
01:35:03,197 --> 01:35:05,574
BALL: Yeah, it was a tough one.
HARTWICK JR.: Yeah.
2347
01:35:05,657 --> 01:35:07,910
BALL: It turned out okay.
HARTWICK JR.: Yeah, it's cool-looking.
2348
01:35:07,993 --> 01:35:11,538
BALL: Just looking for that place
where they're hiding.
2349
01:35:11,622 --> 01:35:13,498
HARTWICK JR.: Yeah.
BALL: On the run still.
2350
01:35:14,416 --> 01:35:16,543
BALL: Anywhere we could go
that kind of suggests that...
2351
01:35:18,045 --> 01:35:20,464
They weren't outside the walls,
they're still inside.
2352
01:35:20,547 --> 01:35:23,759
We had to do something that was bright,
but still secretive somehow.
2353
01:35:24,259 --> 01:35:26,345
And it's nice to...
We actually struggled...
2354
01:35:26,428 --> 01:35:28,305
Talked about cutting this scene, too,
2355
01:35:28,388 --> 01:35:31,308
but it's nice to have Minho and Newt
2356
01:35:31,391 --> 01:35:33,810
actually have a moment together,
you know?
2357
01:35:33,894 --> 01:35:34,895
NOWLIN: Yeah. And Minho and Gally,
2358
01:35:34,978 --> 01:35:37,731
it's like you gotta appreciate Minho
back with his friends, you know?
2359
01:35:37,814 --> 01:35:39,233
BALL: Mmm-hmm. Yeah, it's good.
2360
01:35:39,858 --> 01:35:41,693
How long has he been like this?
2361
01:35:43,111 --> 01:35:45,572
He'll be okay.
We just gotta get to Brenda.
2362
01:35:48,033 --> 01:35:49,910
She's got the serum.
2363
01:35:50,077 --> 01:35:51,578
Come on, let's go.
2364
01:35:51,745 --> 01:35:53,163
Hey, Newt.
2365
01:35:53,330 --> 01:35:54,873
Come on, bud.
We gotta get you up. Let's go.
2366
01:35:55,040 --> 01:35:56,291
-(NEWT GRUNTS)
-Whoa, whoa, whoa!
2367
01:35:56,416 --> 01:35:57,876
-You okay?
-NEWT: Yeah.
2368
01:35:58,627 --> 01:36:00,796
NOWLIN: But this would have been
where we would have revealed
2369
01:36:00,879 --> 01:36:02,422
the infection if we had held it off.
2370
01:36:02,506 --> 01:36:03,799
BALL: Yeah, right.
We would have shot this scene here
2371
01:36:03,882 --> 01:36:05,050
where he's like,
"What's going on, Newt?"
2372
01:36:05,133 --> 01:36:06,218
And then he would have shown it.
2373
01:36:06,301 --> 01:36:08,011
And then all three of them
would find out here,
2374
01:36:08,095 --> 01:36:10,347
and then suddenly
after having that victory we get,
2375
01:36:10,430 --> 01:36:11,723
oh, my gosh, a new development,
2376
01:36:11,807 --> 01:36:14,393
which could have been really good,
but at the same time, who knows?
2377
01:36:14,476 --> 01:36:17,521
It might have been maybe the fact
that knowing Newt's sick earlier
2378
01:36:17,604 --> 01:36:19,147
-helps people go with it.
-NOWLIN: Yeah, maybe it's too late.
2379
01:36:19,231 --> 01:36:21,066
Maybe people don't want
a new development, you know?
2380
01:36:21,149 --> 01:36:25,237
BALL: We never got really a chance
to test it, so we'll never know.
2381
01:36:25,320 --> 01:36:28,282
Yeah, the moment where she...
2382
01:36:28,365 --> 01:36:30,325
I actually like that
we don't see it at first.
2383
01:36:30,409 --> 01:36:32,703
We just see her reaction.
2384
01:36:32,786 --> 01:36:35,414
And let's just prolong this,
the moment later.
2385
01:36:37,291 --> 01:36:38,500
BRENDA: Lawrence!
2386
01:36:38,792 --> 01:36:40,252
BALL: Hopefully this reads. I do miss...
2387
01:36:40,335 --> 01:36:42,004
There's one scene that
I miss that we cut,
2388
01:36:42,087 --> 01:36:46,800
and it was Brenda calling Thomas
on the walkies and seeing,
2389
01:36:46,883 --> 01:36:48,844
and basically explaining
that Lawrence is gone
2390
01:36:48,927 --> 01:36:51,388
and going into detail
about what's going on
2391
01:36:51,471 --> 01:36:53,348
and Gally being surprised by that.
2392
01:36:53,432 --> 01:36:57,060
We cut it out here and just says
Lawrence is gone, that no one's here.
2393
01:36:57,144 --> 01:36:58,645
And we just cut to where Lawrence is.
2394
01:36:58,729 --> 01:37:00,397
I think people go with it,
but it isn't...
2395
01:37:00,480 --> 01:37:02,774
It certainly isn't as good of a throw
as the other one, but...
2396
01:37:02,858 --> 01:37:05,902
Again, it was just,
unfortunately it was a...
2397
01:37:05,986 --> 01:37:09,656
a pretty big pressure
to cut the movie down.
2398
01:37:09,740 --> 01:37:11,867
And it's already
two hours and 21 minutes
2399
01:37:11,950 --> 01:37:13,660
so it's the longest movie
of all of them.
2400
01:37:13,744 --> 01:37:16,121
NOWLIN: It's the same sort of transition
that's basically question/answer.
2401
01:37:16,204 --> 01:37:17,372
Where's Lawrence? Here he is.
2402
01:37:17,456 --> 01:37:19,082
What's he doing?
We're about to find out.
2403
01:37:19,166 --> 01:37:20,250
BALL: It works.
2404
01:37:20,334 --> 01:37:23,628
If you ask the question,
it's just it'd be nice to see
2405
01:37:23,712 --> 01:37:27,424
I think Sally's reaction saying,
"What do you mean he's gone?"
2406
01:37:27,507 --> 01:37:30,135
There's something cool about that,
this wasn't quite...
2407
01:37:30,218 --> 01:37:32,471
NOWLIN: Sally's not in on it,
I think, is important.
2408
01:37:32,554 --> 01:37:36,308
BALL: Which I think still comes across,
but it's not as effective.
2409
01:37:36,391 --> 01:37:38,226
NOWLIN: But Walton's so much fun.
2410
01:37:38,310 --> 01:37:41,772
BALL: Yeah, Walton, man. He is awesome.
2411
01:37:41,855 --> 01:37:43,273
He is so great to work with.
2412
01:37:43,357 --> 01:37:45,108
He just really throws himself
into this stuff.
2413
01:37:45,192 --> 01:37:48,111
And actually the first night...
2414
01:37:48,195 --> 01:37:50,864
'Cause he had that hood on his head
and he was walking through that tunnel.
2415
01:37:50,947 --> 01:37:53,533
When he's first walking through.
2416
01:37:53,617 --> 01:37:55,744
And there was a really low beam
and he couldn't see it
2417
01:37:55,827 --> 01:37:57,954
and he smacked himself
right in the forehead.
2418
01:37:58,038 --> 01:37:59,331
You know, gashed his head.
2419
01:37:59,414 --> 01:38:00,832
It was bleeding and he was like, "Ah!"
2420
01:38:00,916 --> 01:38:02,876
We're like, "Oh, no, what happened?"
2421
01:38:02,959 --> 01:38:04,461
And we didn't know what we're gonna do
2422
01:38:04,544 --> 01:38:05,962
and he says,
"All right, let's go again, come on."
2423
01:38:06,046 --> 01:38:12,344
And so for all these scenes, basically,
there's this welt on Walton's forehead,
2424
01:38:12,427 --> 01:38:14,596
-which kind of blends into the makeup.
-NOWLIN: It works, yeah...
2425
01:38:14,679 --> 01:38:16,098
BALL: But he just acted through it, man.
2426
01:38:16,181 --> 01:38:18,809
He's a trooper, man.
He's just fantastic.
2427
01:38:18,892 --> 01:38:22,854
And he just really commits and he got
this whole crowd wound up.
2428
01:38:22,938 --> 01:38:24,106
And he was like in between takes
2429
01:38:24,189 --> 01:38:26,525
and he was just keeping them,
kind of, you know... He was just great.
2430
01:38:26,608 --> 01:38:29,361
He's an awesome guy to work with.
2431
01:38:29,444 --> 01:38:31,655
-Everybody, actually.
-NOWLIN: Just in general, actually.
2432
01:38:31,738 --> 01:38:33,198
I think he played it
a little differently.
2433
01:38:33,281 --> 01:38:35,033
Remember when we first cast him...
2434
01:38:35,117 --> 01:38:38,286
We were watching The Hateful Eight
and I think it was just...
2435
01:38:38,370 --> 01:38:39,913
-We're writing dialogue.
-BALL: Yeah.
2436
01:38:39,996 --> 01:38:41,665
NOWLIN: It was a really big performance
and he came in
2437
01:38:41,748 --> 01:38:43,959
-and did it really kind of quiet and...
BALL: Differently, yeah.
2438
01:38:47,254 --> 01:38:48,505
Determined.
2439
01:38:50,382 --> 01:38:51,883
But it's cool.
It's draws attention to it
2440
01:38:51,967 --> 01:38:54,469
and it's kind of sets up
what his real plan was.
2441
01:38:54,553 --> 01:38:57,222
His ultimate agenda
was just to, you know,
2442
01:38:57,305 --> 01:39:01,101
his time is up, but he's gonna
go out with a bang.
2443
01:39:04,229 --> 01:39:07,816
That's all CG behind him, everything.
It's kind of crazy.
2444
01:39:07,899 --> 01:39:11,153
It's a cool little music cue, too,
from John.
2445
01:39:11,236 --> 01:39:13,488
Has a good, building tension
2446
01:39:13,572 --> 01:39:16,783
that's just like, oh, my God,
something huge is about to happen.
2447
01:39:16,867 --> 01:39:18,243
And I love that he's just kind of...
2448
01:39:18,326 --> 01:39:19,494
NOWLIN: But this is the payoff of,
2449
01:39:19,578 --> 01:39:21,329
"I'll help you get past the cameras
and the security.
2450
01:39:21,413 --> 01:39:23,248
-"You put this device in..."
-BALL: Right.
2451
01:39:23,331 --> 01:39:24,791
NOWLIN: But it also gives him
control of their guns.
2452
01:39:24,875 --> 01:39:27,169
BALL: Right, which I think comes across.
NOWLIN: So now he can do what he wanted.
2453
01:39:27,252 --> 01:39:28,253
Yeah, it does, but I mean...
2454
01:39:28,336 --> 01:39:30,338
BALL: That was the intent,
that he was looking for an opportunity.
2455
01:39:30,422 --> 01:39:31,631
Thomas presented him an opportunity.
2456
01:39:31,715 --> 01:39:34,092
He used Thomas to get access to the guns
2457
01:39:34,176 --> 01:39:38,638
and now he's gonna blow everything up
with this huge gigantic explosion.
2458
01:39:39,055 --> 01:39:40,265
(LAUGHS)
2459
01:39:42,684 --> 01:39:43,852
-(EXPLOSIONS)
-(ALL SCREAMING)
2460
01:39:56,615 --> 01:39:59,159
NOWLIN: This was kind of
Sally's moment of...
2461
01:39:59,242 --> 01:40:01,786
BALL: And the sirens go on.
2462
01:40:01,870 --> 01:40:03,371
NOWLIN: This is kind of
the culmination here.
2463
01:40:03,455 --> 01:40:04,748
It's the idea that he had a new family.
2464
01:40:04,831 --> 01:40:05,832
BALL: Yeah, yeah.
2465
01:40:05,916 --> 01:40:07,250
NOWLIN: But they weren't
what he thought he was.
2466
01:40:07,334 --> 01:40:09,961
HARTWICK JR.: I miss the line though,
you know, "Gally, come with us."
2467
01:40:10,045 --> 01:40:11,922
NOWLIN: It was a blocking thing, right?
But I mean, it was the...
2468
01:40:12,005 --> 01:40:13,840
At the end of the first movie,
Thomas says, "Gally, come with us,"
2469
01:40:13,924 --> 01:40:14,925
and Gally refuses.
2470
01:40:15,008 --> 01:40:17,594
And now he goes with his friends and...
2471
01:40:17,677 --> 01:40:22,140
By this point in the story,
he's kind of proven himself and...
2472
01:40:22,224 --> 01:40:23,266
He gets to go with them.
2473
01:40:25,435 --> 01:40:27,938
BALL: Yeah, I mean, now basically,
Dylan says, "Gally, come on."
2474
01:40:28,021 --> 01:40:30,148
It's kinda much more subtle,
2475
01:40:30,232 --> 01:40:32,943
but it is the idea
of Thomas telling him "Let's go."
2476
01:40:33,026 --> 01:40:34,903
NOWLIN: I think maybe
what doesn't work about "come with us"
2477
01:40:34,986 --> 01:40:36,363
is it doesn't feel like
as big of a decision.
2478
01:40:36,446 --> 01:40:38,782
Like, of course he would go with them.
I think we're there already.
2479
01:40:38,865 --> 01:40:39,866
BALL: That's the problem, yeah.
2480
01:40:39,950 --> 01:40:42,619
We didn't come up to a place
where we never had a scene
2481
01:40:42,702 --> 01:40:44,162
where he says,
"Well, we'll go our separate ways. ”
2482
01:40:44,246 --> 01:40:45,372
NOWLIN: Whereas in the Maze Runner,
we literally
2483
01:40:45,455 --> 01:40:48,500
had the line that people crossed
to stand with Thomas, you know?
2484
01:40:48,583 --> 01:40:50,210
BALL: That's why it didn't work
on the day.
2485
01:40:50,293 --> 01:40:52,671
It just felt unearned or something.
2486
01:40:54,923 --> 01:40:57,008
And this is the culmination.
Thomas is the cure.
2487
01:40:57,092 --> 01:40:58,093
NOWLIN: Mmm-hmm.
2488
01:40:59,928 --> 01:41:00,929
BALL: Which is a tricky thing to do.
2489
01:41:01,012 --> 01:41:05,141
NOWLIN: It's the one idea that really
stinks of "YA.” The one, you know?
2490
01:41:05,225 --> 01:41:08,395
But it also gives us so much.
It gives us so much.
2491
01:41:08,478 --> 01:41:10,188
-It's the answer.
-BALL: It's the books, too, yeah.
2492
01:41:10,272 --> 01:41:12,607
NOWLIN: It is the books, but it's...
It's also very different though.
2493
01:41:12,691 --> 01:41:14,276
In the book, the idea that Thomas is...
2494
01:41:14,359 --> 01:41:15,902
BALL: They had to dissect his brain
or something like that.
2495
01:41:15,986 --> 01:41:18,446
NOWLIN: Well, yeah, they need to kill
and it's still the idea of sacrifice.
2496
01:41:18,530 --> 01:41:21,449
But I didn't feel in the books that
there was as much of Thomas wrestling
2497
01:41:21,533 --> 01:41:23,076
with the implications of that.
2498
01:41:23,159 --> 01:41:25,287
Basically, that means that
they can use him as bait
2499
01:41:25,370 --> 01:41:27,706
to get him in, so he can plant
the device and turn on the gun,
2500
01:41:27,789 --> 01:41:29,916
-so they can attack WICKED.
-BALL: Right.
2501
01:41:30,000 --> 01:41:31,001
NOWLIN: And in this case,
I think it's interesting that
2502
01:41:31,084 --> 01:41:33,128
when he does find out
right when he's losing Newt,
2503
01:41:33,211 --> 01:41:34,588
which is also from the books,
2504
01:41:34,671 --> 01:41:37,048
that it creates this implication of
what is my responsibility, you know?
2505
01:41:37,132 --> 01:41:38,592
BALL: Yeah, right.
I can actually save...
2506
01:41:38,675 --> 01:41:40,677
And he starts to come over
and see Teresa's side.
2507
01:41:40,760 --> 01:41:43,305
If you can save the world,
do you, you know?
2508
01:41:44,222 --> 01:41:45,599
NOWLIN: Teresa's story at
the end of the second movie...
2509
01:41:45,682 --> 01:41:47,100
BALL: He needed his version of that.
2510
01:41:47,559 --> 01:41:49,019
NOWLIN: He needs to lose
someone close to him.
2511
01:41:49,102 --> 01:41:50,687
BALL: He needed to lose someone
to the virus that he could've helped.
2512
01:41:52,772 --> 01:41:55,859
As a movie,
it was a more efficient way to get...
2513
01:41:55,942 --> 01:41:58,570
NOWLIN: Did you put a Wilhelm in there?
BALL: Yeah, I put a Wilhelm in there.
2514
01:41:58,653 --> 01:41:59,654
I love that.
2515
01:41:59,738 --> 01:42:02,741
And there's a CG guy flying off
with the smoke on him and everything.
2516
01:42:02,824 --> 01:42:03,825
It's awesome.
2517
01:42:03,908 --> 01:42:06,369
But this stuff, we shot it
in four hours. It was crazy.
2518
01:42:06,453 --> 01:42:07,912
We took over the street
and just went crazy.
2519
01:42:07,996 --> 01:42:09,331
NOWLIN: This was something
you couldn't have done in Vancouver.
2520
01:42:09,414 --> 01:42:11,958
BALL: No. And there's another
big giant drone shot I just love.
2521
01:42:12,042 --> 01:42:14,085
Everything's in CG
except the buildings, basically.
2522
01:42:14,169 --> 01:42:15,462
So, it was a clean plate.
2523
01:42:15,545 --> 01:42:18,590
So, all the crowds, all the smoke,
all the explosions, it's all CG.
2524
01:42:18,673 --> 01:42:21,301
NOWLIN: Maybe it's because
drones are kind of still somewhat new.
2525
01:42:21,384 --> 01:42:24,095
I'm still trying to
get used to drone shots in movies.
2526
01:42:24,179 --> 01:42:26,598
I get used to
the movement of a crane, you know,
2527
01:42:26,681 --> 01:42:28,350
and what you can do with a crane.
2528
01:42:28,433 --> 01:42:31,144
Suddenly, the camera's doing things
that seem impossible, you know?
2529
01:42:31,227 --> 01:42:32,937
We're not gonna make it.
2530
01:42:34,481 --> 01:42:36,358
Wait, what are you talking about?
2531
01:42:36,524 --> 01:42:38,026
-Don't let them get away!
-(GUNFIRE)
2532
01:42:38,193 --> 01:42:40,278
Just take the others.
Get everybody out...
2533
01:42:40,445 --> 01:42:41,821
while you still can.
2534
01:42:42,530 --> 01:42:43,615
No.
2535
01:42:44,866 --> 01:42:46,117
Brenda.
2536
01:42:47,410 --> 01:42:48,953
I'm not leaving you.
2537
01:42:49,704 --> 01:42:50,747
Okay?
2538
01:42:51,539 --> 01:42:53,291
So forget it.
2539
01:42:55,710 --> 01:42:56,711
BALL: I thought it was interesting.
2540
01:42:56,795 --> 01:43:00,423
We shot this in one take, basically,
one shot, you know?
2541
01:43:00,507 --> 01:43:02,384
Again, not doing much coverage and stuff
2542
01:43:02,467 --> 01:43:05,053
and just letting it play
kind of in silhouette, you know?
2543
01:43:05,136 --> 01:43:07,722
With the war raging out behind them.
I thought it was cool.
2544
01:43:08,723 --> 01:43:10,266
NOWLIN: And it helps
Giancarlo's moment here.
2545
01:43:10,350 --> 01:43:12,018
You need that "all is lost. ”
2546
01:43:12,102 --> 01:43:14,104
He's coming in at just the right moment
to give the right...
2547
01:43:14,187 --> 01:43:16,564
BALL: If they don't have a way out,
they're not gonna make it.
2548
01:43:16,648 --> 01:43:20,652
Then that thing that we set up earlier.
You got a long way to go, you know?
2549
01:43:20,735 --> 01:43:21,736
A long road ahead of you.
2550
01:43:21,820 --> 01:43:23,029
NOWLIN: And hopefully,
if the audience tracks
2551
01:43:23,113 --> 01:43:24,447
before things go wrong in the heist,
2552
01:43:24,531 --> 01:43:25,990
they all should've been on that bus.
2553
01:43:26,074 --> 01:43:27,367
You know, they should all be there,
2554
01:43:27,450 --> 01:43:29,411
get on the Berg,
fly away and everything's fine.
2555
01:43:30,328 --> 01:43:32,706
The fact that Minho wasn't where
they thought he would be
2556
01:43:32,789 --> 01:43:35,750
is what separated them
and now they gotta go back for him.
2557
01:43:38,336 --> 01:43:40,463
BALL: Yeah, and then
we got to bring back Barry.
2558
01:43:41,214 --> 01:43:42,298
It was just a scheduling thing.
2559
01:43:42,382 --> 01:43:46,678
I couldn't get Harriet and...
2560
01:43:46,761 --> 01:43:48,221
Or Kat and Nathalie back.
2561
01:43:48,304 --> 01:43:50,432
For some reason,
they weren't available this day.
2562
01:43:50,515 --> 01:43:53,560
And I wanted them to be in there, too.
2563
01:43:53,643 --> 01:43:56,855
So, the group that we left behind
comes back to help, too, you know?
2564
01:43:56,938 --> 01:43:59,315
I think it is powerful to have Barry,
2565
01:43:59,399 --> 01:44:01,901
who was against this suicide mission.
2566
01:44:01,985 --> 01:44:04,529
He comes back and sees that, you know,
they needed my help.
2567
01:44:04,612 --> 01:44:05,905
I'm gonna do it, you know?
2568
01:44:06,531 --> 01:44:07,615
NOWLIN: Look at what Thomas did.
2569
01:44:07,699 --> 01:44:09,242
BALL: Yeah,
it's not just one man anymore.
2570
01:44:09,325 --> 01:44:10,493
It's a bunch of people.
2571
01:44:10,577 --> 01:44:12,871
It's the thing he fights and dies for,
you know?
2572
01:44:12,954 --> 01:44:14,664
NOWLIN: In fact, these kids
would've been lost
2573
01:44:14,748 --> 01:44:16,374
no matter what if Thomas hadn't come
2574
01:44:16,458 --> 01:44:18,001
and now he's stuck in there.
2575
01:44:18,084 --> 01:44:20,420
We owe it to him to do what we can
to get him out.
2576
01:44:22,422 --> 01:44:24,924
BALL: I love Barry, too-
He's great to work with.
2577
01:44:25,008 --> 01:44:27,093
Actually Giancarlo,
all of them, everybody.
2578
01:44:27,177 --> 01:44:30,180
I'm really lucky to have
such great actors that
2579
01:44:30,263 --> 01:44:34,893
give everything
and do such a good job with everything.
2580
01:44:34,976 --> 01:44:36,519
NOWLIN: Really hard to give
everyone their due.
2581
01:44:38,146 --> 01:44:39,856
So many characters.
2582
01:44:39,939 --> 01:44:42,192
BALL: We do it as well as we can though
within the time we have though.
2583
01:44:42,275 --> 01:44:45,278
NOWLIN: While focusing and making sure
that the priority is the story.
2584
01:44:45,361 --> 01:44:47,280
BALL: It's really Thomas
and Teresa's story with Newt.
2585
01:44:47,363 --> 01:44:49,908
NOWLIN: Really, yeah.
BALL: Really, that's the story.
2586
01:44:51,743 --> 01:44:52,744
BALL: This time.
2587
01:44:53,328 --> 01:44:56,289
But, fortunately, every movie has
their own little feature, I think.
2588
01:44:56,372 --> 01:45:00,043
It's like Minho is kinda featured
in the first and second movie
2589
01:45:00,126 --> 01:45:02,212
and he gets to...
2590
01:45:02,295 --> 01:45:04,422
He comes back in the story of course
in this one in a big way,
2591
01:45:04,506 --> 01:45:05,673
and I think he makes a big impact.
2592
01:45:05,757 --> 01:45:09,803
But, this Gally guy has a nice role
in this movie and then...
2593
01:45:12,514 --> 01:45:13,932
Hopefully, it'll be
one of those movie series
2594
01:45:14,015 --> 01:45:16,267
that everyone has their favorites.
2595
01:45:16,351 --> 01:45:17,519
I'm a Temple of Doom guy.
2596
01:45:19,187 --> 01:45:20,980
NOWLIN: Like you said,
when you put all three together,
2597
01:45:21,064 --> 01:45:23,817
everybody has their arc
and their moment.
2598
01:45:25,026 --> 01:45:26,027
This is an important moment.
2599
01:45:28,154 --> 01:45:30,365
We get a lot of tweets about this,
about the fact that Minho and Newt
2600
01:45:30,448 --> 01:45:32,158
would've known each other longer
2601
01:45:32,242 --> 01:45:35,787
than pretty much
any other relationship in the story.
2602
01:45:35,870 --> 01:45:36,871
HARTWICK JR.: That's the shame about
2603
01:45:36,955 --> 01:45:38,039
having to cut out
that other scene though
2604
01:45:38,122 --> 01:45:40,500
when he says about how Minho saved him.
2605
01:45:41,042 --> 01:45:43,920
That "Thank you, Minho"
would've meant so much more.
2606
01:45:47,882 --> 01:45:50,218
NOWLIN: Yeah, I would've liked to have
given Minho one more line there, but...
2607
01:45:52,136 --> 01:45:54,931
BALL: I think it works. Simple. Clean.
2608
01:45:55,014 --> 01:45:56,224
Not a lot needs to be said.
2609
01:45:56,307 --> 01:45:58,393
And I always
like this moment of him drifting off.
2610
01:45:58,476 --> 01:46:01,479
I like this idea that, you know,
something about lights
2611
01:46:01,563 --> 01:46:05,066
to infected people, as they're turning,
the sun starts to hurt or something.
2612
01:46:05,149 --> 01:46:06,776
They kinda get mesmerized by lights
or something.
2613
01:46:06,860 --> 01:46:07,861
Thought it was cool.
2614
01:46:07,944 --> 01:46:09,237
NOWLIN: Thomas is really,
really good in this, this scene.
2615
01:46:09,320 --> 01:46:10,405
BALL: Yeah, he did a really good job.
2616
01:46:10,488 --> 01:46:12,490
We'll see what happens
to some of the book fans.
2617
01:46:12,574 --> 01:46:13,658
I know I changed Newt's death,
2618
01:46:13,741 --> 01:46:17,912
but I think for the better,
for in terms of movies.
2619
01:46:18,580 --> 01:46:22,208
This is where the "Tell me, please"
fit in, was here.
2620
01:46:22,292 --> 01:46:25,378
NOWLIN: We've introduced this idea
that WICKED has been
2621
01:46:25,461 --> 01:46:28,381
harvesting these kids for serum
that can buy you time.
2622
01:46:28,464 --> 01:46:30,049
And they're looking for a cure.
2623
01:46:31,301 --> 01:46:33,720
We have to do something with that.
2624
01:46:33,803 --> 01:46:36,055
There is a way to save Newt.
2625
01:46:36,639 --> 01:46:38,850
If you're just inches away,
it's more tragic.
2626
01:46:38,933 --> 01:46:41,769
You were minutes away
from being able to save him,
2627
01:46:41,853 --> 01:46:43,605
which means that Thomas would never...
2628
01:46:43,688 --> 01:46:46,107
It would never make sense for him
to intentionally shoot him.
2629
01:46:46,190 --> 01:46:47,901
BALL: Yeah, it just would have
never worked
2630
01:46:47,984 --> 01:46:49,193
to just say, "Okay, I'll shoot you."
2631
01:46:50,028 --> 01:46:51,696
There's just no way to make it work.
2632
01:46:51,779 --> 01:46:52,989
NOWLIN: There's something
more interesting
2633
01:46:53,072 --> 01:46:54,198
about, like, Newt makes his own choice.
2634
01:46:54,282 --> 01:46:55,283
BALL: Yes, right.
2635
01:46:55,366 --> 01:46:57,118
Newt sacrifices himself
to help the group
2636
01:46:57,201 --> 01:46:59,203
and help get Minho out
and all that stuff.
2637
01:46:59,662 --> 01:47:04,375
And Thomas also learns a valuable lesson
from his friend's sacrifice.
2638
01:47:04,459 --> 01:47:06,044
And that's what
kind of changes him as a person.
2639
01:47:06,127 --> 01:47:08,588
NOWLIN: Exactly, yeah. And he did
what he came hereto do and...
2640
01:47:08,671 --> 01:47:11,841
BALL: I think we milk it
as much as we can, this...
2641
01:47:13,468 --> 01:47:15,970
Also the love the two...
That he has for each other.
2642
01:47:16,054 --> 01:47:17,221
They have for each other, you know?
2643
01:47:20,725 --> 01:47:21,935
They'll do anything.
2644
01:47:22,018 --> 01:47:23,853
In fact, I always kinda felt that
even reading the book.
2645
01:47:23,937 --> 01:47:26,314
I just never saw Thomas' character,
2646
01:47:26,397 --> 01:47:31,736
no matter what,
he would never shoot his friend, period.
2647
01:47:32,153 --> 01:47:34,864
Even if he was chained up attacking him,
I say he wouldn't do it.
2648
01:47:34,948 --> 01:47:36,491
I just couldn't see it happening.
2649
01:47:38,076 --> 01:47:39,827
NOWLIN: it comes
from a completely hopeless place.
2650
01:47:39,911 --> 01:47:42,830
But if the movie and the books are,
they're about a search for a cure.
2651
01:47:42,914 --> 01:47:45,291
You wanna collapse those threads,
you know?
2652
01:47:46,209 --> 01:47:47,543
BALL: So hopefully, the fans
will somewhat
2653
01:47:47,627 --> 01:47:48,711
at least forgive us and hopefully we...
2654
01:47:49,462 --> 01:47:52,882
While different,
it's still just as effective for them.
2655
01:47:52,966 --> 01:47:56,052
NOWLIN: I just hope they, I don't know,
think critically about it.
2656
01:47:58,304 --> 01:47:59,514
TERESA: (ON PA, ECHOING)
Can you hear me?
2657
01:48:01,140 --> 01:48:02,517
BALL: And this was
kind of an interesting idea.
2658
01:48:04,352 --> 01:48:07,313
NOWLIN: This was another
post-Vancouver idea, I think.
2659
01:48:07,397 --> 01:48:09,440
-Was it?
-BALL: Uh... No, no, definitely not.
2660
01:48:09,524 --> 01:48:12,068
I remember we were all very worried
about this scene actually, 'cause...
2661
01:48:12,151 --> 01:48:15,238
It's on the edge of being cheesy,
but I think it works okay.
2662
01:48:16,030 --> 01:48:17,573
Any kind of "You are the one" is...
2663
01:48:17,657 --> 01:48:20,868
But also we're kind of the idea that
in the books...
2664
01:48:20,952 --> 01:48:25,206
Teresa can talk to Thomas in his head.
They have telepathic kinda talking.
2665
01:48:25,289 --> 01:48:27,125
We obviously
weren't gonna do that in the movies.
2666
01:48:27,208 --> 01:48:30,003
But this kind of feels like that
in a weird way.
2667
01:48:30,086 --> 01:48:31,629
NOWLIN: Well, that's why
I pushed the idea, originally.
2668
01:48:31,713 --> 01:48:34,173
It was just the moment of like...
You're totally in that moment.
2669
01:48:34,257 --> 01:48:36,050
And suddenly out of nowhere,
Thomas can hear me.
2670
01:48:36,801 --> 01:48:37,802
BALL: In some of these places,
2671
01:48:37,885 --> 01:48:40,096
we used some of the Thomasses
from the first movie
2672
01:48:40,179 --> 01:48:42,390
where, when he goes into his dreams
and he hears Teresa's voice.
2673
01:48:42,473 --> 01:48:43,558
NOWLIN: Really?
BALL: Yeah.
2674
01:48:43,641 --> 01:48:44,684
BALL: So, some of that stuff is in here.
2675
01:48:44,767 --> 01:48:46,060
That "Thomas, Thomas, can you hear me?
Can you hear me?"
2676
01:48:46,144 --> 01:48:47,145
NOWLIN: That's cool.
2677
01:48:47,228 --> 01:48:50,356
BALL: So, we're trying our best
to bring all that stuff back.
2678
01:48:51,274 --> 01:48:52,775
But being subtle about it.
2679
01:48:52,859 --> 01:48:54,485
And this day, for whatever reason,
2680
01:48:54,569 --> 01:48:58,489
we had this huge wind,
like 70-mile an hour gust, or something.
2681
01:48:58,573 --> 01:49:01,743
So, this whole scene
with all this wind and fire and smoke,
2682
01:49:01,826 --> 01:49:03,286
it just is.
2683
01:49:03,369 --> 01:49:05,455
And it just was fantastic.
2684
01:49:05,538 --> 01:49:07,623
-It looks really great.
-NOWLIN: Fortuitous.
2685
01:49:07,707 --> 01:49:08,750
BALL: Yeah.
2686
01:49:08,833 --> 01:49:11,210
NOWLIN: I think Dylan
did a good job just listening
2687
01:49:11,294 --> 01:49:12,628
and taking in what she's saying.
2688
01:49:13,796 --> 01:49:16,007
I wanna hear this.
Let me try to turn up my volume.
2689
01:49:21,512 --> 01:49:22,513
Newt?
2690
01:49:23,681 --> 01:49:27,060
BALL: Obviously we get into Newt
that's not Newt anymore.
2691
01:49:27,143 --> 01:49:30,688
And this was take one of this moment
that I never got back to.
2692
01:49:30,772 --> 01:49:32,899
I kept shooting more takes and...
This is the one.
2693
01:49:32,982 --> 01:49:36,819
And he actually doesn't have
the right contact lenses in actually.
2694
01:49:36,903 --> 01:49:38,112
But I just didn't care.
2695
01:49:38,196 --> 01:49:40,406
'Cause we had
different stages of contact lenses.
2696
01:49:40,490 --> 01:49:42,658
But just his look on his face
and everything,
2697
01:49:42,742 --> 01:49:44,577
it was just so chilling.
2698
01:49:44,660 --> 01:49:45,828
I thought it was great.
2699
01:49:45,912 --> 01:49:49,082
NOWLIN: Just kind of unaware, you know?
Oblivious.
2700
01:49:49,165 --> 01:49:52,418
BALL: It's not him, you know?
It just so felt like someone else.
2701
01:49:52,502 --> 01:49:55,838
And then this line, originally,
he said, "Tommy, help me."
2702
01:49:55,922 --> 01:49:58,925
But I put in "Tommy, kill me,"
which was from the books.
2703
01:49:59,008 --> 01:50:01,385
I'm trying to help
keep the fan thing down, you know?
2704
01:50:02,804 --> 01:50:03,888
I think it works still.
2705
01:50:06,516 --> 01:50:08,810
NOWLIN: There's something just brutal
about a gun.
2706
01:50:08,893 --> 01:50:10,144
I think it feels like an execution.
2707
01:50:12,271 --> 01:50:15,024
BALL: I am teasing a little bit
with the audience here.
2708
01:50:15,108 --> 01:50:16,484
The gun comes out and I think
2709
01:50:16,567 --> 01:50:18,486
maybe that's gonna happen
and I knock it away.
2710
01:50:20,655 --> 01:50:25,243
I like the idea that even the book fans
don't know what's gonna happen.
2711
01:50:25,326 --> 01:50:28,454
And, you know, it might be to...
2712
01:50:28,538 --> 01:50:31,999
Sometimes they'll be mad at me
for not going the same way.
2713
01:50:32,083 --> 01:50:33,918
They don't know what's gonna happen,
but that's the fun of movies.
2714
01:50:34,001 --> 01:50:36,546
It's like why would you wanna go into
a movie knowing what's gonna happen?
2715
01:50:36,629 --> 01:50:39,215
Part of it's being swept up in it
and enjoying the ride and...
2716
01:50:39,298 --> 01:50:41,425
NOWLIN: I think this is great.
This, I don't know.
2717
01:50:41,509 --> 01:50:42,677
BALL: Yeah, it's good stuff I think.
2718
01:50:42,760 --> 01:50:45,138
I think it'll just be judged against
what they're expecting, you know?
2719
01:50:45,221 --> 01:50:47,890
So we'll see how it goes.
Hopefully it'll be okay.
2720
01:50:48,015 --> 01:50:49,267
NOWLIN: Oof!
2721
01:50:49,350 --> 01:50:51,435
BALL: And this was...
Basically we shot Chuck
2722
01:50:51,519 --> 01:50:53,271
in the first movie when he got stabbed.
2723
01:50:53,354 --> 01:50:56,315
And in this movie we, instead of
shooting Newt, we stab him, you know?
2724
01:50:56,399 --> 01:50:58,109
That's how we kinda went with it.
2725
01:50:58,192 --> 01:50:59,694
NOWLIN: (LAUGHS)
That's a good way to, yeah.
2726
01:50:59,777 --> 01:51:01,737
We used that card and now we have to...
2727
01:51:01,821 --> 01:51:03,656
BALL: Yeah, put it elsewhere.
NOWLIN: Yeah.
2728
01:51:03,739 --> 01:51:05,283
We did though.
That was kind of our strategy
2729
01:51:05,366 --> 01:51:06,826
of just, tell the three stories.
2730
01:51:06,909 --> 01:51:08,536
Then we had all these ideas
from the books,
2731
01:51:08,619 --> 01:51:09,912
like where can we fit stuff in?
2732
01:51:09,996 --> 01:51:10,997
HARTWICK JR.: Yeah.
2733
01:51:11,414 --> 01:51:12,707
NOWLIN: Oh!
2734
01:51:12,790 --> 01:51:14,542
BALL: Yeah,
it's definitely an adaptation.
2735
01:51:14,625 --> 01:51:17,295
It's not a... Whatever.
2736
01:51:17,378 --> 01:51:18,713
NOWLIN: Think of it
more of an interpretation.
2737
01:51:18,796 --> 01:51:20,923
BALL: Yeah, an interpretation
I guess would be a good way to put it.
2738
01:51:21,007 --> 01:51:22,008
NOWLIN: Inspiration.
BALL: Yeah.
2739
01:51:22,091 --> 01:51:24,510
NOWLIN: Yeah, the truth is
we do start with the books.
2740
01:51:24,594 --> 01:51:26,429
I mean, every time we start
with what's there
2741
01:51:26,512 --> 01:51:27,889
and what opportunities.
2742
01:51:27,972 --> 01:51:29,891
BALL: And the books still exist.
We're not overriding the books.
2743
01:51:29,974 --> 01:51:31,851
It's just, for a movie
we wanna make sure
2744
01:51:31,934 --> 01:51:33,269
that people that haven't read the books,
2745
01:51:33,352 --> 01:51:37,148
that it makes sense and tracks well
for them, too, as an experience.
2746
01:51:38,983 --> 01:51:41,152
But, yeah, poor Newt.
2747
01:51:41,235 --> 01:51:45,406
And if you look there closely on his
side of his face, a little tear drops.
2748
01:51:45,489 --> 01:51:47,575
Newt played a good, good, good...
2749
01:51:47,658 --> 01:51:49,619
It's a good death there I thought.
2750
01:51:49,702 --> 01:51:50,703
NOWLIN: That's a real tear?
2751
01:51:50,786 --> 01:51:51,996
BALL: Yeah.
NOWLIN: Okay.
2752
01:51:54,081 --> 01:51:57,710
BALL: A lot of people
crying in this movie. (LAUGHS)
2753
01:51:57,793 --> 01:52:00,588
-It's like they're crying everywhere.
-NOWLIN: It's just so sad.
2754
01:52:00,671 --> 01:52:02,590
BALL: Yeah, to me that was the
money shot. I told Dylan right there.
2755
01:52:02,673 --> 01:52:06,427
I'm right next to him and I'm like,
okay, that's the money, dude. Cut.
2756
01:52:06,510 --> 01:52:09,263
(LAUGHS) You know, and I'm thinking
I'm actually in the take there.
2757
01:52:09,347 --> 01:52:12,099
It was just that look on his face,
it was so good.
2758
01:52:12,183 --> 01:52:13,184
And he was exhausted.
2759
01:52:13,267 --> 01:52:14,810
I mean,
they were fighting the whole time
2760
01:52:14,894 --> 01:52:16,479
and we're running out of time
I remember and he...
2761
01:52:16,562 --> 01:52:18,773
Dylan was actually getting
a little frustrated with things,
2762
01:52:18,856 --> 01:52:20,107
but, you know,
it gets that way sometimes,
2763
01:52:20,191 --> 01:52:22,485
but it's cool 'cause that's what we do.
2764
01:52:22,568 --> 01:52:27,156
We push things and hopefully get to
places that are unexpected.
2765
01:52:27,240 --> 01:52:29,158
NOWLIN: So this is so interesting
for Rosa because she's telling him,
2766
01:52:29,242 --> 01:52:30,326
you know, you can't save everyone.
2767
01:52:30,409 --> 01:52:33,329
I think the audience knows
she's thinking about herself and now...
2768
01:52:33,412 --> 01:52:35,748
She's cured and Newt's gone.
2769
01:52:35,831 --> 01:52:37,833
This is not what she meant,
but, you know?
2770
01:52:37,917 --> 01:52:39,001
BALL: Yeah...
2771
01:52:39,085 --> 01:52:41,254
No dialogue. Nothing needs to be said.
2772
01:52:41,337 --> 01:52:44,715
You know, I think we did that early on.
It was gonna be this...
2773
01:52:44,799 --> 01:52:46,884
I always had this image in my head
2774
01:52:46,968 --> 01:52:49,178
of them being separated
for some reason, like...
2775
01:52:49,262 --> 01:52:52,890
The equivalent of being
on the edge of a canyon, you know?
2776
01:52:52,974 --> 01:52:54,183
-And I liked...
-NOWLIN: Yeah.
2777
01:52:54,267 --> 01:52:56,811
BALL: That, you know,
you can still be there with him.
2778
01:52:56,894 --> 01:52:59,188
NOWLIN: She knows. He knows.
They all know why he can't.
2779
01:52:59,272 --> 01:53:02,149
That's the other good thing about
Teresa with the big broadcast message.
2780
01:53:02,233 --> 01:53:03,901
Everyone needed to hear it.
2781
01:53:03,985 --> 01:53:04,986
BALL: Yeah, it was the best way to...
2782
01:53:05,069 --> 01:53:06,195
NOWLIN: Did you cut
all your close-up of the...
2783
01:53:06,279 --> 01:53:07,989
BALL: No, not anymore.
NOWLIN: Bastard.
2784
01:53:08,072 --> 01:53:11,200
BALL: She has it in her hand.
NOWLIN: Yeah.
2785
01:53:23,087 --> 01:53:24,630
(GUNFIRE CONTINUES)
2786
01:53:32,263 --> 01:53:35,599
BALL: Originally we had Teresa
sitting here waiting,
2787
01:53:35,683 --> 01:53:36,767
and then Ava walks up.
2788
01:53:36,851 --> 01:53:38,102
And then Ava says you gotta leave.
2789
01:53:38,185 --> 01:53:41,522
And then a guy comes up
and says, "Last transports leaving."
2790
01:53:41,605 --> 01:53:43,858
-And Ava says, ”Teresa, go.”
-NOWLIN: Yeah.
2791
01:53:43,941 --> 01:53:46,235
BALL: So originally we had Teresa
waiting for him, but...
2792
01:53:46,319 --> 01:53:47,403
NOWLIN: She also said,
"Meet me on the roof."
2793
01:53:47,486 --> 01:53:50,323
It was the idea that there's transport
leaving from the roof.
2794
01:53:50,406 --> 01:53:51,824
'Cause Teresa takes him there later...
2795
01:53:51,907 --> 01:53:54,744
BALL: But I think,
to really get it over with...
2796
01:53:54,827 --> 01:53:56,370
NOWLIN: Move it, yeah.
BALL: Yeah, exactly.
2797
01:53:56,454 --> 01:54:01,167
It did feel like unfortunately
you didn't want to stop again.
2798
01:54:01,250 --> 01:54:05,254
You know, you wanted to keep it going,
but I do miss seeing Teresa waiting.
2799
01:54:05,338 --> 01:54:06,672
NOWLIN: Yeah, this is a moment
where I think
2800
01:54:06,756 --> 01:54:08,090
he might actually pull the trigger,
2801
01:54:08,174 --> 01:54:09,967
more so than with Newt.
2802
01:54:10,926 --> 01:54:13,346
This is one of, I think,
Dylan's best scene.
2803
01:54:13,429 --> 01:54:14,972
BALL: Yeah.
I don't know how Dylan does it,
2804
01:54:15,056 --> 01:54:17,600
but basically for the eight hours
that we were shooting this scene...
2805
01:54:17,683 --> 01:54:20,269
HARTWICK JR.: Yeah.
BALL: He was crying the entire time.
2806
01:54:20,353 --> 01:54:22,355
And just as an actor
he's gotta be there, you know?
2807
01:54:22,438 --> 01:54:24,982
He's gotta get himself in that place,
and he can't leave,
2808
01:54:25,066 --> 01:54:26,692
so it's kind of exhausting for him.
2809
01:54:26,776 --> 01:54:28,778
NOWLIN: There was like some kind of
construction or noise happening, too?
2810
01:54:28,861 --> 01:54:31,072
BALL: Yeah, there was like construction
stuff happening in the background
2811
01:54:31,155 --> 01:54:32,990
'cause this is a convention center.
2812
01:54:33,074 --> 01:54:34,617
(LAUGHING) There was some kind of
a convention thing
2813
01:54:34,700 --> 01:54:36,327
setting up in the background.
2814
01:54:36,410 --> 01:54:37,995
But anyway, yeah, it's interesting,
2815
01:54:38,079 --> 01:54:40,331
working with actors that,
you know, they really commit.
2816
01:54:40,414 --> 01:54:42,583
And I'm talking to Dylan, like,
2817
01:54:42,666 --> 01:54:45,920
I'm giving him direction and stuff
and his face is just puffy and...
2818
01:54:46,003 --> 01:54:47,421
HARTWICK JR.: Yeah, swollen.
BALL: And swollen...
2819
01:54:47,505 --> 01:54:48,881
And he has tears
and he's like, "Okay, yeah, sure."
2820
01:54:48,964 --> 01:54:50,800
And it's Still Dylan.
2821
01:54:50,883 --> 01:54:54,804
But he's just in this place
that he's gotta stay to be authentic.
2822
01:54:54,887 --> 01:55:01,394
And you just love working with people
that commit so much.
2823
01:55:01,477 --> 01:55:02,978
NOWLIN: I mean,
for everything he went through
2824
01:55:03,062 --> 01:55:06,440
and then to come back
and do a great job.
2825
01:55:06,524 --> 01:55:08,901
HARTWICK JR.: Wow.
NOWLIN: So, what my hope
2826
01:55:08,984 --> 01:55:11,112
is that people
have kind of forgotten about Janson.
2827
01:55:11,195 --> 01:55:12,363
BALL: No, it always works.
2828
01:55:12,446 --> 01:55:17,076
I remember in the test screenings,
there's always a big groan of... "Oh!"
2829
01:55:17,159 --> 01:55:21,372
You know, Janson. And hopefully
we set up that he hates her now.
2830
01:55:21,455 --> 01:55:22,581
With two scenes of that now.
2831
01:55:22,665 --> 01:55:25,084
NOWLIN: Well, it makes enough sense
that he would wanna control Thomas
2832
01:55:25,167 --> 01:55:26,293
and control the cure on its own.
2833
01:55:26,377 --> 01:55:30,005
This next reveal of he's infected.
2834
01:55:31,632 --> 01:55:32,675
BALL: I think it works fine.
2835
01:55:32,758 --> 01:55:33,801
NOWLIN: That's a nice little, yeah.
2836
01:55:33,884 --> 01:55:35,886
It's actually kinda nice
not teasing it throughout.
2837
01:55:35,970 --> 01:55:37,638
-'Cause you do that with Newt anyway.
-BALL: Mmm-hmm.
2838
01:55:39,432 --> 01:55:42,309
NOWLIN: But it sucks Newt dies,
and he's gonna get the cure.
2839
01:55:42,393 --> 01:55:44,186
-That sucks.
-BALL: Right.
2840
01:55:44,270 --> 01:55:45,271
BALL: It's tricky though.
2841
01:55:45,354 --> 01:55:48,065
It's like, in 30 minutes,
we kill four people in this movie.
2842
01:55:48,149 --> 01:55:49,400
NOWLIN: Yeah, that's a blood bath.
2843
01:55:49,483 --> 01:55:51,068
BALL: /mean,
it's called The Death Cure.
2844
01:55:51,152 --> 01:55:53,070
NOWLIN: But I mean Ava,
Janson, you know...
2845
01:55:54,280 --> 01:55:55,865
Teresa and Newt
I think are the big ones.
2846
01:55:55,948 --> 01:55:56,949
BALL: Yeah.
2847
01:55:59,368 --> 01:56:01,704
Hopefully we've earned it.
That's the question, you know?
2848
01:56:01,787 --> 01:56:02,955
NOWLIN: Yeah. Boy.
2849
01:56:04,832 --> 01:56:06,083
BALL: This was cool, too. I like just...
2850
01:56:06,167 --> 01:56:08,377
NOWLIN: That's freaking crazy.
They're taking buildings down?
2851
01:56:08,461 --> 01:56:09,795
Are those buildings up to code?
2852
01:56:09,879 --> 01:56:11,422
-BALL: No.
-(HARTWICK JR. LAUGHS)
2853
01:56:13,757 --> 01:56:15,551
NOWLIN: The sound transition there
was really cool.
2854
01:56:15,634 --> 01:56:16,635
BALL: Yeah.
NOWLIN: That was a nice...
2855
01:56:16,719 --> 01:56:18,304
BALL: That's where I use
a lot of that stuff in the first movie.
2856
01:56:18,387 --> 01:56:19,972
"Thomas, Thomas, Thomas,
can you hear me, hear me?"
2857
01:56:20,055 --> 01:56:21,891
-It's that kind of stuff from his dream.
-NOWLIN: Right.
2858
01:56:23,642 --> 01:56:26,228
NOWLIN: Yeah, so structurally
between Newt's death...
2859
01:56:26,312 --> 01:56:29,106
BALL: And this moment, by the way,
we do it in every single movie.
2860
01:56:29,190 --> 01:56:30,191
Thomas passes out
2861
01:56:30,274 --> 01:56:31,817
-and wakes up to find Teresa over him.
-NOWLIN: And Teresa's over him.
2862
01:56:31,901 --> 01:56:33,068
-That's interesting.
-BALL: Every single movie we've done it.
2863
01:56:33,152 --> 01:56:34,820
NOWLIN: Yeah, I think even in
the second movie she even points out
2864
01:56:34,904 --> 01:56:35,905
we have to stop meeting like this.
2865
01:56:35,988 --> 01:56:37,281
BALL: Yeah, right.
2866
01:56:37,364 --> 01:56:40,117
NOWLIN: What if Thomas said that here?
No, it's too jokey.
2867
01:56:40,201 --> 01:56:41,994
BALL: Yeah, at this moment,
yeah, unfortunately.
2868
01:56:43,954 --> 01:56:45,664
NOWLIN: But the hard thing,
you talked about this a lot
2869
01:56:45,748 --> 01:56:48,083
is going from Newt's death
and then to Ava waiting,
2870
01:56:48,167 --> 01:56:50,336
Thomas shows up. Then Ava gets killed.
2871
01:56:50,419 --> 01:56:51,629
Thomas gets knocked out, wakes up.
2872
01:56:51,712 --> 01:56:53,672
There's a lot of stop and start,
stop and start.
2873
01:56:53,756 --> 01:56:54,924
I think you did a really good job
2874
01:56:55,007 --> 01:56:57,885
just making it feel like
a continuous movement.
2875
01:56:57,968 --> 01:57:00,387
BALL: Yeah. I mean the issues
are still the issues.
2876
01:57:03,182 --> 01:57:04,850
But hopefully we did
as deft a job as we could
2877
01:57:04,934 --> 01:57:07,144
to keep it flowing interestingly.
2878
01:57:08,938 --> 01:57:10,564
We'll keep you alive.
2879
01:57:11,398 --> 01:57:12,566
-Just.
-(GRUNTS)
2880
01:57:15,277 --> 01:57:16,654
And in return...
2881
01:57:17,488 --> 01:57:19,740
you will give life to the rest of us.
2882
01:57:20,366 --> 01:57:22,910
The ones we choose to save, anyway.
2883
01:57:27,414 --> 01:57:30,543
NOWLIN: As far as monologuing goes,
this is pretty good.
2884
01:57:30,626 --> 01:57:32,711
BALL: We cut a little bit
of his monologue,
2885
01:57:32,795 --> 01:57:35,172
but, you know, you gotta do it. (LAUGHS)
2886
01:57:35,256 --> 01:57:38,509
There's a reason it's a cliche is
because it's necessary sometimes.
2887
01:57:38,592 --> 01:57:41,887
NOWLIN: But the cliche' for me is he's
got the gun on him and he chooses
2888
01:57:41,971 --> 01:57:43,222
when he could be pulling the trigger.
2889
01:57:43,305 --> 01:57:46,141
What he's talking about is
why he's not killing him.
2890
01:57:46,225 --> 01:57:48,686
Why it doesn't make sense
for him to kill him.
2891
01:57:48,769 --> 01:57:51,689
I always like that line of
the Flare burning itself out.
2892
01:57:51,772 --> 01:57:53,857
BALL: Yeah, which is there is an end
to this at some point, you know?
2893
01:57:53,941 --> 01:57:55,985
Who's left standing?
2894
01:57:56,068 --> 01:57:57,736
And that's what
gets into this character.
2895
01:57:57,820 --> 01:58:00,614
That's what separates I think WICKED
from say, Janson. Janson's selfish.
2896
01:58:00,698 --> 01:58:03,200
He's thinking about himself,
his survival.
2897
01:58:03,284 --> 01:58:04,785
Teresa's thinking
about others' survival,
2898
01:58:04,868 --> 01:58:05,869
you know what I mean?
2899
01:58:05,953 --> 01:58:07,329
NOWLIN: That's also just very human.
2900
01:58:07,413 --> 01:58:09,707
BALL: She represents the good of WICKED,
you know what I mean?
2901
01:58:09,790 --> 01:58:11,750
NOWLIN: Yeah, WICKED is good,
but Janson is bad.
2902
01:58:11,834 --> 01:58:12,835
BALL: Yeah.
2903
01:58:13,752 --> 01:58:15,296
NOWLIN: But this idea,
I think, from Janson's point of view,
2904
01:58:15,379 --> 01:58:18,882
in his mind, it's almost like he's
more deserving of survival because...
2905
01:58:18,966 --> 01:58:20,509
BALL: He's fought for it, yeah.
NOWLIN: He is willing to do
2906
01:58:20,593 --> 01:58:22,177
what is necessary, you know?
2907
01:58:23,262 --> 01:58:24,972
It's not the people
who were born with a gift.
2908
01:58:25,055 --> 01:58:26,849
It's the people
who do what they have to do to make...
2909
01:58:26,932 --> 01:58:28,767
BALL: Yeah, hopefully, this is where
people start turning around on Teresa,
2910
01:58:28,851 --> 01:58:31,437
and like, you know,
are cheering her on now.
2911
01:58:31,520 --> 01:58:33,105
She's come to the light side.
2912
01:58:35,441 --> 01:58:37,610
Some of this is stunt double.
Some of this is Kaya.
2913
01:58:37,735 --> 01:58:39,528
NOWLIN: Mmm-hmm. That's Kaya.
2914
01:58:39,612 --> 01:58:41,196
-BALL: But this is stunt double.
-(ALL LAUGHING)
2915
01:58:41,322 --> 01:58:42,364
THOMAS: Teresa!
2916
01:58:42,531 --> 01:58:43,532
NOWLIN: Yeah, good.
2917
01:58:43,616 --> 01:58:44,617
BALL: Now the reality, though,
2918
01:58:44,700 --> 01:58:45,784
is Janson's not doing
any of the work there.
2919
01:58:46,160 --> 01:58:49,622
The stunt girl's doing it and he's just
got his hand on her, but it looks
2920
01:58:49,705 --> 01:58:51,915
really convincing.
2921
01:58:52,499 --> 01:58:55,711
This was fun, too.
I've never done a fight scene.
2922
01:58:56,253 --> 01:58:58,255
If you notice,
there's not a lot of cuts.
2923
01:59:00,424 --> 01:59:03,260
Like Asian fight movies,
they don't cut a lot.
2924
01:59:03,344 --> 01:59:04,762
So, it feels authentic and real.
2925
01:59:04,845 --> 01:59:06,930
And so, we tried to do that
as much as we could
2926
01:59:07,014 --> 01:59:10,809
to do long takes for all these fights
to make them just as real as possible.
2927
01:59:10,893 --> 01:59:12,436
And it means
you have to do a lot of takes.
2928
01:59:12,519 --> 01:59:14,480
It means they actually
end up hitting each other sometimes.
2929
01:59:14,563 --> 01:59:15,773
It's exhausting.
2930
01:59:16,190 --> 01:59:18,984
But it's fun to do.
2931
01:59:19,068 --> 01:59:21,695
I'd like to do more one day.
2932
01:59:23,113 --> 01:59:24,448
NOWLIN: There was a moment
at the end of Scorch Trials
2933
01:59:24,531 --> 01:59:26,700
where it felt like they could have
had more of an altercation.
2934
01:59:26,784 --> 01:59:28,285
I remember even
talking like we saved that.
2935
01:59:28,369 --> 01:59:30,245
Like, they're gonna have a big fight
at the end of the third movie.
2936
01:59:30,329 --> 01:59:31,830
BALL: They do it here.
2937
01:59:33,123 --> 01:59:35,209
And it goes for a while.
It's not just this fight.
2938
01:59:35,292 --> 01:59:40,923
It's like they still gotta go into
the Crank lab and see to his demise.
2939
01:59:41,715 --> 01:59:43,759
NOWLIN: Ooh.
BALL: And hopefully we've
2940
01:59:43,842 --> 01:59:46,261
set up this whole thing with these guys.
They've arrived.
2941
01:59:46,345 --> 01:59:47,346
NOWLIN: They've showed up, yeah.
2942
01:59:47,429 --> 01:59:48,722
BALL: You've seen
out the window, hopefully,
2943
01:59:48,806 --> 01:59:51,308
that wave of destruction
is getting closer and closer.
2944
01:59:51,392 --> 01:59:53,477
And we've set up that the buildings are
coming down around them, blah, blah...
2945
01:59:53,560 --> 01:59:55,604
NOWLIN: But also,
this is their real target anyway.
2946
01:59:57,898 --> 02:00:00,984
-Oh. Are they using the guns from the...
-BALL: Well, that's the idea.
2947
02:00:01,068 --> 02:00:02,695
You don't realize
is that gun that they have
2948
02:00:02,778 --> 02:00:04,446
was repurposed
with some other WICKED thing.
2949
02:00:04,530 --> 02:00:05,989
It has like a WICKED symbol on it.
2950
02:00:06,073 --> 02:00:07,866
They kinda repurposed it and...
2951
02:00:07,950 --> 02:00:11,745
It's just a little side detail thing
that, you know, these guys have been...
2952
02:00:11,829 --> 02:00:13,372
And that's why they have the masks.
2953
02:00:13,455 --> 02:00:14,748
They've been fighting WICKED
for a while.
2954
02:00:14,832 --> 02:00:15,999
NOWLIN: So, this hopefully comes across.
2955
02:00:16,083 --> 02:00:17,543
Janson would not
intentionally shoot Thomas.
2956
02:00:17,626 --> 02:00:19,753
BALL: Yeah, he tried to shoot Teresa.
NOWLIN: He's trying to shoot Teresa.
2957
02:00:19,837 --> 02:00:20,921
BALL: And Thomas got in the way of her.
2958
02:00:21,004 --> 02:00:22,840
NOWLIN: Thomas does for her
what Chuck did for him
2959
02:00:22,923 --> 02:00:25,008
-at the end of the first movie.
-BALL: That's the idea.
2960
02:00:25,092 --> 02:00:26,635
BALL: Hopefully, that's obvious.
2961
02:00:26,719 --> 02:00:27,720
NOWLIN: Yeah, it's hard.
2962
02:00:27,803 --> 02:00:29,304
Blocking-wise,
I could see it was a challenge.
2963
02:00:29,388 --> 02:00:30,389
BALL: Yeah, it's tricky.
2964
02:00:30,973 --> 02:00:34,059
He says, "Teresa," gets in front of her
and pulls it out and he shoots.
2965
02:00:35,978 --> 02:00:38,731
NOWLIN: It's also like...
It's not great. (LAUGHS)
2966
02:00:38,981 --> 02:00:41,400
Find something.
Here. Here!
2967
02:00:42,735 --> 02:00:45,195
Just put pressure on it. Hold it.
2968
02:00:45,320 --> 02:00:46,655
(LABORED BREATHING)
2969
02:00:46,780 --> 02:00:48,073
You gotta go.
2970
02:00:49,241 --> 02:00:50,951
You gotta go.
2971
02:00:52,119 --> 02:00:55,539
BALL: Yeah, it's just ultimately
the culmination of their story, really.
2972
02:00:55,622 --> 02:00:59,835
It's like they're back together again
essentially, you know, on the same side.
2973
02:00:59,918 --> 02:01:02,045
But is Thomas gonna make it now?
2974
02:01:02,129 --> 02:01:04,047
But she does have the cure.
2975
02:01:04,131 --> 02:01:07,509
I always liked this stuff, too.
I like the feel of it.
2976
02:01:08,677 --> 02:01:11,555
NOWLIN: Teresa hasn't
necessarily changed her mind
2977
02:01:11,638 --> 02:01:13,307
from where she was
at the end of the second movie.
2978
02:01:13,390 --> 02:01:15,434
She's still protecting the cure,
2979
02:01:15,517 --> 02:01:18,228
except now that means protecting Thomas
rather than betraying him.
2980
02:01:18,312 --> 02:01:19,480
BALL: But I think there is...
2981
02:01:20,981 --> 02:01:24,318
She came closer to Thomas
a little bit, too.
2982
02:01:24,401 --> 02:01:26,195
You know, he went the other way,
she went the other way.
2983
02:01:26,278 --> 02:01:28,655
And then here they kinda
come back to the middle a little bit.
2984
02:01:28,739 --> 02:01:30,657
They both changed each other
a little bit, I think.
2985
02:01:30,741 --> 02:01:33,368
NOWLIN: But I think through Jansen,
she sees kind of a darker reality.
2986
02:01:33,452 --> 02:01:35,829
BALL: Like, do you regret it?
Sometimes, but I'd do it again.
2987
02:01:35,913 --> 02:01:37,790
NOWLIN: I think that's where she was,
so I think she...
2988
02:01:38,540 --> 02:01:39,917
There was a part of her that regretted.
2989
02:01:40,000 --> 02:01:42,085
BALL: But maybe there's a different way,
you know?
2990
02:01:42,836 --> 02:01:44,296
NOWLIN: Yeah, of course, yeah.
2991
02:01:45,380 --> 02:01:46,507
BALL: Yeah, but I always liked this.
2992
02:01:46,590 --> 02:01:50,010
I think we came up with this basic scene
pretty late in the game.
2993
02:01:50,135 --> 02:01:51,720
HARTWICK JR.: Yeah. Yeah.
NOWLIN: Mmm-hmm.
2994
02:01:51,845 --> 02:01:53,096
NOWLIN: Well,
it was always the question.
2995
02:01:53,180 --> 02:01:54,306
We knew we would kill him with Cranks.
2996
02:01:54,389 --> 02:01:55,432
HARTWICK JR.: 'Cause it was a button
for her to press.
2997
02:01:55,516 --> 02:01:56,517
NOWLIN: Or something, yeah.
2998
02:01:56,600 --> 02:01:58,143
BALL: And it just wasn't
very interesting.
2999
02:01:58,227 --> 02:01:59,228
NOWLIN: Well, there were two things.
3000
02:01:59,311 --> 02:02:00,938
Which is one,
we wanted to give it to Thomas.
3001
02:02:01,355 --> 02:02:02,356
The actual killing.
3002
02:02:02,439 --> 02:02:03,899
Teresa has so much to do here.
3003
02:02:06,068 --> 02:02:08,153
BALL: Which came from Dylan,
I remember.
3004
02:02:08,237 --> 02:02:10,030
Dylan has good insights, too.
3005
02:02:10,113 --> 02:02:11,990
And he's like, "I feel like
I'm not doing anything in this scene."
3006
02:02:12,074 --> 02:02:13,450
And we kinda looked at it
and said you're right.
3007
02:02:13,534 --> 02:02:15,869
And so we started thinking about
how do we give it to Thomas?
3008
02:02:15,953 --> 02:02:17,496
Which is right.
3009
02:02:19,331 --> 02:02:22,084
And then it was about pushing a button,
and it just wasn't very interesting.
3010
02:02:22,167 --> 02:02:24,586
Let the Cranks loose,
so he came up with this gag of like...
3011
02:02:24,670 --> 02:02:26,547
NOWLIN: So, he wouldn't know
what button does what.
3012
02:02:27,214 --> 02:02:28,507
BALL: And it's a little bit
of a stretch,
3013
02:02:28,590 --> 02:02:30,425
the breaking the window thing,
but I think it works.
3014
02:02:30,509 --> 02:02:33,554
If the audience is with us here,
they're gonna go with it.
3015
02:02:34,346 --> 02:02:37,391
I think you have something of mine.
3016
02:02:42,396 --> 02:02:44,022
BALL: (CHUCKLES)
Look how crazy he is in this one.
3017
02:02:44,106 --> 02:02:46,733
I told him.
He's like he's a little off now.
3018
02:02:46,817 --> 02:02:49,570
He's a little bit further along
in his like deterioration.
3019
02:02:49,653 --> 02:02:52,614
Maybe in another couple of hours,
he'll be where Newt was, you know?
3020
02:02:53,615 --> 02:02:54,700
But he's just a little crazy.
3021
02:02:56,702 --> 02:02:57,995
He enjoyed it.
3022
02:02:58,078 --> 02:02:59,580
NOWLIN: If you watch the movie
the second time,
3023
02:02:59,663 --> 02:03:01,415
knowing that he's sick
throughout everything else,
3024
02:03:01,498 --> 02:03:03,876
the moment when he goes in
and sees the serum is gone
3025
02:03:03,959 --> 02:03:06,879
has kind of a different meaning.
There's a different desperation there.
3026
02:03:06,962 --> 02:03:07,963
He's good here, too.
3027
02:03:08,046 --> 02:03:10,799
He's a little, you know, off.
3028
02:03:12,092 --> 02:03:14,636
There's no character who can't
justify their actions in this movie.
3029
02:03:17,139 --> 02:03:18,265
That's a good look.
3030
02:03:19,224 --> 02:03:21,226
He just kind of like
disengages with her.
3031
02:03:21,310 --> 02:03:25,063
BALL: Yeah, he's like, "Okay.
I know what I have to do now.”
3032
02:03:26,565 --> 02:03:27,566
Like this shot, too.
3033
02:03:28,775 --> 02:03:30,861
The choice. What's he gonna do?
3034
02:03:32,112 --> 02:03:33,864
And, hopefully, you think
he's really gonna shoot her.
3035
02:03:34,698 --> 02:03:36,783
Okay. Fine.
3036
02:03:37,242 --> 02:03:38,243
Have it your way.
3037
02:03:38,410 --> 02:03:39,411
(GUN COCKS)
3038
02:03:39,912 --> 02:03:40,996
THOMAS: Janson.
3039
02:03:41,121 --> 02:03:42,247
(GRUNTS)
3040
02:03:46,793 --> 02:03:48,253
Missed, you little shit.
3041
02:03:49,212 --> 02:03:50,213
Did I?
3042
02:03:50,339 --> 02:03:51,882
(GLASS CRACKING)
3043
02:03:56,178 --> 02:03:59,640
BALL: And it's all pan' of the plan.
(SCATTING DRAMATIC MUSIC)
3044
02:04:00,933 --> 02:04:03,143
And Janson gets his demise.
3045
02:04:03,518 --> 02:04:05,062
NOWLIN: It's the right death for him,
I think.
3046
02:04:06,271 --> 02:04:08,523
BALL: It's that, or he pops up
in the end when the building collapses.
3047
02:04:08,607 --> 02:04:10,525
(ALL LAUGHING)
3048
02:04:10,651 --> 02:04:11,818
(BALL MIMICS JANSON YELLING)
3049
02:04:13,987 --> 02:04:15,739
BALL: It wouldn't work.
NOWLIN: Are you kidding?
3050
02:04:15,822 --> 02:04:17,908
BALL: We want it to be
emotional with Teresa.
3051
02:04:17,991 --> 02:04:18,992
No, he won't do that.
3052
02:04:19,701 --> 02:04:20,953
There's a larger scene here.
3053
02:04:21,036 --> 02:04:22,579
They originally were
gonna go to the elevator
3054
02:04:22,663 --> 02:04:24,081
and it was gonna fall.
3055
02:04:24,164 --> 02:04:26,583
I always liked it,
but anyway, it got cut.
3056
02:04:27,584 --> 02:04:32,005
This is the first shot
that ever basically came to me
3057
02:04:32,089 --> 02:04:33,924
when we were
talking about this third movie
3058
02:04:34,007 --> 02:04:37,594
was Teresa carrying a wounded Thomas
through chaos.
3059
02:04:37,678 --> 02:04:39,930
At the time for me,
it was an underground
3060
02:04:40,013 --> 02:04:44,184
lab thing or something.
It was this big kind of place.
3061
02:04:44,267 --> 02:04:46,395
But we ended up
winding up on the roof here.
3062
02:04:46,478 --> 02:04:48,188
But like that was the shot for me,
3063
02:04:48,271 --> 02:04:50,357
and it's coming up here in a second,
the actual shot.
3064
02:04:50,440 --> 02:04:53,735
I mean, it was pretty much right out
of my freaking brain,
3065
02:04:53,819 --> 02:04:55,487
what I kind of imagined.
3066
02:04:55,570 --> 02:04:57,781
It's like
her on a walkway and everything.
3067
02:04:57,864 --> 02:05:01,159
It's like fire bursting all around them.
3068
02:05:04,162 --> 02:05:05,747
Always building up to. it's coming up.
3069
02:05:05,831 --> 02:05:06,832
NOWLIN: Let's see if I can guess it.
3070
02:05:07,874 --> 02:05:09,751
BALL: And it's like
they're racing towards us.
3071
02:05:09,835 --> 02:05:12,254
It's like if we could
get to that place in the movie
3072
02:05:12,337 --> 02:05:15,257
where Teresa's trying to save Thomas,
3073
02:05:15,340 --> 02:05:19,511
I feel like that would be
a good close to this movie.
3074
02:05:19,594 --> 02:05:22,889
If we wind up there, along with
everything else we had to do...
3075
02:05:23,432 --> 02:05:27,686
If we could earn that, it would be
a satisfying kind of...
3076
02:05:28,645 --> 02:05:31,064
Close to all the drama of the series.
3077
02:05:31,273 --> 02:05:32,482
NOWLIN: Mmm-hmm.
3078
02:05:37,404 --> 02:05:39,364
BALL: It's interesting,
we did have a set here
3079
02:05:39,448 --> 02:05:41,867
and we had a lot of fire
all around them.
3080
02:05:41,950 --> 02:05:42,951
That wasn't all the fire.
3081
02:05:43,035 --> 02:05:46,455
We had some of the fire CG,
but all the embers and stuff are CG.
3082
02:05:46,538 --> 02:05:48,540
There's kind of a beauty to it
in a weird way.
3083
02:05:48,623 --> 02:05:50,876
That's kinda cool.
3084
02:05:51,501 --> 02:05:55,213
NOWLIN: I've never seen it
with all that fire and embers.
3085
02:05:55,297 --> 02:05:57,007
BALL: Yeah, it's pretty, you know?
3086
02:05:57,090 --> 02:05:58,508
It wasn't planned.
3087
02:05:58,592 --> 02:06:01,303
-We'll see how people react to it. Yeah.
-NOWLIN: A kiss?
3088
02:06:02,888 --> 02:06:06,808
BALL: We were doing a couple of takes
where they just said their lines.
3089
02:06:06,933 --> 02:06:08,769
Smiled and hugged or whatever.
3090
02:06:08,852 --> 02:06:10,520
And we had somewhere,
I was like, "Let's just kiss. ”
3091
02:06:11,313 --> 02:06:14,900
Finally, these characters deserve it.
After all this.
3092
02:06:15,984 --> 02:06:19,446
These movies,
they deserve one last kiss goodbye.
3093
02:06:19,529 --> 02:06:21,573
It's not like a super romantic...
3094
02:06:23,700 --> 02:06:24,701
NOWLIN: Ooh, that looks great.
3095
02:06:25,494 --> 02:06:26,536
BALL: Yeah.
3096
02:06:32,459 --> 02:06:33,710
It's pretty cool.
3097
02:06:34,544 --> 02:06:35,545
HARTWICK JR.: Good score here.
3098
02:06:35,629 --> 02:06:36,963
BALL: Yeah, this is a really tricky cue.
3099
02:06:37,047 --> 02:06:38,840
NOWLIN: One of the big
music moments for John, really.
3100
02:06:40,509 --> 02:06:43,470
BALL: And well, the trick was
our first cue, which wasn't working,
3101
02:06:43,553 --> 02:06:46,515
and me and John
would argue about it a lot.
3102
02:06:46,598 --> 02:06:48,517
He wasn't playing Teresa.
He was playing the situation.
3103
02:06:48,600 --> 02:06:49,893
NOWLIN: Was it that shot, Wes?
BALL: No.
3104
02:06:49,976 --> 02:06:52,354
BALL: It's this one.
This one right here.
3105
02:06:52,437 --> 02:06:54,898
Right there. (EXCLAIMS)
3106
02:06:55,857 --> 02:06:59,820
I swear like right out of my mind
from all in Vancouver time.
3107
02:07:01,655 --> 02:07:03,198
But anyway, John, it was like, you know,
3108
02:07:03,281 --> 02:07:08,578
it was when he started to play Teresa,
the girl who's trying to save the boy.
3109
02:07:08,662 --> 02:07:11,623
You know, that's when it suddenly
started to work emotionally.
3110
02:07:11,706 --> 02:07:13,291
And it wasn't just about the danger.
3111
02:07:13,375 --> 02:07:17,045
It's about, she's doing everything
she can to save him and he's gonna...
3112
02:07:17,129 --> 02:07:18,505
Or he's gonna die.
3113
02:07:18,588 --> 02:07:20,465
NOWLIN: It's also the moment that...
It's people that she betrayed.
3114
02:07:20,549 --> 02:07:22,384
It's a moment
where they're rooting for her.
3115
02:07:23,176 --> 02:07:26,221
You know, they're, "Come on, Teresa."
That's really just satisfying.
3116
02:07:28,932 --> 02:07:30,559
BALL: And the kind of
desperation of it all.
3117
02:07:30,642 --> 02:07:32,644
This is my favorite shot
in the movie actually.
3118
02:07:32,727 --> 02:07:34,771
NOWLIN: Really? Oof.
3119
02:07:34,855 --> 02:07:37,732
BALL: That's great.
NOWLIN: (LAUGHS) Oh, that's cool. Damn.
3120
02:07:38,942 --> 02:07:40,360
BALL: Dylan's doing a great...
Everyone's doing a great job,
3121
02:07:40,443 --> 02:07:43,738
but Kaya just did
fantastic on this scene.
3122
02:07:43,822 --> 02:07:45,574
I mean, you just feel it in her face.
3123
02:07:47,659 --> 02:07:50,162
NOWLIN: There's a way to look at this
movie where she is the protagonist.
3124
02:07:50,245 --> 02:07:53,039
BALL: Yeah, absolutely.
Absolutely. And then poor Teresa.
3125
02:07:54,166 --> 02:07:55,250
NOWLIN: It's gonna crush her.
3126
02:07:55,667 --> 02:07:57,043
Oh, I always think
it's gonna land on her.
3127
02:07:57,586 --> 02:07:58,962
Teresa!
3128
02:08:06,303 --> 02:08:08,388
BALL: Yeah, and then, you know,
time son' of slows.
3129
02:08:08,471 --> 02:08:11,558
All the sound goes away
and it's just the two of them, you know?
3130
02:08:11,641 --> 02:08:13,268
NOWLIN: I'm very curious
about this shot coming up.
3131
02:08:13,351 --> 02:08:15,520
BALL: But yeah, her demise.
And this is like in the book.
3132
02:08:15,604 --> 02:08:17,814
Basically she pushes him out of the way
and a boulder drops on her.
3133
02:08:17,898 --> 02:08:19,858
But we wanted to do something
that was a little bit more...
3134
02:08:19,941 --> 02:08:21,151
NOWLIN: Less arbitrary, you know.
Like she needs to...
3135
02:08:22,319 --> 02:08:23,528
Oh, man, that's so sad.
3136
02:08:25,238 --> 02:08:28,158
BALL: Yeah, something neat about that
is that her arms were CG there,
3137
02:08:28,742 --> 02:08:31,453
'cause her arms
didn't do something right in the take.
3138
02:08:31,536 --> 02:08:33,955
So we had them replace
her whole arms and everything.
3139
02:08:36,082 --> 02:08:38,043
I guess the idea here was always to go
3140
02:08:38,126 --> 02:08:40,837
a little bit more of
this kind of ethereal, beautiful thing.
3141
02:08:41,504 --> 02:08:45,467
Celebrate the sacrifice of it all,
the loss of it all, rather than like...
3142
02:08:46,509 --> 02:08:50,305
Being too...
I don't know what the word is.
3143
02:08:50,388 --> 02:08:52,015
I mean, it is still sentimental.
3144
02:08:52,098 --> 02:08:54,142
HARTWICK JR.: Too sappy.
3145
02:08:54,226 --> 02:08:57,896
BALL: I don't know if audiences
are gonna accept this ending or not.
3146
02:09:02,150 --> 02:09:06,488
It's nice to see all our friends
back together and worried about him.
3147
02:09:06,571 --> 02:09:09,199
And it's also kinda cool that
the protagonist of our movie,
3148
02:09:09,282 --> 02:09:12,327
the main hero
isn't actually doing the saving
3149
02:09:12,410 --> 02:09:15,247
at the end of the movie,
which I think is a bold but cool choice.
3150
02:09:15,330 --> 02:09:16,873
NOWLIN: It's like he spent two movies
saving everyone.
3151
02:09:16,957 --> 02:09:18,416
This moment it's their turn to save him.
3152
02:09:18,500 --> 02:09:19,584
BALL: Which I think is a cool thing.
3153
02:09:19,668 --> 02:09:25,173
It's not typical, but I think that's
actually great that we get to do that,
3154
02:09:25,257 --> 02:09:26,883
that he had an impact on them,
3155
02:09:26,967 --> 02:09:29,844
enough that they're willing to
sacrifice themselves for him, too.
3156
02:09:29,928 --> 02:09:31,888
Yeah, and then the question here,
"Did he die"?
3157
02:09:33,390 --> 02:09:35,892
And you see what's left of that city,
3158
02:09:35,976 --> 02:09:39,688
the last city, it's gone,
so the world now really is
3159
02:09:39,771 --> 02:09:42,190
gonna have to rise from the ashes,
which is kind of cool.
3160
02:09:42,732 --> 02:09:46,111
Now it's up to these kids
to create a new world, which is cool.
3161
02:09:55,870 --> 02:09:57,622
NOWLIN: Hey, good commentary, guys,
that was a good movie.
3162
02:09:57,706 --> 02:10:00,375
BALL: Oh, wait! (CHUCKLES)
NOWLIN: Wait a minute, it's not over.
3163
02:10:00,500 --> 02:10:02,961
BALL: Which is cool,
I hope we trick people out. (LAUGHS)
3164
02:10:03,253 --> 02:10:05,630
NOWLIN: Oh, what a horrible ending.
BALL: I love it.
3165
02:10:05,839 --> 02:10:08,508
I heard at one of the screenings,
someone started clapping there.
3166
02:10:09,050 --> 02:10:12,053
NOWLIN: 'Cause they saw a good movie.
BALL: Right. And then, "Wait..."
3167
02:10:12,637 --> 02:10:13,930
BALL: I love how it's so quiet,
3168
02:10:14,014 --> 02:10:17,267
and this is very much like
Thomas waking up in the box.
3169
02:10:17,350 --> 02:10:18,351
NOWLIN: Yeah.
3170
02:10:18,476 --> 02:10:20,061
It's like he's coming into
another Glade.
3171
02:10:20,145 --> 02:10:22,272
BALL: We always talked about this
as Glade 2.0.
3172
02:10:22,355 --> 02:10:24,316
It's the same kind of material,
just a little bit cleaner,
3173
02:10:24,399 --> 02:10:27,861
a little bit more materials this time
and a little bit more open.
3174
02:10:27,944 --> 02:10:29,696
NOWLIN: And the opposite of walls.
BALL: Yeah.
3175
02:10:31,197 --> 02:10:33,658
BALL: Although, in a way, they're
still trapped, but trapped on an island.
3176
02:10:33,742 --> 02:10:35,410
They're still surrounded by water.
3177
02:10:36,411 --> 02:10:37,495
But they have a boat.
3178
02:10:39,122 --> 02:10:40,957
NOWLIN: I always thought that was fun,
especially after the Scorch.
3179
02:10:41,041 --> 02:10:43,710
We have these scorched-out, empty areas.
3180
02:10:43,793 --> 02:10:45,378
BALL: Because you see
a beautiful landscape.
3181
02:10:45,462 --> 02:10:46,796
NOWLIN: To see the ocean is nice.
3182
02:10:47,047 --> 02:10:48,673
BALL: This was a really cool
national park
3183
02:10:48,757 --> 02:10:51,259
or some kind of park in Cape Town.
3184
02:10:51,801 --> 02:10:54,971
And this shot.
This shot was always the plan,
3185
02:10:55,055 --> 02:10:57,682
a 360 that takes you all the way
from Thomas coming out,
3186
02:10:57,766 --> 02:10:59,434
all the way coming around
to reveal this.
3187
02:10:59,517 --> 02:11:01,478
This is real.
We built all this for real.
3188
02:11:01,561 --> 02:11:03,146
HARTWICK JR.:
Yeah, that's a pretty shot.
3189
02:11:03,229 --> 02:11:04,397
BALL: Mmm-hmm.
3190
02:11:05,899 --> 02:11:07,067
HARTWICK JR.:
What was that area called again?
3191
02:11:07,150 --> 02:11:08,568
BALL: It's another really... I forget.
3192
02:11:08,651 --> 02:11:10,904
But it's another really beautiful score
from John.
3193
02:11:10,987 --> 02:11:13,615
It's an eight-minute cue basically.
3194
02:11:13,698 --> 02:11:14,866
It doesn't let up.
3195
02:11:14,949 --> 02:11:15,950
This is basically the end.
3196
02:11:16,034 --> 02:11:20,246
This is the farewell to the series,
the characters, the fans,
3197
02:11:20,330 --> 02:11:21,498
the crew, even.
3198
02:11:22,165 --> 02:11:24,167
I think it wasn't
the very last thing we shot,
3199
02:11:24,250 --> 02:11:27,670
but it was almost the very last thing
we shot in the movie.
3200
02:11:29,464 --> 02:11:31,466
I think like a day or two,
clean-up stuff after this,
3201
02:11:31,549 --> 02:11:34,844
but there was this kind of weight here
3202
02:11:34,928 --> 02:11:37,430
-where everyone knew this was it.
-HARTWICK JR.: Yeah, for sure.
3203
02:11:37,514 --> 02:11:38,556
BALL: This is all over.
3204
02:11:38,640 --> 02:11:40,767
I think we shot our crew photo here
and all that stuff.
3205
02:11:40,850 --> 02:11:42,310
HARTWICK JR.: Remember
the bioluminescent water?
3206
02:11:42,394 --> 02:11:43,603
BALL: Oh, that was crazy. Yeah.
3207
02:11:44,354 --> 02:11:47,482
The waves were glowing
while Thomas was reading Newt's letter.
3208
02:11:49,150 --> 02:11:51,319
This is cool, too. Another moment where
there's no dialogue.
3209
02:11:51,403 --> 02:11:52,487
Nothing needs to be said.
3210
02:11:53,238 --> 02:11:55,573
It's this moment where Minho,
3211
02:11:55,657 --> 02:11:56,950
he doesn't know what to say.
3212
02:11:57,200 --> 02:11:58,368
You see it on his face.
3213
02:11:58,451 --> 02:11:59,994
"I don't know what to tell you."
3214
02:12:00,078 --> 02:12:03,415
And then, they just hug each other
and you realize that's all they need.
3215
02:12:07,252 --> 02:12:10,171
I think this is a nice end
3216
02:12:10,255 --> 02:12:13,675
for Barry's contribution
to how they all got here, too.
3217
02:12:13,758 --> 02:12:16,845
'cause he's the person,
the custodian of this effort to
3218
02:12:16,928 --> 02:12:18,596
-to save the immunes.
-NOWLIN: This is his dream.
3219
02:12:18,680 --> 02:12:20,765
BALL: He's the opposite of Ava.
NOWLIN: Yeah.
3220
02:12:21,433 --> 02:12:22,600
BALL: He wants to save all the immunes,
3221
02:12:22,684 --> 02:12:26,062
not just experiment on them
and find a cure from them.
3222
02:12:26,146 --> 02:12:27,647
He wants to let...
3223
02:12:27,730 --> 02:12:30,567
His view of the world
is to let the world burn out
3224
02:12:30,650 --> 02:12:32,402
and save what's left.
3225
02:12:32,485 --> 02:12:35,613
Save what's worth saving,
these immunes kids, the future.
3226
02:12:35,697 --> 02:12:37,699
Maybe that's a little dark, too.
3227
02:12:37,782 --> 02:12:38,950
NOWLIN: Or if there's
a cure to be found,
3228
02:12:39,033 --> 02:12:41,744
but if it comes at the cost
of exploiting these kids
3229
02:12:41,828 --> 02:12:45,081
who have been chosen, in a way,
by nature to carry on.
3230
02:12:45,165 --> 02:12:46,541
BALL: I also think
it's really important,
3231
02:12:46,624 --> 02:12:49,335
'cause we actually experimented with
cutting this speech out once.
3232
02:12:50,253 --> 02:12:52,255
What it did was,
it made it all really heavy.
3233
02:12:52,338 --> 02:12:54,632
And what's nice is that
you get this moment of celebration.
3234
02:12:54,716 --> 02:12:56,676
NOWLIN: "We did it. We're here."
BALL: Everyone's happy.
3235
02:12:56,759 --> 02:12:58,052
BALL: Everyone's excited,
3236
02:12:58,136 --> 02:13:02,056
but Thomas still has one last thing
to deal with, and that's Newt.
3237
02:13:02,599 --> 02:13:05,477
And so, that's why it works so well,
I think, to keep that scene in there.
3238
02:13:05,560 --> 02:13:08,480
It was a longer scene originally,
but we cut it down
3239
02:13:08,563 --> 02:13:10,398
to just bare essentials I think.
3240
02:13:12,358 --> 02:13:13,735
I like this shot in particular.
3241
02:13:13,818 --> 02:13:16,070
It's just good. It's just one long shot.
3242
02:13:16,571 --> 02:13:20,992
It's the two guys that, arguably,
we care about most now.
3243
02:13:21,534 --> 02:13:23,119
NOWLIN: Two people who need a moment.
3244
02:13:23,203 --> 02:13:26,080
It was all about rescuing Minho
and it came at a horrible cost,
3245
02:13:26,164 --> 02:13:29,000
-but they're together now.
-BALL: And in the books,
3246
02:13:29,083 --> 02:13:31,586
Newt's letter was a thing,
but it wasn't like this.
3247
02:13:31,669 --> 02:13:33,213
NOWLIN: Newt's letter was what was
3248
02:13:33,296 --> 02:13:35,089
urging him to pull the trigger
and kill him.
3249
02:13:35,173 --> 02:13:36,508
Newt was upset with him because he...
3250
02:13:36,591 --> 02:13:37,675
BALL: Because he didn't read it
or something like that.
3251
02:13:37,759 --> 02:13:38,843
He didn't read his letter.
3252
02:13:38,927 --> 02:13:39,928
NOWLIN: He didn't read it
at the right moment.
3253
02:13:40,011 --> 02:13:41,012
BALL: Yeah, or something like that.
3254
02:13:41,095 --> 02:13:42,639
It never really quite worked for me,
3255
02:13:42,722 --> 02:13:45,225
but this was our way
of bringing that letter back
3256
02:13:45,308 --> 02:13:49,103
and doing it in a way that it gave you
something to leave the theater with.
3257
02:13:49,187 --> 02:13:50,730
NOWLIN: It gives Newt
a presence in paradise.
3258
02:13:50,813 --> 02:13:52,232
BALL: Words of hope and a future.
3259
02:13:53,358 --> 02:13:58,404
And promise, which I think was a strong,
3260
02:13:58,488 --> 02:14:02,033
again, interpretation of the idea
of the letter in the books.
3261
02:14:02,116 --> 02:14:03,576
NOWLIN: What was hard
about writing this,
3262
02:14:03,660 --> 02:14:06,538
we went through, even just up to
about a month ago,
3263
02:14:06,621 --> 02:14:07,747
a couple of extra little lines,
3264
02:14:07,830 --> 02:14:11,709
'cause it also has to resonate with the
choice that Teresa has left Thomas with.
3265
02:14:11,793 --> 02:14:13,711
-Which Newt wouldn't have known about.
-BALL: Right.
3266
02:14:13,795 --> 02:14:14,879
NOWLIN: So it has to play
a double meaning.
3267
02:14:14,963 --> 02:14:15,964
BALL: He doesn't know that they're safe,
3268
02:14:16,047 --> 02:14:17,715
but he knows if he's reading it,
that he's probably safe.
3269
02:14:17,799 --> 02:14:19,217
NOWLIN: I think he's writing
from the point that he's safe,
3270
02:14:19,300 --> 02:14:20,593
but he doesn't know
that Thomas is the cure
3271
02:14:20,677 --> 02:14:22,053
and that he's wrestling
with what to do there.
3272
02:14:22,136 --> 02:14:25,640
So the idea of talking about,
"The future's up to you now,
3273
02:14:25,723 --> 02:14:26,975
"and I know you're gonna do
what's right."
3274
02:14:27,058 --> 02:14:28,059
BALL: "Whatever the choices
ahead of you,
3275
02:14:28,142 --> 02:14:29,769
"I know you're gonna
choose the right way. ”
3276
02:14:29,852 --> 02:14:33,606
NOWLIN: 'Cause it also needs to work for
Thomas putting Teresa's name on the...
3277
02:14:33,690 --> 02:14:34,857
HARTWICK JR.: Right. On the wall?
3278
02:14:34,941 --> 02:14:37,110
NOWLIN: That's another reason
why we can't cut the Vince speech.
3279
02:14:37,402 --> 02:14:38,570
BALL: You can. You just assume it,
3280
02:14:38,653 --> 02:14:41,447
but it does have a lot more power
when he says, "This is for them."
3281
02:14:41,531 --> 02:14:42,949
There's something nice about that.
3282
02:14:43,032 --> 02:14:46,077
You kinda know what they're doing
when they're doing it.
3283
02:14:47,370 --> 02:14:50,665
That's really Thomas',
or Thomas Brodie-Sangster's handwriting.
3284
02:14:50,748 --> 02:14:52,083
He really wrote the letter out.
3285
02:14:52,166 --> 02:14:53,960
-I have it. I stole it. (LAUGHS)
-NOWLIN: Oh, good.
3286
02:14:54,043 --> 02:14:55,420
BALL: I have it at home.
3287
02:14:56,879 --> 02:14:59,173
I have Chuck's little totem, too.
3288
02:14:59,257 --> 02:15:01,884
I don't have anything
from the second movie.
3289
02:15:01,968 --> 02:15:03,928
NOWLIN: Don't you have one of those
little baby Grievers?
3290
02:15:04,012 --> 02:15:05,179
BALL: Yeah, I have one of those,
3291
02:15:05,263 --> 02:15:07,724
but it's not something you can hold
or put on a wall. (LAUGHS)
3292
02:15:07,807 --> 02:15:10,018
NOWLIN: They're incredibly heavy.
BALL: Yeah, they are.
3293
02:15:10,893 --> 02:15:15,106
Another thing here is, John's score here
is freaking amazing.
3294
02:15:15,690 --> 02:15:17,317
But like no sound.
It's just very simple.
3295
02:15:17,400 --> 02:15:19,819
It's like there's something about
leaving the audience
3296
02:15:19,902 --> 02:15:23,406
with basically just Newt's voice,
and music
3297
02:15:23,489 --> 02:15:27,285
and the subtlest of waves
crashing on the shore,
3298
02:15:27,368 --> 02:15:31,831
these kind of waves of
everything washing away, essentially,
3299
02:15:31,914 --> 02:15:32,999
of the past movies.
3300
02:15:33,082 --> 02:15:35,460
There was something
really nice about it all.
3301
02:15:36,002 --> 02:15:38,046
It was necessary for Thomas.
3302
02:15:38,129 --> 02:15:43,509
He needed that last thing
that lets him let go and move on.
3303
02:15:44,886 --> 02:15:47,263
That's why it was an important line
that we all have.
3304
02:15:47,347 --> 02:15:49,724
And then he looks up
and he joins the group.
3305
02:15:50,600 --> 02:15:51,809
NOWLIN: He's been given permission.
3306
02:15:51,893 --> 02:15:54,062
BALL: Yeah, he's being given permission
to be happy
3307
02:15:54,145 --> 02:15:56,356
and move on, and look to the future.
3308
02:15:56,439 --> 02:16:00,568
NOWLIN: Can I say how sad it is that
Gally puts Chuck's name on the wall?
3309
02:16:00,652 --> 02:16:02,445
By the way, the name "Mary"
that Vince puts on there
3310
02:16:02,528 --> 02:16:05,490
is Lili Taylor's character
from the end of the second movie.
3311
02:16:05,573 --> 02:16:06,574
BALL: Yeah, just a little touch.
3312
02:16:06,658 --> 02:16:09,535
I mean, who knows what
their full story is, but we all know.
3313
02:16:09,619 --> 02:16:10,995
NOWLIN: Well, they're obviously
working together.
3314
02:16:11,079 --> 02:16:14,415
BALL: Yeah, but it's up for people to
make up their own minds on that stuff.
3315
02:16:14,499 --> 02:16:17,710
NOWLIN: I think she shows up in one of
the little prequel comics that they did.
3316
02:16:18,753 --> 02:16:19,962
BALL: This is all cool stuff though.
3317
02:16:20,046 --> 02:16:21,631
Just to see the group,
3318
02:16:21,714 --> 02:16:25,176
it's very reminiscent of
that first scene or that first...
3319
02:16:25,259 --> 02:16:26,386
NOWLIN: Night of the maze.
Night of the Glade.
3320
02:16:26,469 --> 02:16:27,470
BALL: Night of the maze or the Glade,
3321
02:16:27,553 --> 02:16:29,889
just happy and communal.
3322
02:16:30,515 --> 02:16:32,684
And it's all their friends,
and just laughing and having fun.
3323
02:16:32,767 --> 02:16:35,645
It's like we haven't had this
in the entire movie,
3324
02:16:35,728 --> 02:16:37,605
so it's a nice breath of fresh air.
3325
02:16:38,398 --> 02:16:40,692
You get to see this beautiful landscape,
3326
02:16:40,775 --> 02:16:44,487
and it feels like the world
is full of possibility now.
3327
02:16:44,946 --> 02:16:47,240
The two people that we set up
in the second movie
3328
02:16:47,323 --> 02:16:50,535
about this mythical safe haven
and wanting to get there,
3329
02:16:51,577 --> 02:16:55,707
and Jorge talking about, "We're gonna
use these kids to get there."
3330
02:16:55,790 --> 02:16:57,750
And he became a part of the group now.
3331
02:16:57,834 --> 02:16:58,876
They've wound up here, too.
3332
02:16:58,960 --> 02:17:00,837
It's ail coming full circle.
3333
02:17:01,629 --> 02:17:06,884
This was obviously a big idea here with
Teresa's name symbolizing that...
3334
02:17:06,968 --> 02:17:08,261
NOWLIN: Growth.
BALL: ...full closure,
3335
02:17:08,344 --> 02:17:11,180
and yeah, the growth of,
I think, again...
3336
02:17:11,264 --> 02:17:12,682
She gave him something, too.
3337
02:17:12,765 --> 02:17:15,184
Just as much as Newt did
and the rest of the guys.
3338
02:17:15,935 --> 02:17:17,562
NOWLIN: Well, she earned her place
on that wall,
3339
02:17:17,645 --> 02:17:20,732
and Thomas has grown
to be willing to acknowledge that
3340
02:17:20,815 --> 02:17:22,442
-and put her up there.
BALL: Right.
3341
02:17:22,525 --> 02:17:25,278
Yeah, and a lot of
our crew's names are there.
3342
02:17:30,366 --> 02:17:32,452
-I think it's a good ending.
-NOWLIN: It's a good movie.
3343
02:17:32,535 --> 02:17:35,163
BALL: It's a small ending,
which I think is cool.
3344
02:17:35,246 --> 02:17:37,957
We've always done
the big, giant endings.
3345
02:17:38,416 --> 02:17:39,792
NOWLIN: Yeah, "Tune in next year."
3346
02:17:39,876 --> 02:17:43,337
BALL: But I think it's so cool
that we end on... (LAUGHS)
3347
02:17:43,421 --> 02:17:44,714
NOWLIN: "What's the choice?"
3348
02:17:44,797 --> 02:17:45,798
BALL: Okay, I'm not even
gonna answer it,
3349
02:17:45,882 --> 02:17:46,966
but people can make their own choice up.
3350
02:17:47,049 --> 02:17:49,552
But he's looking at the boat
and he's got the cure in his hands.
3351
02:17:49,635 --> 02:17:51,637
You tell me what he's thinking.
3352
02:17:51,971 --> 02:17:53,264
There's always some question about that.
3353
02:17:53,347 --> 02:17:55,099
NOWLIN: What's more interesting to me
is, "What would you do?"
3354
02:17:55,183 --> 02:17:56,434
-Ask yourself that.
-BALL: That's the question.
3355
02:17:56,517 --> 02:17:57,518
NOWLIN: That's where you end.
3356
02:17:57,602 --> 02:17:58,936
BALL: We're not gonna answer it.
3357
02:17:59,020 --> 02:18:01,522
It's something cool about
the choices ahead of him
3358
02:18:01,606 --> 02:18:05,276
and then that's for you to talk about
in the parking lot. (LAUGHING)
3359
02:18:06,486 --> 02:18:07,987
NOWLIN: Good job, Wes.
It's a good movie.
3360
02:18:08,070 --> 02:18:09,864
BALL: Yeah, good job, everybody.
HARTWICK JR.: Well done.
3361
02:18:09,947 --> 02:18:11,449
BALL: It's been four,
five years I guess.
3362
02:18:11,532 --> 02:18:14,118
-That's the end of that little journey.
-HARTWICK JR.: Yeah. Five years.
3363
02:18:14,202 --> 02:18:18,706
BALL: So, I think this movie's
a farewell for all of us
3364
02:18:18,790 --> 02:18:21,375
as much as it is
for the characters I think.
3365
02:18:23,044 --> 02:18:25,421
It's been a fun ride,
3366
02:18:25,505 --> 02:18:29,008
but I think we're all excited to get out
into the world and move on, too.
3367
02:18:29,091 --> 02:18:30,802
NOWLIN: It feels like
graduating from college, in a sense.
3368
02:18:30,885 --> 02:18:34,347
You're sad to see it end,
you're saying goodbye,
3369
02:18:34,430 --> 02:18:37,183
but you're also excited
about what's next.
3370
02:18:37,266 --> 02:18:40,770
BALL: Yeah, but I hope everyone enjoyed.
3371
02:18:41,229 --> 02:18:42,355
Thanks to everybody.
3372
02:18:42,438 --> 02:18:43,689
Watch all the credits.
3373
02:18:43,773 --> 02:18:45,233
Appreciate everyone's work there.
3374
02:18:45,316 --> 02:18:48,277
A lot of the people in this crew
worked really, really hard
3375
02:18:48,361 --> 02:18:49,487
for all the movies actually.
3376
02:18:49,570 --> 02:18:51,280
Some of these people worked on
every single one of the movies.
3377
02:18:51,364 --> 02:18:52,990
Some people worked on
just this one movie,
3378
02:18:53,074 --> 02:18:54,909
and some people worked on
just two movies,
3379
02:18:54,992 --> 02:18:56,702
but appreciate everyone's effort
3380
02:18:56,786 --> 02:18:59,997
'cause it certainly can't happen
without everyone's contribution.
3381
02:19:00,081 --> 02:19:02,875
It's been fun to be a part of.
3382
02:19:02,959 --> 02:19:07,380
So, hope you all enjoy,
and thanks for listening.