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We're creating a world .
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Every blade of grass,
every leaf on every tree,
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every vine, every bug, every insect,
everything everywhere.
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Imagine a forest, imagine a world.
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Imagine mountains, imagine oceans
and all the life in it.
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There's no location photography.
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And it has to be
up to a level ofphotorealism.
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I just want them to believe
that Pandora's a real place
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and these people are real people.
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Before a single creature, character,
or environment is created ...
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-(I LU MOANS)
-(GASPI NG)
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-Hey, you lived !
-Whoo !
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LAN DAU : Before a single line is written
or an image drawn,
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we begin with a core idea.
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(SQUAWKI NG)
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That's how world building begins.
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I went to the studio and I said ,
"Let's not do a sequel .
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"Let's launch ourselves
on a big story arc."
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All the world building that we do,
all the character building that we do.
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Let's not just do another movie.
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Let's do Star Wars.
Let's do Lord of the Rings.
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Let's swing for the fences.
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So now I had to go off
and notjust create a story.
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I had to create
a greater sort of mega story arc
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that had finite stories within it.
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Why don't you come on out, Mrs. Sully?
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You and I , we got some
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unfinished business.
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The script is the blueprint
from which everything else is built,
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and we needed that foundation
and we needed it for all four movies
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because the decisions a character makes
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in movie four have to reflect
the journey they've been on in movie two.
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KI RI : They took him.
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They took him .
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CAMERON : It started out as a grand vision
and then it grew from there.
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(LAUG HS)
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My feeling was just map 'em all out.
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Map out all the stories
that I want to tell .
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LAN DAU : The decision was made
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to keep our stories on Pandora.
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We have swamps and deserts and mountains
and ice and glaciers
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and tropical islands and everything
right here on Earth .
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Why wouldn't Pandora have the same
number of different biomes? Right?
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And with every biome,
you have a distinct culture.
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People have learned to adapt.
Humans are adaptable.
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Why wouldn 't the Na 'vi
be equally adaptable?
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We are Reef People.
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You are Forest People.
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Your skills will mean nothing here.
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LAN DAU : Concurrently with the writers
working in the writing room,
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we had an art department on that started
the initial designs for Pandora.
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We were designing worlds
and creatures as, you know,
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J im and the writers
were crafting the story.
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LAN DAU : Their artwork served
as great inspiration for the writers.
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We would bring them
up to the art department
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to see what the art department
was working on .
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But conversely,
if the writers had a new idea,
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the art department could run with it
and visualize it.
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COLE: The whole idea of worldbuilding
is thrown around a lot.
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And I thought I knew what it meant
until I worked on these films.
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Never before have I been a part
or heard of any project
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that has done it to such detail
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and verisimilitude as Pandora.
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Endless conversations
about the detail of a leaf.
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How did it grow? Where is it from?
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Sometimes those decisions become
just as important as the epic vistas
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and the floating mountains because
if it's in a shot, it has a story to tell.
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Jim uses every opportunity
to tell a story.
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The challenge of designing for J im ,
whether it's on the technical side
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or the natural side,
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is in Jim's mind, all this stuff is real.
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We're not making a movie,
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we're filming some reality thatjust
happens to exist on another planet.
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To him, every detail
of every woven structure,
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every creature
and its evolutionary biology
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led it to look the way that it does.
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It's kind of divided so that those teeth
actually kind of do that.
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It's funny that J im the Scientist,
and J im the Designer,
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and Jim the Director,
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sometimes they're debating
with one another
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as to whether a design can work.
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If you're in a high-speed boat,
this actually feels pretty good .
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So much thought to everything that he does
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and that goes all the way
into the design details.
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And he, you know, expects our stuff
to measure up to that level of realism
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and to be something
the audience just doesn 't question.
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COLE: What's fun about working with Jim
is that you engage with him as an artist.
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And he understands
the value of a napkin sketch.
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And so, he can look past the prettiest,
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the most photo-real rendering,
beautiful painting ever to the core idea,
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if the idea wasn 't there,
itjust didn 't matter.
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What's this?
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PROCTER: That's a crane for loading stuff
onto that back deck.
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J ust a folded davit.
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LAN DAU : Deborah Scott
was an essential part
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of our world-building process
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in creating the costumes for both
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the Na 'vi characters of Pandora
and the RDA characters.
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When you put a character up on the screen,
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the costumes, the props, the hair,
the makeup, the tattoos,
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it all is part of what embodies them
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in that character and reflects back
the world around them.
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DEBORAH SCOTT: Costume design
is one of the most important parts
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of expressing a character.
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How a person dresses,
what their clothes signify in a clan ,
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people who perform different functions,
the leader, the fishermen, a child,
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that all these people
have a different place in the clan.
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Come hunting with us.
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SCOTT: We researched indigenous people
literally worldwide.
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The environment in which the clans live
is extremely important to what they wear.
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So the Omatikaya are Forest People.
They use things from the Pandoran forest.
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The Metkayina are much more
adapted to water.
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AON U NG : You are not good divers.
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Maybe good at swinging
through trees, but...
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(ROTXO LAUG HS)
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One of the very first things
he said to us was,
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what's the metaphor for this thing
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that connotes the right thing
to the audience?
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How are we communicating to them?
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What's this design gonna remind them of
that gives them an emotional response?
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CAMERON : And what are the metaphors
for the animals
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that we interact with
as human beings on Earth?
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You know, whales, dolphins,
sharks, things like that.
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What are those metaphors?
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How do they manifest themselves
in the ocean ecosystem of Pandora ?
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We are introduced to this whole new world
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where we have beautiful tropical islands,
but also there's a culture that lives
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in this very large mangrove
called the Metkayina.
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And they have built
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their whole village suspended
over the water under these roots.
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(JAKE YI PPI NG)
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What's beautiful about
reef village is that
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it very much exemplifies
the Na'vi belief in connectivity.
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You know, every single bit of this village
is connected.
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Someone walks, you feel it in the house,
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you know, if someone is moving around
next door, unloading nets,
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you're gonna feel it down the walkway.
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And it is all about this
connectivity with nature,
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but connectivity with each other.
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And when you look
at a plan of the village,
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it has this sort of expanding web
of connectivity.
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This is our home now.
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LAN DAU : If we want Wötä FX
to make something look real,
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we need to give them something tangible
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to ascribe to as their touch base
for reality.
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We turned to Richard Taylor and
the incredible artisans at Wötä Workshop.
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Wötä Workshop, to me,
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is the paramount place
for cultural artisans
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where the work they do
is steeped in a history of culture.
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The first thing
that was so impacting for me
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was the fact that
we were creating worldbuilding ,
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from the very inception of the culture up.
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-CAMERON : She can wear that in the water.
-SCOTT: Totally.
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TAYLOR: Jim had conceptualized these
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extraordinary people
on this far-offplanet
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and they required an in-depth
cultural research and development team.
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(YELLI NG WAR CRY)
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My experience of J im
is that he is a worldbuilder,
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but he builds a world
that he has to figure out.
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He doesn 't know it from scratch.
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Even if he knows that he wants Pandora
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in some respect to be very much
modeled after our planet,
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stand-in for Planet Earth,
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he builds a world
that's totally individual,
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totally his own,
totally unique to that world.
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RICHARD BAN EHAM: One of the reasons
I like working with Jim
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is he always strives
to find the truth in things.
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For me, that is everything.
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When you try to stand up visual effects
or make people believe in an illusion,
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you have to begin with truth .
It's the same thing .
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Jim, as far as worldbuilding is concerned,
is all about that.
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Ifyou can drill down
and understand how it works,
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well, now you can give it
a place in the world.
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From the first time it's on the page,
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J im is thinking about the world
that we're inhabiting
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and why we're there and why it makes sense
for the characters to be there.
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Everything is built for a reason
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and it all comes together
in what you see visually.
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LAN DAU : We are worldbuilding.
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That worldbuilding doesn't just stop
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with the production designers
or the costume designer.
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And what I love
about what these people bring to it,
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they don 'tjust bring something
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because it looks good.
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They can articulate the reason
behind their design.
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Trying to incorporate something
that gave him that stature.
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You're gonna be down low on this thing ,
you know? The legs spread a little bit.
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-I think they look dangerous like this.
-MAN : Yeah , they do.
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That's worldbuilding .
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There are different ways to make films
that have CG characters.
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What we're interested in
with performance capture,
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is the totality of the performance.
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-Physical, emotional, facial. . .
-(YELLS)
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CAMERON :
. . . the eyes, everything.
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The actor creates the emotion.
The actor creates the moment.
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It's ourjob to make sure that
everything the actor did is preserved
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in their CG character.
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You are very hard on them .
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I'm their father. It's my job.
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Everything that Jake Sully
as a Na'vi does,
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Sam has done.
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And that's the point.
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It's not about changing
and creating your acting ,
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or animating your acting.
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100%. That's my performance.
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That's the whole point
ofperformance capture.
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(WH ISPERS) I thought we'd lost them .
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(SIG HS SOFTLY)
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You can capture the emotion .
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You can capture the subtleties,
the nuances of the movements.
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You can capture the eye
and capture the ticks, everything.
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Capture it all.
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Those assets can then be translated
into the character.
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In this case,
Quaritch has become an avatar.
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Nine feet tall, hugely muscled
with a tail.
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(CH UCKLES)
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I'll be nice once. Then I won't.
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ZOE SALDAÑA: The moment
I saw her for the first time,
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I was just like,
"You're just so beautiful ."
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Blue has never looked more beautiful .
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(LAUG HS)
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This is not a squad .
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It is a family.
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Performance capture gives actors
the opportunity
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to play characters
that they could not otherwise play.
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And Kiri's character,
and Sigourney's performance,
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are the perfect example.
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The amazing thing is that
the technology gives me that portal
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to bring my 14-year-old self to play.
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JOCELYN : Avatars only, go around !
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(KI RI MIMICS MOCKI NG LY)
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Cut.
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(ALL LAUG H I NG , CHATTERI NG)
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In making a movie set on Pandora,
Pandora doesn't exist.
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Avatars don 't exist at nine foot tall.
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We have actors working in a volume.
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Whether it was
our dry performance capture,
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or a tank that was capturing
underwater performance.
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They have markers on their body,
facial head rigs on their head,
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00:12:13,274 --> 00:12:18,279
and we capture 100% of their performance
in the digital world.
241
00:12:18,362 --> 00:12:22,867
It is the most actor, director
centric process you could possibly have.
242
00:12:22,950 --> 00:12:24,035
JAMI E FLATTERS:
At the beginning of the day,
243
00:12:24,118 --> 00:12:27,121
the first thing we do is get into
the performance capture suit.
244
00:12:27,204 --> 00:12:29,957
And that is a skintight two-piece
245
00:12:30,041 --> 00:12:34,712
and it's totally filled
with ping-pong-like balls around us,
246
00:12:34,795 --> 00:12:36,380
so they can then track my arm.
247
00:12:36,464 --> 00:12:39,091
And then translate that
into the virtual world.
248
00:12:39,175 --> 00:12:42,094
They have all these little cameras
that send these little rays
249
00:12:42,178 --> 00:12:44,555
which would give an image ofyou
moving around,
250
00:12:44,639 --> 00:12:46,390
so every little movement is your movement.
251
00:12:46,474 --> 00:12:52,063
And then we put a head rig on
and it's a helmet and it has a camera
252
00:12:52,146 --> 00:12:53,439
that's right in front ofyour face.
253
00:12:53,522 --> 00:12:57,526
One of the big advances that we've made,
technologically, on the sequels
254
00:12:57,610 --> 00:12:59,403
is the facial performance capture.
255
00:12:59,487 --> 00:13:04,200
On the first movie, we used a single
standard camera to record a person 's face.
256
00:13:04,283 --> 00:13:07,912
On the sequels, we're using
two high-definition cameras,
257
00:13:07,995 --> 00:13:12,249
and we are capturing
a much higher fidelity ofperformance.
258
00:13:12,333 --> 00:13:13,668
I know one thing .
259
00:13:16,045 --> 00:13:17,963
This family is our fortress.
260
00:13:21,008 --> 00:13:22,009
(BREATH ES SHAKI LY)
261
00:13:24,387 --> 00:13:27,807
FLATTERS: That allows the team
to map the actors' faces
262
00:13:27,890 --> 00:13:32,186
and translate their emotion on screen
and then put it into the characters.
263
00:13:32,269 --> 00:13:35,940
Bro, why do you always have
to make things so hard?
264
00:13:36,023 --> 00:13:37,817
The amount of dots they put on us,
265
00:13:37,900 --> 00:13:41,987
every dot is important,
so they can get every smile,
266
00:13:42,071 --> 00:13:43,072
every tear.
267
00:13:43,155 --> 00:13:46,450
Every motion is captured and seen.
268
00:13:48,452 --> 00:13:49,912
I See you .
269
00:13:50,287 --> 00:13:51,372
DALTON : It's actual acting.
270
00:13:51,455 --> 00:13:54,834
It's just like a camera here and here,
271
00:13:54,917 --> 00:13:56,919
right here and then I'm talking to you
272
00:13:57,002 --> 00:13:58,879
and we're doing the scene.
It is just as real.
273
00:13:58,963 --> 00:14:00,339
The whole clan hates me.
274
00:14:00,840 --> 00:14:01,841
Demon blood .
275
00:14:02,299 --> 00:14:04,093
Alien . That's all they see.
276
00:14:05,344 --> 00:14:08,472
CAMERON : The reference cameras
are a very important part of this
277
00:14:08,556 --> 00:14:12,351
because I need to edit with something
and I can 't edit with the raw feed
278
00:14:12,435 --> 00:14:13,853
that's coming out of the facial cameras.
279
00:14:13,936 --> 00:14:17,022
So I insist that we get close ups
of every actor,
280
00:14:17,106 --> 00:14:19,024
so you can imagine in a group scene,
281
00:14:19,108 --> 00:14:21,902
this turns into a lot of cameras,
up to 16.
282
00:14:21,986 --> 00:14:25,406
It's like if the Sullys
were the Kardashians...
283
00:14:25,489 --> 00:14:26,490
(ALL LAUG H I NG)
284
00:14:26,574 --> 00:14:28,409
...this is the way they would have a baby:
285
00:14:28,534 --> 00:14:30,703
reference cameras all around you .
286
00:14:31,537 --> 00:14:33,038
MARIA BATTLE CAMPBELL:
And then there's the virtual camera.
287
00:14:33,122 --> 00:14:34,331
It's not really a camera at all.
288
00:14:34,415 --> 00:14:36,709
It's really a monitor
that has controls on it
289
00:14:36,917 --> 00:14:38,419
that can simulate a camera move.
290
00:14:38,502 --> 00:14:42,465
And Jim is able to see on the monitor
of the virtual camera,
291
00:14:42,548 --> 00:14:44,049
the actors represented
as their characters,
292
00:14:44,133 --> 00:14:46,010
and be able to see
the virtual terrain in front of him.
293
00:14:46,093 --> 00:14:48,137
When you look on screen , you're a Na'vi .
294
00:14:48,220 --> 00:14:50,181
And there could be anything
surrounding you.
295
00:14:50,264 --> 00:14:53,309
It could be a jungle, a beach,
a tent with campfire around it.
296
00:14:54,810 --> 00:14:57,396
FLATTERS: Before our first day of filming,
297
00:14:57,480 --> 00:15:00,483
they actually let us go and be
in the volume
298
00:15:00,566 --> 00:15:03,235
and see our virtual reality selves.
299
00:15:03,319 --> 00:15:05,029
I remember the first time I saw myself
300
00:15:05,112 --> 00:15:08,157
I just waved . It was very weird .
A very out-of-body experience.
301
00:15:08,240 --> 00:15:10,284
Like I was introducing myself to myself.
302
00:15:10,367 --> 00:15:12,953
So the first time I saw Tsireya,
303
00:15:13,037 --> 00:15:14,830
we're walking
and then I look at the monitor
304
00:15:14,914 --> 00:15:19,710
and I'm like, "Whoa, that's Tsireya.
I am good-looking. Okay, I see."
305
00:15:19,794 --> 00:15:22,046
And I was like, "I'm blue." (LAUG HS)
306
00:15:22,129 --> 00:15:23,923
I was like, "What?" (LAUG H I NG)
307
00:15:24,006 --> 00:15:25,090
"How did I get there?"
308
00:15:25,800 --> 00:15:28,052
There's a couple of us.
We're doing some dances.
309
00:15:28,719 --> 00:15:30,387
(LAUG HS) Like,
"Look at him move."
310
00:15:30,471 --> 00:15:31,597
(LAUG H I NG)
311
00:15:33,599 --> 00:15:36,310
The first time out,
I was a live-action character
312
00:15:36,393 --> 00:15:38,771
and part of me always was curious
313
00:15:38,854 --> 00:15:41,857
and kind of longing
to do performance capture,
314
00:15:41,941 --> 00:15:45,903
and now doing it, the entire performance
in performance capture,
315
00:15:45,986 --> 00:15:47,196
it's been great.
316
00:15:47,279 --> 00:15:50,866
I know you're all askin'
yourselves the same question .
317
00:15:53,869 --> 00:15:54,870
Why so blue?
318
00:15:56,080 --> 00:15:58,165
I've done a lot of green screen .
I've done a lot of blue screen ,
319
00:15:58,249 --> 00:15:59,792
but never anything, of course, like this,
320
00:15:59,875 --> 00:16:03,212
where there really is no screen.
You're just acting in a space.
321
00:16:03,295 --> 00:16:05,673
Now you must stand with us.
322
00:16:05,756 --> 00:16:07,967
Imagining a world like Pandora,
323
00:16:08,050 --> 00:16:10,219
it was always looking
at everything in wonder.
324
00:16:10,302 --> 00:16:13,347
(G IGG LI NG , WHOOPI NG)
325
00:16:13,722 --> 00:16:16,225
We don't have the actual props
that'll be in the movie.
326
00:16:16,308 --> 00:16:19,019
So they'll give us things
that are similar weight and shape.
327
00:16:19,103 --> 00:16:21,021
It'll be a stick. It could be my weapon.
328
00:16:21,313 --> 00:16:22,940
They are killers of tulkun.
329
00:16:23,691 --> 00:16:24,692
They must die.
330
00:16:25,150 --> 00:16:26,986
Here. Today.
331
00:16:27,069 --> 00:16:28,404
(ALL SHOUTI NG WAR CRI ES)
332
00:16:28,487 --> 00:16:29,488
Open fire.
333
00:16:30,990 --> 00:16:32,116
(VOCALIZI NG G U N FI RE)
334
00:16:32,199 --> 00:16:33,200
MAN : Ready!
335
00:16:33,284 --> 00:16:34,577
(BREATH I NG H EAVI LY)
336
00:16:34,660 --> 00:16:35,995
And dive !
337
00:16:37,580 --> 00:16:38,581
Cut.
338
00:16:38,664 --> 00:16:39,915
-WOMAN : Cut!
-Perfect.
339
00:16:40,583 --> 00:16:42,960
BRAD ELLIOTT: The capture world
is one set ofprops
340
00:16:43,043 --> 00:16:47,590
where things have to have the right weight
and shape and behavior.
341
00:16:47,673 --> 00:16:49,049
But they don 't really have
to look like anything
342
00:16:49,133 --> 00:16:50,968
because they're going to be
digitally replaced anyway.
343
00:16:51,051 --> 00:16:54,555
It's just to give them a little more
reality in the scene that they're in.
344
00:16:57,892 --> 00:17:00,519
Being in the volume is about
playing and imagination ,
345
00:17:00,603 --> 00:17:02,897
and there is no kind of fear or no shame.
346
00:17:02,980 --> 00:17:05,274
You can do whatever you need to do
to get to that truth .
347
00:17:05,357 --> 00:17:08,360
CU RTIS: It all comes down
to your imagination
348
00:17:08,444 --> 00:17:13,282
and your commitment
to fulfill what's on a page.
349
00:17:13,365 --> 00:17:15,451
The actors are in a very pure process.
350
00:17:15,534 --> 00:17:17,995
Some of them have likened it
to black box theater.
351
00:17:18,078 --> 00:17:20,039
No set, no lighting, no nothing.
352
00:17:20,122 --> 00:17:21,457
J ust the other people.
353
00:17:21,540 --> 00:17:25,044
That's all actors need,
is an emotional reality to play within.
354
00:17:27,004 --> 00:17:29,006
WORTH I NGTON : When you're in there
and there's 20 people
355
00:17:29,089 --> 00:17:31,383
and everyone is doing a war cry,
you are in it.
356
00:17:31,467 --> 00:17:34,136
You forget that you're actually
making a movie.
357
00:17:34,219 --> 00:17:36,513
You're getting ready for a battle
and when we do it,
358
00:17:36,597 --> 00:17:37,765
the feeling is real .
359
00:17:38,140 --> 00:17:40,059
Saving their lives,
that's all that matters.
360
00:17:40,351 --> 00:17:44,355
It's a very creative sandbox
and the actors really love it.
361
00:17:44,438 --> 00:17:46,231
And you see it in these performances.
362
00:17:47,066 --> 00:17:48,359
Why am I different?
363
00:17:49,652 --> 00:17:52,905
You really look at
what the actor is bringing
364
00:17:52,988 --> 00:17:55,407
to the performance, emotionally.
365
00:17:55,491 --> 00:17:57,159
What is this moment about?
366
00:17:57,242 --> 00:18:00,496
And then you look at what
they're bringing to it physically,
367
00:18:00,579 --> 00:18:03,958
what's happening with their body,
what's happening with their faces.
368
00:18:04,041 --> 00:18:06,919
And you try to bring those things together
369
00:18:07,002 --> 00:18:08,587
as you're evolving the shot.
370
00:18:08,671 --> 00:18:11,131
We're tracking down
to pore detail on characters
371
00:18:11,215 --> 00:18:14,593
so that we can actually track
what muscles are firing,
372
00:18:14,677 --> 00:18:16,095
how the muscles are reacting.
373
00:18:16,178 --> 00:18:18,722
So we're capturing much deeper detail
on the characters,
374
00:18:18,806 --> 00:18:21,517
which really helps us to make sure
we're getting the performance.
375
00:18:21,600 --> 00:18:23,852
We get the little twitches
in everyone's face
376
00:18:23,936 --> 00:18:25,646
that really bring the characters to life.
377
00:18:25,729 --> 00:18:29,024
It's worth the effort
because we see such great performances
378
00:18:29,108 --> 00:18:33,112
out of you know, Sam and Zoe
and Stephen Lang and Sigourney.
379
00:18:33,195 --> 00:18:35,447
To me, it always comes down
to the characters
380
00:18:35,531 --> 00:18:37,241
and the ability to be with them,
381
00:18:37,324 --> 00:18:40,160
to be in the moment with them,
to see their performances,
382
00:18:40,244 --> 00:18:42,997
to understand what they're feeling
and what they're going through.
383
00:18:43,080 --> 00:18:46,083
That emotional connection
is always what you're going for.
384
00:18:46,166 --> 00:18:48,210
-(SOBBI NG)
-I need you with me.
385
00:18:49,670 --> 00:18:51,213
And I need you to be strong .
386
00:18:51,755 --> 00:18:52,881
Right now.
387
00:18:52,965 --> 00:18:54,174
Strong heart.
388
00:18:55,551 --> 00:18:56,593
Strong heart.
389
00:18:57,469 --> 00:18:59,430
(N EYTI RI BREATH I NG H EAVI LY)
390
00:19:07,104 --> 00:19:08,105
(SHOUTI NG WAR CRY)
391
00:19:09,064 --> 00:19:11,150
I've just enjoyed learning the techniques,
392
00:19:11,233 --> 00:19:13,235
and the opportunities that it presents.
393
00:19:13,318 --> 00:19:14,987
It's a new component to acting
394
00:19:15,070 --> 00:19:18,490
and in the way that we're making movies,
it's an important one to know.
395
00:19:18,574 --> 00:19:22,453
It is just remarkable
to be able to see the movements
396
00:19:22,536 --> 00:19:25,414
and the performance
go straight into the character.
397
00:19:25,497 --> 00:19:28,000
And it's like, there's Kate
and then, here, there's Ronal.
398
00:19:28,083 --> 00:19:30,002
So that has been fascinating to me.
399
00:19:30,127 --> 00:19:32,713
(CRYI NG) What is this, Tonowari?
400
00:19:35,424 --> 00:19:36,925
(SCREAMS) What is this?
401
00:19:38,093 --> 00:19:41,388
It's one of the purest forms
of play that I've ever done in my career.
402
00:19:41,472 --> 00:19:45,059
You're only armed with this childlike
purity to play and to imagine.
403
00:19:45,142 --> 00:19:46,810
(ALL SHOUTI NG WAR CRI ES)
404
00:19:46,894 --> 00:19:50,105
I find as a director,
I am much more attuned to the actors
405
00:19:50,189 --> 00:19:51,440
because that's all I have to worry about.
406
00:19:51,523 --> 00:19:55,402
I'm not distracted by the camera move
or the extras in the background.
407
00:19:55,486 --> 00:19:57,446
I'm just there for them.
That's all I care about.
408
00:19:57,529 --> 00:20:00,074
That's all I'm watching.
It's an amazing process.
409
00:20:00,157 --> 00:20:03,035
It's also the only way to do it.
It's the only way to make this film .
410
00:20:03,118 --> 00:20:04,411
(SNARLS)
411
00:20:05,746 --> 00:20:06,747
(BLOWS SHARPLY)
412
00:20:29,645 --> 00:20:32,064
DYLAN COLE: What was really fun
about this project is
413
00:20:32,147 --> 00:20:34,399
we were designing
a world and creatures,
414
00:20:34,483 --> 00:20:36,777
but if they don 't serve the story,
then they're useless.
415
00:20:36,860 --> 00:20:39,780
So, the best place to start
is just with the story.
416
00:20:49,873 --> 00:20:53,627
We wanna see something new,
something amazing , something scary.
417
00:20:55,212 --> 00:20:58,257
Something that you can form a bond with.
418
00:21:21,697 --> 00:21:25,742
JON LAN DAU : If we're designing a creature,
itjust can 't look great,
419
00:21:25,826 --> 00:21:28,328
it has to have a backbone
of how it functions.
420
00:21:28,662 --> 00:21:31,290
That function then informs its design .
421
00:21:34,168 --> 00:21:36,461
When we were designing
creatures for Avatar,
422
00:21:36,545 --> 00:21:39,756
we often start with metaphors,
and in the first film ,
423
00:21:39,840 --> 00:21:41,758
there's a direhorse, which was a horse,
424
00:21:41,842 --> 00:21:43,677
but does not look like a horse.
425
00:21:43,760 --> 00:21:44,761
(BUZZI NG)
426
00:21:46,221 --> 00:21:48,265
The tulkun is evocative of a whale,
427
00:21:48,348 --> 00:21:50,434
but when you look at it,
this is not a whale at all .
428
00:21:50,517 --> 00:21:52,394
There's many, many different things
different with it.
429
00:21:52,477 --> 00:21:55,189
You may not literally know
exactly what it's referencing,
430
00:21:56,106 --> 00:21:57,107
but you feel it.
431
00:21:58,025 --> 00:22:00,277
LAN DAU : We had to develop
a whole biosystem
432
00:22:00,360 --> 00:22:01,987
that could exist underwater,
433
00:22:02,070 --> 00:22:04,156
and we left it to the design team
434
00:22:04,239 --> 00:22:08,160
to go have fun and create
the underwater world of Pandora.
435
00:22:08,243 --> 00:22:11,538
And the number of underwater creatures
that they came up with,
436
00:22:11,622 --> 00:22:14,625
from Rays to Pincer Fish is remarkable.
437
00:22:16,668 --> 00:22:18,420
(WHOOPI NG AN D CLICKI NG TONG U E)
438
00:22:18,503 --> 00:22:20,130
-(AN IMAL G RU NTS)
-(TSI REYA YI PS)
439
00:22:21,715 --> 00:22:23,300
-These are ilu.
-(TSI REYA YI PS)
440
00:22:23,634 --> 00:22:25,135
If you want to live here,
441
00:22:25,219 --> 00:22:26,220
you have to ride.
442
00:22:26,345 --> 00:22:29,556
CAMERON : The ilu are frisky,
they're pla*ul, they're social.
443
00:22:29,640 --> 00:22:32,809
We used , sort of, dolphins
as a social guide
444
00:22:33,393 --> 00:22:36,063
for ilu behavior,
but they don 't look like dolphins.
445
00:22:36,146 --> 00:22:37,606
COLE: It needs to be friendly.
446
00:22:37,689 --> 00:22:40,525
You need to believe that you can ride it,
it's aspirational .
447
00:22:40,609 --> 00:22:42,194
CAMERON :
It looked like some kind of a cross
448
00:22:42,277 --> 00:22:44,947
between a biplane version of a manta ray
449
00:22:45,030 --> 00:22:48,325
fused onto the long neck of a plesiosaur
450
00:22:48,408 --> 00:22:51,370
with the Canard wings
of a European jet fighter.
451
00:22:51,453 --> 00:22:52,496
(LAUG HS)
452
00:22:52,579 --> 00:22:56,416
So, you know, it just doesn't look like
any other animal that ever existed .
453
00:22:57,334 --> 00:22:58,669
IAN JOYN ER: Early days of ilu ,
454
00:22:58,752 --> 00:23:01,797
all we knew was that it was going to be
a rideable creature underwater,
455
00:23:01,922 --> 00:23:04,049
their main mode of transportation,
456
00:23:04,132 --> 00:23:06,343
much like the ikran were
in the previous film.
457
00:23:06,426 --> 00:23:07,844
They'll swim around
and they'll pay attention .
458
00:23:07,928 --> 00:23:10,222
And when you call them, they'll come,
and you can basically
459
00:23:10,305 --> 00:23:12,432
just dive in the water
and they'lljust be right there for you,
460
00:23:12,516 --> 00:23:13,517
and you just grab on.
461
00:23:13,600 --> 00:23:14,601
(I LU CH I RPS)
462
00:23:16,520 --> 00:23:17,938
-(SHOUTS)
-(SKIMWI NG SNARLS)
463
00:23:19,106 --> 00:23:22,401
COLE: The skimwing design
had its origins in a flying fish,
464
00:23:22,484 --> 00:23:25,070
that have fins like wings
that they can actually glide,
465
00:23:25,153 --> 00:23:27,864
and they have very rapid tail movement
to get them up to speed.
466
00:23:27,948 --> 00:23:29,449
J im had the idea of taking that motion ,
467
00:23:29,533 --> 00:23:32,369
but applying it to a much larger creature,
more like a predator.
468
00:23:32,828 --> 00:23:35,372
CAMERON : Skimwing is described
as a warrior's mount,
469
00:23:35,455 --> 00:23:39,293
meaning it's more aggressive,
it's more dangerous, it's faster.
470
00:23:39,376 --> 00:23:43,130
The second it comes up out of
the water medium, it can hit a top speed
471
00:23:43,213 --> 00:23:46,717
of something more like 35 or 40 knots,
and what they're doing is,
472
00:23:46,800 --> 00:23:49,344
their tail is like an outboard motor
that's in the water
473
00:23:49,428 --> 00:23:51,680
and they're just propelling
themselves along on the tail.
474
00:23:52,848 --> 00:23:53,974
(SCREECH ES)
475
00:23:54,683 --> 00:23:56,601
COLE: We explored many, many,
many different head designs,
476
00:23:56,685 --> 00:23:57,853
and we did hammerhead stuff
477
00:23:57,936 --> 00:24:01,315
and then finally just wanted something
that feels very water-based .
478
00:24:01,398 --> 00:24:04,568
Like a marlin or sailfish,
something with a longer nose.
479
00:24:04,651 --> 00:24:07,195
We've evolved into more of like a caiman,
480
00:24:07,321 --> 00:24:09,906
so it's notjust a point,
but it's a bit of a wider nose and mouth.
481
00:24:10,198 --> 00:24:11,283
(SKIMWI NG SCREECH ES)
482
00:24:11,491 --> 00:24:13,869
COLE: In looking at these wings,
is that they're not wings and skin,
483
00:24:13,952 --> 00:24:16,538
but they actually
are very much large fins,
484
00:24:16,621 --> 00:24:18,332
that when it goes underwater,
they collapse.
485
00:24:18,415 --> 00:24:19,708
So they needed to feel like a fin
486
00:24:19,791 --> 00:24:22,169
and to be a little more smooth,
little more transparent.
487
00:24:22,252 --> 00:24:24,546
And so, we looked at many
different types ofpatterns.
488
00:24:24,629 --> 00:24:28,717
The thinking of this was to have wings
that kind of jump out.
489
00:24:28,842 --> 00:24:31,428
And so, of course,
orange sticks out from the blue
490
00:24:31,511 --> 00:24:33,180
because they're contrasting colors.
491
00:24:33,263 --> 00:24:36,099
And so, I got to do
some patterns for the wings.
492
00:24:36,183 --> 00:24:37,934
The skimwing moves through the water
493
00:24:38,018 --> 00:24:39,561
and over the water
in several different ways.
494
00:24:39,644 --> 00:24:43,899
It starts off first how you see it here,
which is very much in a clear fish form .
495
00:24:43,982 --> 00:24:47,402
But then, as it gains speed,
it'll break the water surface
496
00:24:47,486 --> 00:24:49,946
and deploy its large wing-like fins.
497
00:24:50,322 --> 00:24:53,158
And then as it gets up enough speed,
it can actually
498
00:24:53,241 --> 00:24:55,660
come fully out of the water
and actually glide for a little bit.
499
00:24:55,786 --> 00:24:57,788
(VI LLAG ERS YI PPI NG)
500
00:25:02,084 --> 00:25:05,253
COLE: Here's the Akula. We wanted a big,
sleek, threatening predator.
501
00:25:05,337 --> 00:25:07,589
This is the shark metaphor of Pandora.
502
00:25:07,672 --> 00:25:09,674
So, you know, we didn't want it
to be a literal shark.
503
00:25:09,758 --> 00:25:11,635
So we tried to change up
the body plan a little bit.
504
00:25:11,718 --> 00:25:15,847
We have the eyes coming out on stocks
so that they can see around this mouth.
505
00:25:15,931 --> 00:25:18,433
-It's gotta be better than a great white.
-Mmm-hmm .
506
00:25:18,517 --> 00:25:19,976
To me, that's the magic.
507
00:25:20,060 --> 00:25:23,814
If it doesn 't scare me as much as
a great white for pure brutality
508
00:25:23,897 --> 00:25:26,441
in its distended form with its jaws out.
509
00:25:26,525 --> 00:25:28,819
COLE: Which we want it to be a surprise,
510
00:25:28,902 --> 00:25:31,822
where you see what appears to be
a threatening water predator,
511
00:25:31,905 --> 00:25:35,200
but when it opens its mouth and attacks,
it goes to a whole new level.
512
00:25:36,034 --> 00:25:37,911
So, what looked threatening before
513
00:25:37,994 --> 00:25:41,164
gets extremely scary (LAUG HS)
after it opens its mouth.
514
00:25:41,289 --> 00:25:45,085
And so, we like having those, sort of,
surprises in the creatures of Pandora.
515
00:25:46,711 --> 00:25:48,004
(G RU NTS)
516
00:25:48,088 --> 00:25:50,382
(CONCH BLOWI NG)
517
00:25:52,259 --> 00:25:53,885
(BELLOWS)
518
00:25:53,969 --> 00:25:57,764
The design of the tulkun has been one
of the biggest challenges on this project.
519
00:25:57,848 --> 00:25:59,891
We knew we needed not only a creature,
520
00:25:59,975 --> 00:26:02,561
but also a character
and an intelligent species.
521
00:26:02,644 --> 00:26:04,646
We knew the analogy was a whale,
522
00:26:04,729 --> 00:26:06,523
but the challenge was,
"How alien do you get?"
523
00:26:06,606 --> 00:26:09,443
CONSTANTI N E SEKERIS:
The assignment when I came on board was
524
00:26:09,526 --> 00:26:12,362
to try and take a whale creature
and push it.
525
00:26:13,655 --> 00:26:16,450
This was a sketch that Jim had started
526
00:26:16,533 --> 00:26:20,579
that through our process, I've just
kind of helped puzzle things together,
527
00:26:20,662 --> 00:26:22,497
and it's been inch-by-inch design.
528
00:26:24,166 --> 00:26:26,460
COLE: This is an occasion of having Design
529
00:26:26,543 --> 00:26:29,379
have to jump through
many different storytelling needs.
530
00:26:29,463 --> 00:26:31,715
First and foremost is the sensor crest.
531
00:26:31,798 --> 00:26:35,719
It's an auditory sensor that plays
very much into the tulkun hunt.
532
00:26:36,887 --> 00:26:41,683
We needed Lo'ak to be able to ride
on a fin and look Payakan in the eye.
533
00:26:41,766 --> 00:26:44,519
And that was a challenge,
because having a fin
534
00:26:44,603 --> 00:26:46,480
that close to the eye is kind of weird.
535
00:26:46,563 --> 00:26:49,149
So, we ended up making a smaller
cephalic fin
536
00:26:49,232 --> 00:26:51,568
that is almost, kind of
right behind the jaw.
537
00:26:51,651 --> 00:26:55,363
And so this spatial relationship
was a challenge to get,
538
00:26:55,447 --> 00:26:56,781
and was actually defined,
539
00:26:56,865 --> 00:26:59,784
you know, in some of the first scouts
to the Bahamas.
540
00:26:59,868 --> 00:27:02,579
CAMERON : It's one thing to design
all of these worlds and characters,
541
00:27:02,662 --> 00:27:04,539
but, like, how are we actually
gonna do this?
542
00:27:08,710 --> 00:27:10,086
GARRETT WARREN : We are out in the Bahamas.
543
00:27:10,170 --> 00:27:11,963
We're testing a bunch of the creatures
that we created .
544
00:27:12,047 --> 00:27:14,132
The skimwing, the ilu , Payakan,
545
00:27:14,216 --> 00:27:15,217
riding the fin.
546
00:27:17,719 --> 00:27:20,096
We had a number of technical challenges
547
00:27:20,180 --> 00:27:22,474
that we knew could never
be answered in the tank.
548
00:27:22,557 --> 00:27:23,683
So what did we do?
549
00:27:23,767 --> 00:27:28,188
We went to the ocean with some ideas of
how we were gonna create the creatures
550
00:27:28,271 --> 00:27:31,066
and how we were gonna move
the actors through the water.
551
00:27:31,149 --> 00:27:34,736
(ON PA) The purpose of this entire week
is to get good usable reference
552
00:27:34,819 --> 00:27:36,863
for what they should look like
on these creatures.
553
00:27:36,947 --> 00:27:38,865
-Yeah .
-Good . Good plan . Excellent.
554
00:27:38,949 --> 00:27:40,992
I don't think the world gets just how much
555
00:27:41,076 --> 00:27:43,620
of an old-school filmmaker J im
is in a new-school world .
556
00:27:43,703 --> 00:27:45,288
Even though it might not look
like it's practical,
557
00:27:45,372 --> 00:27:46,456
everything we do is practical.
558
00:27:46,540 --> 00:27:49,000
So if we are swimming underwater,
we do go underwater.
559
00:27:49,084 --> 00:27:51,795
If we fly above water,
we actually do fly above water.
560
00:27:51,878 --> 00:27:54,506
AASH RITA KAMATH : We need to have
the specific representation
561
00:27:54,589 --> 00:27:55,590
of the creature itself
562
00:27:55,674 --> 00:27:57,551
If we have an ilu,
what do the divers ride?
563
00:27:57,634 --> 00:27:58,885
And what do the actors ride?
564
00:27:58,969 --> 00:28:03,390
We made lots of tests, proxies, and things
that we took out into the ocean
565
00:28:03,515 --> 00:28:05,850
and working closely with stunts,
566
00:28:05,934 --> 00:28:09,229
working closely with the performers
that are gonna ride these things.
567
00:28:09,312 --> 00:28:10,939
(ON PA) So, let's make sure we get
568
00:28:11,022 --> 00:28:13,316
good footage
and body position of the rider.
569
00:28:14,401 --> 00:28:16,987
WARREN : Most of the creatures in the movie
are supposed to be traveling
570
00:28:17,070 --> 00:28:19,656
at speeds of like,
20 miles per hour underwater.
571
00:28:19,739 --> 00:28:20,782
That's ridiculous.
572
00:28:20,865 --> 00:28:23,118
I mean, a human being really can 't
hold on at that speed,
573
00:28:23,201 --> 00:28:25,954
but we wanted to try to get them up
to those speeds and see what it's like.
574
00:28:26,037 --> 00:28:29,040
CAMPBELL: (ON PA) Okay, here we go!
Face plant! Action, action, action!
575
00:28:29,124 --> 00:28:30,166
(ENG I N E REVVI NG)
576
00:28:31,418 --> 00:28:32,919
(ALL CH EERI NG , EXCLAIMI NG)
577
00:28:33,003 --> 00:28:34,629
-(APPLAUSE)
-MAN : Ow.
578
00:28:34,713 --> 00:28:35,714
CAMPBELL: (ON PA) Okay, cut!
579
00:28:35,797 --> 00:28:38,508
CH RIS DEN ISON : We're spyhopping
the skimwing coming out of the water,
580
00:28:38,592 --> 00:28:40,385
breaching and then going straight back in.
581
00:28:40,468 --> 00:28:42,554
I kept getting ripped off.
582
00:28:42,679 --> 00:28:44,306
Garrett's like, "Dude, can you stay
on that thing?"
583
00:28:44,389 --> 00:28:45,849
I'm like, "Yeah , I'm trying ."
584
00:28:45,974 --> 00:28:48,101
(ENG I N E REVVI NG)
585
00:28:51,187 --> 00:28:52,731
I was just hanging on for dear life.
586
00:28:52,814 --> 00:28:56,067
Looked like, kind of, a cartoon version
of Wacky Races out there.
587
00:28:56,151 --> 00:28:59,529
And we put these devices into the water,
and some of them would be self-propelled,
588
00:28:59,613 --> 00:29:02,949
like the Jetovator, which pumps, you know,
thousands of liters of water
589
00:29:03,033 --> 00:29:04,743
through the jets and allows the actor
590
00:29:04,826 --> 00:29:06,745
to be able to fly,
not just above the water,
591
00:29:06,828 --> 00:29:09,998
but also under the water
at huge, incredible speeds.
592
00:29:10,081 --> 00:29:11,499
MI KE AVERY: I think
we've gotta be the first people
593
00:29:11,583 --> 00:29:13,335
to actually ever take it underwater.
594
00:29:13,418 --> 00:29:15,629
I took it out for a spin and came back
with a big smile on my face.
595
00:29:15,712 --> 00:29:16,755
(LAUG HS)
596
00:29:16,838 --> 00:29:18,632
(ENG I N E REVVI NG)
597
00:29:22,385 --> 00:29:25,597
Great work, guys. That was perfect,
exactly the way you did that.
598
00:29:26,556 --> 00:29:28,183
GARVI N : This 200-foot whale,
599
00:29:28,266 --> 00:29:30,310
pretty difficult to get that in a tank
600
00:29:30,393 --> 00:29:33,229
to do what it wants.
So, it was always gonna be about
601
00:29:33,313 --> 00:29:36,274
which parts of that creature
the actor's reacting to
602
00:29:36,358 --> 00:29:39,235
and how do we recreate
that part of the creature.
603
00:29:39,319 --> 00:29:41,321
So, we spent a lot of time experimenting
604
00:29:41,404 --> 00:29:45,325
with elongated fins
and mechanical devices.
605
00:29:45,408 --> 00:29:49,537
How can the character of Lo'ak
hold onto a fin ?
606
00:29:49,621 --> 00:29:52,248
How can he stand on the fin
as it's moving through the water?
607
00:29:52,332 --> 00:29:53,708
How can he react to the creature?
608
00:29:53,792 --> 00:29:55,168
Where is the creature's eye?
609
00:29:56,670 --> 00:29:59,172
To a certain extent,
the creatures were reverse engineered
610
00:29:59,255 --> 00:30:01,007
to what the riding position was gonna be.
611
00:30:02,759 --> 00:30:04,010
The ilu , for example.
612
00:30:04,094 --> 00:30:07,389
So we built a buck of the creature,
just a shape,
613
00:30:07,472 --> 00:30:10,266
that could actually move
through the water at high speed.
614
00:30:10,350 --> 00:30:13,186
Then we shot underwater
just figuring out how you'd ride it,
615
00:30:13,269 --> 00:30:16,731
just what your posture would be,
how you'd do it, how you get control.
616
00:30:16,815 --> 00:30:18,483
And then we adapted our designs.
617
00:30:18,608 --> 00:30:21,194
We designed a fin
that you could hook your knee over
618
00:30:21,486 --> 00:30:23,822
and then, kind of prone your body out
619
00:30:23,905 --> 00:30:26,366
at kind of almost
a Superman flying position
620
00:30:26,825 --> 00:30:29,160
and use your back leg
as a kind of a rudder
621
00:30:29,244 --> 00:30:31,287
to keep your balance on the creature
and direct it.
622
00:30:31,371 --> 00:30:33,623
And it's all quite beautiful and graceful.
623
00:30:33,707 --> 00:30:35,750
And this all worked out in the real ocean .
624
00:30:35,834 --> 00:30:36,835
CAMERON : This is great.
625
00:30:36,918 --> 00:30:38,962
I actually wanna do shots like this,
where it...
626
00:30:39,045 --> 00:30:40,839
See how it's nulled out to the creature?
627
00:30:40,922 --> 00:30:42,257
-The creature's not moving.
-MAN : Yeah.
628
00:30:44,134 --> 00:30:46,052
(MU FFLED G RU NTI NG)
629
00:30:49,013 --> 00:30:50,014
(GASPS)
630
00:30:50,098 --> 00:30:51,182
(SQUAWKS)
631
00:31:01,109 --> 00:31:03,027
COLE: What was really fun
about this project
632
00:31:03,111 --> 00:31:05,363
is we were designing worlds and creatures,
633
00:31:05,447 --> 00:31:07,991
sometimes a piece of art
will even inspire the story.
634
00:31:08,074 --> 00:31:10,744
And it's extremely gratifying,
and an honor when you see,
635
00:31:10,827 --> 00:31:13,371
"Oh, you just wrote my painting
into the movie."
636
00:31:13,455 --> 00:31:14,789
That's pretty cool . (LAUG HS)
637
00:31:15,331 --> 00:31:17,167
CAMERON : I'm an artist,
a painter, designer, et cetera.
638
00:31:17,250 --> 00:31:20,086
But I don 't think I designed
anything on these films.
639
00:31:20,170 --> 00:31:23,089
Why would I? I get to work
with the best artists in the world .
640
00:31:23,173 --> 00:31:25,842
You see these designers,
these young men and women
641
00:31:25,925 --> 00:31:28,344
thatjust. . . their brains
are exploding with ideas.
642
00:31:28,428 --> 00:31:31,931
Ijust wish I could write
a story so comprehensive
643
00:31:32,015 --> 00:31:34,809
that I can use all their ideas,
but it's just not possible.
644
00:32:00,627 --> 00:32:04,422
There were a number of challenges
particular to the new film .
645
00:32:06,800 --> 00:32:08,218
(TU LKU NS MOAN)
646
00:32:08,635 --> 00:32:11,763
The first and most obvious is right there
in the title, The Way of Water.
647
00:32:11,846 --> 00:32:13,890
We had to learn the way of water.
648
00:32:18,186 --> 00:32:20,480
And the challenge was
about the way of water.
649
00:32:20,563 --> 00:32:23,358
We had to figure out
how to shoot really underwater
650
00:32:23,441 --> 00:32:25,443
and really at the surface of the water.
651
00:32:25,777 --> 00:32:27,320
(GASPI NG)
652
00:32:27,403 --> 00:32:30,448
That was a non-trivial problem,
but we had to figure it out.
653
00:32:30,532 --> 00:32:31,533
KI RK KRACK: You can 't fake it.
654
00:32:31,616 --> 00:32:34,369
If you want the audience to buy in
and live that experience,
655
00:32:34,452 --> 00:32:35,829
you gotta do it...
656
00:32:36,204 --> 00:32:37,330
(GASPI NG I N SHOCK)
657
00:32:37,413 --> 00:32:38,414
...wet for wet.
658
00:32:51,344 --> 00:32:54,472
Water was the biggest problem
and that's something we knew going in ,
659
00:32:54,556 --> 00:32:55,723
that was gonna be our challenge.
660
00:32:55,807 --> 00:32:59,561
But we hadn 't really cracked the code
on how to capture underwater.
661
00:33:00,395 --> 00:33:04,691
So they tried to talk me
into hanging the actors on wires
662
00:33:04,774 --> 00:33:07,735
with , like, a gimbal thing
so they could swing around and do stuff.
663
00:33:07,819 --> 00:33:09,320
GARRETT WARREN :
We tried to pitch it to Jim and say,
664
00:33:09,404 --> 00:33:11,489
"Look, you can do dry-for-wet.
It's just as good as water."
665
00:33:11,573 --> 00:33:14,409
And we had to experiment
with how we were going to do it.
666
00:33:14,492 --> 00:33:15,535
MAN : (ON PA) Down.
667
00:33:22,292 --> 00:33:24,294
(I N DISTI NCT CHATTER)
668
00:33:26,796 --> 00:33:28,798
We had people on wires
and it just never worked .
669
00:33:28,882 --> 00:33:30,592
It just doesn't work. It looks phony.
670
00:33:30,675 --> 00:33:33,094
And it also is distracting
from performances as well,
671
00:33:33,177 --> 00:33:35,221
and you're not getting
the real water physics.
672
00:33:35,305 --> 00:33:38,182
RYAN CHAMPN EY: We looked into different
underwater capture techniques.
673
00:33:38,266 --> 00:33:41,561
We kind of knew that the bar was gonna be
that he wanted to do it live
674
00:33:41,644 --> 00:33:44,606
and shoot it live the way
that he's shot the rest of the stages.
675
00:33:44,689 --> 00:33:46,232
So we built our own camera.
676
00:33:46,316 --> 00:33:49,110
CAMERON : So we had already
completely worked out how you capture
677
00:33:49,193 --> 00:33:52,363
in the volume, right?
And that's basically an air volume.
678
00:33:52,447 --> 00:33:54,324
And for that, we use infrared cameras.
679
00:33:54,407 --> 00:33:56,701
For underwater,
infrared doesn 't go through water
680
00:33:56,784 --> 00:33:59,037
so we had to create
a completely new system.
681
00:33:59,120 --> 00:34:00,663
So we decided to use ultraviolet
682
00:34:00,747 --> 00:34:03,583
because ultraviolet will penetrate
through water quite far.
683
00:34:04,083 --> 00:34:06,878
CHAMPN EY: The next test was seeing
if we couldjust do a range of movement
684
00:34:06,961 --> 00:34:11,132
with the performer in the water. And then
we tested it in a large dive tank,
685
00:34:11,215 --> 00:34:13,885
which was called Tank 1.
It was a big oil drum
686
00:34:13,968 --> 00:34:16,930
with 40 cameras there,
and that was with multiple performers.
687
00:34:17,013 --> 00:34:19,807
And then we built a test tank
where we could learn from.
688
00:34:19,891 --> 00:34:24,062
So, make all of our mistakes in this tank,
learn from those mistakes incrementally.
689
00:34:25,063 --> 00:34:27,482
CAMERON : Now the question is
how do we go from a little tank
690
00:34:27,565 --> 00:34:30,068
to something where we could
shoot the ocean with creatures
691
00:34:30,151 --> 00:34:34,322
and swimming long distances,
and riding 20 miles an hour, and so on.
692
00:34:34,405 --> 00:34:36,449
We need all the things
that you'd have in the ocean ,
693
00:34:36,532 --> 00:34:37,867
but in a controlled environment.
694
00:34:40,954 --> 00:34:43,164
JOH N GARVI N : We ended up
going for a 90-foot long tank
695
00:34:43,247 --> 00:34:45,458
which is 40-foot wide.
It's a monstrous tank,
696
00:34:45,541 --> 00:34:48,795
it's 675, 000 gallons of water.
697
00:34:52,465 --> 00:34:55,677
The stage 1 8 tank was all
the departments coming together
698
00:34:55,760 --> 00:34:58,388
and saying, "We're gonna need to build
the wave maker like this,
699
00:34:58,471 --> 00:35:00,556
"we're gonna need to build
the current movers this way,
700
00:35:00,640 --> 00:35:02,392
"we're gonna need to build
a center island,
701
00:35:02,475 --> 00:35:04,477
"so that once we build it,
we know it's all gonna work."
702
00:35:06,104 --> 00:35:08,314
Here we are, first day in the big tank.
703
00:35:09,148 --> 00:35:11,359
And we're doing it and it's looking good .
704
00:35:11,442 --> 00:35:13,069
So thanks. . . thanks to everybody.
705
00:35:13,987 --> 00:35:16,239
JAMI E FLATTERS: Going into the water tank
for the first time,
706
00:35:16,322 --> 00:35:18,324
I had that butterfly feeling again .
707
00:35:18,408 --> 00:35:21,786
Because it was going
into the unknown. It is massive.
708
00:35:22,328 --> 00:35:25,498
Nobody had ever done performance capture
in water before.
709
00:35:25,623 --> 00:35:26,833
And we couldn 't have done it
710
00:35:26,958 --> 00:35:30,128
without the cast wanting
to learn how to free dive.
711
00:35:30,211 --> 00:35:32,755
They would do
their breathe-up at the surface
712
00:35:32,839 --> 00:35:36,259
and when they went underwater,
they became the character
713
00:35:36,342 --> 00:35:38,845
and were able to give a performance
714
00:35:38,928 --> 00:35:41,681
the same as if they were
standing on a stage.
715
00:35:44,559 --> 00:35:47,478
CAMERON : It turns out that to be able
to capture underwater,
716
00:35:47,562 --> 00:35:49,313
you can 't have a lot of air bubbles.
717
00:35:49,397 --> 00:35:53,109
'Cause every one of those
air bubbles is a little wiggling mirror
718
00:35:53,192 --> 00:35:56,320
and the system that's trying
to see all the marker dots
719
00:35:56,404 --> 00:35:59,198
on the actor's body
so it can get their body motion
720
00:35:59,282 --> 00:36:01,951
can 't tell the difference
between a marker dot and a bubble.
721
00:36:02,035 --> 00:36:03,870
If you think about
every bubble being a mirror,
722
00:36:03,953 --> 00:36:07,832
what about that big moving mirror
called the surface up there?
723
00:36:07,915 --> 00:36:10,376
So you've got all these
ultraviolet cameras underwater
724
00:36:10,460 --> 00:36:11,711
and they're trying to see the markers.
725
00:36:11,794 --> 00:36:13,838
But they're not only seeing
the markers on the actor,
726
00:36:13,921 --> 00:36:15,757
they're seeing a reflection
of the actor up there
727
00:36:15,840 --> 00:36:18,051
with a bunch of markers
that are moving around .
728
00:36:18,134 --> 00:36:19,594
The system just got overloaded
729
00:36:20,053 --> 00:36:23,181
and the characters kind of turned
into, like, an octopus.
730
00:36:23,264 --> 00:36:25,808
GARVI N : The whole image shattered
and we lost the magic.
731
00:36:25,892 --> 00:36:27,310
Jim actually borrowed from an idea
732
00:36:27,393 --> 00:36:29,228
he had in one of his earlier films,
The Abyss.
733
00:36:29,312 --> 00:36:32,440
CAMERON : We used black plastic beads
on The Abyss
734
00:36:32,523 --> 00:36:35,234
to break that mirror surface
so it looked like
735
00:36:35,318 --> 00:36:38,905
we were 1, 000 feet down
instead ofjust 60 feet down.
736
00:36:38,988 --> 00:36:40,907
That's what gave me the idea
and I proposed that
737
00:36:40,990 --> 00:36:43,493
and everybody said, "Yeah, but how
are we gonna get light through it?"
738
00:36:43,576 --> 00:36:45,244
And I said,
"Well, let's think of something else."
739
00:36:45,328 --> 00:36:48,664
CHAMPN EY: We came up with the idea
of using hollow translucent balls
740
00:36:48,748 --> 00:36:51,000
that would allow light to travel through,
741
00:36:51,084 --> 00:36:52,919
float, and allow performers to go through .
742
00:36:53,002 --> 00:36:55,379
CAMERON : So what we
essentially wound up with was
743
00:36:55,463 --> 00:36:59,967
a volume for underwater
and a separate volume for the air.
744
00:37:00,051 --> 00:37:03,012
And those two volumes,
one had to sit right on top of the other
745
00:37:03,096 --> 00:37:05,348
with only, like, an inch in between .
746
00:37:05,431 --> 00:37:07,892
And so the computer's taking
data from one volume,
747
00:37:07,975 --> 00:37:10,311
data from the other volume,
and in real time,
748
00:37:10,394 --> 00:37:12,271
in a tiny fraction of a second,
749
00:37:12,355 --> 00:37:14,440
it's integrating
all that information together
750
00:37:14,982 --> 00:37:16,901
and showing me on my virtual camera
751
00:37:16,984 --> 00:37:19,737
people coming and going,
they could act at the surface
752
00:37:19,821 --> 00:37:22,490
just like they were swimming
in the water, and they could dive in.
753
00:37:22,573 --> 00:37:23,866
-(TU K SCREAMS)
-KI RI : Whoo !
754
00:37:29,038 --> 00:37:31,165
Oh , my God , in the liquid volume.
755
00:37:34,293 --> 00:37:36,587
I was always looking
at everything in wonder.
756
00:37:37,088 --> 00:37:38,256
J ust like, what is this?
757
00:37:38,339 --> 00:37:40,675
If we'd done this on wires,
it would look hokey.
758
00:37:41,175 --> 00:37:42,885
If we'd tried to do this any other way
759
00:37:42,969 --> 00:37:45,680
instead of being legit,
it wouldn 't be a James Cameron film.
760
00:37:45,763 --> 00:37:47,306
KATE WI NSLET:
The underwater performance capture,
761
00:37:47,390 --> 00:37:49,225
first of all ,
it's a huge amount to think about.
762
00:37:49,308 --> 00:37:52,603
So there's not just the physical challenge
of holding your breath ,
763
00:37:52,687 --> 00:37:56,357
there's then the added challenge
of acting out a scene underwater
764
00:37:56,440 --> 00:38:00,027
where everything is very different.
You're having to imagine coral reefs,
765
00:38:00,111 --> 00:38:03,990
you're having to picture
other Na 'vi swimming around you.
766
00:38:04,073 --> 00:38:05,658
Then you have the challenge of
767
00:38:05,741 --> 00:38:08,161
your movements are very,
very different underwater.
768
00:38:08,244 --> 00:38:11,747
Finding that serenity and that calm,
so there's all of that to take care of
769
00:38:11,831 --> 00:38:14,375
And that's what you're after,
just the truthful sensation .
770
00:38:14,458 --> 00:38:17,378
And that truth is what you need
to make these movies work.
771
00:38:18,421 --> 00:38:19,463
(SKIMWI NG SCREECH ES)
772
00:38:21,340 --> 00:38:25,052
What J im wanted to do
is give the actors an environment
773
00:38:25,136 --> 00:38:27,513
that was gonna be
as realistic as possible,
774
00:38:27,597 --> 00:38:30,725
build sets and give them the ability
to swim through the water
775
00:38:30,808 --> 00:38:32,476
and give it waves, and current,
and everything.
776
00:38:32,560 --> 00:38:35,563
We had decks that had
this U nistrut system built
777
00:38:35,646 --> 00:38:37,982
that were on gantries and chain motors
778
00:38:38,065 --> 00:38:41,068
so that we could lift them up
and build the set on top of it
779
00:38:41,152 --> 00:38:44,197
above the water and then lower them
back down once the set was built.
780
00:38:44,280 --> 00:38:48,201
That system has the ability
to also tilt those platforms
781
00:38:48,284 --> 00:38:54,332
and a lot of times, we will need that
relationship with interacted topography.
782
00:38:54,415 --> 00:38:56,334
(G RU NTS LOU DLY)
783
00:38:57,877 --> 00:38:59,378
Safety was a big concern
784
00:38:59,462 --> 00:39:02,131
when you're dealing with things
in motion of this scale.
785
00:39:02,215 --> 00:39:05,051
And that was our number one concern.
We did everything in our power
786
00:39:05,134 --> 00:39:07,345
to make this multifunctional tank,
787
00:39:07,428 --> 00:39:10,181
what Jim calls
the Swiss Army knife of tanks,
788
00:39:10,264 --> 00:39:12,516
just to make it as safe as possible.
789
00:39:13,392 --> 00:39:16,395
Rich Schwalm devised ways of getting
790
00:39:16,479 --> 00:39:20,024
all of these scenes
into this 40-foot by 90-foot tank.
791
00:39:20,107 --> 00:39:21,525
We could do everything in the tank.
792
00:39:21,609 --> 00:39:23,319
(WH I RRI NG , CLAN KI NG)
793
00:39:23,402 --> 00:39:26,614
We could do waves and we could
crash waves onto the shore,
794
00:39:26,697 --> 00:39:30,326
and have people trying to get out
of the water while they're getting hit.
795
00:39:30,409 --> 00:39:34,664
SCHWALM: The wedge consists of
two 20, 000 pound pieces of steel, right?
796
00:39:34,747 --> 00:39:35,790
And in between those,
797
00:39:35,873 --> 00:39:39,126
there's steel pipes that hold
the whole rib section together.
798
00:39:39,210 --> 00:39:42,046
On the top of those,
we have four hydraulic cylinders.
799
00:39:42,129 --> 00:39:46,175
We can get these 6-foot cylinders
to move 6 feet in one second.
800
00:39:46,259 --> 00:39:49,428
So, total of two seconds,
12 feet of movement
801
00:39:49,512 --> 00:39:51,681
for the largest wave that we can do.
802
00:39:52,765 --> 00:39:54,267
CAMERON : (ON PA) And the waves...
803
00:39:55,476 --> 00:39:56,852
And action!
804
00:39:56,936 --> 00:39:57,937
AON U NG : Come on ! Come on !
805
00:39:59,105 --> 00:40:00,231
Yeah !
806
00:40:00,314 --> 00:40:02,191
CAMERON : It felt real.
It felt like you're in the ocean.
807
00:40:02,275 --> 00:40:06,654
We created a big propeller system
with two 6-foot diameter ship propellers
808
00:40:06,737 --> 00:40:09,156
to drive a current.
We called it a racetrack.
809
00:40:09,240 --> 00:40:11,701
Our current generator, two brass props,
810
00:40:11,784 --> 00:40:15,079
1, 000 pounds each. We could
pump a million gallons of water
811
00:40:15,162 --> 00:40:17,832
through these current generators
in less than a minute.
812
00:40:17,915 --> 00:40:21,502
That creates a 11-foot column
of water for stunt performers
813
00:40:21,585 --> 00:40:24,130
to perform some really cool acrobatics.
814
00:40:25,965 --> 00:40:29,635
CAMPBELL: We had them attached
to a cable and we would keep them
815
00:40:29,719 --> 00:40:31,721
in a certain position in the wind tunnel
816
00:40:31,804 --> 00:40:34,223
within a range ofprobably about 10 feet
817
00:40:34,307 --> 00:40:36,058
so that they wouldn 't go
too far back and forth
818
00:40:36,142 --> 00:40:37,643
and be able to keep them
in the camera view.
819
00:40:37,727 --> 00:40:39,312
And the current would be
going up against them.
820
00:40:39,395 --> 00:40:43,024
And we had Mike Avery,
who is our pilot for our creatures,
821
00:40:43,107 --> 00:40:46,736
holding onto the front,
and he would move the creature around
822
00:40:46,819 --> 00:40:48,112
left and right in banks.
823
00:40:50,197 --> 00:40:53,659
The Skimwings are like riding a log .
(LAUG HS)
824
00:40:53,743 --> 00:40:57,079
I've got a person over there with
a machine, and a person back there
825
00:40:57,163 --> 00:41:00,875
and it feels like they're both trying
to get you to fall off the log.
826
00:41:00,958 --> 00:41:02,251
That's what it feels like.
827
00:41:02,335 --> 00:41:04,670
And then because I'm the chief Tonowari,
828
00:41:04,754 --> 00:41:06,756
I have to look like I know what I'm doing.
829
00:41:06,839 --> 00:41:07,882
(LAUG HS)
830
00:41:07,965 --> 00:41:09,717
And I think we're pulling it off.
831
00:41:13,846 --> 00:41:15,473
(YELLS)
832
00:41:18,225 --> 00:41:20,644
We spent a lot of time with the creatures,
833
00:41:20,728 --> 00:41:22,271
and it's really mostly about
834
00:41:22,355 --> 00:41:25,649
what the performer is interacting
with on the creature.
835
00:41:25,733 --> 00:41:26,734
Hyah !
836
00:41:28,361 --> 00:41:30,654
WARREN : Having them propelled
by Jetovator was fantastic.
837
00:41:30,738 --> 00:41:34,450
And we have these Seabobs,
so that the Seabob doesn't just go fast,
838
00:41:34,533 --> 00:41:36,452
but it can also spiral and cut fast.
839
00:41:36,535 --> 00:41:41,874
I especially like riding the ilu
and you are in fact riding something .
840
00:41:41,957 --> 00:41:47,338
They have created something
that has one or two humans connected to it
841
00:41:47,421 --> 00:41:51,050
and it's on a Seabob
so you really move in the water.
842
00:41:51,133 --> 00:41:55,054
And you can dive right down
20 feet and then swirl around.
843
00:41:55,137 --> 00:41:57,098
Honestly, it's the most fun thing
in the world .
844
00:41:57,807 --> 00:41:59,475
(TU LKU N WH ISTLES)
845
00:41:59,558 --> 00:42:02,561
SCHWALM: For the Payakan wing,
the performer would be riding the wing
846
00:42:02,645 --> 00:42:05,856
in the current with all the facial ,
ripples in the face
847
00:42:05,940 --> 00:42:07,566
and muscle structure changing,
848
00:42:07,650 --> 00:42:10,194
depending on what part of the wing
that you're holding onto.
849
00:42:10,277 --> 00:42:12,530
So the actors could hang
onto it and an operator
850
00:42:12,613 --> 00:42:15,491
could control the pitch and it would
go up, control it again,
851
00:42:15,574 --> 00:42:17,993
and it would go down and you were
just essentially trying to fly
852
00:42:18,077 --> 00:42:20,454
this big wing in front
of the camera 's lens.
853
00:42:20,538 --> 00:42:22,540
SCHWALM: We were able to get
these really good shots
854
00:42:22,623 --> 00:42:25,084
and we used that rig quite a bit
and it worked really well.
855
00:42:25,167 --> 00:42:27,169
We were very happy with the Payakan wing .
856
00:42:41,851 --> 00:42:45,062
(SIG HS) The way this movie
puts you into the ocean
857
00:42:45,146 --> 00:42:48,315
with all of these creatures
and into this world,
858
00:42:48,399 --> 00:42:50,901
it's going to allow us
to bond with the ocean
859
00:42:50,985 --> 00:42:53,070
in a way that I think
we never have before.
860
00:42:53,154 --> 00:42:55,448
And to me, this has been
the most exciting thing.
861
00:42:55,531 --> 00:42:57,533
I just love being in the tank.
862
00:42:57,616 --> 00:42:59,869
I don't care how many hours
we're in the tank.
863
00:42:59,952 --> 00:43:03,372
It's just such an amazing
ensemble experience.
864
00:43:03,456 --> 00:43:05,082
Then when you add water to it,
865
00:43:05,166 --> 00:43:06,709
and then you add waves to it...
866
00:43:07,293 --> 00:43:11,672
It's just, like. . . I can't believe
that I'm doing this, it's so exciting .
867
00:43:35,446 --> 00:43:37,323
(I NAU DI BLE)
868
00:43:44,622 --> 00:43:48,042
JON LAN DAU : These movies, no matter what
the scale and the scope of them are,
869
00:43:48,626 --> 00:43:51,545
it's all about the characters
you put up on screen
870
00:43:52,004 --> 00:43:54,965
and the cast
who portrays those characters.
871
00:43:55,674 --> 00:44:00,346
It was almost impossible for me to imagine
an Avatar sequel without Sam and Zoe.
872
00:44:00,429 --> 00:44:01,889
(CH UCKLES, YI PS)
873
00:44:03,891 --> 00:44:06,936
CAMERON : There's the 14-year-old
adopted daughter, Kiri,
874
00:44:07,019 --> 00:44:10,522
played by Sigourney Weaver,
basically playing her own daughter.
875
00:44:11,315 --> 00:44:12,691
H i , Ma.
876
00:44:13,859 --> 00:44:18,614
CAMERON : And of course, the great nemesis,
Colonel Miles Quaritch, is back.
877
00:44:18,697 --> 00:44:22,826
Except, wait a minute, he's dead .
Well , yeah , he's dead , but he's also back,
878
00:44:22,910 --> 00:44:25,788
and he's 10 feet tall,
and blue and pissed off.
879
00:44:25,996 --> 00:44:27,373
(H ISSES)
880
00:44:37,049 --> 00:44:40,177
ZOE SALDAÑA:
What inspires me about Neytiri is the fact
881
00:44:40,261 --> 00:44:42,596
she is a creature
that is living in a world
882
00:44:42,680 --> 00:44:46,058
where having to be a feminist
doesn 't exist. (LAUG HS)
883
00:44:46,141 --> 00:44:49,645
It doesn 't process through the minds
of any males or any females.
884
00:44:49,728 --> 00:44:54,066
I liked that, 'cause I was never
really playing the empowerment of her.
885
00:44:54,149 --> 00:44:55,943
I was just playing her essence.
886
00:44:58,445 --> 00:45:02,408
Jake, in the first film , is a young guy
who went to another planet
887
00:45:02,491 --> 00:45:04,702
to try to fit in ,
brought the clans together...
888
00:45:04,785 --> 00:45:05,911
This is our land !
889
00:45:05,995 --> 00:45:07,621
WORTH I NGTON :
. . . and ended up saving that planet.
890
00:45:07,705 --> 00:45:12,459
Something really special happened
when we reunited for Avatar 2.
891
00:45:12,543 --> 00:45:17,256
Zoe and me were always just very close,
and that gave us absolute freedom
892
00:45:17,339 --> 00:45:19,758
to just bounce off each other
and enjoy the ride.
893
00:45:19,842 --> 00:45:21,385
-(N EYTI RI YI PPI NG)
-(JAKE LAUG HS)
894
00:45:23,053 --> 00:45:24,054
BOTH : Whoo !
895
00:45:24,138 --> 00:45:25,848
I don't think they quite realized
896
00:45:25,931 --> 00:45:29,476
how much they had been
in training for this movie
897
00:45:29,560 --> 00:45:32,730
for the past 1 3 years as parents.
898
00:45:32,813 --> 00:45:34,773
We couldn 't have
planned it better if I'd said,
899
00:45:34,857 --> 00:45:37,526
"Okay, what I need you guys to do
is find somebody you really love
900
00:45:37,609 --> 00:45:41,363
"and get married and have some children,
and that's your prep for the next movie."
901
00:45:41,447 --> 00:45:43,032
WORTH I NGTON :
She's now had several children,
902
00:45:43,115 --> 00:45:44,241
I've had several children.
903
00:45:44,325 --> 00:45:46,118
When we get back into this world,
904
00:45:46,201 --> 00:45:47,828
it's like putting on
an old pair of gloves.
905
00:45:47,911 --> 00:45:49,246
You just have a trust for each other.
906
00:45:49,330 --> 00:45:51,290
CAMERON : I think they started to get it
when they read the script,
907
00:45:51,373 --> 00:45:54,251
but I don't think they really got it
until they were on set
908
00:45:54,335 --> 00:45:56,462
with the young cast
that play their children,
909
00:45:56,545 --> 00:45:58,714
and realized, "Oh, yeah, I've said that."
910
00:45:59,214 --> 00:46:02,051
-Well , I hate you times infinity, Lo'ak!
-Hey! That's enough !
911
00:46:02,551 --> 00:46:03,802
Don't make me come over there.
912
00:46:04,345 --> 00:46:06,221
WORTH I NGTON :
By giving Jake and Neytiri kids,
913
00:46:06,305 --> 00:46:08,932
this one opens up
all the trials and tribulations
914
00:46:09,016 --> 00:46:10,434
that come with having family.
915
00:46:11,018 --> 00:46:15,314
Now, the stakes are higher.
Now their children are everything .
916
00:46:15,397 --> 00:46:19,193
They manage to find
their own version of happiness.
917
00:46:19,276 --> 00:46:20,611
U ntil the Sky People come back.
918
00:46:24,406 --> 00:46:28,118
WORTH I NGTON : Jim's very good
at making a very subtle shift in plot,
919
00:46:28,202 --> 00:46:30,704
but just enough that it actually
kind of opens up a wide gap.
920
00:46:30,788 --> 00:46:33,540
And by putting Quaritch
in a nine-foot-tall body,
921
00:46:33,624 --> 00:46:37,127
and bringing him back from the past
in such a ferocious way,
922
00:46:37,211 --> 00:46:38,629
how do you now take this on ?
923
00:46:38,712 --> 00:46:42,257
The dilemma of any father is "How do you
protect your family?" That's it.
924
00:46:42,341 --> 00:46:43,342
-Are you hurt?
-No, I'm okay.
925
00:46:43,425 --> 00:46:45,010
-Tuk, you hurt? Hey, hey. . .
-Daddy.
926
00:46:45,094 --> 00:46:49,139
CAMERON : And his dilemma in this,
"Do I save the world and lose my family?"
927
00:46:49,223 --> 00:46:51,058
Or, "It's not myjob to save the world.
928
00:46:51,141 --> 00:46:54,937
"It's my job, as a father,
to protect my family."
929
00:46:55,020 --> 00:46:57,981
Jake makes that decision,
and it all plays out.
930
00:46:59,108 --> 00:47:02,194
WORTH I NGTON : I think Jake and Neytiri
is the ultimate love story.
931
00:47:02,277 --> 00:47:05,322
It showed you in the first movie,
it didn 't matter what race you were,
932
00:47:05,406 --> 00:47:07,991
what planet you were,
what color you were, love is love.
933
00:47:08,075 --> 00:47:10,828
They have forged an unbreakable bond
between them .
934
00:47:10,911 --> 00:47:15,958
It gets tested, just like any marriage.
But I think that Neytiri is Jake's world.
935
00:47:16,458 --> 00:47:18,001
That's the world that he found.
936
00:47:18,877 --> 00:47:24,466
SALDAÑA: You know, we became a unit
as actors, as colleagues, as parents.
937
00:47:24,967 --> 00:47:27,386
We needed to become a family.
We needed to become the Sullys.
938
00:47:28,262 --> 00:47:29,721
This is not a squad .
939
00:47:30,222 --> 00:47:31,849
It is a family.
940
00:47:34,476 --> 00:47:37,271
Quaritch knows that
Jake's weakness is his family,
941
00:47:37,354 --> 00:47:40,149
and that's where he knows
he can strike the hardest.
942
00:47:40,691 --> 00:47:42,818
You're his, aren't you?
943
00:47:42,901 --> 00:47:43,944
(SNARLS)
944
00:47:44,027 --> 00:47:46,238
WORTH I NGTON :
And if he can tear that family apart,
945
00:47:46,321 --> 00:47:48,574
taking Jake's family hostage,
946
00:47:48,657 --> 00:47:50,409
then you're pulling that one pin .
947
00:47:53,620 --> 00:47:55,080
(YI PPI NG)
948
00:47:57,374 --> 00:48:01,545
LAN DAU : Stephen Lang was
an incredible villain in the first movie.
949
00:48:01,628 --> 00:48:03,922
In the sequels, people are gonna even see
950
00:48:04,006 --> 00:48:08,010
a greater depth and complexity
to his character, and hate him even more.
951
00:48:08,093 --> 00:48:12,890
Hope doesn't exist without the despair.
Eden doesn't exist without the serpent.
952
00:48:12,973 --> 00:48:14,308
Quaritch is a necessity.
953
00:48:14,850 --> 00:48:17,728
He becomes part of the fabric
of this planet,
954
00:48:17,811 --> 00:48:19,646
even if it's to test it.
955
00:48:20,397 --> 00:48:23,567
CAMERON : Quaritch is like the gunslinger
who's been brought in with his bad guys,
956
00:48:23,650 --> 00:48:26,361
only he's got his highly trained
team of recombinants,
957
00:48:26,445 --> 00:48:28,280
which means they have the body of Na 'vi.
958
00:48:29,656 --> 00:48:33,035
Our mission is
to hunt down and kill Jake Sully.
959
00:48:33,118 --> 00:48:37,372
Quaritch is a fascinating character for me
because there's this existential angst
960
00:48:37,456 --> 00:48:41,668
around like, "Who am I?
Am I the new guy, or am I the old guy?"
961
00:48:41,752 --> 00:48:43,629
So he's fighting
to make himself his own thing,
962
00:48:43,712 --> 00:48:46,632
and not be a slave
to just all these memories,
963
00:48:46,715 --> 00:48:49,426
except that he can 't help thinking
he's that guy.
964
00:48:49,510 --> 00:48:52,513
Even when he's confronted with
his own skeletal remains in the forest,
965
00:48:52,596 --> 00:48:54,765
he rejects it. He crushes the skull.
966
00:48:56,892 --> 00:48:59,561
He says,
"I'm not that guy. I'm not that guy."
967
00:48:59,645 --> 00:49:04,149
LANG : Quaritch realizes Spider is his kid,
and that sort of blows his mind.
968
00:49:04,233 --> 00:49:06,944
Spider was not a part of his plan .
969
00:49:07,027 --> 00:49:08,737
Except he's kind of cool .
970
00:49:09,279 --> 00:49:12,157
And I see a lot of myself in him
when I was that age.
971
00:49:12,241 --> 00:49:13,408
Miles?
972
00:49:14,618 --> 00:49:16,036
Nobody calls me that.
973
00:49:16,119 --> 00:49:19,414
Spider's like, "Who's this asshole?
I didn't ask for this."
974
00:49:19,498 --> 00:49:22,376
LANG : It's odd that maybe
the more Na 'vi he becomes,
975
00:49:22,459 --> 00:49:24,503
in a sense, the more human he becomes.
976
00:49:24,586 --> 00:49:27,422
There are emotional doors
that have been locked in Quaritch
977
00:49:27,506 --> 00:49:31,343
for most of his life,
which are now being kind of shaken .
978
00:49:32,219 --> 00:49:36,139
Demon ! I will kill you
as many times as I have to !
979
00:49:36,223 --> 00:49:38,934
That's right! They're coming for you !
980
00:49:40,394 --> 00:49:43,355
CAMERON : So there's the 14-year-old
adopted daughter, Kiri,
981
00:49:43,438 --> 00:49:45,357
played by Sigourney Weaver.
982
00:49:45,440 --> 00:49:47,651
At the end of the first film,
Grace Augustine had died.
983
00:49:47,734 --> 00:49:49,778
Avatar Grace was still alive
at the end of the movie.
984
00:49:49,861 --> 00:49:51,655
And then , they find out she's pregnant.
985
00:49:51,738 --> 00:49:55,492
Like, whoa. When that daughter's born,
Jake and Neytiri adopt her
986
00:49:55,576 --> 00:49:57,077
and raise her as their own.
987
00:49:57,160 --> 00:49:59,663
I remember having lunch with J im .
988
00:49:59,746 --> 00:50:02,791
He started to talk about
this kind of forest girl
989
00:50:02,874 --> 00:50:06,795
who had a special gift
of connection with living things.
990
00:50:07,296 --> 00:50:08,922
And she's going to be about 14.
991
00:50:09,006 --> 00:50:12,926
He said, "And you and I know
how immature you are,
992
00:50:13,010 --> 00:50:14,553
"so I think you can handle this." (LAUG HS)
993
00:50:15,762 --> 00:50:16,972
CAMERON : When you see Sigourney,
994
00:50:17,055 --> 00:50:20,392
she's playing a character
a quarter of her actual age.
995
00:50:20,475 --> 00:50:22,894
She didn 't consciously
do a specific voice,
996
00:50:22,978 --> 00:50:25,689
but unconsciously,
she just became younger.
997
00:50:25,772 --> 00:50:27,524
It was crazy to observe.
998
00:50:27,608 --> 00:50:30,027
Why can't I just be like everyone else?
999
00:50:30,861 --> 00:50:31,862
(SOFTLY) Oh , Kiri .
1000
00:50:32,362 --> 00:50:33,614
CAMERON : There are things
going on with her
1001
00:50:33,697 --> 00:50:36,158
that she doesn 't know
why they're happening.
1002
00:50:36,700 --> 00:50:38,577
I know you think I'm crazy.
1003
00:50:39,077 --> 00:50:40,454
But isn't that every teenager?
1004
00:50:40,537 --> 00:50:43,540
Things happening to their body,
things happening to their brain,
1005
00:50:43,624 --> 00:50:46,335
things happening to them socially
and with their family.
1006
00:50:46,418 --> 00:50:48,003
Life feels out of control.
1007
00:50:48,086 --> 00:50:49,087
What do you want?
1008
00:50:49,171 --> 00:50:51,548
So she's got all that
sort of normal teen angst,
1009
00:50:51,632 --> 00:50:53,800
but on top of it, she does strange things.
1010
00:50:53,884 --> 00:50:57,971
She has a power to attune herself
to her natural surroundings
1011
00:50:58,055 --> 00:51:00,974
in a way that is unnatural,
even for a Na 'vi.
1012
00:51:02,309 --> 00:51:05,604
WEAVER: I have had to work completely
differently than I ever have before
1013
00:51:05,687 --> 00:51:10,108
because you do have to strip away
(LAUG HS) all of that, you know,
1014
00:51:10,192 --> 00:51:12,110
Sigourney Weaver, whoever that is.
1015
00:51:12,194 --> 00:51:14,321
And it's been an amazing experience
1016
00:51:14,404 --> 00:51:17,366
to go back in time
and be with that person every day.
1017
00:51:18,075 --> 00:51:21,203
SALDAÑA: She's marvelous.
To watch her, it's such a work of art.
1018
00:51:21,286 --> 00:51:25,749
You're watching , like, a flower unfold .
And all of a sudden , you do not recognize
1019
00:51:25,832 --> 00:51:28,585
that you are talking
to a woman that is 5' 1 0",
1020
00:51:28,669 --> 00:51:30,003
(LAUG HS)
1021
00:51:30,420 --> 00:51:33,632
That has walked this earth for decades
and has made her mark.
1022
00:51:34,883 --> 00:51:38,762
LANG : There so clearly
is a mischievous little girl in Sigourney.
1023
00:51:38,845 --> 00:51:43,058
And she can be as imperious as you want,
and can also be a complete knucklehead .
1024
00:51:44,476 --> 00:51:45,477
(QU I ETLY) Thank you .
1025
00:51:46,019 --> 00:51:48,855
We ask a lot of questions with Kiri
that we don't answer,
1026
00:51:48,939 --> 00:51:52,526
even over the course of the entire film .
It's a greater story arc.
1027
00:51:52,609 --> 00:51:54,653
It's a bigjourney
for the audience with her.
1028
00:51:54,736 --> 00:51:58,490
But it's okay, because you care about her.
She has a luminous quality.
1029
00:51:59,324 --> 00:52:01,535
WEAVER: Jim has this amazing ability
1030
00:52:01,618 --> 00:52:04,079
to write straight into the heart
of a character.
1031
00:52:04,162 --> 00:52:06,039
He just goes for it.
1032
00:52:06,123 --> 00:52:09,000
He tells these
really, really compelling stories
1033
00:52:09,084 --> 00:52:13,463
about the family and the world
and what's happening on the planet.
1034
00:52:14,381 --> 00:52:16,800
And it's so wonderful for an actor
1035
00:52:16,883 --> 00:52:21,388
to work on material that's so rich ,
you just can't get to the bottom of it.
1036
00:52:55,338 --> 00:52:59,050
Casting was a daunting task
for Margie Simkin .
1037
00:52:59,760 --> 00:53:04,347
Avatar, as a whole, is about celebrating
diversity of cultures.
1038
00:53:04,848 --> 00:53:10,896
And Margie scoured the globe
for all of our young cast members.
1039
00:53:11,646 --> 00:53:14,566
Often , in casting ,
it comes down to one quality
1040
00:53:14,649 --> 00:53:16,902
that each character has to have
1041
00:53:16,985 --> 00:53:20,322
in order to do
what I see Jim is looking for.
1042
00:53:20,947 --> 00:53:22,532
(CH UCKLES) Yeah , that's it.
1043
00:53:24,242 --> 00:53:26,244
Jamie Flatters plays Neteyam .
1044
00:53:26,328 --> 00:53:27,454
He's the older brother.
1045
00:53:27,537 --> 00:53:31,082
He's kind of the guy
who most wants to be Jake.
1046
00:53:31,166 --> 00:53:32,501
He wants to be that warrior.
1047
00:53:32,626 --> 00:53:33,668
-(G ROANS)
-(G U N FI RES)
1048
00:53:34,169 --> 00:53:37,297
He just wants to pretty much walk
in the footsteps of his father.
1049
00:53:37,506 --> 00:53:38,507
Go on , dismissed .
1050
00:53:38,590 --> 00:53:40,175
FLATTERS: He's constantly
seeking approval,
1051
00:53:40,258 --> 00:53:42,385
but that approval
is never gonna be truly given .
1052
00:53:42,469 --> 00:53:44,012
No, no, you stay with ikran.
1053
00:53:44,095 --> 00:53:46,848
But, Dad , I'm a warrior like you .
I'm supposed to fight.
1054
00:53:46,932 --> 00:53:48,892
Jamie, as a performer,
1055
00:53:48,975 --> 00:53:52,854
came in with that same confidence
that we saw in Sam Worthington.
1056
00:53:53,313 --> 00:53:57,776
Smart choice. And from now on ,
I need you to respect my sister.
1057
00:53:58,527 --> 00:54:00,070
CAMERON : And cut. N ice.
1058
00:54:00,153 --> 00:54:03,490
LAN DAU : And he was able to bring to it
a strength of character,
1059
00:54:03,990 --> 00:54:05,450
but also a vulnerability.
1060
00:54:05,909 --> 00:54:07,661
Ow, ow! Ow.
1061
00:54:08,036 --> 00:54:11,748
Jamie has a very calm presence
for a guy that young .
1062
00:54:11,832 --> 00:54:15,043
He is a natural leader,
but he doesn 't actually see that yet.
1063
00:54:15,126 --> 00:54:18,296
When you're in a scene with him,
he's very present and he's honest
1064
00:54:18,380 --> 00:54:19,881
and that's a great thing .
1065
00:54:20,382 --> 00:54:21,925
Sir. I take full responsibility.
1066
00:54:22,008 --> 00:54:23,009
JAKE: Yeah , you do.
1067
00:54:23,093 --> 00:54:25,637
'Cause you're the older brother.
You gotta act like it.
1068
00:54:26,304 --> 00:54:27,973
FLATTERS: Being able to have Sam and Zoe
1069
00:54:28,056 --> 00:54:32,143
instantly created this parent
and child relationship off-screen as well ,
1070
00:54:32,227 --> 00:54:34,187
because they helped us through the film
1071
00:54:34,271 --> 00:54:37,440
and helped us enter into
our own characters and into the world.
1072
00:54:37,524 --> 00:54:41,278
Jamie carried the burden
of being the oldest quite beautifully.
1073
00:54:41,361 --> 00:54:42,362
Lo'ak!
1074
00:54:42,445 --> 00:54:43,572
Get back here, you . . . Argh !
1075
00:54:48,994 --> 00:54:53,206
Lo'ak, played by Britain , feels that
he's overshadowed by his brother.
1076
00:54:53,290 --> 00:54:54,541
You guys aren't listening .
1077
00:54:54,624 --> 00:54:56,251
CAMERON :
He doesn 't live up to expectation.
1078
00:54:56,334 --> 00:54:59,045
He acts out, probably, because of that,
1079
00:54:59,170 --> 00:55:00,338
maybe to be noticed.
1080
00:55:00,422 --> 00:55:01,590
(SNARLS)
1081
00:55:01,673 --> 00:55:04,467
CAMERON : Not noticed as much by his father
except when he's screwing up.
1082
00:55:04,551 --> 00:55:06,553
You're grounded . No flying for a month .
1083
00:55:07,137 --> 00:55:08,138
Yes, sir.
1084
00:55:08,221 --> 00:55:10,640
For the audition process,
J im had called me.
1085
00:55:10,974 --> 00:55:13,018
He said, "First day I saw you
in auditions,
1086
00:55:13,101 --> 00:55:14,895
"I knew I wanted to see you in this film."
1087
00:55:14,978 --> 00:55:17,272
Don't leave me, please ! Wait!
1088
00:55:18,231 --> 00:55:19,232
Wait!
1089
00:55:19,316 --> 00:55:20,317
CAMERON : Great instinct.
1090
00:55:20,400 --> 00:55:23,320
And he's taken us to all these places,
it's really cool .
1091
00:55:23,403 --> 00:55:27,741
Britain , there was that quality
in the character.
1092
00:55:27,824 --> 00:55:30,201
He's the frustrated, younger brother.
1093
00:55:30,285 --> 00:55:32,579
You mean why can't I be
the perfect son like you?
1094
00:55:32,662 --> 00:55:33,705
Get off me.
1095
00:55:33,788 --> 00:55:36,124
SIMKI N : And there were just
those elements in Britain,
1096
00:55:36,207 --> 00:55:39,127
where you kind of feel him
struggling to find his place.
1097
00:55:39,878 --> 00:55:42,380
Britain's a wild child and I love it.
(LAUG HS)
1098
00:55:42,464 --> 00:55:44,799
He fights the system. That's what he is.
1099
00:55:44,883 --> 00:55:47,344
And, to me, that's what Lo'ak is.
1100
00:55:47,427 --> 00:55:48,678
(U LU LATI NG)
1101
00:55:48,929 --> 00:55:51,514
DALTON : Jim wanted me
to put my own heart and soul into it.
1102
00:55:52,432 --> 00:55:55,518
Lo'ak is a rebel.
He's a guy who gets in trouble.
1103
00:55:55,602 --> 00:55:57,187
You brought shame to this family.
1104
00:55:57,270 --> 00:55:58,772
DALTON : He's also misunderstood
1105
00:55:58,855 --> 00:56:01,358
and he's an outcast
and that's how I thought of that.
1106
00:56:01,441 --> 00:56:03,944
This is how it would feel
if I was treated that way.
1107
00:56:05,070 --> 00:56:06,696
This is not Aonung's fault.
1108
00:56:06,780 --> 00:56:07,906
This was my idea.
1109
00:56:07,989 --> 00:56:09,991
Aonung tried to talk me out of it.
1110
00:56:10,075 --> 00:56:13,620
I pray for the strength that I will not
pluck the eyeballs out of my youngest son .
1111
00:56:13,703 --> 00:56:18,249
Britain turns out to be a very central
and pivotal character unexpectedly.
1112
00:56:18,333 --> 00:56:21,461
And you always know what he's thinking
and what he's feeling
1113
00:56:21,544 --> 00:56:24,756
and it's there in his face
in a nuanced way.
1114
00:56:25,507 --> 00:56:27,884
Our facial capture system
just picked it up.
1115
00:56:27,968 --> 00:56:33,348
The CG animators loved Britain Dalton
because he just boomed right through .
1116
00:56:34,349 --> 00:56:35,392
Are you all right?
1117
00:56:35,892 --> 00:56:37,310
You're too fast!
1118
00:56:37,394 --> 00:56:38,603
Wait for us.
1119
00:56:39,729 --> 00:56:43,692
So, the youngest child , Tuk,
is played by Trinity Bliss
1120
00:56:44,192 --> 00:56:49,531
and Trinity just puts a smile on your face
whenever you see her.
1121
00:56:50,031 --> 00:56:55,453
TRI N ITY BLISS: Tuk is a curious
and mischievous and daring little Na 'vi.
1122
00:56:56,162 --> 00:56:58,373
And sometimes she finds herself in trouble
1123
00:56:58,623 --> 00:57:01,793
(LAUG HS) because she loves
to follow her siblings.
1124
00:57:01,876 --> 00:57:04,337
I'm telling that you guys are going .
1125
00:57:04,421 --> 00:57:06,131
WOMAN : What? You wouldn't do that to us.
1126
00:57:06,631 --> 00:57:07,674
Yes, I would .
1127
00:57:07,757 --> 00:57:11,219
SALDAÑA: Tuk is stubborn, Tuk is brave,
and Tuk is very smart.
1128
00:57:11,302 --> 00:57:12,971
She's also very transparent.
1129
00:57:13,054 --> 00:57:14,723
I want to go home.
1130
00:57:14,806 --> 00:57:17,767
SALDAÑA: So, whenever she feels
she's being treated like the youngest,
1131
00:57:17,851 --> 00:57:21,354
she finds ways to rebel and remind us
that she is a Sully as well .
1132
00:57:21,438 --> 00:57:23,565
We've got to go back for her.
1133
00:57:23,648 --> 00:57:26,651
She had really amazing range.
1134
00:57:26,735 --> 00:57:28,653
-Fear, terror, fury. . .
-(SNARLS)
1135
00:57:28,737 --> 00:57:31,990
...impudence, funny, laughter,
joy of life.
1136
00:57:32,073 --> 00:57:33,700
It's all honest, it's all real .
1137
00:57:34,200 --> 00:57:36,119
She's tough, she's spunky. We like her.
1138
00:57:36,619 --> 00:57:40,457
We see Tuk going to the inferno,
but she gives as good as she gets.
1139
00:57:40,540 --> 00:57:42,083
When she confronts the bad guys,
1140
00:57:42,167 --> 00:57:45,170
she just gives them
the old Na'vi snarl threat display.
1141
00:57:45,253 --> 00:57:46,379
(SNARLS)
1142
00:57:46,463 --> 00:57:47,922
(SNARLS)
1143
00:57:50,008 --> 00:57:51,259
I'm going , I'm going .
1144
00:57:51,760 --> 00:57:53,511
Spider was our big challenge.
1145
00:57:54,012 --> 00:58:00,101
Finding a young actor
who could play opposite Sigourney Weaver,
1146
00:58:00,185 --> 00:58:02,604
who could play opposite Stephen Lang,
1147
00:58:02,687 --> 00:58:07,525
who could play opposite Sam and Zoe
and hold their own was challenging .
1148
00:58:08,026 --> 00:58:13,156
SIMKI N : Jack was so smart,
so interesting, so fun.
1149
00:58:13,239 --> 00:58:17,869
And from the beginning ,
he had an enormous imagination .
1150
00:58:18,369 --> 00:58:23,291
For such a sweet kid,
he also has a ferocity.
1151
00:58:23,792 --> 00:58:28,588
And I felt like you could believe him
in this world.
1152
00:58:28,671 --> 00:58:32,217
You believe he was this abandoned kid
who had to figure it out
1153
00:58:32,300 --> 00:58:35,136
and who was trying to make a family
1154
00:58:35,220 --> 00:58:38,139
out of this group ofpeople,
but wasn 't really a part of them.
1155
00:58:39,182 --> 00:58:42,352
It has been just a crazy,
life-changing experience,
1156
00:58:42,435 --> 00:58:45,814
because I'm not the same person
I was when I first got the role.
1157
00:58:45,897 --> 00:58:49,692
You call that speaking the language?
You guys sound like three-year-olds.
1158
00:58:50,443 --> 00:58:51,903
The training has changed me. J ust, like...
1159
00:58:51,986 --> 00:58:54,322
I've learned so much more
about acting with Jim.
1160
00:58:54,405 --> 00:58:58,993
I got a personal trainer and you can see
how much I've just physically grown.
1161
00:58:59,077 --> 00:59:00,537
It's insane.
1162
00:59:00,620 --> 00:59:01,788
(LAUG HS) Yes !
1163
00:59:01,871 --> 00:59:04,415
Working with Jack has been
a true blessing as a coach .
1164
00:59:04,541 --> 00:59:07,001
And works incredibly hard .
1165
00:59:07,085 --> 00:59:10,922
To be honest, he hadn 't had too much
athletic experience in the past
1166
00:59:11,005 --> 00:59:14,634
and knowing what Spider
was going to have to, A, look like,
1167
00:59:14,717 --> 00:59:17,846
but, B, also be able to do,
we had our work cut out for us.
1168
00:59:18,179 --> 00:59:19,764
(SNARLI NG)
1169
00:59:19,848 --> 00:59:21,474
I didn't even recognize myself.
1170
00:59:21,975 --> 00:59:26,312
Spider is the one human we get to know,
he's also caught between two worlds.
1171
00:59:26,604 --> 00:59:28,857
He's kind of the bridge
between all the worlds
1172
00:59:28,940 --> 00:59:31,276
that Jim is so interested in connecting.
1173
00:59:31,359 --> 00:59:33,736
JOCELYN : Avatars only, go around !
1174
00:59:33,820 --> 00:59:35,321
Spider's kind of an orphan .
1175
00:59:35,405 --> 00:59:39,784
He never really knew his father
and what he knew was all the tales told
1176
00:59:39,868 --> 00:59:43,788
about this guy who was kind of
a horrible person, or at least the enemy,
1177
00:59:43,872 --> 00:59:47,041
so Spider's probably always wondered
about his father.
1178
00:59:47,125 --> 00:59:50,753
Guys, sometimes it's not so great
to know who your father was.
1179
00:59:52,297 --> 00:59:53,339
Whatever.
1180
00:59:53,423 --> 00:59:54,883
Don't even remember him .
1181
00:59:55,383 --> 00:59:56,426
Spider...
1182
00:59:58,803 --> 01:00:00,638
You are not him .
1183
01:00:01,681 --> 01:00:05,768
He's been raised by the Na'vi ,
and he's pretty much , like, a pink Na'vi
1184
01:00:05,852 --> 01:00:08,938
because he understands their culture,
he speaks Na 'vi.
1185
01:00:09,022 --> 01:00:10,398
(SPEAKI NG NA'VI)
1186
01:00:10,481 --> 01:00:13,276
CHAMPION :
He squats like them. He runs like them.
1187
01:00:13,359 --> 01:00:15,069
-He tries his best to fit in.
-Oh !
1188
01:00:15,528 --> 01:00:17,071
(BOTH SNARL)
1189
01:00:17,280 --> 01:00:20,200
Jack would ask me,
"So, what am I really thinking here?"
1190
01:00:20,700 --> 01:00:22,327
I said, "Well, what do you think
you're thinking?"
1191
01:00:22,410 --> 01:00:25,163
He said , "Well , I don't know,
I'm confused ." I said , "Exactly."
1192
01:00:25,246 --> 01:00:26,706
(LAUG HS) I said , "J ust play that,
1193
01:00:26,789 --> 01:00:29,417
"because there are no simple answers
for somebody in that situation ."
1194
01:00:30,251 --> 01:00:32,587
-I'm not gonna be a part of this.
-Is that right?
1195
01:00:32,670 --> 01:00:35,715
These people don't know anything !
They don't know anything !
1196
01:00:37,008 --> 01:00:41,471
We also had the challenge of finding
three young , teen actors
1197
01:00:41,554 --> 01:00:43,556
who could play the Metkayina kids.
1198
01:00:45,308 --> 01:00:48,228
We found Filip and Bailey Bass
1199
01:00:48,311 --> 01:00:51,397
to play the children
of Ronal and Tonowari.
1200
01:00:51,481 --> 01:00:56,486
And they both helped create
the triumvirate of Metkayina children .
1201
01:00:56,611 --> 01:01:00,698
I play Aonung , and he is their only son .
1202
01:01:01,115 --> 01:01:04,327
When my father moves on,
then I will become the new chief
1203
01:01:05,286 --> 01:01:06,871
I asked if you were a freak.
1204
01:01:06,955 --> 01:01:10,291
G ELJO: Aonung kind of gets into
altercations with the Sully boys.
1205
01:01:10,375 --> 01:01:11,417
You are not good divers.
1206
01:01:11,501 --> 01:01:13,127
Maybe good at swinging
through trees, but...
1207
01:01:13,211 --> 01:01:14,212
(ROTXO LAUG HS)
1208
01:01:14,295 --> 01:01:16,589
Later on , he comes out
to be a pretty cool guy.
1209
01:01:21,678 --> 01:01:25,265
SIMKI N : Tsireya, what I realized
was uncompromisable
1210
01:01:25,348 --> 01:01:27,725
about whoever we cast, was a luminosity.
1211
01:01:28,226 --> 01:01:32,522
And when I first saw Bailey's tape,
I saw that quality.
1212
01:01:32,605 --> 01:01:33,940
I trust you .
1213
01:01:34,023 --> 01:01:36,776
SIMKI N : I think she has a loveliness
1214
01:01:36,859 --> 01:01:41,239
that is very special
and really important for this character.
1215
01:01:41,322 --> 01:01:44,534
She just lights up the screen
when she smiles.
1216
01:01:44,951 --> 01:01:46,286
We have a connection .
1217
01:01:48,288 --> 01:01:52,875
Bailey Bass, she brings different
cultural experiences in the door with her.
1218
01:01:52,959 --> 01:01:58,006
Tsireya is a reef teen girl . She's 1 3.
She's part of the Metkayina clan .
1219
01:01:58,131 --> 01:02:01,426
She's the daughter of the Tsahik
and the chief
1220
01:02:01,509 --> 01:02:04,512
I see her as someone who's very kind .
1221
01:02:04,595 --> 01:02:08,641
We don't speak this finger talk, guys.
We don't know what you're saying .
1222
01:02:08,725 --> 01:02:10,184
I will teach you .
1223
01:02:10,268 --> 01:02:14,147
BASS: She honestly has a big heart
and always wants to help someone.
1224
01:02:14,230 --> 01:02:17,859
And if you want that help from her,
she's gonna give it to you .
1225
01:02:26,367 --> 01:02:29,537
LAN DAU : Duane Evans was cast
as Metkayina teenager
1226
01:02:29,620 --> 01:02:30,913
and he's from New Zealand.
1227
01:02:32,665 --> 01:02:35,752
My character, Roo, he is a peacemaker.
1228
01:02:36,127 --> 01:02:40,173
He is the character
that doesn 't exactly pick sides.
1229
01:02:40,256 --> 01:02:42,925
-I don't know how to breathe properly.
-I'll teach you !
1230
01:02:43,426 --> 01:02:45,511
EVANS J R. :
He loves everyone for what they are,
1231
01:02:45,595 --> 01:02:48,598
and he likes the new people, the Sullys.
1232
01:02:53,353 --> 01:02:57,148
The Way of Water truly tests
the bonds of family.
1233
01:02:57,231 --> 01:03:00,234
What toll does it put on Jake and Neytiri?
1234
01:03:00,318 --> 01:03:03,488
What toll does it take on the siblings?
1235
01:03:03,571 --> 01:03:06,616
It's the unexpected .
It's something you never forget.
1236
01:03:06,699 --> 01:03:10,078
Wherever we go,
this family is our fortress.
1237
01:03:22,590 --> 01:03:24,509
-(SNARLS)
-What's your name, kid?
1238
01:03:24,967 --> 01:03:25,968
Spider...
1239
01:03:26,052 --> 01:03:28,096
JAMES CAMERON : The thing I love
about the Spider character is
1240
01:03:28,638 --> 01:03:30,765
he's the glue
that holds the story together.
1241
01:03:30,973 --> 01:03:32,475
He turns out to be
a pretty amazing character.
1242
01:03:33,935 --> 01:03:36,312
He's played by a young actor
named Jack Champion.
1243
01:03:37,021 --> 01:03:38,898
He's creating Spider before our eyes.
1244
01:03:39,232 --> 01:03:40,316
And he's great.
1245
01:03:41,526 --> 01:03:44,404
JACK CHAMPION : It has been
a crazy life-changing experience.
1246
01:03:44,487 --> 01:03:46,030
I feel like my mind has been opened .
1247
01:03:46,114 --> 01:03:47,740
(CH UCKLES) This is gonna be good .
1248
01:03:57,792 --> 01:03:59,836
JON LAN DAU : When Jim writes a script,
1249
01:03:59,919 --> 01:04:02,964
he writes it without the boundaries
of what is possible.
1250
01:04:03,464 --> 01:04:06,092
He writes it
to tell the best narrative story
1251
01:04:06,175 --> 01:04:09,554
and then when you pick up and read
The Way of Water, you go,
1252
01:04:09,637 --> 01:04:11,722
"How are we possibly going to do this?"
1253
01:04:12,390 --> 01:04:15,435
The challenge of capturing
the performance of Spider
1254
01:04:15,518 --> 01:04:16,561
is so daunting .
1255
01:04:16,644 --> 01:04:19,564
But that's what excites us
about the process.
1256
01:04:19,647 --> 01:04:21,649
DAN COX: Somebody asked me
at one point early on in the film,
1257
01:04:21,732 --> 01:04:23,317
"What do you think
is gonna be the hardest?
1258
01:04:23,401 --> 01:04:24,610
"The water's gonna be the hardest thing?"
1259
01:04:24,694 --> 01:04:26,529
Nope, Spider's gonna be the hardest thing .
1260
01:04:26,612 --> 01:04:29,198
Spider's difficult
for a lot of different reasons.
1261
01:04:30,032 --> 01:04:32,118
Jack's got the unenviable task
of being the only human .
1262
01:04:32,285 --> 01:04:34,370
I know what that's like
from the first film,
1263
01:04:34,454 --> 01:04:35,788
and to be honest,
1264
01:04:35,872 --> 01:04:38,916
he has bigger shoulders
than I did 1 0 years ago.
1265
01:04:39,750 --> 01:04:42,462
MARIA CAMPBELL: A lot of his scenes
are in the virtual world.
1266
01:04:42,545 --> 01:04:46,048
And he has to be put
into a set that isn't there
1267
01:04:46,132 --> 01:04:48,551
orjust a very small
postage stamp of a set.
1268
01:04:49,677 --> 01:04:51,804
CHAMPION : The reason
I had to do performance capture
1269
01:04:51,929 --> 01:04:54,640
even though I'd eventually have to
do it live-action in New Zealand
1270
01:04:54,765 --> 01:04:58,853
was so J im could have, like, that real
human-to-human interaction .
1271
01:04:59,187 --> 01:05:02,690
Me and Sigourney, and me and Sam
or anything like that,
1272
01:05:02,773 --> 01:05:04,817
and when I would do it in New Zealand ,
I would remember
1273
01:05:04,901 --> 01:05:06,319
doing the scene and what it was like.
1274
01:05:06,402 --> 01:05:07,570
(SNARLS)
1275
01:05:08,029 --> 01:05:09,697
Put it down ! Down !
1276
01:05:09,780 --> 01:05:10,948
Put it down !
1277
01:05:11,032 --> 01:05:13,034
LAN DAU : When we did capture
on the first movie,
1278
01:05:13,117 --> 01:05:16,078
we were capturing everybody
at the same scale.
1279
01:05:16,162 --> 01:05:17,205
It was 1- 1.
1280
01:05:17,288 --> 01:05:22,335
Here, we had so many scenes
with humans and Na'vi characters
1281
01:05:22,418 --> 01:05:25,713
that we need multiple scales
to capture a scene.
1282
01:05:26,172 --> 01:05:28,466
SIGOU RN EY WEAVER:
The logistics are mind-blowing to me,
1283
01:05:28,549 --> 01:05:30,593
having people be different sizes.
1284
01:05:30,676 --> 01:05:34,180
Spider's this big and I'm like that big .
1285
01:05:34,263 --> 01:05:36,557
We would often times have two sets.
1286
01:05:36,641 --> 01:05:39,477
One at the Na 'vi scale,
one at the human scale.
1287
01:05:39,560 --> 01:05:41,729
And we had to tie
those two things together
1288
01:05:41,812 --> 01:05:43,356
and they had to be in lockstep
1289
01:05:43,814 --> 01:05:45,149
so everything matched .
1290
01:05:45,233 --> 01:05:48,236
GARRETT WARREN : We had to come up with
a way to represent Spider in this movie.
1291
01:05:48,319 --> 01:05:51,239
He's a small human child
against a 9-foot tall Na'vi .
1292
01:05:51,364 --> 01:05:53,616
So we brought in
some very short performers,
1293
01:05:53,699 --> 01:05:56,118
the person named Kacie, who is fantastic.
1294
01:05:56,202 --> 01:05:59,664
I double for Spider
because I'm the human offset to a Na'vi .
1295
01:05:59,747 --> 01:06:01,415
Na 'vis are nine feet tall.
1296
01:06:01,707 --> 01:06:03,501
Your average human 's about six feet tall,
1297
01:06:03,584 --> 01:06:05,294
but we have average-height humans
playing our Na'vi ,
1298
01:06:06,087 --> 01:06:09,632
so we need someone who's smaller than
an average human to play a human
1299
01:06:09,715 --> 01:06:11,884
so that the eyelines will be correct.
1300
01:06:12,969 --> 01:06:15,638
WORTH I NGTON : Jack is there to give you
the true emotion for the scene.
1301
01:06:15,721 --> 01:06:17,306
He then has to go do it again
1302
01:06:17,390 --> 01:06:21,644
in New Zealand in human form
with us scaled a bit higher.
1303
01:06:21,727 --> 01:06:24,814
So, whereas we're acting
with Kacie to give us the right scale,
1304
01:06:24,897 --> 01:06:28,109
he then has to act with giant replicas
to get the right scale.
1305
01:06:28,192 --> 01:06:29,485
It's a very difficult task.
1306
01:06:29,569 --> 01:06:32,321
ERIC SAI N DON : It was really critical
to make sure they got the capture
1307
01:06:32,405 --> 01:06:35,783
and the performance that Jack
would've done with the other characters.
1308
01:06:37,285 --> 01:06:40,913
We then needed to recreate that
on a live-action stage.
1309
01:06:40,997 --> 01:06:43,874
A lot of our live-action shooting
is around Jack's character.
1310
01:06:43,958 --> 01:06:46,377
We've spent two years capturing
all the big blue people
1311
01:06:46,460 --> 01:06:49,839
and now Jack has to interact
with their recorded performances
1312
01:06:49,922 --> 01:06:51,465
which all get merged together.
1313
01:06:51,549 --> 01:06:53,843
More than half of the scenes,
I would say 70% of the scenes
1314
01:06:53,926 --> 01:06:57,054
have at least Spider in them
if not any other live-action characters.
1315
01:06:57,138 --> 01:06:58,514
It is like the Jack Show
1316
01:06:58,598 --> 01:07:01,225
since I am the only actor
filming right now.
1317
01:07:01,309 --> 01:07:03,352
It can be a little lonely sometimes
1318
01:07:03,436 --> 01:07:06,230
since I am, like, the only person
under 18 on the set,
1319
01:07:06,314 --> 01:07:09,275
but at the same time,
everyone's really fun to work with.
1320
01:07:11,527 --> 01:07:13,070
LAN DAU : To make the Spider character,
1321
01:07:13,154 --> 01:07:16,574
we needed to improve on some of
the technologies from the first film
1322
01:07:16,657 --> 01:07:19,952
and invent new technologies
that would allow us to accomplish
1323
01:07:20,036 --> 01:07:22,204
what Jim had in his head
for the character.
1324
01:07:23,164 --> 01:07:27,710
We challenged Wötä FX
to help us enhance Simul-cam .
1325
01:07:28,210 --> 01:07:31,922
Simul-cam is something we created
on the first Avatar film that allowed us
1326
01:07:32,006 --> 01:07:34,008
to shoot with a live-action camera
1327
01:07:34,675 --> 01:07:38,346
and simultaneously see
in the eyepiece of that camera
1328
01:07:38,429 --> 01:07:41,307
computer-generated elements
that weren 't really there.
1329
01:07:42,058 --> 01:07:43,184
People see it everyday.
1330
01:07:43,309 --> 01:07:45,936
When you watch the weather
and you see someone say,
1331
01:07:46,020 --> 01:07:47,938
"There's rain here.
There's a storm over there."
1332
01:07:48,022 --> 01:07:49,732
They are pointing at a blue screen.
1333
01:07:49,815 --> 01:07:52,652
They're looking at a TV
that's off camera to know where to point.
1334
01:07:52,735 --> 01:07:55,738
In the first movie,
we did Simul-cam a number of times,
1335
01:07:55,821 --> 01:07:58,324
but the live-action integration,
1336
01:07:58,407 --> 01:08:01,952
putting a live-action character
with a CG character was difficult.
1337
01:08:02,036 --> 01:08:03,954
-(EXCLAIMS AMUSI NG LY)
-You're wiggling your toes !
1338
01:08:04,038 --> 01:08:05,039
MALE TECH : Good .
1339
01:08:05,122 --> 01:08:08,376
What we're doing with the Simul-cam
is tracking the camera in real time
1340
01:08:08,459 --> 01:08:11,629
so we know, in the environment,
where the camera is
1341
01:08:11,712 --> 01:08:13,839
and then the things that aren 't there,
1342
01:08:13,923 --> 01:08:17,510
whether it be the Na 'vi
or a digital set extension,
1343
01:08:17,593 --> 01:08:19,470
we're compositing that in real time.
1344
01:08:19,553 --> 01:08:23,724
Second best only to really having
the Na'vi here on set with us.
1345
01:08:24,934 --> 01:08:30,231
LAN DAU : The next step after Simul-cam was
we wanted to be able to integrate
1346
01:08:30,314 --> 01:08:32,483
computer-generated objects
that weren 't there.
1347
01:08:32,817 --> 01:08:36,237
Moving behind things, in front of things,
around things.
1348
01:08:36,320 --> 01:08:41,033
So, we needed to create what we called
"real time depth compositing ."
1349
01:08:41,450 --> 01:08:44,286
Depth comp is basically
real time depth estimation model
1350
01:08:44,745 --> 01:08:48,416
that gets used to place any
live-action element in the right depth,
1351
01:08:48,499 --> 01:08:49,834
away from CG scenes.
1352
01:08:50,334 --> 01:08:51,752
He's out at the lab with her all the time.
1353
01:08:51,836 --> 01:08:55,047
We're getting depth information
from the filming ,
1354
01:08:55,131 --> 01:08:59,677
and we can put our real time CG characters
inside of the shot.
1355
01:08:59,760 --> 01:09:03,764
So, as a CG character
walks behind Spider, with depth,
1356
01:09:03,848 --> 01:09:08,185
we actually get that proper depth through
the live-action camera as we're filming.
1357
01:09:08,269 --> 01:09:09,478
Hey, Spider.
1358
01:09:09,562 --> 01:09:12,314
-Hey! Your ass is mine.
-I'm right here.
1359
01:09:12,398 --> 01:09:15,276
SAI N DON : Now, Jim never worries
that he's got the right framing on a shot
1360
01:09:15,359 --> 01:09:17,737
'cause he knows exactly
what's gonna be in that shot.
1361
01:09:17,820 --> 01:09:20,489
He knows the relationship
between Jake and Spider
1362
01:09:20,573 --> 01:09:23,242
because he can see them both
as he's filming it.
1363
01:09:23,325 --> 01:09:26,662
And we're really relying on it
for every shot in the movie.
1364
01:09:27,705 --> 01:09:30,791
MOMCI LOVIC: Every aspect
of the production, of ourjob on set,
1365
01:09:30,958 --> 01:09:33,252
and on the production
of the first movie has gone
1366
01:09:33,335 --> 01:09:35,963
through a number of generations
of improvements of technology,
1367
01:09:36,046 --> 01:09:37,214
sort of updates and changes.
1368
01:09:37,298 --> 01:09:39,175
All the stuff that we're working with
1369
01:09:39,258 --> 01:09:41,552
or technology we developed is brand new.
1370
01:09:42,094 --> 01:09:45,389
On the live-action set,
there's CG characters or digital elements.
1371
01:09:45,473 --> 01:09:47,850
The actors are basically
playing to nothing.
1372
01:09:47,933 --> 01:09:50,770
Or, at best case,
there's a tennis ball and a stick
1373
01:09:50,853 --> 01:09:54,315
but the person that's holding that stick
doesn 't necessarily know
1374
01:09:54,398 --> 01:09:55,858
where that CG character
is gonna be either.
1375
01:09:56,442 --> 01:09:58,486
We needed to create an eyeline system
1376
01:09:58,944 --> 01:10:02,114
for live-action actors
to be able to follow,
1377
01:10:02,198 --> 01:10:05,659
not somebody holding a tennis ball,
but to follow the performance
1378
01:10:05,743 --> 01:10:09,371
of a computer-generated character
in a scene.
1379
01:10:09,455 --> 01:10:10,623
-Hey, buddy.
-MAN : Winner, winner.
1380
01:10:11,123 --> 01:10:13,250
You see how funny this is when I do that?
That's your future.
1381
01:10:15,002 --> 01:10:16,253
We created an eyeline system .
1382
01:10:16,337 --> 01:10:21,509
It's basically using a Spidercam system
that you would see at a sporting event
1383
01:10:21,592 --> 01:10:23,636
where a camera flies over the field.
1384
01:10:23,719 --> 01:10:26,430
And Ryan Champney took that system
1385
01:10:26,514 --> 01:10:29,809
and converted it to work
in our live-action environment.
1386
01:10:30,226 --> 01:10:31,393
CHAMPN EY:
Instead of flying around the field,
1387
01:10:31,477 --> 01:10:32,603
it's flying around a live-action set.
1388
01:10:33,145 --> 01:10:35,439
Instead of a camera being on it,
it's a small witness monitor.
1389
01:10:35,523 --> 01:10:37,775
And that's now reacting and behaving
and moving around the set
1390
01:10:37,858 --> 01:10:42,112
as if the Na 'vi character at nine feet
would be talking to the human character.
1391
01:10:42,196 --> 01:10:44,281
It was supposed to be, like,
the head of a Na'vi .
1392
01:10:44,365 --> 01:10:46,867
The iPad would show screen recordings
1393
01:10:46,951 --> 01:10:49,620
of her face and her voice
when we were doing a scene.
1394
01:10:49,703 --> 01:10:53,791
I'd be looking up at her and the machine
would go through her exact movements.
1395
01:10:53,874 --> 01:10:55,543
I don't know how they do it,
but it's amazing .
1396
01:10:55,626 --> 01:10:57,378
SCHATZ: When Spider's interacting
with Quaritch,
1397
01:10:57,461 --> 01:11:00,506
they're really having a dialogue
and you really think
1398
01:11:00,589 --> 01:11:03,551
he's talking to a nine-foot Na 'vi
because he kind of is.
1399
01:11:03,634 --> 01:11:05,511
(ON SPEAKERS) Technically, you and I...
1400
01:11:05,594 --> 01:11:07,179
...we're nothin' to each other.
1401
01:11:07,263 --> 01:11:09,682
CHAMPION : It really helps you
get immersed into the character
1402
01:11:09,765 --> 01:11:10,766
and perform the scene better.
1403
01:11:11,225 --> 01:11:13,227
RUSSELL CARPENTER:
I couldn 't believe how fine
1404
01:11:13,310 --> 01:11:15,187
an operation this turned out to be.
1405
01:11:15,312 --> 01:11:17,189
I mean, they could park that monitor
1406
01:11:17,273 --> 01:11:19,817
within an eighth of an inch
of where it was supposed to go
1407
01:11:19,900 --> 01:11:22,695
and then it could fly around the set
and then be in the next place
1408
01:11:22,778 --> 01:11:26,282
it was supposed to be.
It was a very valuable tool.
1409
01:11:26,615 --> 01:11:29,285
They've done so many things
on this movie that are just
1410
01:11:29,368 --> 01:11:33,873
new and phenomenal and advanced
the filmmaking process.
1411
01:11:33,956 --> 01:11:37,376
It makes it easier for us in editorial
'cause we don 't have to choose a take
1412
01:11:37,459 --> 01:11:39,545
based on whether the eyeline
is right or not.
1413
01:11:40,004 --> 01:11:41,005
Outstanding .
1414
01:11:41,755 --> 01:11:44,842
One of the most complex
and challenging sequences we have
1415
01:11:44,925 --> 01:11:48,554
where human Spider
is helping the Na 'vi kids
1416
01:11:48,637 --> 01:11:50,180
lift something out of the water.
1417
01:11:50,723 --> 01:11:52,308
If you're pulling something
out of the water,
1418
01:11:52,391 --> 01:11:56,395
your performance is gonna change
based on the surge of that water.
1419
01:11:57,021 --> 01:12:00,482
And we were able to capture
those performances with a true surge.
1420
01:12:00,566 --> 01:12:03,819
Waves splashing and Spider
climbing out of the water
1421
01:12:03,903 --> 01:12:06,363
and watch with the depth comp
and the Simul-cam,
1422
01:12:06,447 --> 01:12:07,948
and you're getting the proper depth
1423
01:12:08,032 --> 01:12:11,577
and they're integrated into the water.
It's amazing to watch, to be honest.
1424
01:12:13,787 --> 01:12:17,374
LAN DAU : There's a scene in the biolab
that is indicative of the challenge
1425
01:12:17,458 --> 01:12:21,503
where human Spider is there
and we literally have Kiri hugging him
1426
01:12:21,587 --> 01:12:23,297
and pulling on his body.
1427
01:12:23,380 --> 01:12:25,716
How would we tackle
those type of challenges?
1428
01:12:26,175 --> 01:12:29,470
We turned to our troupe
who are a group of these incredible actors
1429
01:12:29,553 --> 01:12:30,804
who play multiple roles.
1430
01:12:30,888 --> 01:12:32,514
We put them in a blue suit.
1431
01:12:33,140 --> 01:12:37,269
STEPH EN RIVKI N : It's essential
that if Jack's hugging a CG character,
1432
01:12:37,353 --> 01:12:39,313
there has to be someone in a blue suit
1433
01:12:39,396 --> 01:12:42,650
because you can't pretend
to put your arms around someone.
1434
01:12:42,733 --> 01:12:47,029
Jim wouldn 't accept anything less
than something that looks believable.
1435
01:12:47,112 --> 01:12:48,447
You are not him .
1436
01:12:50,908 --> 01:12:53,661
I don't think the audience
gives you brownie points
1437
01:12:53,744 --> 01:12:57,373
for making what they think of
as photography look like photography.
1438
01:12:57,456 --> 01:12:59,917
It doesn't make it
a better movie in their minds.
1439
01:13:00,000 --> 01:13:03,087
What makes it a better movie
is the people, the characters,
1440
01:13:03,212 --> 01:13:06,048
the creatures, the things they're seeing,
the things they're experiencing.
1441
01:13:06,131 --> 01:13:07,257
Whoo-hoo !
1442
01:13:07,466 --> 01:13:10,678
CAMERON : But if they can let go
of their disbelief . .
1443
01:13:10,761 --> 01:13:13,013
"Did these guys go
to this other planet and shoot it?
1444
01:13:13,097 --> 01:13:14,515
"I feel like I'm really there."
1445
01:13:14,598 --> 01:13:16,517
The animals don't think of me as human .
1446
01:13:16,600 --> 01:13:18,352
Wait. You're human?
1447
01:13:18,477 --> 01:13:19,478
-Ha-ha.
-(G RU NTS)
1448
01:13:19,561 --> 01:13:21,438
CAMERON : It's all working
at a subliminal level.
1449
01:13:21,522 --> 01:13:23,357
It's taking away the disbelief
1450
01:13:23,440 --> 01:13:25,442
And if they believe in it
and they invest in it,
1451
01:13:25,859 --> 01:13:29,279
now it's up to the story
and the characters, like Spider,
1452
01:13:29,363 --> 01:13:31,991
to work on the audience's heart and mind .
1453
01:13:46,422 --> 01:13:47,506
Come in . Come in .
1454
01:13:47,589 --> 01:13:51,802
JON LAN DAU : The first day,
Cliff came and he did a Mäori blessing.
1455
01:13:51,885 --> 01:13:53,971
(SPEAKI NG I N MÄORI)
1456
01:13:54,054 --> 01:13:57,891
LAN DAU : Culture and history of his lineage
is very important to him.
1457
01:13:58,016 --> 01:13:59,184
(SPEAKI NG I N MÄORI)
1458
01:13:59,268 --> 01:14:00,519
(ALL REPEAT I N MÄORI)
1459
01:14:00,602 --> 01:14:03,147
LAN DAU : Then on our first day
of filming in New Zealand,
1460
01:14:03,230 --> 01:14:06,108
Cliff brought his entire family
to give another blessing.
1461
01:14:06,191 --> 01:14:07,985
-(MAN I N MÄORI)
-(ALL SHOUT I N MÄORI)
1462
01:14:09,278 --> 01:14:12,823
LAN DAU : We brought a shaman from Brazil up
1463
01:14:12,906 --> 01:14:16,118
to interact with the cast
and with the crew,
1464
01:14:16,201 --> 01:14:20,414
just talking about what it's like to be
an indigenous culture and what that means.
1465
01:14:21,373 --> 01:14:25,169
It was really a training
in how to become Na 'vi.
1466
01:14:25,252 --> 01:14:27,254
(I N ENG LISH) I'm saying we come
from all corners of this earth .
1467
01:14:27,713 --> 01:14:30,549
We're all gathered together
and we all have a place in this.
1468
01:14:42,186 --> 01:14:47,566
LAN DAU : We went to Hawaii to give the cast
a sense memory experience
1469
01:14:47,649 --> 01:14:51,945
of what it was really like to be
in this beautiful pristine rainforest.
1470
01:14:52,029 --> 01:14:53,447
The more you remember,
1471
01:14:53,530 --> 01:14:56,450
the more you can
bring those details into the volume
1472
01:14:56,533 --> 01:14:58,827
and create that world out of nothing.
1473
01:14:58,911 --> 01:15:03,040
J ust being told that, "Okay, so we're
going to Hawaii ," was a big deal for me.
1474
01:15:03,123 --> 01:15:04,833
Feeling the sand between your toes,
1475
01:15:04,917 --> 01:15:07,127
feeling the current
pushing you back and forth,
1476
01:15:07,211 --> 01:15:09,379
diving down and seeing all these animals
1477
01:15:09,463 --> 01:15:11,757
really helps me understand Tsireya.
1478
01:15:11,840 --> 01:15:16,887
How she sees Pandora
and how she feels about the creatures,
1479
01:15:16,970 --> 01:15:19,181
and why she cares so much about them.
1480
01:15:19,264 --> 01:15:22,226
It was like Lo'ak
going to the reef clan in a way.
1481
01:15:22,309 --> 01:15:24,436
They brought us up to the rainforest.
1482
01:15:24,520 --> 01:15:27,773
We had to hunt for food and we would
bring it back to the rainforest
1483
01:15:27,856 --> 01:15:29,233
and we would cook it there.
1484
01:15:29,358 --> 01:15:32,069
And we took them on a night dive
with manta rays.
1485
01:15:32,903 --> 01:15:33,987
CLI FF CU RTIS: It blew my mind.
1486
01:15:34,071 --> 01:15:36,824
That's one of the best things
I've done in my life and my career.
1487
01:15:37,491 --> 01:15:40,118
ZUCCARI N I : This manta ray
was this close to Sigourney
1488
01:15:40,202 --> 01:15:41,995
and it did these back rolls
right next to her.
1489
01:15:42,079 --> 01:15:45,082
We're just seeing her eyes wide open
with these manta rays at night
1490
01:15:45,165 --> 01:15:46,959
with just a flashlight lighting them.
1491
01:15:47,042 --> 01:15:49,795
It was like the perfect way
to introduce them to that feeling .
1492
01:15:49,878 --> 01:15:51,046
What? (LAUG HS)
1493
01:15:51,129 --> 01:15:53,674
Wow, that's a whole other planet
underneath there.
1494
01:15:53,757 --> 01:15:56,009
ZOE SALDAÑA: By removing us
from our comfort environments,
1495
01:15:56,093 --> 01:15:58,470
we get to sort of separate
our personal selves.
1496
01:15:58,554 --> 01:16:00,848
And then we get
to incarnate our characters.
1497
01:16:00,931 --> 01:16:02,474
Then we become a unit.
1498
01:16:03,350 --> 01:16:04,977
Hawaii definitely gave us that.
1499
01:16:06,144 --> 01:16:10,023
These characters have a grace
and a beauty and a very unique quality
1500
01:16:10,107 --> 01:16:12,276
that we spent a lot of time creating.
1501
01:16:12,359 --> 01:16:15,445
LAN DAU : The Na 'vi move
in a different way than humans
1502
01:16:15,529 --> 01:16:18,240
so we did a whole series
ofjust movement training.
1503
01:16:18,323 --> 01:16:20,325
We did a series of breath training.
1504
01:16:20,409 --> 01:16:22,369
We did a series of hunting.
1505
01:16:22,452 --> 01:16:23,954
How do Na 'vis hold bows?
1506
01:16:24,037 --> 01:16:27,666
It was really a training
in how to become Na 'vi.
1507
01:16:28,458 --> 01:16:30,878
It's like, you want me to shoot,
you want me to climb,
1508
01:16:30,961 --> 01:16:32,379
you want me to run,
1509
01:16:32,462 --> 01:16:35,382
you want me to ride a horse
with no saddle. I was prepared .
1510
01:16:36,383 --> 01:16:37,968
Because I was on the first film
1511
01:16:38,051 --> 01:16:41,013
and I knew, like,
Neytiri's movement so well ,
1512
01:16:41,096 --> 01:16:42,848
andjust the Na 'vi movement in general,
1513
01:16:42,931 --> 01:16:46,226
they brought me in early to help train
the actors and train the troupe
1514
01:16:46,310 --> 01:16:49,354
and the stunt people
on how to move like a Na 'vi.
1515
01:16:50,147 --> 01:16:51,857
There's sort of a composure to it
1516
01:16:51,940 --> 01:16:54,109
and a real strength and a groundedness.
1517
01:16:54,192 --> 01:16:56,111
They walk in a very fluid way
with their legs.
1518
01:16:56,194 --> 01:16:57,696
The shoulders are very upright.
1519
01:16:57,779 --> 01:16:59,948
VELA-BAI LEY: They lead
with their chest. It's like their heart.
1520
01:17:00,032 --> 01:17:01,783
Even when they hear something
in the woods,
1521
01:17:01,867 --> 01:17:04,494
-it's like their ears might spin around . . .
-(YI PS)
1522
01:17:04,578 --> 01:17:08,707
...but it's more of a chest movement
that starts the movement of the look.
1523
01:17:08,790 --> 01:17:10,584
Jake's a bit more of a warrior this time.
1524
01:17:10,667 --> 01:17:11,710
(SNARLS)
1525
01:17:11,793 --> 01:17:13,337
SALDAÑA: Sam wanted more target training.
1526
01:17:14,755 --> 01:17:16,173
You know, and battle training ,
1527
01:17:16,256 --> 01:17:19,051
so that he can sort of
freshen up his soldier self.
1528
01:17:19,885 --> 01:17:24,014
He's a bit more adept at archery,
adept at riding a banshee.
1529
01:17:24,097 --> 01:17:25,349
BOTH : Whoo !
1530
01:17:25,432 --> 01:17:28,310
You could tell in the beginning
with these kids, especially the guys,
1531
01:17:28,393 --> 01:17:29,645
they have some of the movement down,
1532
01:17:29,728 --> 01:17:31,396
but they're adding
their own little swagger
1533
01:17:31,480 --> 01:17:34,483
where I'm like,
"That's a bit too much human ."
1534
01:17:34,566 --> 01:17:36,860
(LAUG HS) Like, you're trying
to be all cool and hip.
1535
01:17:36,944 --> 01:17:39,696
And I'm like,
"No, the Na'vi don't know about that."
1536
01:17:39,780 --> 01:17:42,574
I loved the movement.
We had really good movement teachers.
1537
01:17:42,658 --> 01:17:47,245
And we even pretended to improvise on
scenes that we might do in the movie.
1538
01:17:47,329 --> 01:17:50,582
And we even made up dances for, like,
when we're celebrating anything.
1539
01:17:50,666 --> 01:17:52,834
VELA-BAI LEY: Little Trinity. Oh, my gosh.
1540
01:17:52,918 --> 01:17:56,505
She always brought, like,
this special childlike sloppiness
1541
01:17:56,588 --> 01:18:00,175
in a way to the character,
and it worked perfectly for her.
1542
01:18:02,302 --> 01:18:03,679
The archery was exquisite.
1543
01:18:03,762 --> 01:18:05,764
I mean, don 't take my word for it.
1544
01:18:05,847 --> 01:18:08,684
I cannot shoot as a regular human .
1545
01:18:08,767 --> 01:18:10,936
I can only shoot as a Na'vi .
1546
01:18:11,019 --> 01:18:13,105
It makes me so happy to know that.
1547
01:18:13,188 --> 01:18:16,650
You have to learn
to shoot with your left hand .
1548
01:18:16,733 --> 01:18:20,654
Everything is backward.
So that was challenging for all of us.
1549
01:18:20,737 --> 01:18:22,364
Can I tell you a fun fact?
1550
01:18:22,447 --> 01:18:24,658
I actually just learned this a little ago.
1551
01:18:24,741 --> 01:18:29,413
Did you know that women
have better aim than men in archery?
1552
01:18:29,538 --> 01:18:31,248
MAN : Boom . Awesome !
1553
01:18:31,665 --> 01:18:33,917
(ALL RECITI NG I N NA'VI)
1554
01:18:34,001 --> 01:18:39,423
A language has been built, has been
properly, properly built by a linguist.
1555
01:18:39,506 --> 01:18:44,678
And we have had no choice
but to learn it, understand it,
1556
01:18:44,761 --> 01:18:46,304
and say it with true conviction
1557
01:18:46,388 --> 01:18:48,598
in the way that you would
any regular piece of dialogue.
1558
01:18:49,266 --> 01:18:50,308
Uturu?
1559
01:18:50,392 --> 01:18:52,519
When the movie came out in 2009,
1560
01:18:52,602 --> 01:18:55,981
I think we had approximately
500 words in the language.
1561
01:18:56,064 --> 01:18:57,941
(SPEAKI NG NA'VI)
1562
01:19:00,027 --> 01:19:01,236
(SIG HS)
1563
01:19:01,903 --> 01:19:04,740
FROMMER: Today, I think
we're probably around 3, 000 words.
1564
01:19:04,823 --> 01:19:06,783
The language does continue to expand.
1565
01:19:06,867 --> 01:19:09,202
WORTH I NGTON : Paul was telling me
that they now have big conventions
1566
01:19:09,286 --> 01:19:10,871
where everyone comes and speaks Na'vi .
1567
01:19:10,954 --> 01:19:12,414
So we had to get it kind of dialed in
1568
01:19:12,497 --> 01:19:14,458
because these people out there
actually do speak it.
1569
01:19:14,541 --> 01:19:16,251
The accent provided a challenge
1570
01:19:16,334 --> 01:19:19,921
because it wasn't supposed to be
as thick as it was in the first movie.
1571
01:19:20,005 --> 01:19:23,258
You're like a baby.
Making noise, don't know what to do.
1572
01:19:23,341 --> 01:19:26,470
SALDAÑA: 'Cause I would go
either too thick or not thick enough.
1573
01:19:26,553 --> 01:19:29,931
So thank God that Carla Meyer
was on set with us,
1574
01:19:30,015 --> 01:19:32,934
always reminding me
to curve it here and curve it there.
1575
01:19:33,018 --> 01:19:37,355
The kids. . . J im wanted to feel
as though they were casual .
1576
01:19:37,439 --> 01:19:39,399
They were easygoing with this.
1577
01:19:39,483 --> 01:19:43,111
And one of the things that he did
that really helped make that happen
1578
01:19:43,195 --> 01:19:47,866
is that the older characters
don 't use contractions.
1579
01:19:47,949 --> 01:19:49,409
The younger characters do.
1580
01:19:49,493 --> 01:19:52,162
Every single one of us
has an individual way of speaking
1581
01:19:52,245 --> 01:19:53,455
and how they say things.
1582
01:19:53,538 --> 01:19:58,001
You know, different emphasis is on
different, uh , words and stuff like that.
1583
01:19:58,085 --> 01:19:59,294
(SPEAKI NG NA'VI)
1584
01:19:59,377 --> 01:20:04,508
Language itself seemed to me to be easier
for people that were multilingual ,
1585
01:20:04,591 --> 01:20:07,260
which , as it turned out,
was almost the entire cast.
1586
01:20:07,344 --> 01:20:10,180
I speak Belarussian and Russian
1587
01:20:10,263 --> 01:20:13,683
so I can roll my Rs,
and that did help me a little bit,
1588
01:20:13,767 --> 01:20:16,770
but I was getting very frustrated .
I am a perfectionist,
1589
01:20:16,853 --> 01:20:18,980
so when I did not get something ,
1590
01:20:19,064 --> 01:20:21,900
it was not easy.
But Carla helped me understand it.
1591
01:20:21,983 --> 01:20:24,152
(ALL RECITI NG I N NA'VI)
1592
01:20:24,236 --> 01:20:27,823
There are certain words,
or certain sounds and letters
1593
01:20:27,906 --> 01:20:31,326
that we don't have in Na'vi
that exist in English .
1594
01:20:31,409 --> 01:20:34,538
So we have to pull those things out
and we have to stress other sounds.
1595
01:20:34,621 --> 01:20:36,123
It's complicated. There's a lot to it.
1596
01:20:36,206 --> 01:20:37,916
-(SPEAKS NA'VI)
-Yes.
1597
01:20:39,960 --> 01:20:43,672
When you're underwater,
you know, you can't speak.
1598
01:20:43,755 --> 01:20:45,799
So from a character standpoint,
1599
01:20:45,882 --> 01:20:48,593
we created a Na 'vi sign language
1600
01:20:48,677 --> 01:20:50,595
and we hired CJ Jones
1601
01:20:50,679 --> 01:20:54,516
to come in and create
a Na 'vi sign language
1602
01:20:54,599 --> 01:20:57,310
with a hand with four digits, not five.
1603
01:20:57,394 --> 01:21:01,898
J im also talked about how
when you're riding a skimwing ,
1604
01:21:01,982 --> 01:21:04,109
you're holding on with one hand
so a lot of the language
1605
01:21:04,192 --> 01:21:06,570
had to be with one hand and not with two.
1606
01:21:06,653 --> 01:21:09,364
Creating sign language
is a whole new process for me,
1607
01:21:09,447 --> 01:21:12,492
and I needed to make sure
that what I created
1608
01:21:12,576 --> 01:21:15,620
was the right sign
for what you're trying to express.
1609
01:21:15,704 --> 01:21:19,624
And I would sign that. And I tried it
and I tried the handshake like this,
1610
01:21:19,708 --> 01:21:22,460
and then I would watch the actor do it
and see if it fit.
1611
01:21:22,544 --> 01:21:23,920
JAMI E FLATTERS:
The sign language was wicked.
1612
01:21:24,004 --> 01:21:26,464
It was something that I've never even
1613
01:21:26,590 --> 01:21:29,217
thought I'd be getting
the opportunity of learning .
1614
01:21:29,301 --> 01:21:33,430
Every little detail
is very crucial to translating .
1615
01:21:33,513 --> 01:21:35,557
JON ES: I watch the actors to make sure
1616
01:21:35,640 --> 01:21:38,351
that the feeling is incorporated
into the language.
1617
01:21:38,435 --> 01:21:41,104
You can't just sign and do the movement.
1618
01:21:41,188 --> 01:21:43,773
You have to include the facial expression .
1619
01:21:43,857 --> 01:21:47,110
The emotion has
to be incorporated in your body,
1620
01:21:47,194 --> 01:21:49,362
you have to speed it up, slow it down.
1621
01:21:49,446 --> 01:21:50,947
There's a lot of variation.
1622
01:21:51,031 --> 01:21:53,617
He knows how you're supposed
to use your hand .
1623
01:21:53,700 --> 01:21:56,036
He knows how much power
1624
01:21:56,119 --> 01:21:59,289
is in a certain sentence
compared to another one.
1625
01:22:03,376 --> 01:22:04,961
I remember when J im said ,
1626
01:22:05,045 --> 01:22:08,298
"Oh , yeah , yeah , yeah ,
you're going to have to hold your breath
1627
01:22:08,381 --> 01:22:10,592
"for about three or four minutes."
1628
01:22:10,675 --> 01:22:13,845
And I said, "Jim, I can 't hold my breath
for 30 seconds. '' (LAUG HS)
1629
01:22:13,929 --> 01:22:15,764
And he said, "You'll be able to."
1630
01:22:16,223 --> 01:22:18,266
LAN DAU : The first film took place
in the rainforest.
1631
01:22:18,350 --> 01:22:23,188
Now we are introduced to a clan
who live in harmony with the oceans.
1632
01:22:25,440 --> 01:22:29,194
We knew of Kirk Krack,
a world-renowned free diver,
1633
01:22:29,277 --> 01:22:30,695
instructor on free diving,
1634
01:22:30,779 --> 01:22:33,198
and we had worked previously
with John Garvin,
1635
01:22:33,281 --> 01:22:34,532
who was our Dive Master,
1636
01:22:34,616 --> 01:22:38,453
and the two of them
teamed up to train our cast.
1637
01:22:38,536 --> 01:22:42,082
In freediving or breath-holding .
I mean , we are holding our breath ,
1638
01:22:42,165 --> 01:22:44,793
but when you look at it
from a physiological point of view,
1639
01:22:44,876 --> 01:22:47,087
it's not like you're
without oxygen, right?
1640
01:22:47,170 --> 01:22:49,673
It's like supply and demand.
It's basic economics.
1641
01:22:49,756 --> 01:22:52,133
There's only so much supply
of oxygen in your body.
1642
01:22:52,217 --> 01:22:54,302
It's in your lungs and your blood.
1643
01:22:54,386 --> 01:22:56,096
Training with the cast was interesting
1644
01:22:56,179 --> 01:22:59,015
because I had people
who are really good water people
1645
01:22:59,099 --> 01:23:02,978
to people who were just really learning
to be water comfortable and swim,
1646
01:23:03,061 --> 01:23:04,688
let alone free dive.
1647
01:23:04,771 --> 01:23:06,189
WEAVER: And I thought,
"oh, this is just Jim."
1648
01:23:06,273 --> 01:23:08,858
And yet, at the first lesson
that Kirk gave us,
1649
01:23:08,942 --> 01:23:10,860
I held my breath for a minute and a half
1650
01:23:10,944 --> 01:23:15,115
and I thought, "Wow, what is this?"
1651
01:23:15,198 --> 01:23:21,538
And it just shows you how little we know
about our systems and what they can do.
1652
01:23:21,621 --> 01:23:25,083
The training was scarier in theory,
1653
01:23:25,166 --> 01:23:28,962
but once you met Kirk, and you went
through the breathing trainings
1654
01:23:29,045 --> 01:23:31,965
and understanding why
we do the things that we do
1655
01:23:32,048 --> 01:23:34,676
in terms of like, how to get your body
to hold its breath more,
1656
01:23:34,759 --> 01:23:37,262
then you're so proud
ofyourself for doing it.
1657
01:23:37,345 --> 01:23:42,767
WEAVER: You can literally feel
your whole bodyjust changing,
1658
01:23:42,851 --> 01:23:46,938
relaxing into the water
till the waterjust holds you up.
1659
01:23:49,190 --> 01:23:51,609
WI NSLET: Jim believes
that everyone can push themselves
1660
01:23:51,693 --> 01:23:53,403
just that little bit further
1661
01:23:53,486 --> 01:23:57,115
to have a sort of an inherent belief
that humans can be capable
1662
01:23:57,198 --> 01:23:59,784
of almost superhuman things sometimes.
1663
01:24:01,077 --> 01:24:03,830
CAMERON :
I've been a free diver for 50 years
1664
01:24:03,913 --> 01:24:07,500
and I can dive down to 135 feet.
1665
01:24:07,584 --> 01:24:11,296
And I think the longest I've ever held
my breath was five and a half minutes.
1666
01:24:11,379 --> 01:24:13,757
So these ladies,
with a couple of weeks training,
1667
01:24:13,840 --> 01:24:15,258
just smoked us all.
1668
01:24:15,342 --> 01:24:16,509
-(HORN BLARI NG)
-WI NSLET: Whoo !
1669
01:24:16,593 --> 01:24:17,594
(MAN LAUG HS)
1670
01:24:17,677 --> 01:24:19,220
Yes !
1671
01:24:22,057 --> 01:24:23,725
Right. Champagne?
1672
01:24:23,808 --> 01:24:25,226
Champagne? Yeah .
1673
01:24:42,243 --> 01:24:44,788
(BLOWS LONG NOTE)
1674
01:24:44,871 --> 01:24:46,247
(JAKE WHOOPI NG)
1675
01:24:51,294 --> 01:24:52,712
(SQUAWKI NG)
1676
01:24:54,089 --> 01:24:56,007
(PEOPLE YI PPI NG)
1677
01:24:56,091 --> 01:24:57,801
We are Reef People.
1678
01:25:10,313 --> 01:25:16,111
In the first movie, the Omatikaya designs
were inspired by the rainforest.
1679
01:25:16,194 --> 01:25:20,323
The Metkayina designs
are all inspired by the ocean,
1680
01:25:20,407 --> 01:25:25,161
and that is true for both costumes
and production design .
1681
01:25:27,747 --> 01:25:31,876
JAMES CAMERON : The Metkayina have adapted
half a million years ago to ocean life.
1682
01:25:33,086 --> 01:25:38,007
We wanted to force our characters
to rapidly adapt to an environment
1683
01:25:38,091 --> 01:25:41,428
that the Metkayina
had had centuries to adapt to.
1684
01:25:45,682 --> 01:25:49,686
I started cranking out all these images
of different ideas for the reef people.
1685
01:25:49,769 --> 01:25:52,981
Researching as much influence
as I could from around the world.
1686
01:25:53,064 --> 01:25:59,696
U ltimately, though , we took the designs
all the way to the point of breaking them .
1687
01:25:59,779 --> 01:26:04,534
They were bulkier, a bit more
of a swimmer's body, stronger thighs.
1688
01:26:04,617 --> 01:26:08,329
And Jim was art directing
all of us into that direction.
1689
01:26:10,039 --> 01:26:13,042
The Ocean Na'vi
have very different physiology.
1690
01:26:13,126 --> 01:26:15,211
They have a very powerful tail.
1691
01:26:15,295 --> 01:26:17,130
It's part of their ability to swim.
1692
01:26:18,173 --> 01:26:22,177
Very deep chested so that they can hold
their breath for seven to eight minutes.
1693
01:26:24,846 --> 01:26:27,223
The hips are slightly wider,
which is perfect for me.
1694
01:26:27,307 --> 01:26:28,641
I'm excellent casting .
1695
01:26:28,725 --> 01:26:31,644
And they have
a sort of a fin on their lower arm
1696
01:26:31,728 --> 01:26:34,564
that helps with a particular stroke
to propel them faster
1697
01:26:34,647 --> 01:26:36,524
and more efficiently through the water.
1698
01:26:37,525 --> 01:26:39,736
And their shade of blue
is slightly different.
1699
01:26:39,819 --> 01:26:41,446
It's more of a kind of a cyan blue
1700
01:26:41,529 --> 01:26:44,115
than that sort of brighter blue
of the tree people.
1701
01:26:45,158 --> 01:26:48,495
We see that they have strong markings
on their bodies and faces.
1702
01:26:48,578 --> 01:26:50,413
And instead of very linear stripes,
1703
01:26:50,497 --> 01:26:53,750
they're much more variegated
and wavy style stripes.
1704
01:26:53,833 --> 01:26:56,002
And one of the reasons we thought of that
1705
01:26:56,085 --> 01:26:58,838
was that its water adaptation to mimic
1706
01:26:58,922 --> 01:27:01,049
more the effects
of light going through water
1707
01:27:01,132 --> 01:27:02,967
and creating what we call
caustic patterns,
1708
01:27:03,051 --> 01:27:06,471
where you see like light ripples for more
of a camouflage underwater.
1709
01:27:07,388 --> 01:27:11,601
They're good at living in the forest
and we're good at living on the sea.
1710
01:27:11,684 --> 01:27:13,102
You are Forest People.
1711
01:27:13,186 --> 01:27:14,854
Your skills will mean nothing here.
1712
01:27:16,147 --> 01:27:20,693
Even though they are alien characters,
that actor has to be that character.
1713
01:27:20,777 --> 01:27:23,821
So Joe will take photographs of the actor
1714
01:27:23,905 --> 01:27:26,115
and really take
a lot of their facial elements.
1715
01:27:26,199 --> 01:27:27,200
That's the starting point.
1716
01:27:27,283 --> 01:27:29,911
And then we try and take
what is inherent around their eyes.
1717
01:27:29,994 --> 01:27:31,871
Since so much is expressed
through the eyes,
1718
01:27:31,955 --> 01:27:33,581
so it'll be like eye shape, eye placement,
1719
01:27:33,665 --> 01:27:35,833
obviously, it's Na'vi ,
so the eyes are further apart.
1720
01:27:35,917 --> 01:27:39,504
But if there's distinctive eyelids
or wrinkles or furrows in their brow,
1721
01:27:39,587 --> 01:27:41,297
we try and take whatever we can
1722
01:27:41,923 --> 01:27:48,137
to make sure that that actor's humanity
will be in that Na 'vi character.
1723
01:27:48,221 --> 01:27:52,600
And then as the character begins to emote,
that changes a lot.
1724
01:27:52,684 --> 01:27:54,143
-No way!
-So the dimple,
1725
01:27:54,227 --> 01:27:56,563
it'll move the way you do.
1726
01:27:56,646 --> 01:27:59,691
COLE: Ultimately, from stripe placement
and tattoos,
1727
01:27:59,774 --> 01:28:01,442
it still evolves in visual effects.
1728
01:28:04,487 --> 01:28:06,573
CAMERON : We had a costume designer,
Deborah Scott,
1729
01:28:06,656 --> 01:28:09,367
Academy Award winner
I've worked with since Titanic.
1730
01:28:09,450 --> 01:28:11,703
She had to kind of have
a foot in both worlds
1731
01:28:11,786 --> 01:28:14,706
because she had to design
all the costumes for the RDA.
1732
01:28:14,789 --> 01:28:17,292
But she also had to have
the whole other half of her brain
1733
01:28:17,375 --> 01:28:20,003
to design all the costumes andjewelry
1734
01:28:20,086 --> 01:28:23,298
and hair designs and hair decoration
and everything for the Na'vi .
1735
01:28:23,381 --> 01:28:25,633
DEBORAH SCOTT: There's something
kind of appealing about that.
1736
01:28:25,717 --> 01:28:28,636
On the first film ,
we would make maybe a partial piece
1737
01:28:28,720 --> 01:28:32,765
because you can replicate it
if it's something like a neck piece
1738
01:28:32,849 --> 01:28:36,102
that is the same in the front
as it is all the way around.
1739
01:28:36,185 --> 01:28:38,855
The digital artists can duplicate that,
1740
01:28:38,938 --> 01:28:41,733
but the motion of the garment
1741
01:28:41,816 --> 01:28:44,902
cannot be understood
without having the whole piece.
1742
01:28:44,986 --> 01:28:50,325
So if something's heavy or feathery
or light or stringy or fringy,
1743
01:28:50,408 --> 01:28:54,245
the way these things move in air,
standing in a breeze,
1744
01:28:54,329 --> 01:28:57,498
underwater for sure,
which is a huge part of the movie,
1745
01:28:57,582 --> 01:29:02,420
you really have to have the sample
to see what happens to it.
1746
01:29:02,503 --> 01:29:03,963
It's gonna be amazing .
1747
01:29:04,047 --> 01:29:05,298
-It really is.
-Exciting .
1748
01:29:05,381 --> 01:29:07,550
-Oh , my god !
-(BOTH LAUG H)
1749
01:29:08,176 --> 01:29:10,720
PEPE: The Cliff Curtis
costume movement test.
1750
01:29:10,803 --> 01:29:15,725
That's the first time, really,
I got to see Cliff as a human ,
1751
01:29:15,808 --> 01:29:18,269
but dressed as Tonowari.
1752
01:29:18,353 --> 01:29:21,189
CAMERON : It's really nice,
it has some pretty amazing pattern .
1753
01:29:21,272 --> 01:29:22,315
(SHOUTS)
1754
01:29:23,316 --> 01:29:24,359
(SHOUTS)
1755
01:29:24,442 --> 01:29:26,527
With the cape and a wig on .
1756
01:29:26,611 --> 01:29:29,822
And they threw him on top of
one of the skimwing bucks.
1757
01:29:32,241 --> 01:29:35,870
Turned on the Ritter fan to like 75%.
1758
01:29:35,953 --> 01:29:38,581
And he had a spear and he's posing.
1759
01:29:38,665 --> 01:29:42,085
He's doing his character and you're like,
"Ah ! Wow! It's come to life."
1760
01:29:42,168 --> 01:29:43,461
CAMERON : Pretty heroic image, buddy.
1761
01:29:44,212 --> 01:29:45,213
It's really good .
1762
01:29:45,296 --> 01:29:49,050
And it was fun to watch
J im walk right on a stage
1763
01:29:49,133 --> 01:29:51,594
and he starts to smile
because you can tell he sees it.
1764
01:29:51,678 --> 01:29:52,679
And you feel it too.
1765
01:29:52,762 --> 01:29:53,763
Pretty cool , right?
1766
01:29:55,014 --> 01:29:59,894
I honestly believe that being able
to create the garments
1767
01:29:59,977 --> 01:30:06,609
in their full glory as opposed to just
a piece of 2D concept artwork,
1768
01:30:06,693 --> 01:30:11,072
is changing the way
that digital films will be made.
1769
01:30:11,155 --> 01:30:15,785
Every fabric and every woven piece
or every braid and feather,
1770
01:30:15,868 --> 01:30:18,705
they all have their own life to them.
1771
01:30:18,788 --> 01:30:20,540
They all move in their own way.
1772
01:30:20,623 --> 01:30:24,001
And that's not something you can get
from just looking at a piece of a*ork
1773
01:30:24,085 --> 01:30:26,587
and translating that to a screen.
1774
01:30:27,922 --> 01:30:30,425
Having real samples
that you can really hold
1775
01:30:30,508 --> 01:30:33,469
and you understand the weight of them
and the way that they would move.
1776
01:30:33,553 --> 01:30:35,138
That's been really valuable to me.
1777
01:30:35,221 --> 01:30:38,891
It's also creating
a coherency across departments
1778
01:30:38,975 --> 01:30:41,894
that we haven't really ever had
to this extent before.
1779
01:30:42,687 --> 01:30:45,273
JOH N ROSENG RANT:
Even though these are digital characters,
1780
01:30:45,356 --> 01:30:47,108
I think there's something to be said
1781
01:30:47,191 --> 01:30:50,027
about bringing the character
into the real world ,
1782
01:30:50,111 --> 01:30:55,616
if nothing else, but to look at it,
see how the coloration works on the face,
1783
01:30:56,284 --> 01:30:58,661
see how the hair really responds
1784
01:30:58,745 --> 01:31:02,540
'cause we're making real wigs
and hair on the characters.
1785
01:31:02,623 --> 01:31:04,667
It really helps to bring them to life.
1786
01:31:04,751 --> 01:31:08,337
It's totally the way to do this,
to just get the hair on the model .
1787
01:31:08,504 --> 01:31:10,089
Oh , wow.
1788
01:31:10,506 --> 01:31:12,800
That's. . . (GASPS) Wow.
1789
01:31:12,884 --> 01:31:14,260
Everybody's in love with this.
1790
01:31:14,343 --> 01:31:18,222
We have a tremendous amount of materials
that we were lucky to gather,
1791
01:31:18,306 --> 01:31:19,891
and they come from everywhere.
1792
01:31:19,974 --> 01:31:23,019
I mean, we can have something
as simple as a piece of string
1793
01:31:23,102 --> 01:31:26,230
and we can have some exotic fibers
1794
01:31:26,314 --> 01:31:29,942
that have come from Fiji
or Polynesia or some other place.
1795
01:31:30,026 --> 01:31:32,528
There are a lot of things
from the natural world.
1796
01:31:32,612 --> 01:31:36,157
We spent a lot of time, me, myself
personally, on beaches
1797
01:31:36,240 --> 01:31:38,910
picking up driftwood and shells
1798
01:31:38,993 --> 01:31:42,747
and skeletons of things that were all
inspirational to the project.
1799
01:31:42,830 --> 01:31:45,792
And we also got a big loom
1800
01:31:45,875 --> 01:31:49,253
and we literally
have woven fibers ourselves,
1801
01:31:49,337 --> 01:31:53,174
dyed them , made fabric,
completely from the ground up.
1802
01:31:53,841 --> 01:31:56,844
We do try and root ourselves
in some sort of reality.
1803
01:31:56,928 --> 01:31:59,639
So it's weaving .
I mean , is this weaving even possible?
1804
01:31:59,722 --> 01:32:01,682
How do we transition
from one weave to the next?
1805
01:32:01,766 --> 01:32:04,352
Because Jim is incredibly technical,
1806
01:32:04,435 --> 01:32:06,771
so he wants to know
how these things are actually made.
1807
01:32:06,854 --> 01:32:11,317
These pieces come
from a shell that I found on the beach
1808
01:32:11,400 --> 01:32:15,154
and then we 3D-modeled them
in different ways
1809
01:32:15,238 --> 01:32:18,241
they don't really grow in nature
so it's otherworldly
1810
01:32:18,324 --> 01:32:19,909
and then cast them and painted them
1811
01:32:19,992 --> 01:32:22,161
and it looks like
real shells of some sort.
1812
01:32:22,245 --> 01:32:23,830
It'll be hard for even me to tell
1813
01:32:23,913 --> 01:32:26,332
which are the real
and which are the laminate ones.
1814
01:32:26,999 --> 01:32:29,001
And then we also did a lot of, uh , knives.
1815
01:32:30,294 --> 01:32:32,463
STEPH EN CROWE: When we started looking
at designing the knives
1816
01:32:32,547 --> 01:32:36,467
for the Metkayina, we needed
to somehow differentiate them
1817
01:32:36,551 --> 01:32:41,722
from the kind of knives and weapons
that we'd seen for the Omatikaya.
1818
01:32:41,806 --> 01:32:46,060
And one way to do that
was through materiality and color.
1819
01:32:46,143 --> 01:32:48,855
The kinds of materials
that they used for the blades
1820
01:32:48,938 --> 01:32:54,694
were sort of like a crystal material
or an obsidian material, as...
1821
01:32:54,777 --> 01:32:55,778
We're here with Karl
1822
01:32:55,862 --> 01:32:58,865
who's working on the scabbard
for Ronal's ceremonial knife.
1823
01:32:58,948 --> 01:33:02,243
This is one of the most complex
and amazing pieces I think we've created .
1824
01:33:02,326 --> 01:33:05,371
Now, Karl is working out
how to actually turn this clay sculpt
1825
01:33:05,454 --> 01:33:07,623
into a believable piece of real shell .
1826
01:33:07,707 --> 01:33:10,001
So Karl is cutting out
individual panel pieces
1827
01:33:10,084 --> 01:33:12,712
and then forming them
and gluing them all back together
1828
01:33:12,795 --> 01:33:14,338
to form the backbone of the scabbard .
1829
01:33:14,422 --> 01:33:15,464
It's looking amazing .
1830
01:33:15,548 --> 01:33:17,508
And the final piece
is going to be incredible.
1831
01:33:18,092 --> 01:33:20,595
This all speaks to J im's process a bit.
1832
01:33:20,678 --> 01:33:23,639
The detail we put
into the knives and the logic
1833
01:33:23,723 --> 01:33:25,558
and the forethought
that we put into the props
1834
01:33:25,641 --> 01:33:29,061
are all there to make the story more real,
1835
01:33:29,145 --> 01:33:34,984
to give the audience a real sense that
this clan is different than this clan.
1836
01:33:35,067 --> 01:33:38,070
And if we pay attention to these details,
1837
01:33:38,154 --> 01:33:41,991
we think that it'll help build the worlds
that we're trying to show,
1838
01:33:42,074 --> 01:33:44,911
the different regions
of the greater planet
1839
01:33:44,994 --> 01:33:46,245
in a much more real way.
1840
01:33:46,329 --> 01:33:47,830
-CAMERON : Oh , that's nice !
-Isn't that cool?
1841
01:33:47,914 --> 01:33:49,624
-You get style points.
-(LAUG HS)
1842
01:33:50,333 --> 01:33:53,753
RICHARD TAYLOR:
Our team are defining multiple cultures
1843
01:33:53,836 --> 01:33:55,880
across multiple artifacts.
1844
01:33:55,963 --> 01:33:59,800
We're trying to bring
the same level of craftsmanship
1845
01:33:59,884 --> 01:34:02,970
that a Na'vi may have learned since birth
1846
01:34:03,054 --> 01:34:07,934
through the hands
of our extremely well-skilled technicians.
1847
01:34:09,018 --> 01:34:11,312
COLE: Here's where we ended up
with Metkayina village,
1848
01:34:11,395 --> 01:34:13,147
very much an analogy for the Na 'vi
1849
01:34:13,230 --> 01:34:16,859
and the way they exist on Pandora
in general is it's all about connectivity.
1850
01:34:16,943 --> 01:34:21,739
So the walkways and all their homes,
all these marui, they're all connected.
1851
01:34:21,822 --> 01:34:24,033
It's all done with tensile structure,
1852
01:34:24,116 --> 01:34:27,161
tensile membrane,
stretch triangle shapes and curves.
1853
01:34:27,912 --> 01:34:29,455
KAMATH : How a whole village is so tensile,
1854
01:34:29,538 --> 01:34:32,083
that it was an inherent part
of the question, you know.
1855
01:34:32,166 --> 01:34:34,335
And then it's also like,
all these various weaves,
1856
01:34:34,418 --> 01:34:35,628
how did they come together?
1857
01:34:35,711 --> 01:34:40,466
So we took that section
and then I talked to Workshop about,
1858
01:34:40,549 --> 01:34:42,426
you know, how this could actually happen.
1859
01:34:42,510 --> 01:34:45,304
And then we talked
of the various materials.
1860
01:34:45,388 --> 01:34:48,516
There's a specific kind of flax
we were looking at.
1861
01:34:48,599 --> 01:34:51,477
Cracking the visual look
of the marui was very difficult
1862
01:34:51,560 --> 01:34:54,730
and this was one of the ones
that Jim felt was successful
1863
01:34:54,814 --> 01:34:58,651
in terms of being realistic
and working in its environment.
1864
01:34:58,734 --> 01:35:01,070
It's beautiful ,
but it's engineered at the same time
1865
01:35:01,153 --> 01:35:02,863
and they really take care,
1866
01:35:02,947 --> 01:35:05,533
they have a lot ofpride
in the homes that they build
1867
01:35:05,616 --> 01:35:07,910
and everything is done
with high intention,
1868
01:35:07,994 --> 01:35:09,954
with uniqueness to its family.
1869
01:35:10,037 --> 01:35:11,622
MONA PETERS:
One of those miniature buildings
1870
01:35:11,706 --> 01:35:13,249
that we're working at the moment,
1871
01:35:13,332 --> 01:35:15,960
the Sully Marui that Jake Sully
and Neytiri are living in
1872
01:35:16,043 --> 01:35:18,004
when they're in the Reef Village.
1873
01:35:18,087 --> 01:35:22,717
We are creating this at sixth scale,
so quite a small size,
1874
01:35:22,800 --> 01:35:26,762
which is still in our world
about four by seven meters.
1875
01:35:26,846 --> 01:35:31,142
We're weaving this and knotting this
at an incredible high amount of detail.
1876
01:35:31,225 --> 01:35:36,397
I think our team worked about 4, 000 hours
on just the Sully Marui itself.
1877
01:35:39,275 --> 01:35:43,195
That believability, that reality
that we're managing to bring to the movie
1878
01:35:43,279 --> 01:35:46,574
is 1 00% going to make it
just more real for everyone.
1879
01:35:46,657 --> 01:35:50,911
Any big system is the same,
excellence in , excellence out.
1880
01:35:51,829 --> 01:35:55,708
We created all this stuff in advance
in such detail.
1881
01:35:57,626 --> 01:35:59,795
What comes out is quite stunning.
1882
01:36:06,385 --> 01:36:09,096
Seeing all this stuff
really coming to life,
1883
01:36:09,180 --> 01:36:10,264
it's just so exciting.
1884
01:36:30,493 --> 01:36:34,914
Everything that we do on this film
is based in some sort of reality.
1885
01:36:36,665 --> 01:36:42,129
Because that's the only way to engage
ourselves as audience members.
1886
01:36:46,092 --> 01:36:47,218
(WI NGS FLUTTERI NG)
1887
01:36:47,301 --> 01:36:50,679
We want this to look like we went
to Pandora with a film crew,
1888
01:36:50,763 --> 01:36:53,432
shot the movie, came back, here it is.
1889
01:37:15,246 --> 01:37:20,251
JON LAN DAU : Our expectations of what Wötä
was going to deliver for visual effects
1890
01:37:20,334 --> 01:37:22,503
is beyond anything ever is asked
1891
01:37:22,586 --> 01:37:24,880
of a visual effects company before.
1892
01:37:25,214 --> 01:37:27,842
We are asking them to create
1893
01:37:27,925 --> 01:37:32,346
more characters, more assets,
more effect simulations
1894
01:37:32,429 --> 01:37:35,933
for all of the water work we are doing
than anyone has ever done before.
1895
01:37:36,016 --> 01:37:37,434
And we're asking them to do it
1896
01:37:37,518 --> 01:37:40,146
at a higher level of result.
1897
01:37:41,355 --> 01:37:42,857
LENA SCAN LAN : This is a massive project.
1898
01:37:42,940 --> 01:37:47,236
Normally, visual effects houses get
4 to 600 shots coming through .
1899
01:37:47,319 --> 01:37:49,822
But this is 3, 400 shots.
1900
01:37:49,905 --> 01:37:53,409
So we knew that we had
to not only develop the tools
1901
01:37:53,492 --> 01:37:55,161
to be able to look fantastic
1902
01:37:55,244 --> 01:37:56,829
and make sure the images were amazing,
1903
01:37:56,912 --> 01:37:59,748
but also create them
over and over and over again.
1904
01:37:59,832 --> 01:38:03,335
LAN DAU : Wötä has made improvements
to every visual effects technology
1905
01:38:03,419 --> 01:38:06,255
aspect of the film,
including character animation,
1906
01:38:06,338 --> 01:38:09,466
creatures and environments,
especially water.
1907
01:38:09,550 --> 01:38:12,887
But their focus was on improving
the facial animation.
1908
01:38:12,970 --> 01:38:14,430
JAMES CAMERON : I think
the biggest challenge on this film
1909
01:38:14,513 --> 01:38:16,557
is that we have to create
1910
01:38:16,640 --> 01:38:19,310
a very human emotional reality,
1911
01:38:19,393 --> 01:38:21,520
what the actors did, what they brought
1912
01:38:21,604 --> 01:38:24,607
in a tight close up with a face
that's made up ofpixels.
1913
01:38:24,690 --> 01:38:26,609
U ltimately, the job of the actor
is to make choices.
1914
01:38:26,734 --> 01:38:29,278
And then for me, particularly,
being able to look at the animation ,
1915
01:38:29,361 --> 01:38:31,864
it's really the quality of
the performance, the attention to detail
1916
01:38:31,947 --> 01:38:34,617
and understanding where the idiosyncrasy
of each performance is.
1917
01:38:34,700 --> 01:38:35,701
Get outta here.
1918
01:38:35,784 --> 01:38:38,204
BAN EHAM: And how somebody's feeling
and what they really mean when they talk,
1919
01:38:38,287 --> 01:38:40,789
if you can get that to carry,
now you have a performance.
1920
01:38:41,832 --> 01:38:43,584
STEPH EN CLEE:
What we get as a template form,
1921
01:38:43,667 --> 01:38:45,419
which is just a mock-up
of where the character should be,
1922
01:38:45,502 --> 01:38:48,214
which performance they've chosen
for that character.
1923
01:38:48,297 --> 01:38:51,050
We would then bring in
the raw performance capture.
1924
01:38:51,133 --> 01:38:52,843
We also track their face.
1925
01:38:52,927 --> 01:38:54,178
We then put that all together
1926
01:38:54,261 --> 01:38:56,430
and making sure that we get
the truest performance
1927
01:38:56,513 --> 01:38:58,224
to what the actor had on the day.
1928
01:38:58,307 --> 01:39:00,059
I will not stand and do nothing !
1929
01:39:00,851 --> 01:39:02,895
It's a trap. They want us to hit back.
1930
01:39:03,729 --> 01:39:05,189
They're not hunting tulkun.
1931
01:39:05,272 --> 01:39:06,565
They're hunting us.
1932
01:39:07,066 --> 01:39:10,653
We're interested in the character
that reminds us of the actor.
1933
01:39:10,736 --> 01:39:13,239
So we take the actor's features,
we try to preserve
1934
01:39:13,322 --> 01:39:16,367
as much as we can, especially
around the mouth and the eyes.
1935
01:39:16,450 --> 01:39:18,327
You look at the topography of the face
1936
01:39:18,410 --> 01:39:20,871
and how that's moving ,
and extrapolate backwards
1937
01:39:20,955 --> 01:39:22,748
into what's driving it,
1938
01:39:22,831 --> 01:39:24,124
how the muscles are laid out.
1939
01:39:24,208 --> 01:39:26,835
It's pretty revolutionary
the way that the facial's been done.
1940
01:39:26,961 --> 01:39:28,796
Previously, when you capture facial,
1941
01:39:28,879 --> 01:39:30,297
the data that it's picking up
1942
01:39:30,381 --> 01:39:33,676
is essentially surface data.
With the new system, it takes that data,
1943
01:39:33,759 --> 01:39:36,679
but it embeds that data
into muscle strains.
1944
01:39:36,762 --> 01:39:39,556
There's a lot of artistry still involved ,
but out of the box,
1945
01:39:39,640 --> 01:39:41,392
it's gonna look like the actor.
1946
01:39:41,475 --> 01:39:43,602
It's completely changed
the way we do things.
1947
01:39:43,686 --> 01:39:45,145
Do not test me !
1948
01:39:45,229 --> 01:39:49,024
In order to create a shot
of Zoe playing Neytiri , first of all ,
1949
01:39:49,108 --> 01:39:52,653
we would take Zoe through a full gamut
of her expressions and range.
1950
01:39:52,736 --> 01:39:54,989
Little details that make Zoe Zoe.
1951
01:39:55,072 --> 01:39:59,118
The signature moves of how
she holds tension in her lip,
1952
01:39:59,201 --> 01:40:02,997
the tension that forms
around her philtrum is very iconic.
1953
01:40:03,080 --> 01:40:07,418
The outer lower corners, the way they pull
down through the risorius muscle.
1954
01:40:07,501 --> 01:40:10,462
And what we really want to do
is to create a digital double
1955
01:40:10,546 --> 01:40:12,715
that can recreate all of those subtleties.
1956
01:40:13,382 --> 01:40:16,927
And then the journey begins
to transfer that into Neytiri.
1957
01:40:17,011 --> 01:40:20,014
And what does Neytiri have
that maybe Zoe doesn't?
1958
01:40:20,097 --> 01:40:22,641
Obviously, eyes that are so much bigger,
1959
01:40:22,725 --> 01:40:25,311
different anatomy of face, forehead.
1960
01:40:25,394 --> 01:40:29,023
We try to keep as much
of Zoe into Neytiri as we can ,
1961
01:40:29,106 --> 01:40:32,318
but there are obviously differences,
with one being a Na'vi .
1962
01:40:32,484 --> 01:40:33,819
The way that the nose wrinkles
1963
01:40:33,902 --> 01:40:36,488
and behaves more like
a lion, lioness' nose.
1964
01:40:36,572 --> 01:40:39,783
U ltimately, our job is we wanna see
a performance that Zoe gives us.
1965
01:40:39,867 --> 01:40:41,493
I pray for the strength that I will not
1966
01:40:41,577 --> 01:40:44,079
pluck the eyeballs out of
my youngest son ! (SNARLS)
1967
01:40:44,455 --> 01:40:48,375
SCAN LAN :I sometimes forget (LAUG HS)
that Neytiri and Jake aren 't real people
1968
01:40:48,459 --> 01:40:51,086
'cause I've spent so much time
with them over the last five years,
1969
01:40:51,170 --> 01:40:54,340
but also, they're just so real .
1970
01:40:54,423 --> 01:40:56,675
You watch them
and it's all about the faces.
1971
01:41:00,054 --> 01:41:02,014
ADCOCK: As we evolved the puppet of Kiri,
1972
01:41:02,097 --> 01:41:05,601
we were constantly testing
against older footage of Sigourney.
1973
01:41:05,684 --> 01:41:09,521
J im was really precious
about trying to get the same feeling
1974
01:41:09,605 --> 01:41:10,814
and the same youthfulness
1975
01:41:10,898 --> 01:41:13,525
that Sigourney evoked
on screen forAliens.
1976
01:41:13,609 --> 01:41:15,694
And so we did a little dialogue test
to make sure
1977
01:41:15,778 --> 01:41:19,281
that the Kiri puppet held up quite well
to some of this reference.
1978
01:41:19,365 --> 01:41:21,909
Sigourney holds herjaw quite far forward.
1979
01:41:21,992 --> 01:41:24,495
It's very much a Sigourney characteristic.
1980
01:41:24,578 --> 01:41:27,206
She also has these supporting pillars
underneath her lip
1981
01:41:27,289 --> 01:41:29,208
that give her a presence,
1982
01:41:29,333 --> 01:41:31,919
and a Sigourney smile
is very unique to her.
1983
01:41:32,002 --> 01:41:33,545
And we needed to kinda capture that,
1984
01:41:33,629 --> 01:41:37,591
but also capture it so it felt more
like a teenage version of Sigourney.
1985
01:41:37,674 --> 01:41:40,427
It was a real challenge,
but a great exercise and something that
1986
01:41:40,511 --> 01:41:42,846
looking back on now,
the performances really ring through .
1987
01:41:42,930 --> 01:41:45,015
-Where's Spider?
-They took him .
1988
01:41:45,933 --> 01:41:47,226
They took him .
1989
01:41:47,309 --> 01:41:51,146
CAMERON : These characters, in a funny way,
are almost more emotional.
1990
01:41:51,230 --> 01:41:55,734
You feel them, which is kind of the thing
that I'm most satisfied about,
1991
01:41:55,818 --> 01:41:57,236
it's an emotional movie.
1992
01:41:57,319 --> 01:42:00,697
And we did succeed
in preserving what the actors did .
1993
01:42:01,407 --> 01:42:03,492
(ALL PANTI NG I N EXHAUSTION)
1994
01:42:03,575 --> 01:42:05,327
(SOBS)
1995
01:42:07,371 --> 01:42:10,124
LAN DAU : One of our favorite elements
of the visual effects process
1996
01:42:10,207 --> 01:42:12,334
is creating the creatures of Pandora,
1997
01:42:12,418 --> 01:42:15,671
building them with scientific rigor
of a real creature
1998
01:42:15,754 --> 01:42:18,424
while giving them
the force and personality
1999
01:42:18,507 --> 01:42:20,384
of real animals as well.
2000
01:42:20,467 --> 01:42:24,388
Creatures Department provide puppets
to animation and the motion departments.
2001
01:42:24,471 --> 01:42:26,098
So that means providing
2002
01:42:26,181 --> 01:42:30,686
a kind of an internaljoint hierarchy
that can either be driven by a key frame
2003
01:42:30,769 --> 01:42:34,106
in terms of animators animating controls
and moving those joints around
2004
01:42:34,231 --> 01:42:36,608
or it can be driven
using performance capture.
2005
01:42:36,942 --> 01:42:38,110
Whoa, whoa ! Bro !
2006
01:42:39,027 --> 01:42:40,279
MARCO REVELANT:
Ifyou talk about creature,
2007
01:42:40,362 --> 01:42:41,613
you have a skeleton structure,
2008
01:42:41,697 --> 01:42:44,366
you have a muscle system,
and you need to make sure
2009
01:42:44,450 --> 01:42:48,829
everything behaves realistically.
Also the rigging process involved,
2010
01:42:48,912 --> 01:42:51,206
creating the tool for animation to use.
2011
01:42:51,373 --> 01:42:53,041
The way they interact with the character,
2012
01:42:53,125 --> 01:42:55,919
how they move the arm, hands, etc.
2013
01:42:56,003 --> 01:42:58,505
We have the skimwings. We have the ilus.
2014
01:42:58,797 --> 01:43:02,885
We have the tulkun and they're all
based off of marine animals,
2015
01:43:02,968 --> 01:43:06,138
which means as animators,
we have to go out and find reference.
2016
01:43:06,263 --> 01:43:10,642
ERIC SAI N DON : There's always something
real that we can base our creatures on
2017
01:43:10,726 --> 01:43:12,394
to understand their motion.
2018
01:43:14,104 --> 01:43:16,899
You have to believe these creatures
could move like that
2019
01:43:16,982 --> 01:43:21,028
or your mind just won't allow it
to think it's real .
2020
01:43:21,111 --> 01:43:23,572
REYNOLDS: The ilu ,
they've got these giant fins,
2021
01:43:23,655 --> 01:43:25,365
they could swim like dolphins,
2022
01:43:25,449 --> 01:43:27,242
they could swim like manta rays,
2023
01:43:27,326 --> 01:43:30,579
or they could swim like X-wing fighters
'cause they had four sets of wings.
2024
01:43:30,662 --> 01:43:32,873
So we built all these
different swim cycles.
2025
01:43:32,956 --> 01:43:35,876
It's possible they can use all of them,
depending on their mood.
2026
01:43:35,959 --> 01:43:39,922
For the capture for the ilu,
we have our performers and stuntees
2027
01:43:40,005 --> 01:43:42,132
riding around on Seabobs
underwater in the tank.
2028
01:43:42,257 --> 01:43:44,343
So this gives us
a really good starting point,
2029
01:43:44,426 --> 01:43:49,556
because it gives accurate reactions
to the water and very believable motion.
2030
01:43:49,640 --> 01:43:53,352
From there, the animation team
will bring in our ilu puppet,
2031
01:43:53,435 --> 01:43:56,271
and we'll try and integrate
the character with that ilu .
2032
01:43:56,355 --> 01:43:58,440
REYNOLDS: The ilu also has this long neck
2033
01:43:58,524 --> 01:44:02,569
which affords you the ability to have
a look around and be kinda curious
2034
01:44:02,653 --> 01:44:06,740
and be quizzical and emote
in a way that fish can 't.
2035
01:44:06,823 --> 01:44:08,575
Seals have necks, they're aquatic,
2036
01:44:08,659 --> 01:44:10,452
they're built in the same way. So we used
2037
01:44:10,536 --> 01:44:13,121
some reference from seals,
who can also be cute.
2038
01:44:13,455 --> 01:44:15,916
-(I LU G RU NTS)
-(G IGG LI NG)
2039
01:44:17,626 --> 01:44:19,169
JOH NSTON : This is one of
these whale-like creatures
2040
01:44:19,253 --> 01:44:20,587
that we were asked to build.
2041
01:44:20,671 --> 01:44:23,632
It has some kind of recognizably
whale-like features,
2042
01:44:23,715 --> 01:44:27,010
but also, you know,
some very Pandorian kind of features.
2043
01:44:27,094 --> 01:44:28,971
The tail is very different
in terms of the way
2044
01:44:29,054 --> 01:44:31,390
that it spreads out at the back.
When it's moving,
2045
01:44:31,473 --> 01:44:33,934
there's some kind of tendrils
and things that are clearly
2046
01:44:34,017 --> 01:44:35,477
not what you'd see on a whale.
2047
01:44:36,770 --> 01:44:39,982
These are kind of really interesting
features we needed to take into account
2048
01:44:40,065 --> 01:44:41,984
when we started to rig the creature up
2049
01:44:42,067 --> 01:44:45,362
and to kind of turn it into something
that was going to function.
2050
01:44:45,445 --> 01:44:47,364
SAI N DON :
Jim really wanted that fun interaction
2051
01:44:47,447 --> 01:44:49,157
between a boy and his tulkun .
2052
01:44:49,658 --> 01:44:54,580
Payakan didn 't want to be just a big,
hulking whale going through the scene.
2053
01:44:54,705 --> 01:44:56,748
He wants to be this character
2054
01:44:56,832 --> 01:44:59,167
that you can relate to, that you feel for.
2055
01:44:59,251 --> 01:45:01,086
With not a lot to emote,
2056
01:45:01,169 --> 01:45:03,922
like in his face, you have
to feel that emotion
2057
01:45:04,006 --> 01:45:06,883
through his fins, through his eyes.
2058
01:45:11,305 --> 01:45:13,932
LAN DAU : The new film takes us
beyond the forests
2059
01:45:14,016 --> 01:45:15,767
with new biomes, new environments,
2060
01:45:15,892 --> 01:45:20,230
and most especially, the very unique
and alluring, water.
2061
01:45:20,314 --> 01:45:22,691
As long as I've been working
in this industry, water's been hard .
2062
01:45:22,774 --> 01:45:25,611
It's something that
we're all very familiar with.
2063
01:45:25,694 --> 01:45:29,072
When it's not perfect,
you can tell that it's not perfect.
2064
01:45:30,073 --> 01:45:33,744
The water is really
a living creature on this film ,
2065
01:45:33,827 --> 01:45:35,704
and it's a hard one to control.
2066
01:45:35,787 --> 01:45:37,914
JOH NATHAN N IXON :
The water tells its own story.
2067
01:45:37,998 --> 01:45:41,960
It's being used to show what are
the conditions that the characters are in .
2068
01:45:42,044 --> 01:45:45,380
So, hey, we need bigger splashes
or we need the water to be more calm.
2069
01:45:45,505 --> 01:45:48,300
This is supposed to be a lagoon,
not supposed to be a big, violent ocean.
2070
01:45:48,383 --> 01:45:51,219
And so you do need to work
with the characteristics of that water
2071
01:45:51,303 --> 01:45:52,929
in order to help tell the story.
2072
01:45:53,013 --> 01:45:56,975
J im was very clear
on what the look of the water is.
2073
01:45:57,059 --> 01:45:58,226
How clear is it?
2074
01:45:58,310 --> 01:46:00,270
What is the color? How far can I see?
2075
01:46:00,354 --> 01:46:02,522
How is the light traveling?
How are things moving?
2076
01:46:02,606 --> 01:46:03,690
(N EYTI RI YELPS)
2077
01:46:04,066 --> 01:46:05,108
(N EYTI RI G RU NTS)
2078
01:46:05,192 --> 01:46:06,902
N IXON : Your environment is dynamic.
2079
01:46:06,985 --> 01:46:09,696
Where a lot of times you work on a movie,
the environment doesn 't move.
2080
01:46:09,780 --> 01:46:12,115
You're inside of a building
or inside of a forest.
2081
01:46:12,199 --> 01:46:15,827
Or here, you're inside of an ocean .
And that ocean is constantly moving
2082
01:46:15,911 --> 01:46:19,247
and creating its own character to what's
happening in the environment around it.
2083
01:46:20,624 --> 01:46:22,417
TODD LABONTE:
The biggest challenge is the scope.
2084
01:46:22,501 --> 01:46:25,796
Every shot is packed to the rafters
2085
01:46:25,879 --> 01:46:27,881
with characters, water interaction.
2086
01:46:27,964 --> 01:46:30,884
So you've got boats on the water,
2087
01:46:30,967 --> 01:46:34,554
people on the boats, tulkun on the water.
2088
01:46:34,638 --> 01:46:37,391
So we have
a rough water surface basically.
2089
01:46:37,474 --> 01:46:41,853
An infinite plane of sine waves
that simulate a water surface.
2090
01:46:41,937 --> 01:46:44,523
We can put a boat on that,
and it looks pretty decent.
2091
01:46:44,606 --> 01:46:48,193
We can put a tulkun on there
and we know that roughly,
2092
01:46:48,276 --> 01:46:50,237
his head is out of the water this much .
2093
01:46:50,320 --> 01:46:53,657
So now you have a boat chasing the tulkun,
2094
01:46:53,740 --> 01:46:55,325
and it's splashing.
2095
01:46:55,409 --> 01:46:58,412
The tulkun wake now affects the boat,
2096
01:46:58,495 --> 01:47:00,288
so the boat has to lift.
2097
01:47:00,372 --> 01:47:04,292
Then the boat lifts,
but that changes the water as well.
2098
01:47:04,376 --> 01:47:07,212
So then the boat might have
to drop down again ,
2099
01:47:07,295 --> 01:47:09,840
because everything is simmed
on top of itself
2100
01:47:09,923 --> 01:47:15,178
It's like this circular ring of suffering
that has to be solved . (LAUG HS)
2101
01:47:15,262 --> 01:47:19,850
So the water interaction
is this crazy loop of animation
2102
01:47:19,933 --> 01:47:23,186
to effects, to animation
to effects, to animation.
2103
01:47:23,937 --> 01:47:25,147
Brace yourself!
2104
01:47:26,732 --> 01:47:27,774
(ALL YELL)
2105
01:47:30,527 --> 01:47:32,070
LAN DAU : It's notjust about the water.
2106
01:47:32,154 --> 01:47:35,532
What is the water's impact
on a person's body?
2107
01:47:35,615 --> 01:47:39,536
If I'm underwater
and I'm traveling at a high speed,
2108
01:47:39,619 --> 01:47:41,496
what is that water doing to my face?
2109
01:47:41,580 --> 01:47:43,415
What is that water doing to my hair?
2110
01:47:43,498 --> 01:47:46,042
We know intrinsically
what someone's hair looks like
2111
01:47:46,126 --> 01:47:48,545
when they dive into a swimming pool,
but actually simulating that
2112
01:47:48,628 --> 01:47:51,465
and trying to simulate
every single hair is really difficult.
2113
01:47:53,508 --> 01:47:56,303
This shot, here,
we've got a live-action foreground .
2114
01:47:56,386 --> 01:47:58,638
The rest is all digital
and we have to have a character
2115
01:47:58,722 --> 01:48:00,098
coming up out of the water here,
2116
01:48:00,182 --> 01:48:02,058
and she needs to feel like
she's obviously fully affected
2117
01:48:02,142 --> 01:48:03,393
by what's going on with the water.
2118
01:48:03,477 --> 01:48:05,729
We run a simulation here,
and we try and approximate
2119
01:48:05,812 --> 01:48:07,314
what's happening
with the live-action plate
2120
01:48:07,397 --> 01:48:09,524
and our extension of it
as close as possible.
2121
01:48:09,608 --> 01:48:12,360
We then use that simulation
to affect the hair.
2122
01:48:12,444 --> 01:48:15,113
This is the result we can get out
of what we'd call a coupled simulation.
2123
01:48:15,197 --> 01:48:16,531
-(GASPI NG)
-Kiri !
2124
01:48:17,157 --> 01:48:20,368
SAM COLE: There's shots and sequences
where the water is on fire.
2125
01:48:20,452 --> 01:48:22,746
There's characters with fully coupled
clothing and hair
2126
01:48:22,829 --> 01:48:25,999
inside of the water sim that's
fully coupled . It has foam , aeration ,
2127
01:48:26,082 --> 01:48:28,084
micro bubbles, all of that going on
2128
01:48:28,251 --> 01:48:30,212
all in the same shot
while delivering dialogue.
2129
01:48:30,295 --> 01:48:31,296
Grab on .
2130
01:48:31,379 --> 01:48:34,007
It sort of hits the bingo of everything
that's difficult to do in a shot.
2131
01:48:34,090 --> 01:48:37,052
And it all gets simulated together
at once, which is fantastic.
2132
01:48:44,851 --> 01:48:48,230
When we started on the project,
I was really keen to work
2133
01:48:48,313 --> 01:48:50,440
on something that had biolume.
2134
01:48:52,067 --> 01:48:55,028
We have this sequence
of Kiri and Jake sitting
2135
01:48:55,111 --> 01:48:57,697
on the canoe docks
and she's rotating her legs in the water.
2136
01:48:57,864 --> 01:49:00,033
It's a beautiful sequence. It's plaul,
2137
01:49:00,116 --> 01:49:04,037
it's meant to be her
connecting with Pandora and Eywa,
2138
01:49:04,120 --> 01:49:06,081
and she's having a moment with her dad.
2139
01:49:06,164 --> 01:49:09,584
We started with this animation.
We had the direction from Jim to say
2140
01:49:09,668 --> 01:49:12,254
it's all about the storytelling .
It's about Kiri sitting there,
2141
01:49:12,337 --> 01:49:14,631
she's thinking about stuff,
and Jake's being a dad
2142
01:49:14,714 --> 01:49:18,844
and it's that moment, we had
bioluminescent coral inside the water.
2143
01:49:18,927 --> 01:49:22,013
We also had these fishes
where the fishes have trails.
2144
01:49:22,097 --> 01:49:23,598
So the faster a fish swims,
2145
01:49:23,682 --> 01:49:27,727
it would do a certain kind of trail ,
and produce more particles,
2146
01:49:27,811 --> 01:49:29,020
brighter particles.
2147
01:49:29,104 --> 01:49:33,358
The tricky thing was
we had never done biolume
2148
01:49:33,441 --> 01:49:34,734
that was inside water.
2149
01:49:34,818 --> 01:49:37,320
These are unicelled organisms.
2150
01:49:37,404 --> 01:49:42,117
And ifyou irritate them really quickly,
they'll flash brighter.
2151
01:49:42,200 --> 01:49:45,704
Ifyou softly move them,
they have a soft glow.
2152
01:49:45,787 --> 01:49:50,125
And for a small organism like that
to have that complexity of behavior,
2153
01:49:50,208 --> 01:49:51,585
that's what's amazing about this.
2154
01:49:51,668 --> 01:49:55,380
We need to put all of the stuff
we've learned for effect sims,
2155
01:49:55,463 --> 01:49:57,424
for look, for particle simulation,
2156
01:49:57,507 --> 01:50:00,802
for lighting and let's learn
and make this look amazing.
2157
01:50:01,636 --> 01:50:04,556
So a lot of detailed research ,
tons of research
2158
01:50:04,639 --> 01:50:07,642
that all went into this shot.
And this is the product
2159
01:50:07,726 --> 01:50:11,646
of, I guess, two years of learning
how to do this stuff.
2160
01:50:12,147 --> 01:50:14,399
Jim was very happy with the sequence.
2161
01:50:15,233 --> 01:50:17,485
So what does Eywa's heartbeat sound like?
2162
01:50:20,363 --> 01:50:21,406
Mighty.
2163
01:50:26,244 --> 01:50:29,873
I don't think there's anybody out there
that can do what Wötä does.
2164
01:50:32,208 --> 01:50:34,336
They proved it on Avatar and Alita.
2165
01:50:34,419 --> 01:50:35,754
They proved it on the Apes films.
2166
01:50:35,837 --> 01:50:37,505
They proved it
on The Lord of the Rings films.
2167
01:50:39,841 --> 01:50:41,092
(PAYAKAN BELLOWS)
2168
01:50:41,176 --> 01:50:43,929
And they proved it tenfold on this film .
2169
01:50:49,017 --> 01:50:50,352
(YELLI NG)
2170
01:50:50,435 --> 01:50:51,436
(G RU NTS)
2171
01:50:52,062 --> 01:50:53,104
(BOTH GASPI NG)
2172
01:51:11,247 --> 01:51:13,750
Avatar is about
a clash between civilizations
2173
01:51:13,833 --> 01:51:15,752
and the beauty of the planet of Pandora.
2174
01:51:18,254 --> 01:51:21,091
The bad guys need their ways
of doing the terrible things they do.
2175
01:51:31,559 --> 01:51:33,436
A lot's changed since your last tour here.
2176
01:51:33,520 --> 01:51:34,521
Walk with me.
2177
01:51:44,739 --> 01:51:46,241
(MACH I N ES WH I RRI NG LOU DLY)
2178
01:51:46,324 --> 01:51:48,034
JAMES CAMERON : For the human world,
2179
01:51:48,118 --> 01:51:51,538
which is highly technological
and highly recognizable to us
2180
01:51:52,205 --> 01:51:54,332
we wanted to have
a high degree of creativity
2181
01:51:54,416 --> 01:51:55,959
and be very tech-forward
2182
01:51:56,042 --> 01:51:59,838
in the tradition of Syd Mead
who did great futurist designs.
2183
01:52:01,881 --> 01:52:04,884
Ben Procter is the best designer
2184
01:52:04,968 --> 01:52:07,887
of near future technology
that I've ever seen.
2185
01:52:07,971 --> 01:52:11,266
He's not only
amazing as an artist himself
2186
01:52:11,349 --> 01:52:15,103
but he also understands
that they're there for a narrative purpose
2187
01:52:15,186 --> 01:52:16,479
and what are they saying .
2188
01:52:16,563 --> 01:52:18,815
PROCTER: Jim is always
first and foremost a storyteller,
2189
01:52:18,898 --> 01:52:21,943
and he doesn 't want to ever
fetishize technology in the movie.
2190
01:52:22,026 --> 01:52:23,236
He doesn't want to
make a point of it.
2191
01:52:23,319 --> 01:52:25,572
It is there to tell the story
just like everything else.
2192
01:52:27,657 --> 01:52:30,285
Hell's Gate, as formidable
as it may have seemed in Avatar 1 ,
2193
01:52:30,368 --> 01:52:33,246
was just a tiny piece
of what the RDA is doing.
2194
01:52:34,914 --> 01:52:37,500
It wasn 't the full might
that's available back on Earth.
2195
01:52:37,584 --> 01:52:40,462
Now the RDA has a lot of money
and they're not messing around
2196
01:52:40,545 --> 01:52:41,921
and they're not gonna make
the same mistake twice.
2197
01:52:42,005 --> 01:52:45,300
So when they come back,
they come back on a whole different scale.
2198
01:52:45,383 --> 01:52:48,762
That means all the vehicles,
all the weapons, all the props,
2199
01:52:48,845 --> 01:52:51,890
all the RDA wardrobe
were all designed by a team of artists.
2200
01:52:57,145 --> 01:52:58,396
PROCTER: When we first see Bridgehead,
2201
01:52:58,480 --> 01:53:01,483
the impression that Jim wanted to give
is just of infinite construction.
2202
01:53:01,566 --> 01:53:02,901
Ifyou think of how Dubai looked
2203
01:53:02,984 --> 01:53:04,903
at certain points
in its recent development,
2204
01:53:04,986 --> 01:53:08,740
where there was just so much money
going in to turn the desert into a city
2205
01:53:08,823 --> 01:53:11,159
with hundreds of cranes
visible at the same time,
2206
01:53:11,242 --> 01:53:12,911
that's the impression
that we're going for.
2207
01:53:12,994 --> 01:53:14,746
It's a full-blown industrial port.
2208
01:53:14,829 --> 01:53:16,623
It's got all kinds
of different capabilities.
2209
01:53:16,706 --> 01:53:19,000
But everything the RDA does,
they're doing at Bridgehead
2210
01:53:19,083 --> 01:53:21,544
because they have
a new ocean-going operation.
2211
01:53:21,628 --> 01:53:23,922
I don't think it's any secret
that I like the ocean ,
2212
01:53:24,005 --> 01:53:26,174
I like being underwater,
I like being at sea,
2213
01:53:26,257 --> 01:53:27,592
I like to be in submarines.
2214
01:53:27,675 --> 01:53:29,302
So give me a blank slate.
2215
01:53:29,385 --> 01:53:31,679
Let's see what the RDA does
with the ocean .
2216
01:53:36,142 --> 01:53:39,145
The SeaDragon is the big enemy ship,
400 feet long,
2217
01:53:39,229 --> 01:53:43,107
which is this monstrous ship
that can come up on hydrofoils
2218
01:53:43,191 --> 01:53:45,819
and lift itself right out the water
in ground effect
2219
01:53:45,902 --> 01:53:48,154
and skim over the water at 120 knots.
2220
01:53:49,531 --> 01:53:53,368
U nlike the Dragon in Avatar 1
which was explicitly a military craft,
2221
01:53:53,451 --> 01:53:54,786
the SeaDragon is actually
a commercial ship
2222
01:53:54,869 --> 01:53:56,204
that's essentially a mothership
2223
01:53:56,329 --> 01:54:00,542
for all kinds of other vehicles that form
the whaling operations of the RDA.
2224
01:54:00,625 --> 01:54:03,711
CAMERON : Imagine a whaling ship
that can move 120 miles an hour.
2225
01:54:03,795 --> 01:54:05,046
That's pretty cool , right?
2226
01:54:05,129 --> 01:54:07,799
But it's put together
from bits and pieces of technology
2227
01:54:07,882 --> 01:54:09,968
that really exists in the world today
and are possible.
2228
01:54:10,051 --> 01:54:12,345
The SeaDragon
has a big magic trick up its sleeve
2229
01:54:12,428 --> 01:54:14,389
and that is that, lo and behold ,
2230
01:54:14,472 --> 01:54:17,392
the entire nose of the thing
clamshells open into two,
2231
01:54:17,475 --> 01:54:19,352
forming not only the central foredeck,
2232
01:54:19,435 --> 01:54:22,939
but now that foredeck has a couple of
different wings for deploying Crab Suits
2233
01:54:23,022 --> 01:54:24,899
and recovering other vehicles and whatnot.
2234
01:54:24,983 --> 01:54:26,985
(ALARM BLARI NG)
2235
01:54:30,238 --> 01:54:31,698
PROCTER: The SeaDragon
was one of the sets
2236
01:54:31,781 --> 01:54:33,616
that we needed to build
almost in its entirety.
2237
01:54:33,700 --> 01:54:34,701
SCORESBY: Get in there !
2238
01:54:34,784 --> 01:54:35,952
PROCTER: We built the well deck.
2239
01:54:36,035 --> 01:54:39,163
It was a giant set that's only
a partial of what's really there.
2240
01:54:42,041 --> 01:54:43,293
(ALL G RU NTI NG)
2241
01:54:43,376 --> 01:54:46,254
PROCTER: The most fun aspect
of these big RDA vehicles,
2242
01:54:46,337 --> 01:54:48,631
of course, is how they die,
how do they meet their demise.
2243
01:54:48,715 --> 01:54:51,175
LU KE FREEBORN : We can 't do
a James Cameron movie
2244
01:54:51,259 --> 01:54:55,096
without a scene of water
chasing people through a sinking ship.
2245
01:54:55,179 --> 01:54:56,180
WOMAN : Action !
2246
01:54:59,934 --> 01:55:01,185
(SCREAMS)
2247
01:55:02,520 --> 01:55:03,563
(SCREAMS)
2248
01:55:08,943 --> 01:55:11,404
(SYSTEM TRI LLI NG)
2249
01:55:12,071 --> 01:55:13,740
PROCTER: The Matador is a 50-foot boat.
2250
01:55:13,823 --> 01:55:16,284
There's only one Matador
and the purpose of those
2251
01:55:16,367 --> 01:55:19,871
is herding and corralling
of the tulkun pod using grenade launchers.
2252
01:55:21,247 --> 01:55:22,415
Target over here.
2253
01:55:23,666 --> 01:55:24,959
Yeah , that's it. Wait.
2254
01:55:25,043 --> 01:55:28,338
The Matador's the kill boat
which then comes in and uses this harpoon .
2255
01:55:28,421 --> 01:55:29,672
CAMERON : Adam , you do...
2256
01:55:29,756 --> 01:55:32,133
You don't want to be standing here
talking to somebody like this
2257
01:55:32,216 --> 01:55:34,052
-and pull the trigger.
-MAN : He'll do it. I've done it.
2258
01:55:34,135 --> 01:55:36,763
-GARRETT WARREN : You can do it. I did it.
-(LAUG HS) Right. Right.
2259
01:55:36,846 --> 01:55:38,514
It's awesome.
It's one of my favorite things
2260
01:55:38,598 --> 01:55:40,099
that I've ever seen in my life.
I want one.
2261
01:55:40,183 --> 01:55:43,978
It's huge. And to see the harpoon gun
on the front of it was badass.
2262
01:55:44,062 --> 01:55:46,564
MAN : (ON PA) Three, two, one. . . Action.
2263
01:55:47,482 --> 01:55:48,983
(G RU NTI NG)
2264
01:55:49,067 --> 01:55:50,276
Reload ! Reload !
2265
01:55:50,360 --> 01:55:52,195
Back full ! Back full !
2266
01:55:52,278 --> 01:55:53,738
Man your weapons !
2267
01:55:54,405 --> 01:55:55,698
-CAMERON : That will do.
-(VOCALIZES COCKI NG WEAPON)
2268
01:55:55,782 --> 01:55:56,783
-Yup.
-(WARREN G RU NTS)
2269
01:55:56,866 --> 01:55:58,242
Where are you , you son of a bitch?
2270
01:55:58,326 --> 01:56:00,954
CAMERON : Yeah . And you're getting towed
while that's happening .
2271
01:56:01,037 --> 01:56:02,372
-Yes. So. . . (VOCALIZI NG CRASH I NG)
-Yes.
2272
01:56:04,207 --> 01:56:05,833
The whole thing about the Matador
2273
01:56:05,917 --> 01:56:09,587
is that this overall design
conveys the speed , right?
2274
01:56:09,671 --> 01:56:10,880
It has to be a fast boat.
2275
01:56:11,214 --> 01:56:12,256
SCORESBY: Keep going . Let's go !
2276
01:56:12,340 --> 01:56:13,341
Go, go !
2277
01:56:13,424 --> 01:56:15,218
CAMERON : (ON PA) And action!
2278
01:56:17,136 --> 01:56:20,181
The Matador weighs
maybe ten and a half tons.
2279
01:56:20,264 --> 01:56:24,352
So Steve, he's building a new
massive motion base to cope with that.
2280
01:56:24,435 --> 01:56:27,188
(ON PA) Three, two, one. . . Base.
2281
01:56:27,271 --> 01:56:28,940
And. . . action!
2282
01:56:29,732 --> 01:56:31,484
And. . . go!
2283
01:56:31,567 --> 01:56:35,154
I bought one from Air New Zealand
which was an ex-flight simulator
2284
01:56:35,238 --> 01:56:38,116
and then we had to pull it apart
and re-engineer the whole thing.
2285
01:56:38,199 --> 01:56:40,284
(LOU D WH I RRI NG)
2286
01:56:41,995 --> 01:56:44,038
CAMERON : So you've got this big ship
that rocks up
2287
01:56:44,122 --> 01:56:45,665
and it puts the small boats in
2288
01:56:45,748 --> 01:56:49,460
and so the lead ship,
the Matador, Spanish for killer,
2289
01:56:49,544 --> 01:56:51,587
and then there are the Picador boats.
2290
01:56:52,505 --> 01:56:55,800
(SYSTEM TRI LLI NG)
2291
01:56:55,883 --> 01:56:57,802
What do the picadors do in a bullfight?
2292
01:57:00,805 --> 01:57:01,848
(ENG I N ES WH I RRI NG)
2293
01:57:01,931 --> 01:57:04,559
They hector and move the bull around
and tire it out
2294
01:57:04,642 --> 01:57:07,061
and all that for the Matador
to make the kill shot.
2295
01:57:07,145 --> 01:57:08,646
Well, this is the motif that they do
2296
01:57:08,730 --> 01:57:11,107
when they're hunting
these gigantic creatures.
2297
01:57:11,190 --> 01:57:14,318
The Picador is being fabricated
from scratch in New Zealand ,
2298
01:57:14,402 --> 01:57:16,029
and as opposed to any normal movie
2299
01:57:16,112 --> 01:57:18,740
where you would go and find a boat
that kind of looks good enough,
2300
01:57:18,823 --> 01:57:20,575
Jim wanted the boat that we want it to be.
2301
01:57:20,658 --> 01:57:22,076
So that's exactly what we've built.
2302
01:57:22,160 --> 01:57:24,245
-WOMAN : Action !
-(LOU D WH I RRI NG)
2303
01:57:24,328 --> 01:57:25,329
MAN : Camera !
2304
01:57:26,914 --> 01:57:28,499
I used a guy, Alister Baxter,
2305
01:57:28,583 --> 01:57:31,461
and we just started from the ground up
and designed the boat.
2306
01:57:32,545 --> 01:57:35,089
When I first got the Picador,
2307
01:57:35,173 --> 01:57:36,799
Ben Procter had done a lot of work
2308
01:57:36,883 --> 01:57:39,677
in kind of realizing
what he was hoping it to be.
2309
01:57:42,055 --> 01:57:46,601
The engines, I ordered
as custom-built engines in the States
2310
01:57:46,684 --> 01:57:48,978
and the jet units were custom,
2311
01:57:49,062 --> 01:57:51,939
and then we had three different
CNC milling companies
2312
01:57:52,023 --> 01:57:54,192
machining all of our different elements.
2313
01:57:55,151 --> 01:57:57,028
Wow. That's awesome.
2314
01:57:57,111 --> 01:58:01,240
We're here this morning in this beautiful
secret location in North Auckland .
2315
01:58:01,324 --> 01:58:04,744
And we're here to test the Picador
and put it through its paces.
2316
01:58:04,827 --> 01:58:06,037
(ENG I N E REVVI NG)
2317
01:58:06,120 --> 01:58:07,830
SI NCLAI R: Does over 42 knots,
2318
01:58:07,914 --> 01:58:10,291
can stop from top speed
in one boat length.
2319
01:58:11,876 --> 01:58:13,795
Which is quite frightening
when you're aboard it.
2320
01:58:13,878 --> 01:58:14,921
You've gotta hang on .
2321
01:58:17,215 --> 01:58:18,341
PROCTER: It was pretty amazing.
2322
01:58:18,424 --> 01:58:22,011
We've been working on this boat for, God ,
about 5 years now or something like that.
2323
01:58:22,095 --> 01:58:24,180
But until Ijust got on it
and saw it on the water,
2324
01:58:24,263 --> 01:58:26,182
I feel like I've never seen it
in its natural environment.
2325
01:58:26,265 --> 01:58:28,559
So pretty cool
to get that perspective on it.
2326
01:58:30,478 --> 01:58:31,771
(SCREAMS)
2327
01:58:33,481 --> 01:58:36,818
(SYSTEM TRI LLI NG)
2328
01:58:37,276 --> 01:58:40,488
So our air vehicles in the sequels
have gotten an upgrade.
2329
01:58:40,613 --> 01:58:43,991
(WH I RRI NG)
2330
01:58:44,075 --> 01:58:46,327
CAMERON : I didn't think
we'd be able to beat the Samson,
2331
01:58:46,410 --> 01:58:47,745
the Samson was pretty cool.
2332
01:58:47,829 --> 01:58:51,290
But, you know, the H uey had to give way
to the Black Hawk,
2333
01:58:51,374 --> 01:58:53,918
so the Samson got to give way
to the Kestrel .
2334
01:58:54,001 --> 01:58:56,796
The Kestrel is the twin rotorcraft.
2335
01:58:56,879 --> 01:58:59,465
It's longer, higher, and wider.
2336
01:58:59,549 --> 01:59:03,469
It's substantially larger
and very complicated .
2337
01:59:03,553 --> 01:59:05,096
It makes the Samson look pretty simple.
2338
01:59:05,179 --> 01:59:06,806
Here, Spider's engaging .
2339
01:59:07,473 --> 01:59:09,892
-He's like. . . (VOCALIZES FI RI NG) Right?
-MAN : Yeah .
2340
01:59:09,976 --> 01:59:11,936
And then he just gets grabbed and taken .
2341
01:59:12,019 --> 01:59:15,273
The Kestrel is still a really
military vehicle full of ammunition .
2342
01:59:15,356 --> 01:59:18,109
It's a gunship,
so it's still got that hard edge.
2343
01:59:18,192 --> 01:59:19,610
They haven 't got soft cushions on them.
2344
01:59:19,694 --> 01:59:21,612
They haven 't got all that luxury,
you know?
2345
01:59:21,696 --> 01:59:23,239
MAN : Grab it just like this.
2346
01:59:23,322 --> 01:59:24,365
-This way?
-MAN : Yeah , exactly.
2347
01:59:24,448 --> 01:59:26,826
-Now if you grab the piece of cylinder. . .
-I don't know if they'd buy it.
2348
01:59:26,909 --> 01:59:29,829
I would not trust my life to that grip.
I'd trust my life to that grip.
2349
01:59:29,912 --> 01:59:31,706
-MAN : Yeah , yeah .
-You know what I mean?
2350
01:59:33,958 --> 01:59:35,835
Whoo-hoo-hoo ! (LAUG HS)
2351
01:59:35,918 --> 01:59:38,796
(SYSTEM TRI LLI NG)
2352
01:59:39,422 --> 01:59:42,466
JON LAN DAU : There's a new exoskeleton
that we call a Skel Suit.
2353
01:59:42,550 --> 01:59:45,845
It's something
that allows humans to operate
2354
01:59:45,928 --> 01:59:49,098
at the scale of a Na 'vi or of an avatar
2355
01:59:49,182 --> 01:59:52,518
and characters like General Ardmore
will have a Skel Suit.
2356
01:59:52,602 --> 01:59:54,395
So when she's out in the field,
2357
01:59:54,478 --> 01:59:58,858
she can be eye-to-eye with an avatar
where it amplifies their movement,
2358
01:59:58,941 --> 02:00:01,819
but it also has very fine detail,
2359
02:00:01,903 --> 02:00:05,239
enough for someone to even pour
a cup of coffee and drink from it.
2360
02:00:05,323 --> 02:00:06,490
Earth is dying .
2361
02:00:06,574 --> 02:00:10,870
J EREMY HAN NA: The tricky side of it is,
it had to have quite a complex mechanism
2362
02:00:10,953 --> 02:00:13,497
for how you would actually control
the motion of the hands
2363
02:00:13,581 --> 02:00:16,959
being that the arms would be
so much longer than a human arm.
2364
02:00:17,043 --> 02:00:18,419
Ifyou wanted to be able
to touch your own face,
2365
02:00:18,544 --> 02:00:20,171
the hand has to be able
to come really close to you
2366
02:00:20,254 --> 02:00:21,380
and then when you reach out,
2367
02:00:21,464 --> 02:00:23,591
the hand has to go
much, much further than you can reach.
2368
02:00:23,674 --> 02:00:26,344
I think that was quite a complex part
for us to resolve.
2369
02:00:26,427 --> 02:00:30,306
EDI E FALCO: The Skel Suit
is a suit of metal parts
2370
02:00:30,389 --> 02:00:33,809
that are meant to make her
have the same stature as a Na'vi .
2371
02:00:33,893 --> 02:00:35,603
She's taller and arms are longer.
2372
02:00:35,686 --> 02:00:37,647
It's just more like a psychological thing
2373
02:00:37,730 --> 02:00:40,107
so she makes sure
everybody knows who's in charge.
2374
02:00:40,191 --> 02:00:41,317
-(PANTI NG)
-General Ardmore.
2375
02:00:42,235 --> 02:00:44,070
-Good to meet you , Colonel .
-H mm .
2376
02:00:44,487 --> 02:00:45,613
I've heard good things...
2377
02:00:45,696 --> 02:00:48,741
(SYSTEM TRI LLI NG)
2378
02:00:50,243 --> 02:00:52,245
PROCTER: The Crab Suit is the answer to,
2379
02:00:52,328 --> 02:00:54,747
"What do you do when you want an AMP Suit
that goes underwater?"
2380
02:00:54,830 --> 02:00:58,668
Jim felt that the RDA would take
inspiration from a sea creature, right?
2381
02:00:58,751 --> 02:01:00,795
That it literally looks like a crab
2382
02:01:00,878 --> 02:01:03,381
because you can borrow
a lot of the aspects of a crab
2383
02:01:03,464 --> 02:01:04,548
for practical reasons.
2384
02:01:04,632 --> 02:01:06,425
The crab has different modes, right?
2385
02:01:06,509 --> 02:01:08,552
So unlike an AMP Suit
which is just one thing ,
2386
02:01:08,636 --> 02:01:09,637
a crab can be a crab
2387
02:01:09,762 --> 02:01:12,306
and then it also has a mode
where it tucks its legs in
2388
02:01:12,390 --> 02:01:14,058
and becomes extremely hydrodynamic.
2389
02:01:14,183 --> 02:01:16,102
So we call it Crab Mode and Sub Mode.
2390
02:01:16,185 --> 02:01:19,105
MARTI N I : When it's in Sub Mode,
you can see the legs folded.
2391
02:01:19,188 --> 02:01:21,816
Jim was like, "Look at a real crab.
2392
02:01:21,899 --> 02:01:23,901
"That's how I wanted
it to actually look like."
2393
02:01:23,985 --> 02:01:28,614
So I actually had to kind of back engineer
what it actually looks standing .
2394
02:01:29,782 --> 02:01:32,034
ADAM GOU RLEY: So this is the Crab Suit.
2395
02:01:32,118 --> 02:01:35,371
It's a highly detailed portion of a build .
2396
02:01:35,454 --> 02:01:36,539
It's an amazing piece.
2397
02:01:36,622 --> 02:01:40,376
Everything is real, real milled parts,
real functional things here.
2398
02:01:40,459 --> 02:01:41,961
This is not a cheat.
2399
02:01:42,044 --> 02:01:44,797
CAMERON : A lot of the shots
are the crab just flying around .
2400
02:01:44,880 --> 02:01:47,174
-And their arms are stowed .
-MAN : Cool .
2401
02:01:47,258 --> 02:01:50,386
CAMERON : There's other shots
where they're flying around in Crab Mode.
2402
02:01:51,429 --> 02:01:54,849
The seat is really like
the main focal point of this build .
2403
02:01:54,932 --> 02:01:57,226
The analogy that I've always used
is it's kinda like riding a horse.
2404
02:01:57,310 --> 02:01:59,353
We have a Waldo system
for the arms, right?
2405
02:01:59,478 --> 02:02:01,689
But the legs,
you've got a four-legged creature
2406
02:02:01,772 --> 02:02:03,858
that can do all this crazy behavior.
2407
02:02:03,941 --> 02:02:06,402
Ifyou were trying to shoot
an arrow off a horse,
2408
02:02:06,485 --> 02:02:09,113
you'd be using your hands
to operate the weapons
2409
02:02:09,196 --> 02:02:12,700
and using your legs
to tell the horse where you want to go.
2410
02:02:13,284 --> 02:02:14,493
(WH I RRI NG)
2411
02:02:18,664 --> 02:02:21,042
(SYSTEM TRI LLI NG)
2412
02:02:21,584 --> 02:02:23,919
PROCTER: On the SeaDragon ,
we have Mako subs
2413
02:02:24,003 --> 02:02:27,798
which are launched out of
a sort of a bomb bay moon pool
2414
02:02:27,882 --> 02:02:30,509
in the bottom of the ship
in a very fun way into the water.
2415
02:02:33,346 --> 02:02:37,016
Because Jim knows submarines
and knows these kinds of vehicles so well,
2416
02:02:37,099 --> 02:02:39,101
we had to hold ourselves
to a very high standard
2417
02:02:39,185 --> 02:02:40,770
in terms of the detailed design.
2418
02:02:40,853 --> 02:02:43,356
J im had the chance to build a sub himself
2419
02:02:43,439 --> 02:02:46,442
when he explored the deepest portion
of our ocean as we know it.
2420
02:02:46,525 --> 02:02:49,737
So, when it comes
to listening to him giving notes
2421
02:02:49,820 --> 02:02:51,489
and critique about a submarine design,
2422
02:02:51,572 --> 02:02:54,617
it's incredible because he does have
the experience for real.
2423
02:02:54,700 --> 02:02:56,952
He's been through many
deep-sea explorations.
2424
02:02:57,036 --> 02:02:58,037
CAMERON : This all your work?
2425
02:02:58,120 --> 02:02:59,455
Collaboration , of course.
2426
02:02:59,538 --> 02:03:00,539
N ice.
2427
02:03:00,623 --> 02:03:01,624
Fantastic.
2428
02:03:01,707 --> 02:03:03,376
-I'm buying that sub.
-Sweet.
2429
02:03:03,459 --> 02:03:05,002
-Look at how cool it's gonna be.
-Literally.
2430
02:03:05,086 --> 02:03:08,672
Part of the human factors on this
was how to get people in and out.
2431
02:03:08,756 --> 02:03:12,051
And that's where the top hatch came in.
2432
02:03:12,134 --> 02:03:14,387
We felt that
that was the best placement for it.
2433
02:03:14,470 --> 02:03:16,597
You need to be able
to get in and out real quickly.
2434
02:03:16,680 --> 02:03:19,892
We have a certain beat
where the Mako is crashed and flooded .
2435
02:03:25,815 --> 02:03:28,526
(HORN BLOWI NG)
2436
02:03:29,402 --> 02:03:30,653
PROCTER: And of course, Jim who loves
2437
02:03:30,736 --> 02:03:32,446
these kinds of calamitous things
with water,
2438
02:03:32,530 --> 02:03:35,699
wants to do it all really practically with
a camera and a wet housing inside here.
2439
02:03:35,783 --> 02:03:36,826
WOMAN : (ON PA) Guys are getting in.
2440
02:03:36,909 --> 02:03:38,452
-Let's shoot.
-MAN : All right, here we go.
2441
02:03:38,536 --> 02:03:39,787
WOMAN : Here we go.
2442
02:03:39,870 --> 02:03:42,832
And three, two, one. Action!
2443
02:03:45,751 --> 02:03:48,671
-(ALARM BEEPI NG)
-Go ! Breach ! Masks on !
2444
02:03:48,754 --> 02:03:50,756
Masks on ! Go !
2445
02:03:50,840 --> 02:03:52,049
(G RU NTI NG)
2446
02:03:56,303 --> 02:03:58,222
(VI LLAG ERS SHOUTI NG)
2447
02:04:00,307 --> 02:04:02,768
As the bad guy
production designer on the film ,
2448
02:04:03,978 --> 02:04:07,648
there's nonetheless an enthusiasm
for totally brutal machinery
2449
02:04:07,731 --> 02:04:08,983
thatjust looks really cool.
2450
02:04:09,066 --> 02:04:11,318
And the amount ofpower
and the amount of engineering
2451
02:04:11,402 --> 02:04:13,237
and the amount ofplanning
and all that stuff
2452
02:04:13,320 --> 02:04:16,073
that goes into something
like a mission to another planet.
2453
02:04:20,870 --> 02:04:21,871
(ENG I N E ROARI NG)
2454
02:04:21,954 --> 02:04:23,372
(WH I RRI NG)
2455
02:04:44,226 --> 02:04:47,646
I thought I'd just start
by welcoming the newcomers.
2456
02:04:55,529 --> 02:04:58,115
J im and I , we have sort of
talked over the years
2457
02:04:58,199 --> 02:05:00,826
about trying to come up
with something to do together.
2458
02:05:00,910 --> 02:05:02,953
Find an opportunity
to work together again.
2459
02:05:03,037 --> 02:05:05,372
And I obviously really loved
the first film .
2460
02:05:06,457 --> 02:05:09,877
J im wrote a very complex
and deep character.
2461
02:05:10,461 --> 02:05:14,131
Ronal is the shaman
of the Metkayina people.
2462
02:05:14,215 --> 02:05:16,967
Casting that role required us to find
2463
02:05:17,051 --> 02:05:22,306
an actress who could be strong
and bold yet subtle.
2464
02:05:23,098 --> 02:05:26,727
There's more happenstance sometimes
in casting than people are aware of.
2465
02:05:26,810 --> 02:05:30,523
We had been looking at a number of people
for this role.
2466
02:05:30,606 --> 02:05:34,693
And J im literally called one day and said ,
2467
02:05:34,777 --> 02:05:38,072
you know, "I was just talking to Kate
about a personal thing ,
2468
02:05:38,155 --> 02:05:41,367
"and I was thinking,
what about her for Ronal?"
2469
02:05:42,868 --> 02:05:44,954
WI NSLET: My children said,
when I said to them,
2470
02:05:45,037 --> 02:05:47,915
you know, "J im Cameron's sending me
the script for Avatar."
2471
02:05:47,998 --> 02:05:50,125
They just said , "Why are we even having
this conversation?
2472
02:05:50,209 --> 02:05:52,253
"Obviously, you've got to do it.
You've got to do it."
2473
02:05:52,962 --> 02:05:56,590
And I have to say,
the added watery element,
2474
02:05:56,674 --> 02:06:01,178
for me, was another huge pull,
because I am a water person,
2475
02:06:01,262 --> 02:06:02,972
all Titanic jokes aside.
2476
02:06:03,389 --> 02:06:04,557
Yes !
2477
02:06:04,640 --> 02:06:06,225
JAMES CAMERON :
Kate's kind of a ball of fire.
2478
02:06:06,308 --> 02:06:07,893
-We were obviously lucky to get her.
-(SCREAMS)
2479
02:06:07,977 --> 02:06:11,063
She came in and she spent two
or three days watching how it was all done
2480
02:06:11,146 --> 02:06:13,399
and then basically started
producing the scenes.
2481
02:06:13,482 --> 02:06:15,526
-But it was fun. I welcomed that.
-(LAUG HS)
2482
02:06:15,609 --> 02:06:19,572
He's been amazing at letting me bring
lots of ideas about Ronal .
2483
02:06:19,655 --> 02:06:21,740
The character's really, really evolved
2484
02:06:21,824 --> 02:06:26,036
as a specific result of the conversations
between Jim and myself
2485
02:06:26,120 --> 02:06:27,580
You allowed this.
2486
02:06:28,914 --> 02:06:31,709
You allowed him to bond with the outcast!
2487
02:06:31,792 --> 02:06:34,169
CAMERON : Kate has
quite a presence in the film.
2488
02:06:34,253 --> 02:06:36,672
She's not really like
anybody else in the movie.
2489
02:06:36,755 --> 02:06:41,719
Maybe Neytiri's the closest 'cause they're
both very strong , alpha characters.
2490
02:06:41,802 --> 02:06:43,637
And of course, they clash. That was fun.
2491
02:06:43,721 --> 02:06:47,057
Watching them meet and clash
is one of my favorite parts of the film.
2492
02:06:47,474 --> 02:06:49,268
Their arms are thin .
2493
02:06:49,768 --> 02:06:51,228
-Mom .
-Their tails...
2494
02:06:51,312 --> 02:06:52,605
-Ow.
-. . .are weak.
2495
02:06:53,314 --> 02:06:55,357
You will be slow in the water.
2496
02:06:55,441 --> 02:06:58,694
(BOTH SNARLI NG AN D H ISSI NG)
2497
02:06:58,777 --> 02:07:00,863
J im brought her into his cutting room
2498
02:07:00,946 --> 02:07:03,699
and we were showing her some stuff
that we'd been working on
2499
02:07:03,782 --> 02:07:05,451
and she looked at us and said,
2500
02:07:05,534 --> 02:07:09,079
"Do you know that you've been
a part of my life now
2501
02:07:09,163 --> 02:07:10,998
"for more than half my life?"
2502
02:07:11,081 --> 02:07:12,082
(CH UCKLES)
2503
02:07:12,625 --> 02:07:14,627
So it's great to have Kate back.
2504
02:07:14,710 --> 02:07:17,171
You brought this war to us.
2505
02:07:17,254 --> 02:07:20,841
Now you must stand with us.
2506
02:07:20,924 --> 02:07:22,384
CLI FF CU RTIS: Kate Winslet is a legend.
2507
02:07:22,468 --> 02:07:27,681
Not because of her past work alone,
but the way she just rocked in here.
2508
02:07:27,765 --> 02:07:29,850
She has these huge underwater sequences
2509
02:07:29,933 --> 02:07:32,019
and she did it all
and she made it look easy.
2510
02:07:32,102 --> 02:07:33,437
I know it wasn 't easy.
2511
02:07:33,520 --> 02:07:37,107
I know how hard she works,
but she's amazing . She's a real force.
2512
02:07:38,317 --> 02:07:43,113
Ronal's husband Tonowari is
an imposing chief of the Metkayina clan .
2513
02:07:43,656 --> 02:07:45,324
JAKE: I See you , Tonowari .
2514
02:07:45,866 --> 02:07:46,867
Jake Sully.
2515
02:07:46,950 --> 02:07:52,081
LAN DAU : We needed to find an actor
who would have the presence
2516
02:07:52,164 --> 02:07:56,251
of strong royalty
in a clan-like structure.
2517
02:07:56,335 --> 02:08:01,048
And we were so lucky
that Cliff Curtis chose to do this part.
2518
02:08:01,131 --> 02:08:03,217
Hear my words, boy.
2519
02:08:03,300 --> 02:08:06,178
LAN DAU : Cliff Curtis comes
from New Zealand. He's Mäori.
2520
02:08:06,553 --> 02:08:10,182
Culture and history of his lineage
is very important to him .
2521
02:08:10,766 --> 02:08:13,602
This is what we call he koha aroha.
2522
02:08:13,686 --> 02:08:17,231
So, this is our gift of love to you all ,
to wish you all your best.
2523
02:08:17,773 --> 02:08:20,359
(SHOUTI NG I N MÄORI)
2524
02:08:20,442 --> 02:08:21,443
CU RTIS: This was something special.
2525
02:08:21,527 --> 02:08:25,030
This was an invitation for me to bring
who I am as a Mäori ,
2526
02:08:25,114 --> 02:08:26,573
as an indigenous person ,
2527
02:08:26,657 --> 02:08:28,951
and to engage
on a sort of spiritual level .
2528
02:08:29,034 --> 02:08:31,412
-(ALL SI NG I NG)
-And I'd never been so inspired
2529
02:08:31,495 --> 02:08:34,039
to do some of the things
that I've done on this shoot.
2530
02:08:34,123 --> 02:08:39,169
Cliff brought a specific kind of homage
or a nod toward Polynesian culture
2531
02:08:39,253 --> 02:08:41,547
with all its rich detail
and belief systems.
2532
02:08:41,630 --> 02:08:43,173
-What's wrong?
-Sky People.
2533
02:08:43,257 --> 02:08:44,717
CAMERON : He not only
brought it for himself
2534
02:08:44,800 --> 02:08:49,888
but he inspired a lot of the other actors
to sort of emulate the way he did things.
2535
02:08:49,972 --> 02:08:51,682
Working with Cliff
has just really been terrific.
2536
02:08:51,765 --> 02:08:54,476
I've been very aware of his work
for a long time as an actor,
2537
02:08:54,560 --> 02:08:56,270
and it's just been so exciting.
2538
02:08:56,353 --> 02:08:57,980
Weapons. Sound the alarm !
2539
02:08:58,063 --> 02:08:59,064
(YI PPI NG)
2540
02:09:00,065 --> 02:09:01,358
I ride !
2541
02:09:01,442 --> 02:09:02,776
CU RTIS: This story is my story.
2542
02:09:03,527 --> 02:09:06,697
I think you can go around the globe
and most indigenous people agree.
2543
02:09:06,780 --> 02:09:09,408
It's like, ah , this is amazing to see
our story being told
2544
02:09:09,491 --> 02:09:12,911
with such a rich canvas
and with an integrity
2545
02:09:12,995 --> 02:09:14,580
to what we've all been through together.
2546
02:09:14,663 --> 02:09:16,874
Treat them as our brothers and sisters.
2547
02:09:16,957 --> 02:09:21,336
CU RTIS: Yes, it's gonna be an amazing ride
and a spectacle and a fantastic movie,
2548
02:09:21,420 --> 02:09:26,133
but I think there's something else
that J im is bringing to the table
2549
02:09:26,216 --> 02:09:28,552
and it is something
about the human spirit.
2550
02:09:28,635 --> 02:09:30,012
(SHOUTS)
2551
02:09:30,095 --> 02:09:31,430
(TU LKU NS BELLOWI NG)
2552
02:09:35,642 --> 02:09:37,436
LAN DAU : When the RDA comes back,
2553
02:09:37,519 --> 02:09:41,857
they come back with a new commander,
General Frances Ardmore, Edie Falco.
2554
02:09:41,940 --> 02:09:42,941
Take us in .
2555
02:09:43,025 --> 02:09:46,320
And her sole focus
is to take back the planet
2556
02:09:46,403 --> 02:09:49,990
to save humanity and to open the door
2557
02:09:50,073 --> 02:09:54,703
for Pandora to become
the new home for humans.
2558
02:09:54,787 --> 02:09:56,747
We're not here to run a mine, Colonel .
2559
02:09:57,247 --> 02:09:58,373
As On-World Commander,
2560
02:09:58,457 --> 02:10:00,501
I have been charged
with a greater mission .
2561
02:10:00,584 --> 02:10:04,004
FALCO: The mission that she's on
is her guidepost for everything.
2562
02:10:04,087 --> 02:10:07,466
And I think she is not
about letting anything get in the way
2563
02:10:07,549 --> 02:10:10,135
of getting the work done
2564
02:10:10,219 --> 02:10:14,640
and trying to gather people around
who will participate in the mission
2565
02:10:14,723 --> 02:10:17,601
and is just not used to
taking no for an answer.
2566
02:10:17,684 --> 02:10:19,853
I kind of love that. I love being that.
2567
02:10:20,562 --> 02:10:21,563
Earth is dying .
2568
02:10:21,647 --> 02:10:24,858
Our task here is to tame this frontier.
2569
02:10:25,692 --> 02:10:29,363
I have great respect for people
who have an idea of a change
2570
02:10:29,446 --> 02:10:32,991
that can make people's lives better
and they work to that effect.
2571
02:10:33,075 --> 02:10:36,703
The fact that Jim is using his platform
2572
02:10:36,787 --> 02:10:41,708
to tell stories that potentially can
motivate people to change their lives...
2573
02:10:41,792 --> 02:10:44,795
I don't know, what else are
we here for, ultimately.
2574
02:10:45,337 --> 02:10:47,589
Blue One. Get back to the rally point now.
2575
02:10:50,175 --> 02:10:52,177
Let's go, Dr. G . Let's make some money.
2576
02:10:52,469 --> 02:10:54,221
LAN DAU : When she comes back,
she brings two people
2577
02:10:54,304 --> 02:10:56,098
who are sometimes at odds with each other.
2578
02:10:56,473 --> 02:10:59,101
One is Ian Garvin , who's a scientist.
2579
02:10:59,184 --> 02:11:01,061
He wants to protect the tulkun .
2580
02:11:01,144 --> 02:11:02,229
(TU LKU NS WH ISTLE)
2581
02:11:02,312 --> 02:11:04,731
Mick Scoresby played by Brendan Cowell,
2582
02:11:04,815 --> 02:11:08,110
who's the captain of the SeaDragon,
he just wants to hunt the tulkun.
2583
02:11:08,193 --> 02:11:09,486
Got ya !
2584
02:11:10,654 --> 02:11:11,655
(WHOOSH ES)
2585
02:11:11,738 --> 02:11:13,740
I thought you were
the intelligent species here,
2586
02:11:13,824 --> 02:11:15,826
-Scoresby.
-Shut ya cakehole, Garvin .
2587
02:11:15,909 --> 02:11:16,910
(LAUG HS)
2588
02:11:16,994 --> 02:11:20,831
I got a call saying
James Cameron wanted to meet with me.
2589
02:11:20,914 --> 02:11:21,999
And it's one of those calls
2590
02:11:22,082 --> 02:11:23,959
that you have to do it
no matter who you are.
2591
02:11:24,042 --> 02:11:25,043
(LAUG HS)
2592
02:11:26,128 --> 02:11:29,923
Dr. Garvin is a marine biologist
and for him ,
2593
02:11:30,007 --> 02:11:31,592
it's exciting to be a pioneer.
2594
02:11:31,675 --> 02:11:34,845
It's like discovering,
even better than a new country,
2595
02:11:34,928 --> 02:11:38,181
a new planet where the life
is completely different
2596
02:11:38,265 --> 02:11:39,641
to anything we've seen on Earth.
2597
02:11:39,725 --> 02:11:43,437
On one hand , he's excited
about studying these creatures,
2598
02:11:43,520 --> 02:11:47,691
but he's also part of them
being hunted and slaughtered .
2599
02:11:47,774 --> 02:11:49,192
So, he's got this big conflict.
2600
02:11:49,276 --> 02:11:51,320
-Come about!
-Comin' about!
2601
02:11:51,403 --> 02:11:52,821
Get me around !
2602
02:11:52,905 --> 02:11:55,949
Scoresby's a character
that takes up a lot of space.
2603
02:11:56,033 --> 02:11:58,660
He's a big personality. He's full alpha.
2604
02:11:59,119 --> 02:12:02,164
They were looking for an actor
that could kind of do that.
2605
02:12:02,247 --> 02:12:03,457
-Kill something !
-Yeah !
2606
02:12:03,540 --> 02:12:05,584
I went and saw Brendan in a play.
2607
02:12:05,667 --> 02:12:10,255
And we taped him and we showed it to J im
and J im was intrigued .
2608
02:12:10,339 --> 02:12:13,467
Well , when you can't get out of it,
2609
02:12:13,550 --> 02:12:15,135
better get into it.
2610
02:12:15,218 --> 02:12:17,471
I kind of didn't believe it
when I got the call .
2611
02:12:17,554 --> 02:12:18,639
Action !
2612
02:12:18,722 --> 02:12:21,058
COWELL: I think working with James
is so much about
2613
02:12:21,141 --> 02:12:23,560
trying to get into his mind and his world .
2614
02:12:23,644 --> 02:12:24,645
(WATER SPLASH I NG)
2615
02:12:24,728 --> 02:12:27,356
So you kinda gotta get into the film
that he has in his brain .
2616
02:12:27,439 --> 02:12:29,149
-(LAUG HS) About time.
-Yeah , yeah , yeah .
2617
02:12:29,441 --> 02:12:31,568
You know, add a little energy
to the scene.
2618
02:12:31,652 --> 02:12:33,612
Once I got there, I kind of understood
2619
02:12:33,695 --> 02:12:35,530
what he was after
and then I could kind of go for it.
2620
02:12:35,948 --> 02:12:38,158
You think you're pretty clever, don't ya?
2621
02:12:38,241 --> 02:12:39,409
(PAYAKAN BELLOWS)
2622
02:12:40,869 --> 02:12:43,497
WI NSLET: As an actor, everyone
is so different on this film.
2623
02:12:43,580 --> 02:12:45,624
You know everyone's characters
are very, very different
2624
02:12:46,249 --> 02:12:47,709
and it's been lovely to alljust have to,
2625
02:12:47,793 --> 02:12:52,047
you know, muck in and accept
the oddness in everyone.
2626
02:12:52,130 --> 02:12:55,592
And for me, that's always one of
the really fun parts of being an actor.
2627
02:12:55,676 --> 02:12:57,761
Say, "Hello" to my little friend .
2628
02:13:00,305 --> 02:13:03,433
CLEMENT: I've been acting in films
maybe ten, 12 years,
2629
02:13:03,517 --> 02:13:07,562
but I'm still like, "There's that guy
from the movie" in my head .
2630
02:13:07,646 --> 02:13:11,233
And then you have to get to another level
where it's not a movie. It's real life.
2631
02:13:11,775 --> 02:13:14,695
We're on the planet Pandora.
Let's get serious.
2632
02:13:14,778 --> 02:13:17,197
It wasn't nothing like this on Titanic.
2633
02:13:17,280 --> 02:13:19,658
-(ALL LAUG H I NG)
-Nothing like this.
2634
02:13:20,367 --> 02:13:22,244
CU RTIS: I can go on and on
about these actors.
2635
02:13:22,327 --> 02:13:26,373
They just are so generous,
and they are a family for us.
2636
02:13:26,915 --> 02:13:29,501
And they do set the bar.
It's extraordinary.
2637
02:13:29,584 --> 02:13:30,585
(ALL CH EERI NG)
2638
02:13:32,546 --> 02:13:33,839
It is remarkable because, yes,
2639
02:13:33,922 --> 02:13:37,300
this is a gigantic production ,
but at the same time, it feels there's
2640
02:13:37,384 --> 02:13:40,345
this lovely sense of sort of family
and community that Jim, I have to say,
2641
02:13:40,429 --> 02:13:41,888
is always really good at creating .
2642
02:13:41,972 --> 02:13:43,432
-WOMAN : It's fantastic.
-(LAUG HTER)
2643
02:13:43,515 --> 02:13:46,685
CAMERON : We were blessed on Avatar 2
that the actors really loved each other.
2644
02:13:46,768 --> 02:13:48,103
They loved coming in to work.
2645
02:13:48,186 --> 02:13:49,771
-CAMERON : N ice to meet you .
-I love it. Yes.
2646
02:13:49,855 --> 02:13:51,023
CAMERON : I've heard
so much about your work.
2647
02:13:51,106 --> 02:13:53,483
WI NSLET: I can see
that he has been so happy
2648
02:13:53,567 --> 02:13:55,402
to have proper time with his actors
2649
02:13:55,485 --> 02:13:57,988
and he takes great pride
in his relationships with his actors.
2650
02:13:58,572 --> 02:14:01,491
We're bringing
his remarkable visions to life.
2651
02:14:18,550 --> 02:14:20,719
(APPLAUSE, CH EERS)
2652
02:14:20,802 --> 02:14:23,055
SIMON FRANG LEN : I wanted to say
a couple of things before we started.
2653
02:14:23,597 --> 02:14:26,224
Somebody else should be standing here.
2654
02:14:26,850 --> 02:14:29,644
My best mate, James Horner.
2655
02:14:30,228 --> 02:14:34,066
Can we have a moment for James Horner?
And also, let's just remember
2656
02:14:34,149 --> 02:14:36,443
and let's hope
that he's looking down at us
2657
02:14:36,526 --> 02:14:40,697
and that he likes what's on the page
and we do him proud .
2658
02:14:41,698 --> 02:14:45,744
(EPIC MUSIC PLAYI NG)
2659
02:14:51,124 --> 02:14:55,337
The score is the heartbeat of a movie.
2660
02:14:56,088 --> 02:14:58,965
We wanted to find a composer
2661
02:14:59,049 --> 02:15:02,344
who would pay homage
to what James Horner had done.
2662
02:15:03,595 --> 02:15:07,224
We want an audience to return to Pandora
2663
02:15:07,307 --> 02:15:09,643
and feel the same things
that Horner created.
2664
02:15:11,103 --> 02:15:15,732
Simon Franglen is not only
a long-time collaborator of James Horner,
2665
02:15:15,816 --> 02:15:18,068
but he's also an incredible composer.
2666
02:15:18,151 --> 02:15:21,863
(DRAMATIC MUSIC PLAYI NG)
2667
02:15:29,663 --> 02:15:30,914
CAMERON : It's such a beautiful cue.
2668
02:15:30,997 --> 02:15:34,126
It's telling you that this movie
has grandeur and heart.
2669
02:15:34,209 --> 02:15:38,088
We need to make sure
that we continue that sense of lineage.
2670
02:15:38,171 --> 02:15:39,756
It isn't a separate score.
2671
02:15:39,840 --> 02:15:42,259
It has new themes
but there is very much the sense
2672
02:15:42,342 --> 02:15:43,885
that they should be connected.
2673
02:15:43,969 --> 02:15:46,429
This is the child ofAvatar 1 ,
2674
02:15:46,513 --> 02:15:50,100
but it has to reflect
the film it's being written to.
2675
02:15:50,183 --> 02:15:51,852
It's more about family.
2676
02:15:51,935 --> 02:15:55,188
And we have
this whole new area which is water,
2677
02:15:55,272 --> 02:15:58,775
a whole new palette to play with
in terms of the things I can do.
2678
02:15:59,276 --> 02:16:00,777
You don 't talk underwater.
2679
02:16:00,861 --> 02:16:03,905
The music has to act as the dialogue
in some ways,
2680
02:16:03,989 --> 02:16:05,991
telling you that story,
weaving you through
2681
02:16:06,074 --> 02:16:10,495
and explaining what's going on
in a way that a dialogue line might do.
2682
02:16:10,579 --> 02:16:13,874
There is more opportunity
for the music to speak.
2683
02:16:13,957 --> 02:16:17,335
(SEREN E MUSIC PLAYI NG)
2684
02:16:20,922 --> 02:16:23,258
I'm hopefully providing some of the soul .
2685
02:16:23,341 --> 02:16:27,220
Music is there to guide your feelings,
not to guide your thoughts.
2686
02:16:27,304 --> 02:16:29,639
The picture and the dialogue
tells you what to think.
2687
02:16:29,723 --> 02:16:31,391
I'm trying to tell you what to feel .
2688
02:16:31,474 --> 02:16:33,435
(N EYTI RI WHOOPS, G IGG LES)
2689
02:16:33,518 --> 02:16:36,605
(ENCHANTI NG MUSIC PLAYI NG)
2690
02:16:36,688 --> 02:16:37,939
(JAKE YI PPI NG)
2691
02:16:39,816 --> 02:16:40,817
(CH UCKLES)
2692
02:16:40,901 --> 02:16:44,112
FRANG LEN : Date night,
I go back to James' flying theme.
2693
02:16:44,196 --> 02:16:47,157
I've used exactly James' chords
2694
02:16:47,240 --> 02:16:49,743
because it's important
that there's that connection .
2695
02:16:50,660 --> 02:16:54,122
When they leave Hometree,
we're moving to a new place.
2696
02:16:54,206 --> 02:16:56,583
It needs a slight variation of that sense.
2697
02:16:56,666 --> 02:16:57,667
(BLOWS LONG NOTE)
2698
02:16:57,751 --> 02:17:00,003
FRANG LEN :
There's an internal rhythm to the Na 'vi.
2699
02:17:00,086 --> 02:17:01,129
It is part of the culture,
2700
02:17:01,213 --> 02:17:03,298
but it also comes from
deeper within the planet.
2701
02:17:04,883 --> 02:17:09,346
What we're exploring is to factor that
connection. Notjust through culture,
2702
02:17:09,429 --> 02:17:12,307
through language,
but also through music and through
2703
02:17:12,390 --> 02:17:15,852
a rhythmic base
that may actually fuse between us.
2704
02:17:15,936 --> 02:17:18,146
(DRUMMI NG)
2705
02:17:27,239 --> 02:17:31,284
FRANG LEN : This is the first swim where
we first discover the beauty of the reef
2706
02:17:31,368 --> 02:17:33,286
And here, I'm playing you the tune,
2707
02:17:33,370 --> 02:17:35,288
but in a less tribal form.
2708
02:17:35,372 --> 02:17:37,040
(SEREN E MUSIC PLAYI NG)
2709
02:17:37,123 --> 02:17:39,042
-LO'AK: Whoo-hoo !
-(I N HALES SHARPLY)
2710
02:17:39,125 --> 02:17:41,795
FRANG LEN :
I wanted it to be mermaids singing to you.
2711
02:17:43,922 --> 02:17:45,090
-(TU K SCREAMS)
-KI RI : Whoo !
2712
02:17:45,173 --> 02:17:48,134
(SI NG ERS HARMON IZI NG)
2713
02:17:48,218 --> 02:17:50,220
FRANG LEN :
They're discovering this whole new world
2714
02:17:50,303 --> 02:17:52,430
and now we have the melody coming through.
2715
02:17:53,139 --> 02:17:57,978
(SI NG ERS HARMON IZI NG)
2716
02:17:58,061 --> 02:18:00,897
FRANG LEN :
Same chords that we heard earlier
2717
02:18:00,981 --> 02:18:03,024
when we arrived in the Metkayina village,
2718
02:18:03,108 --> 02:18:05,568
now we hear the tune that goes with it.
2719
02:18:05,652 --> 02:18:09,155
(SEREN E MUSIC CONTI N U I NG)
2720
02:18:09,239 --> 02:18:11,616
I'm trying to give you
that sense of wonder.
2721
02:18:11,741 --> 02:18:15,662
(SI NG ERS CONTI N U E HARMON IZI NG)
2722
02:18:15,745 --> 02:18:18,623
FRANG LEN :
The idea is about connection to nature.
2723
02:18:23,253 --> 02:18:25,505
(SEREN E MUSIC CONTI N U I NG)
2724
02:18:32,012 --> 02:18:34,472
FRANG LEN : I think that's sounding great.
Let's try it one more time.
2725
02:18:36,266 --> 02:18:38,935
The RDA is just naked power.
2726
02:18:39,728 --> 02:18:43,481
(ENTH RALLI NG MUSIC PLAYI NG)
2727
02:18:43,565 --> 02:18:46,776
FRANG LEN : The RDA is about,
"We're gonna stomp on you."
2728
02:18:48,862 --> 02:18:52,907
So we use the RDA's themes as blunt force
2729
02:18:52,991 --> 02:18:56,119
and get it when they first arrive.
2730
02:18:56,745 --> 02:18:59,706
This is meant to be powerful.
They're not messing around.
2731
02:19:00,332 --> 02:19:01,333
There's this low...
2732
02:19:01,416 --> 02:19:03,835
(SI NG I NG NOTE)
Bom ba da dum
2733
02:19:03,918 --> 02:19:05,503
...phrase which I'm using.
2734
02:19:05,587 --> 02:19:09,049
When you hear this,
you know that there's metal on the screen.
2735
02:19:10,592 --> 02:19:14,137
What is the fabric of the film
from a sound standpoint?
2736
02:19:14,220 --> 02:19:16,139
(TU LKU N SI NG I NG , CLICKI NG)
2737
02:19:16,222 --> 02:19:17,265
(FLAPPI NG)
2738
02:19:17,390 --> 02:19:18,433
(SNAPS)
2739
02:19:18,516 --> 02:19:20,226
LAN DAU : Chris has been working with us
2740
02:19:20,310 --> 02:19:23,146
since our first days
ofperformance capture,
2741
02:19:23,229 --> 02:19:25,565
designing sounds for this movie.
2742
02:19:25,648 --> 02:19:26,858
(MU FFLED RUMBLI NG)
2743
02:19:26,941 --> 02:19:29,819
How do you make underwater
sound interesting and intriguing?
2744
02:19:29,944 --> 02:19:34,282
(WATER G USH I NG)
2745
02:19:34,616 --> 02:19:37,994
Our job is to present sound in such a way
2746
02:19:38,078 --> 02:19:41,706
that it can be received
by the audience in a comfortable way.
2747
02:19:41,790 --> 02:19:43,958
You want people
to immerse themselves in it,
2748
02:19:44,042 --> 02:19:46,628
and never letting the sound get
in the way of telling the story.
2749
02:19:46,711 --> 02:19:48,713
(SPLASH I NG)
2750
02:19:49,172 --> 02:19:52,425
The challenge with Avatar
and The Way of Water
2751
02:19:52,509 --> 02:19:55,011
is that they take place in the future
2752
02:19:55,095 --> 02:19:57,555
and are beyond anything
that we know today.
2753
02:19:58,640 --> 02:20:01,518
You have the Skel Suit
that General Ardmore is in...
2754
02:20:01,601 --> 02:20:02,936
-(WH I RRI NG)
-Good to meet you , Colonel .
2755
02:20:03,019 --> 02:20:05,355
... moving with some subtle servo sounds.
2756
02:20:05,438 --> 02:20:06,648
Release, release.
2757
02:20:06,731 --> 02:20:10,026
BOYES: Then we have things
like the Mako subs.
2758
02:20:10,110 --> 02:20:12,821
Ultimately, you'll hear something
that really sells that sub.
2759
02:20:12,904 --> 02:20:14,614
-PI LOT 1 : Target in sight.
-(SENSOR BEEPI NG)
2760
02:20:14,697 --> 02:20:16,533
And then we have
at the very end of this film ,
2761
02:20:16,616 --> 02:20:19,577
the SeaDragon tilting
and flipping over and sinking.
2762
02:20:19,661 --> 02:20:21,162
(METAL CREAKI NG)
2763
02:20:21,246 --> 02:20:22,288
(SPLASH ES)
2764
02:20:22,372 --> 02:20:24,707
But in its tilt and then flip over,
2765
02:20:25,959 --> 02:20:29,671
I've created a whole new language
of steel creaking
2766
02:20:29,754 --> 02:20:32,090
that really has a stutter quality to it.
2767
02:20:32,173 --> 02:20:33,466
(CREAKI NG)
2768
02:20:35,343 --> 02:20:36,803
And now we have new creatures.
2769
02:20:37,387 --> 02:20:42,058
The Akula, (CH UCKLES)
this demonic shark-like aquatic creature
2770
02:20:42,142 --> 02:20:43,560
full of nothing but aggression.
2771
02:20:43,643 --> 02:20:44,811
(G ROAN I NG)
2772
02:20:46,062 --> 02:20:48,940
In my mind, I thought,
"Oh, the skimwing needs to be
2773
02:20:49,023 --> 02:20:51,276
"a really aggressive version
of the ikran."
2774
02:20:51,818 --> 02:20:53,111
(SCREECH ES)
2775
02:20:53,194 --> 02:20:55,447
'Cause they're both flying creatures,
I thought,
2776
02:20:55,530 --> 02:20:57,240
"Yeah , I've got some really great sounds."
2777
02:20:57,323 --> 02:20:59,909
You put it in front of J im
for the skimwing and he right away said ,
2778
02:20:59,993 --> 02:21:03,913
"The skimwing's really a bird.
It's got to have a raptor quality."
2779
02:21:03,997 --> 02:21:04,998
(SCREECH I NG)
2780
02:21:05,081 --> 02:21:07,375
Out went all those sounds,
and I went back to work.
2781
02:21:07,459 --> 02:21:09,252
-(SKIMWI NG SCREECH ES)
-(SCREAMS)
2782
02:21:09,335 --> 02:21:11,254
I went a completely different direction.
2783
02:21:11,337 --> 02:21:13,840
And I got this amazing recording
of a great blue heron .
2784
02:21:13,923 --> 02:21:14,924
(H ERON CLICKI NG)
2785
02:21:15,008 --> 02:21:16,050
(SCREECH I NG)
2786
02:21:16,134 --> 02:21:17,385
(SPLASH ES)
2787
02:21:17,469 --> 02:21:21,139
BOYES: The tulkun , it's the toughest
creature I've ever dealt with.
2788
02:21:21,222 --> 02:21:22,557
(BELLOWS)
2789
02:21:22,640 --> 02:21:26,603
In any given scene that
there's a tulkun, I spent a week
2790
02:21:26,686 --> 02:21:31,566
making every sound I could come up with
from marine mammals.
2791
02:21:32,317 --> 02:21:35,361
-I went and recorded whales in Maui.
-(BLOWI NG)
2792
02:21:35,445 --> 02:21:37,697
A lot of those sounds are in the film,
2793
02:21:38,406 --> 02:21:42,410
but more for blowholes
and movement and things like that.
2794
02:21:42,535 --> 02:21:45,205
It's actually an intellectual species.
2795
02:21:45,288 --> 02:21:48,416
The tulkun have a language
that they speak that is unique.
2796
02:21:48,875 --> 02:21:49,918
(TU LKU N WH ISTLES)
2797
02:21:50,001 --> 02:21:53,505
BOYES: The tulkun has the ability
to communicate in a way
2798
02:21:53,588 --> 02:21:56,382
that emotes very human emotions.
2799
02:21:56,466 --> 02:21:57,550
(TU LKU N WH ISTLES)
2800
02:21:57,634 --> 02:22:00,470
Sadness, happiness, excitement, concern,
2801
02:22:00,553 --> 02:22:02,180
everything you can think of
2802
02:22:02,263 --> 02:22:03,765
(TU LKU N CLICKI NG)
2803
02:22:03,848 --> 02:22:04,974
(TU LKU N MOANS)
2804
02:22:05,058 --> 02:22:09,854
And if the sounds emote emotions
like, "I'm so excited to meet you. . ."
2805
02:22:09,938 --> 02:22:10,980
(TU LKU N SI NGS)
2806
02:22:11,064 --> 02:22:12,398
...and "Yeah, I'm hurt. . ."
2807
02:22:12,482 --> 02:22:13,816
(TU LKU N MOAN I NG)
2808
02:22:13,900 --> 02:22:17,654
...then the audience goes, "Whoa,
I get exactly what's going on here."
2809
02:22:18,404 --> 02:22:19,531
(I LUS SQU EAK)
2810
02:22:19,614 --> 02:22:24,369
The ilus, they're the fun,
happy aquatic creature,
2811
02:22:24,452 --> 02:22:25,662
in a way, almost a puppy.
2812
02:22:26,037 --> 02:22:27,121
(SQUAWKS)
2813
02:22:27,205 --> 02:22:28,790
But they're very dolphin-esque...
2814
02:22:28,873 --> 02:22:29,999
(I LUS CLICKI NG , SQU EAKI NG)
2815
02:22:30,083 --> 02:22:33,294
...and they have components
of a lot of dolphin
2816
02:22:33,378 --> 02:22:36,422
and a lot of Weddell seal that were
recorded here in New Zealand.
2817
02:22:36,506 --> 02:22:37,840
(I LU CLICKS, SQU EAKS)
2818
02:22:37,924 --> 02:22:40,385
For a sound designer
and a re-recording mixer,
2819
02:22:40,468 --> 02:22:43,471
water is hard because it's very
broad in its frequency.
2820
02:22:43,555 --> 02:22:45,682
And so that is the biggest challenge,
2821
02:22:45,765 --> 02:22:49,727
I think, really as a mixer,
to give the water a visceral quality
2822
02:22:49,811 --> 02:22:52,814
that speaks to the audience
without it getting in the way
2823
02:22:52,897 --> 02:22:55,316
and eating up too much acreage
for everything else.
2824
02:22:55,984 --> 02:22:59,821
LAN DAU : In addition to score,
the movie also needed Na 'vi songs.
2825
02:23:00,405 --> 02:23:04,701
(SI NG ERS HARMON IZI NG)
2826
02:23:04,784 --> 02:23:07,453
There's a specific vocal sound
that you hear in Avatar 1
2827
02:23:07,537 --> 02:23:09,247
which we continue with Avatar 2.
2828
02:23:09,872 --> 02:23:12,166
My process on writing the vocal lines,
2829
02:23:12,250 --> 02:23:16,462
I would write pages of lyrics
and I would give them to Jim
2830
02:23:16,546 --> 02:23:19,340
and say, "This is what Zoe
or whoever might sing."
2831
02:23:19,424 --> 02:23:22,677
I would get a translation
from Paul Frommer into pure Na 'vi.
2832
02:23:22,760 --> 02:23:25,471
Then I would make a phonetic version.
2833
02:23:25,555 --> 02:23:26,973
You can't just make stuff up.
2834
02:23:27,056 --> 02:23:29,309
There had to be a reason
behind everything .
2835
02:23:29,392 --> 02:23:31,185
Then, I would make a backing track.
2836
02:23:31,269 --> 02:23:34,814
I would record it.
I would give it to Zoe to practice to.
2837
02:23:34,897 --> 02:23:37,025
-(SI NG I NG I N NA'VI)
-(FROMMER CORRECTS I N NA'VI)
2838
02:23:37,108 --> 02:23:39,819
(SI NG I NG I N NA'VI)
2839
02:23:39,902 --> 02:23:43,865
FRANG LEN : Then the vocal would be
recorded live on set as a single take.
2840
02:23:43,948 --> 02:23:46,993
(SI NG I NG I N NA'VI)
2841
02:23:50,622 --> 02:23:53,333
FRANG LEN : What you hear in the film,
that's her performing it
2842
02:23:53,416 --> 02:23:56,919
because it was important to Jim
that it was a visceral performance.
2843
02:23:57,003 --> 02:23:59,005
It wasn't about it being a song .
2844
02:23:59,088 --> 02:24:01,049
It's about it being a ritual .
2845
02:24:01,132 --> 02:24:04,594
The things that have become
part of the Na 'vi ritual world
2846
02:24:04,677 --> 02:24:06,804
had to be part of these lyrics as well.
2847
02:24:06,929 --> 02:24:11,559
(SI NG ERS HARMON IZI NG I N NA'VI)
2848
02:24:12,310 --> 02:24:15,647
FRANG LEN :
Each bead represents a point in time.
2849
02:24:16,481 --> 02:24:19,400
I'm wondering whether you have,
for instance, maybe a gap.
2850
02:24:19,484 --> 02:24:22,403
You have a refrain section
that's always the same
2851
02:24:22,487 --> 02:24:25,198
then a unique section
and you pull the next bead
2852
02:24:25,281 --> 02:24:26,574
up to the refrain section
2853
02:24:26,658 --> 02:24:27,909
-and then you sing the refrain.
-SALDAÑA: Sure.
2854
02:24:28,534 --> 02:24:31,496
Songchord with Zoe singing it
is in its purest form
2855
02:24:31,579 --> 02:24:35,416
and it has now become
the main family theme.
2856
02:24:35,500 --> 02:24:38,294
Initially, welcoming the birth of Neteyam.
2857
02:24:38,378 --> 02:24:40,630
(SI NG I NG I N NA'VI)
2858
02:24:41,255 --> 02:24:42,674
-Neteyam !
-(BABY SQU EALS)
2859
02:24:43,132 --> 02:24:44,133
NA'VI PEOPLE: Neteyam !
2860
02:24:44,509 --> 02:24:47,512
Then also talking about
the magic of Kiri's birth .
2861
02:24:47,595 --> 02:24:49,472
Here is an example of a lyric.
2862
02:24:49,555 --> 02:24:51,891
"I experience adorn light
A miracle arrives
2863
02:24:51,974 --> 02:24:53,976
"An impossible birth
Welcome, Kiri,
2864
02:24:54,060 --> 02:24:57,105
"I take you to my family
To my heart, to my heart."
2865
02:24:57,438 --> 02:25:01,359
(SI NG I NG I N NA'VI)
2866
02:25:10,451 --> 02:25:14,831
FRANG LEN : Jim comes from the view,
the music is there to help your heart rate
2867
02:25:14,914 --> 02:25:16,332
and help your soul ,
2868
02:25:16,416 --> 02:25:18,251
and that's what I'm trying to do here.
2869
02:25:18,334 --> 02:25:20,920
Thank you , everybody.
We're done. Have a great day.
2870
02:25:21,003 --> 02:25:22,630
(ALL APPLAU DI NG)
2871
02:25:24,507 --> 02:25:27,760
LAN DAU : Sound and music
also connect us to Pandora.
2872
02:25:28,261 --> 02:25:30,930
And it helps us go
on an emotionaljourney.
2873
02:25:31,013 --> 02:25:34,767
Simon and Chris' work
may not be visible on the screen,
2874
02:25:36,686 --> 02:25:39,939
but through them ,
we are transported to the world .
2875
02:25:41,524 --> 02:25:42,567
(SHOUTS)
2876
02:25:42,650 --> 02:25:43,776
(TU LKU N BELLOWS)
2877
02:27:52,446 --> 02:27:56,909
JON LAN DAU : People oftentimes get confused
as to why we're here in New Zealand.
2878
02:27:56,993 --> 02:27:59,036
They think we come
for all the incredible locations.
2879
02:28:02,999 --> 02:28:05,585
We didn't film outside one day.
2880
02:28:06,419 --> 02:28:08,129
What brought us back to New Zealand
2881
02:28:08,212 --> 02:28:13,593
is the passion and the craftsmanship
of the crew that exists here,
2882
02:28:13,676 --> 02:28:19,307
and also their willingness to embrace
and learn new technologies.
2883
02:28:19,932 --> 02:28:22,518
For the crews here,
it is a passion and you see that
2884
02:28:22,602 --> 02:28:25,479
across the board,
whether it's in the grip department,
2885
02:28:25,563 --> 02:28:27,231
the electric department,
the makeup department,
2886
02:28:27,315 --> 02:28:28,900
the hair department,
the costume department.
2887
02:28:28,983 --> 02:28:30,484
And the pride that they have
2888
02:28:30,568 --> 02:28:34,697
in what they bring to the craft
of filmmaking is amazing.
2889
02:28:35,990 --> 02:28:39,827
We're really spoiled in New Zealand
for international productions coming in
2890
02:28:39,911 --> 02:28:42,204
and also for New Zealand
productions as well .
2891
02:28:42,288 --> 02:28:47,209
We have amazing crew
who bring a great attitude to the table,
2892
02:28:47,293 --> 02:28:50,129
a real can-do
willingness to try anything.
2893
02:28:50,212 --> 02:28:51,213
(G U N FI RES)
2894
02:28:51,297 --> 02:28:53,132
There's none of the "Oh, I can 't do that,
2895
02:28:53,215 --> 02:28:55,426
"because it's not my department
or that's not myjob" or anything.
2896
02:28:55,509 --> 02:28:58,596
Ifyou're in a fix and you're busting
to get something done,
2897
02:28:58,679 --> 02:29:00,097
everyone pitches in.
2898
02:29:00,681 --> 02:29:03,351
Wötä Workshop is an amazing place.
2899
02:29:03,768 --> 02:29:06,228
Richard Taylor has made
a community of artists
2900
02:29:06,312 --> 02:29:08,898
that live and work in a place together.
2901
02:29:08,981 --> 02:29:09,982
And it's quite large.
2902
02:29:10,441 --> 02:29:11,442
It's very busy.
2903
02:29:11,525 --> 02:29:12,693
Always.
2904
02:29:12,777 --> 02:29:14,695
We're just busy bees.
2905
02:29:14,779 --> 02:29:17,573
We jump around from one department
to the next all day long .
2906
02:29:17,657 --> 02:29:21,827
I think also that working with your hands
is kind of a dying art.
2907
02:29:22,411 --> 02:29:26,374
Handcrafts in a country like New Zealand
are still very well praised
2908
02:29:26,874 --> 02:29:30,628
and certainly has been incredibly
to our benefit on this project.
2909
02:29:30,711 --> 02:29:32,922
We're a nation of, um , can-do people.
2910
02:29:33,005 --> 02:29:34,340
We make things work.
2911
02:29:34,423 --> 02:29:38,302
I'd say it's the experience level
of the crew
2912
02:29:38,386 --> 02:29:42,556
and what we can do
in a relatively short space of time.
2913
02:29:42,640 --> 02:29:44,266
(LAUG HS) We're flexible and friendly.
2914
02:29:44,767 --> 02:29:46,519
I think we're a nation of doers,
not talkers.
2915
02:29:46,936 --> 02:29:48,854
We just get things done.
2916
02:29:48,938 --> 02:29:50,106
KIM SI NCLAI R: Everyjob like this
2917
02:29:50,898 --> 02:29:55,528
means more people get into that field
and the existing people expand .
2918
02:29:56,404 --> 02:30:02,118
One of our main props makers has gone
from five employees to 30 on this job.
2919
02:30:02,201 --> 02:30:05,121
They'll be trained up and available
to the industry in the future.
2920
02:30:05,204 --> 02:30:07,373
To have it known that the craftsmanship
2921
02:30:07,456 --> 02:30:10,459
and creativity of a New Zealand
or a Kiwi company
2922
02:30:10,543 --> 02:30:15,756
is something that draws someone like Jim
who has such an eye for detail
2923
02:30:15,840 --> 02:30:16,882
andjust to know that
2924
02:30:16,966 --> 02:30:19,677
that level of creativity
and passion for these projects,
2925
02:30:19,760 --> 02:30:21,345
it draws people here.
2926
02:30:21,429 --> 02:30:23,222
JAMES CAMERON :
The Wötä FX people are based here
2927
02:30:23,305 --> 02:30:25,558
and that's, I think,
the greatest capability
2928
02:30:25,641 --> 02:30:27,435
of its kind in the world .
2929
02:30:27,518 --> 02:30:31,022
I don't think there's anybody out there
that can do what Wötä does.
2930
02:30:32,148 --> 02:30:34,859
New Zealand has influenced the film
2931
02:30:34,942 --> 02:30:37,403
even though you never see
New Zealand in the film .
2932
02:30:37,486 --> 02:30:40,364
'Cause we're on this other planet
and it's built digitally.
2933
02:30:40,448 --> 02:30:45,411
But I feel like you can see influences
of the geography on the planet Pandora.
2934
02:30:45,494 --> 02:30:48,748
'Cause the forests in New Zealand
are really quite amazing places
2935
02:30:48,831 --> 02:30:51,709
and I feel like you see
a little hint of that
2936
02:30:51,792 --> 02:30:55,504
and with the clothing
and some of the Na 'vi culture,
2937
02:30:55,588 --> 02:30:57,840
you feel like a little
New Zealand influence.
2938
02:30:57,923 --> 02:31:00,634
CLI FF CU RTIS: I've worked for over
20 years, but this was something special.
2939
02:31:00,718 --> 02:31:02,344
This was an invitation for me
2940
02:31:02,428 --> 02:31:04,889
to bring who I am as a Mäori ,
as an indigenous person .
2941
02:31:04,972 --> 02:31:05,973
(BLOWS SHARPLY)
2942
02:31:06,057 --> 02:31:08,309
And I'd never been so inspired .
2943
02:31:08,392 --> 02:31:10,561
CAMERON : There's something
going on here in New Zealand.
2944
02:31:10,644 --> 02:31:14,440
The Mäori and their protective
relationship with nature.
2945
02:31:15,399 --> 02:31:19,945
They're more connected to the land
and they're more respectful .
2946
02:31:20,821 --> 02:31:25,826
J im was really inspired by our culture,
the Polynesian Mäori culture.
2947
02:31:25,910 --> 02:31:31,832
He's creating the fantasy world in Pandora
where he can draw inspiration.
2948
02:31:31,916 --> 02:31:35,795
It's nice, I think, for us to see
how rich it makes that world
2949
02:31:35,878 --> 02:31:37,880
and it resonates for us as humans.
2950
02:31:37,963 --> 02:31:40,216
CAMERON : The fact that
we're shooting these films
2951
02:31:40,299 --> 02:31:41,759
and doing the entire postproduction
2952
02:31:41,842 --> 02:31:45,721
and all the visual effects in New Zealand,
I think of it as a New Zealand production.
2953
02:31:45,805 --> 02:31:47,181
I love it here.
2954
02:31:47,264 --> 02:31:51,435
I love the feeling of connection
to people that you have here.
2955
02:31:51,519 --> 02:31:55,481
There's a social spirit,
a sense of "We're all in this together
2956
02:31:55,564 --> 02:31:57,733
"and we're all Kiwis
and we all respect each other."