1
00:00:02,468 --> 00:00:06,052
I am writer producer director
Christopher McQuarrie.

2
00:00:06,139 --> 00:00:07,755
Hi, my name is Eddie Hamilton.

3
00:00:07,849 --> 00:00:12,764
I'm the film editor on
<i>Mission: Impossible - Dead Reckoning Part One.</i>

4
00:00:12,854 --> 00:00:16,722
The extraordinary editor on
<i>Mission: Impossible - Dead Reckoning Part One.</i>

5
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Chris hates it.

6
00:00:17,900 --> 00:00:20,562
Chris knows that I'm very embarrassed
when he says things like that.

7
00:00:20,653 --> 00:00:22,735
-Eddie doesn't like compliments.
-Yeah, exactly.

8
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That's not the reason why I do it,
but I do--

9
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It's the reason why I enjoy doing it.

10
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This sequence--

11
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- Let's dive right in.
- No pun intended.

12
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The Sevastopol.

13
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Notice it says 29th of February there,

14
00:00:35,334 --> 00:00:38,622
for very astute, eagle-eyed people.

15
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That's a touch
by co-writer Erik Jendresen,

16
00:00:42,091 --> 00:00:44,458
who is not here with us.

17
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Erik is a nautical genius,
I guess we would say.

18
00:00:50,600 --> 00:00:52,841
He's a lover of the sea, lives on a boat,

19
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and was having the time of his life
working on this sequence.

20
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It's virtually everything Erik and I
have ever wanted to do in a movie.

21
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We love submarine sequences.
We love the Arctic.

22
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We're fascinated with extreme environments

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and there is no more literal or figurative
high-pressure environment

24
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than a nuclear submarine.

25
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And this was kind of our opportunity
to be kids in a candy store,

26
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doing everything we wanted to do

27
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and compacting it all
into the tightest sequence possible.

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This sequence was actually
originally conceived as something

29
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completely different in tone.

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It started originally
as a suspense sequence,

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almost a ghost story.

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There's still little elements
of that in here.

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But when we took the movie in as a whole,

34
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it really wasn't landing with people
what the full purpose of the sequence was.

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The most important part of this sequence
was communicating to the audience

36
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the introduction of our villain, really,
which is the Entity.

37
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That's the sonar sphere,

38
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which, late in the game, started
to become its own visual similarity

39
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to what the Entity was.

40
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This is--

41
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All of these actors

42
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that are in this sequence
were all extraordinary.

43
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Many of them did not have
a great deal of experience,

44
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with the exception of the three officers,
Marcin, lvan and Zachary.

45
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Some of them are stuntmen
that were recruited to fill in seats.

46
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We had more seats than we had actors.

47
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And a lot of them were cast
based solely on their faces.

48
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I had about 200 recruits
of different levels of acting experience.

49
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And I sent the faces to Erik,

50
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who really had
the world of submarines in his head.

51
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And I said, "Just from these,

52
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pick the ones that you feel
are of the appropriate age

53
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and bearing for their different positions
on the boat."

54
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And Erik sent me his selections
of all of these actors,

55
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and regardless of their level
of acting experience,

56
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I cast them
for the simple thing that Erik said:

57
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"Each one of these guys has a face
that says, 'I wanna see this guy live."

58
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And you'll see in all these compositions,

59
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everything we're doing
is creating a sense of a crew.

60
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We're creating a sense
of camaraderie among them.

61
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All the compositions are meant
to constantly bond you to these characters

62
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as quickly and as succinctly as you can

63
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so that you feel affinity for them.

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It was very, very important

65
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that you cared about
these characters as human beings.

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That says, "Good luck," by the way.
That Russian graffiti there.

67
00:03:51,614 --> 00:03:57,235
And Eddie can expound a little bit
on the challenges of editing this.

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Yeah, this was the coverage--

69
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The raw footage was extraordinarily good.

70
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And it's beautifully lit.

71
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It was quite an easy sequence
to build an assembly of

72
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because there was just
So many great options and great angles

73
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and all the faces are great.

74
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And I remember--
What Chris likes to do when he's editing

75
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is work on a scene
almost completely silent.

76
00:04:22,728 --> 00:04:25,436
When I'd sketched out an assembly
of this scene,

77
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I remember we used to watch it silent
just to enjoy the feeling of pressure

78
00:04:29,819 --> 00:04:31,935
that we were getting from the cast.

79
00:04:32,029 --> 00:04:34,361
You should talk about
the "sweat-con" levels as well.

80
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Yeah, talk about the "sweat-con" levels.

81
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So, throughout the script of this scene,

82
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Chris would mark where we move
from "sweat-con one" to "sweat-con two."

83
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-They were levels of sweat.
-The levels of sweat.

84
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In true Tony Scott fashion.

85
00:04:48,879 --> 00:04:51,041
So you would reach
a certain line of dialogue,

86
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and Mary Boulding,
our fabulous assistant director, would cut

87
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and say, "Okay, it's time
to move to 'sweat-con two.'"

88
00:05:01,267 --> 00:05:04,259
And then we would come in and redress
whatever actors were in that coverage...

89
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-You can see here.
-...with a little layer of sweat.

90
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-Was it "sweat-con four," the highest?
-I think "sweat-con three."

91
00:05:09,150 --> 00:05:12,233
-"Sweat-con three" was the highest.
-Right now, we are in "sweat-con three."

92
00:05:12,319 --> 00:05:13,775
Yeah, there we go.

93
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And that should give you a sense,
by the way, of the atmosphere on the set.

94
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As much as this is a scene about
extraordinary pressure and tension,

95
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it was a lot of fun.

96
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They really quickly became a crew.

97
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They were all enjoying
this work enormously.

98
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Yeah.

99
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And we're about to get into probably
the most critical point of this scene,

100
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which is when we start
to reveal the Entity.

101
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This really came together in layers.

102
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This is one of my favorite music cues
in the entire movie, by the way.

103
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This all really came together in layers.

104
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When we first presented it

105
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without the graphics
and without the sounds of the Entity,

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people didn't really understand

107
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that there was this other being
in the boat.

108
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And because it's Mission,
people are always trying to outsmart it.

109
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They were looking for the plot
in the sequence

110
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and kept thinking that one of the sailors
had sabotaged the boat.

111
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And it was only when we came up
with this graphic and that sound

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that the intent of the scene
really became abundantly clear.

113
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Yeah.

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One little editing Easter egg is,
if you go back

115
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and you want to step through
some of the transitions

116
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from the Entity to the crew,

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we did these little two-frame dissolves
to soften the dissolves a little bit,

118
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so there's a couple in there,
and you'll see a couple later.

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It creates kind of a dreamy state
and you'll see them later in the film.

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All of these shots
of the exterior were CGI shots.

121
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-Yeah, done by a VFX company called belo.
-By belo.

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And I was very, very, very trepidatious
about the notion of doing CG shots--

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Entirely CG shots--

124
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And we talked about
doing these practically.

125
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And I was very pleased
with the work that they did.

126
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I mean, we did shot real elements
of bodies floating.

127
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All the bodies are real.
The bubbles are real.

128
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That was all done at Pinewood
in the tank there.

129
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And all the ice is taken from elements
and things like that.

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It's just--

131
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It's an extraordinary job of compositing
all of those elements together

132
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to create this very real environment.

133
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You know, the Arctic.

134
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And here's our key.

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This was the very last day
of shooting on our movie.

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This was the last scene we shot.

137
00:07:31,125 --> 00:07:32,832
This is Alex James-Phelps.

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And for fans
of the Mission: Impossible franchise,

139
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you'll get a kick out of the fact
that his last name is James-Phelps,

140
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a character in Mission. Impossible One
and, of course, in the TV series.

141
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He was cast a week before we shot it,

142
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and he came to work that day--
the day before, actually,

143
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to walk the set
and learn what scene he would be shooting.

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And this was--

145
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After we had finished the entire film,

146
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we were finally able to figure out
what was the best way to introduce Ethan.

147
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How do you introduce this character
in the most efficient way possible?

148
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And also introducing
the notion of the oath,

149
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which was actually something
that was not supposed to show up

150
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until the second movie.

151
00:08:19,840 --> 00:08:23,458
I love the fact that we do plant the seed
of the oath here,

152
00:08:23,552 --> 00:08:27,045
and it will pay off dramatically.

153
00:08:27,139 --> 00:08:29,631
Well, it will pay off
very satisfyingly later on.

154
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Yes, and it actually resonates
why we don't draw a circle around it.

155
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It resonates through actions
that characters take in this movie

156
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into the next movie.

157
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The set that they're on right now
is actually the repurposed

158
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and rebuilt Venice safe house set.

159
00:08:48,035 --> 00:08:49,525
We'd just taken out certain walls,

160
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and if you look at some
of the architectural elements in here,

161
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you can see the Venice safe house
is in there.

162
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That's Gary Freeman.

163
00:08:58,003 --> 00:09:00,791
He's a brilliant,
brilliant production designer.

164
00:09:01,548 --> 00:09:03,004
Great in working on a budget.

165
00:09:03,092 --> 00:09:06,960
And when we said, "Hey, we need
some sort of a safe house for Ethan,"

166
00:09:07,972 --> 00:09:09,428
that's where we ended up.

167
00:09:10,182 --> 00:09:11,672
And, yeah.

168
00:09:12,601 --> 00:09:14,387
Alex has just got a fantastic face,

169
00:09:14,478 --> 00:09:16,640
and he tells you an entire story...

170
00:09:18,691 --> 00:09:22,605
about some kid
who's just beginning his life in the IMF.

171
00:09:22,695 --> 00:09:23,935
And we picked Amsterdam.

172
00:09:24,029 --> 00:09:26,987
Originally, there was an exterior scene
which you might see,

173
00:09:27,074 --> 00:09:29,611
or you will see in the deleted shots reel.

174
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And you'll see some shots of Ethan
walking through an Amsterdam market.

175
00:09:33,205 --> 00:09:38,291
But in the end, we decided to get
straight into the introduction inside.

176
00:09:38,377 --> 00:09:42,587
That was Ethan's dossier photo
from <i>Mission One</i>

177
00:09:42,673 --> 00:09:44,755
-and his hair from <i>Days of Thunder.</i>
-That's it.

178
00:09:44,842 --> 00:09:47,675
And that's how you create
a 1989 version of Tom.

179
00:09:47,761 --> 00:09:50,799
Here we've got these little two-frame
dissolves just to soften these edits,

180
00:09:50,889 --> 00:09:51,879
which is quite fun.

181
00:09:51,974 --> 00:09:53,135
That's a slower dissolve,

182
00:09:53,225 --> 00:09:56,718
but you'll see a two-frame dissolve right...

183
00:09:56,812 --> 00:09:58,803
And that's Mariela Garriga obviously.

184
00:09:58,897 --> 00:10:01,980
Mariela Garriga is
absolutely sensational actor.

185
00:10:02,067 --> 00:10:04,024
We have plans for her.

186
00:10:05,112 --> 00:10:08,696
And you can see these transitions
when we go back to Ethan.

187
00:10:08,782 --> 00:10:10,614
-That's a hard cut.
-No, it was a soft.

188
00:10:10,701 --> 00:10:13,409
-That was a two-frame dissolve.
-Was that a two-frame dissolve?

189
00:10:14,079 --> 00:10:16,992
There was a reason
that we went kind of very analog

190
00:10:17,082 --> 00:10:19,164
and straightforward
with this mission briefing,

191
00:10:19,251 --> 00:10:21,709
because we did originally have one
which was a little more...

192
00:10:21,795 --> 00:10:23,331
-Techy.
-...sort of graphical,

193
00:10:23,422 --> 00:10:26,460
and it just-- the film--

194
00:10:26,550 --> 00:10:30,134
It didn't sort of stick
on the movie very well, and--

195
00:10:30,220 --> 00:10:32,302
Well, we also tried
to be too clever by half

196
00:10:32,389 --> 00:10:34,380
in terms of
how we parsed out the information.

197
00:10:34,475 --> 00:10:37,058
I'm always struggling
with straight information--

198
00:10:37,144 --> 00:10:39,055
That was a two-frame dissolve,
by the way--

199
00:10:40,230 --> 00:10:46,442
And was trying to weave it
into the story in a more elegant way.

200
00:10:46,528 --> 00:10:48,394
And what happened was,
you just weren't listening.

201
00:10:48,489 --> 00:10:50,696
And one of the rules
of <i>Mission: Impossible--</i>

202
00:10:50,783 --> 00:10:53,275
And there are very few--
is Ethan must get a mission.

203
00:10:53,369 --> 00:10:55,360
This is part of the contract
you sign with the audience.

204
00:10:55,454 --> 00:10:57,491
This is what makes <i>Mission, Mission.</i>

205
00:10:58,332 --> 00:11:00,118
And so,

206
00:11:00,209 --> 00:11:04,578
as much as I wanted to reinvent this idea,

207
00:11:04,671 --> 00:11:06,787
Mission has a mind of its own.

208
00:11:06,882 --> 00:11:11,877
And this is what makes-- this is part
of what makes <i>Mission, Mission.</i>

209
00:11:11,970 --> 00:11:13,301
And it turned out to be--

210
00:11:14,306 --> 00:11:17,048
It turned out to fix a lot of things
we were struggling with

211
00:11:17,142 --> 00:11:21,887
in terms of people understanding
things like the Mariela backstory.

212
00:11:21,980 --> 00:11:23,562
It just laid it all out there,

213
00:11:23,649 --> 00:11:27,313
and it helps enormously
to have an actor like Henry Czerny,

214
00:11:27,403 --> 00:11:30,191
who is so good, taking exposition

215
00:11:30,280 --> 00:11:32,988
and turning it into something
very, very lyrical.

216
00:11:33,075 --> 00:11:35,407
Tom, all of this acting that he's doing,

217
00:11:35,494 --> 00:11:38,486
he's reacting to dialogue
that we hadn't written yet.

218
00:11:38,580 --> 00:11:39,911
Yeah, exactly.

219
00:11:39,998 --> 00:11:43,662
So I was giving Tom
more or less emotional cues,

220
00:11:43,752 --> 00:11:46,084
and what is Ethan's emotional state.

221
00:11:47,089 --> 00:11:49,581
We did know one thing
which was obviously that,

222
00:11:49,675 --> 00:11:52,667
"Find the bounty hunters
and you may find her."

223
00:11:52,761 --> 00:11:55,298
That was always a constant
through any mission briefing.

224
00:11:56,056 --> 00:11:59,799
This shot took four days to get.

225
00:12:00,394 --> 00:12:04,638
We had one hour every day at magic hour.

226
00:12:05,983 --> 00:12:08,691
So we would be shooting
the desert gunfight

227
00:12:08,777 --> 00:12:10,313
about a mile away from here,

228
00:12:10,404 --> 00:12:12,771
and as the sun
started to get late in the sky,

229
00:12:12,865 --> 00:12:14,981
we'd pick everything up and run out,

230
00:12:15,075 --> 00:12:20,070
and make an attempt at shooting this,
which is obviously-- It's all a oner.

231
00:12:20,164 --> 00:12:22,826
Lots of moving parts, horses and whatnot.

232
00:12:22,916 --> 00:12:25,624
And there were only so many times
the horse could get up,

233
00:12:25,711 --> 00:12:29,170
and there were only so many times
that the horses could run past,

234
00:12:29,256 --> 00:12:32,123
and you had to be very careful
with the horses.

235
00:12:32,217 --> 00:12:33,628
Didn't want them to get injured.

236
00:12:33,719 --> 00:12:37,257
And so we had about an hour every day
at magic hour

237
00:12:37,347 --> 00:12:41,306
to attempt to get that shot,
and on the fourth day, we got it.

238
00:12:42,144 --> 00:12:44,476
And this is Abu Dhabi,

239
00:12:44,563 --> 00:12:48,477
the empty quarter in Abu Dhabi.

240
00:12:48,567 --> 00:12:50,524
And here, of course, is Rebecca Ferguson.

241
00:12:51,987 --> 00:12:53,944
This we went back and reshot.

242
00:12:54,031 --> 00:12:56,864
Gave her more of a prominent introduction.

243
00:12:57,743 --> 00:13:01,486
I had shot it originally in this set
and just wasn't satisfied with it.

244
00:13:01,580 --> 00:13:03,742
It just wasn't
a strong enough introduction,

245
00:13:03,832 --> 00:13:08,747
and we have a real particular fixation
in terms of how to introduce characters.

246
00:13:08,837 --> 00:13:09,918
Yeah.

247
00:13:12,174 --> 00:13:15,963
So all of this, in an earlier sequence,

248
00:13:16,053 --> 00:13:18,215
involved a much longer journey for Ethan.

249
00:13:18,305 --> 00:13:20,592
Yeah, so you got to see
a lot more of the horse.

250
00:13:20,682 --> 00:13:22,844
-Yeah.
-He was called Zeus, I remember.

251
00:13:22,935 --> 00:13:23,925
-Zeus.
-Yeah.

252
00:13:24,019 --> 00:13:28,434
Zeus the horse is a champion horse

253
00:13:28,524 --> 00:13:31,312
and has an enormous ego.

254
00:13:31,902 --> 00:13:33,984
Zeus knew right away
that he was in a movie.

255
00:13:34,738 --> 00:13:39,153
And when the camera started rolling,
Zeus just took on a mind of his own.

256
00:13:39,243 --> 00:13:41,029
-Yeah.
-And when you--

257
00:13:41,119 --> 00:13:43,110
And would walk when you wanted him to run,

258
00:13:43,205 --> 00:13:45,287
run when you wanted him to walk.

259
00:13:45,374 --> 00:13:49,663
And there's a shot coming up
where Zeus is supposed to stop right here

260
00:13:49,753 --> 00:13:53,587
and blew right past camera,
which actually turned out to be useful.

261
00:13:53,674 --> 00:13:55,164
It extended some of the geography.

262
00:13:55,259 --> 00:13:56,294
So, for a lot of this,

263
00:13:56,385 --> 00:14:01,130
you did have these gigantic jet engines
blowing sand around the set,

264
00:14:01,223 --> 00:14:04,011
and sometimes it's augmented by ILM.

265
00:14:04,101 --> 00:14:07,594
Like the sandstorm,
as Ethan's racing towards the town there,

266
00:14:07,688 --> 00:14:09,725
was sort of built
by Industrial Light and Magic.

267
00:14:09,815 --> 00:14:13,433
Yeah, there are just times for safety,
or when we're covering so much distance

268
00:14:13,527 --> 00:14:15,859
that you couldn't blow
enough sand over it.

269
00:14:15,946 --> 00:14:18,779
And there are times
when the actors faces are uncovered,

270
00:14:18,865 --> 00:14:20,071
like here with Ilsa.

271
00:14:20,158 --> 00:14:22,115
There's some wind going,

272
00:14:22,202 --> 00:14:25,570
but if you had sand going,
her eyes would be filled with sand.

273
00:14:27,332 --> 00:14:30,415
So we had her acting that she
was getting particulates in her eyes--

274
00:14:30,502 --> 00:14:31,617
This is a wonderful shot.

275
00:14:31,712 --> 00:14:33,248
I absolutely love the composition

276
00:14:33,338 --> 00:14:35,579
and the way the camera moves
to introduce that character.

277
00:14:35,674 --> 00:14:38,587
To introduce the character
we refer to as Braid.

278
00:14:40,304 --> 00:14:42,136
Who's actually played by, I believe,

279
00:14:42,222 --> 00:14:44,304
five different women
throughout the sequence

280
00:14:45,309 --> 00:14:47,721
because of the places where we shot it.

281
00:14:52,357 --> 00:14:55,315
Any number of people, including Rebecca.

282
00:14:55,402 --> 00:14:58,360
We should talk about the sound mix here,
because it's just extraordinary.

283
00:14:58,447 --> 00:15:01,690
It kind of rocks the theater
when you're inside a cinema watching it.

284
00:15:01,783 --> 00:15:04,775
Yeah, our sound team-- This actually--

285
00:15:04,870 --> 00:15:07,111
There was a lot of time
and effort that went into this,

286
00:15:07,205 --> 00:15:09,947
and then it was really only
on the very last day

287
00:15:10,042 --> 00:15:14,127
when we took the sound design apart
and put it back together again.

288
00:15:14,212 --> 00:15:16,920
There had been a lot of notes
and thoughts and rules,

289
00:15:17,007 --> 00:15:19,965
and we finally just went down
and picked specific sounds.

290
00:15:20,052 --> 00:15:23,886
And then the most important part
was to mix in a level of bass

291
00:15:23,972 --> 00:15:25,883
so that you actually feel the storm.

292
00:15:25,974 --> 00:15:28,306
So if you're watching this at home,

293
00:15:28,393 --> 00:15:31,977
your subwoofer will be getting a very good
workout in this little bit of the movie.

294
00:15:32,064 --> 00:15:35,728
Although we now go into much more
subjective, dreamy sound design here.

295
00:15:35,817 --> 00:15:37,899
And we played with the end
of this sequence,

296
00:15:37,986 --> 00:15:40,603
how it would end
and where the credits would fall

297
00:15:40,697 --> 00:15:43,564
in the beginning of the movie
many, many times

298
00:15:43,659 --> 00:15:46,401
and finally settled on this.

299
00:15:46,495 --> 00:15:48,361
I love the dissolve here as well because--

300
00:15:49,122 --> 00:15:50,533
It's interesting.

301
00:15:50,624 --> 00:15:53,742
When you're watching this, it doesn't feel
like a new chapter in a way.

302
00:15:53,835 --> 00:15:55,576
It feels like a continuation of the story.

303
00:15:55,671 --> 00:16:00,211
And you've dissolved
from your protagonist to your antagonist.

304
00:16:00,300 --> 00:16:01,335
Exactly.

305
00:16:01,426 --> 00:16:05,920
So, your hand is being held
through this whole opening of the movie

306
00:16:06,014 --> 00:16:08,756
so it feels continuous,
because we're well aware

307
00:16:08,850 --> 00:16:11,933
that the opening titles
are coming quite late into the film.

308
00:16:12,020 --> 00:16:15,058
Like, some people are going, "Wait,
we haven't had the opening titles yet."

309
00:16:15,148 --> 00:16:16,354
Yeah.

310
00:16:16,441 --> 00:16:19,650
Here's an extraordinary
assemblage of people.

311
00:16:19,736 --> 00:16:21,852
This was a very challenging scene
to shoot.

312
00:16:21,947 --> 00:16:24,188
It was our first day on stage

313
00:16:24,282 --> 00:16:29,027
after coming back
from working on location.

314
00:16:29,121 --> 00:16:31,078
And it's a very challenging set
to shoot in,

315
00:16:31,164 --> 00:16:34,282
and all the compositions are
more or less the set forcing our hand.

316
00:16:34,376 --> 00:16:36,117
I love how
you're introducing the geography

317
00:16:36,211 --> 00:16:38,122
with a big close-up
of Cary in the foreground.

318
00:16:38,213 --> 00:16:39,954
I love the way the camera inches around.

319
00:16:40,048 --> 00:16:43,336
Well, and that was the beginning
of the visual language of our film.

320
00:16:43,427 --> 00:16:46,715
We didn't come to this movie
with a specific sense of,

321
00:16:46,805 --> 00:16:48,842
"This is how we want to shoot it."

322
00:16:48,932 --> 00:16:51,014
That tends to paint you into corners.

323
00:16:51,101 --> 00:16:53,183
I really wanted the movie
to tell me what its look was,

324
00:16:53,270 --> 00:16:56,558
and obviously I want every <i>Mission</i>
to feel different.

325
00:16:57,691 --> 00:16:59,773
And Chunky Richmond, our camera operator,

326
00:16:59,860 --> 00:17:02,272
Fraser Taggart, cinematographer,

327
00:17:02,362 --> 00:17:04,399
Martin Smith, our gaffer,

328
00:17:04,489 --> 00:17:06,947
we were finding the look of the movie,

329
00:17:07,033 --> 00:17:09,741
of the sets, here on day one.

330
00:17:09,828 --> 00:17:13,537
And this was the first shot,
was Cary's close coverage.

331
00:17:14,207 --> 00:17:18,542
And what you're seeing,
by putting Cary where I am,

332
00:17:18,628 --> 00:17:22,371
I'm showing you the room
without doing a classic establishing shot.

333
00:17:22,466 --> 00:17:23,456
I'm also--

334
00:17:23,550 --> 00:17:25,006
There's Henry Czerny.

335
00:17:25,093 --> 00:17:27,380
And I'm deliberately not introducing him.

336
00:17:27,471 --> 00:17:29,929
I'm showing everybody else in the room,

337
00:17:30,015 --> 00:17:33,383
and I'm showing you Henry,
but I'm not pointing him out.

338
00:17:34,603 --> 00:17:37,345
-This shot was done--
-This was done at ExCel, right?

339
00:17:37,439 --> 00:17:40,682
The same place where we did
the train station in Rogue Nation.

340
00:17:40,776 --> 00:17:43,063
There were, I don't know,
several hundred typists.

341
00:17:43,153 --> 00:17:46,020
-Yes, shot at the height of COVID.
-Yeah.

342
00:17:46,114 --> 00:17:48,401
I think we had 200 extras in total.

343
00:17:48,492 --> 00:17:50,824
So ILM extended all the people
in the background,

344
00:17:50,911 --> 00:17:53,118
but there were a lot of people there

345
00:17:53,205 --> 00:17:56,288
-to make it feel as real as possible.
-That's Indira Varma.

346
00:17:56,374 --> 00:17:58,536
Just extraordinary, extraordinary actor.

347
00:17:59,669 --> 00:18:02,331
Rob Delaney, Mark Gatiss,

348
00:18:02,422 --> 00:18:05,960
Charles Parnell,
who came back from <I>Top Gun</I> for us.

349
00:18:06,051 --> 00:18:08,918
And here's Marcello, our man of mystery.

350
00:18:09,888 --> 00:18:12,630
Marcello-- It was all about movement.

351
00:18:12,724 --> 00:18:16,968
Marcello and I spent a lot of time
just working on movement, not blinking,

352
00:18:17,062 --> 00:18:23,604
and the longer we could stay on him
and feel his thoughts, the better.

353
00:18:23,693 --> 00:18:25,775
You're looking again
at all of these compositions.

354
00:18:25,862 --> 00:18:30,356
This is all about compositions
that are creating geography in the room

355
00:18:30,450 --> 00:18:33,909
without using
a traditional wide master shot.

356
00:18:34,412 --> 00:18:36,073
And there's Henry Czerny.

357
00:18:36,164 --> 00:18:40,249
We're very carefully placing him as the
only person we're not putting in close-up.

358
00:18:40,335 --> 00:18:44,954
So, he's always in the shot,
but we're never deliberately showing him.

359
00:18:45,048 --> 00:18:47,164
In fact, look at this wide shot.

360
00:18:47,259 --> 00:18:49,842
Right at the moment
where you're about to see Henry,

361
00:18:49,928 --> 00:18:52,636
the pillar blocks him and we cut,

362
00:18:52,722 --> 00:18:56,215
so that this was always
intended to be his introduction.

363
00:18:56,309 --> 00:18:59,643
It creates a sense of prominence
for this character.

364
00:18:59,729 --> 00:19:01,595
And then we discovered this,

365
00:19:01,690 --> 00:19:05,934
which is the first shot that shows him
is actually in a wide,

366
00:19:06,027 --> 00:19:07,438
and he's quite small,

367
00:19:07,529 --> 00:19:09,270
and he gets bigger and closer

368
00:19:10,365 --> 00:19:11,981
as he's telling us this story.

369
00:19:12,075 --> 00:19:15,693
He's growing in prominence
across the shot.

370
00:19:15,787 --> 00:19:19,325
We're not just introducing exposition
with everything we're doing here.

371
00:19:19,416 --> 00:19:22,204
We're introducing character,
suspense, story.

372
00:19:22,294 --> 00:19:25,377
We're creating a sense
of atmosphere around the Entity.

373
00:19:25,463 --> 00:19:28,421
So, while some people are taking
this scene quite literally

374
00:19:28,508 --> 00:19:30,590
as a lot of dialogue and a lot of talk,

375
00:19:30,677 --> 00:19:34,966
there's actually a lot of story going on,
including a photograph behind Cary Elwes.

376
00:19:35,056 --> 00:19:36,592
That's true, if you pay attention.

377
00:19:36,683 --> 00:19:39,641
Almost no one on the planet has noticed,
and I've been enjoying--

378
00:19:39,728 --> 00:19:43,312
While everybody is picking out Easter eggs
in this movie that aren't Easter eggs,

379
00:19:43,398 --> 00:19:46,732
and references to other movies
that aren't references to other movies,

380
00:19:46,818 --> 00:19:49,856
they're missing the fact
that Angela Bassett's photograph is

381
00:19:49,946 --> 00:19:52,313
on the wall directly behind Cary Elwes.

382
00:19:52,407 --> 00:19:54,318
And that was one of your wide shots there.

383
00:19:54,409 --> 00:19:57,151
As Henry walks over
to reveal the room, you get--

384
00:19:57,245 --> 00:20:00,112
Yes. And that was discovered
as a matter of necessity

385
00:20:00,206 --> 00:20:02,538
in just getting the coverage
and following the blocking,

386
00:20:02,626 --> 00:20:04,867
all of which we discovered
with the actors,

387
00:20:04,961 --> 00:20:07,293
how everybody was composed in the scene.

388
00:20:07,380 --> 00:20:13,217
The wide master presented itself
rather than us adhering to it.

389
00:20:13,303 --> 00:20:15,260
And it occurred much more organically.

390
00:20:15,347 --> 00:20:19,215
And as a result, we never shot
the whole scene in a wide master,

391
00:20:19,309 --> 00:20:20,765
which is what you tend to do.

392
00:20:20,852 --> 00:20:23,219
And then you only use eight seconds of it.

393
00:20:23,313 --> 00:20:25,179
It's an enormous waste of time.

394
00:20:25,273 --> 00:20:29,813
It was much more interesting to us
and useful to us to find character,

395
00:20:29,903 --> 00:20:33,362
instead of spending time
on information and blocking.

396
00:20:34,366 --> 00:20:38,280
All of these, everything you're seeing
is coverage that's telling story,

397
00:20:38,370 --> 00:20:39,701
as opposed to,

398
00:20:39,788 --> 00:20:43,497
point a camera at an actor and just
have them say all this information.

399
00:20:43,583 --> 00:20:45,790
This was something we
discovered quite late.

400
00:20:45,877 --> 00:20:46,742
Very late.

401
00:20:46,836 --> 00:20:49,453
Recapping the desert
so people understood that

402
00:20:49,547 --> 00:20:52,414
they were referring to
what you had literally just seen.

403
00:20:52,509 --> 00:20:57,845
And also to establish in the audience's
mind the notion of intercutting,

404
00:20:57,931 --> 00:21:00,389
so that when you did it later,
it's not jarring.

405
00:21:00,475 --> 00:21:01,886
It doesn't come out of nowhere.

406
00:21:01,977 --> 00:21:05,641
Gary Freeman's choice of that painting
in the background

407
00:21:05,730 --> 00:21:08,438
keeps a little sense
of the desert in the room.

408
00:21:08,525 --> 00:21:11,313
You know, the scene
that they would be talking about.

409
00:21:11,403 --> 00:21:14,020
So that's another visual connection.

410
00:21:14,114 --> 00:21:15,525
There's Angela again,

411
00:21:15,615 --> 00:21:18,232
and I like the little visual
of the two of them...

412
00:21:18,326 --> 00:21:20,237
-Symmetry.
-...with their arms folded. Yeah.

413
00:21:22,372 --> 00:21:26,787
So this is where Chunky,
our camera operator,

414
00:21:26,876 --> 00:21:29,664
and I were figuring out how--

415
00:21:29,754 --> 00:21:33,372
What's the visual language of our movie
and how are we going to compose shots?

416
00:21:33,466 --> 00:21:35,958
How are we gonna create
character and pressure?

417
00:21:36,052 --> 00:21:41,263
And you can see that by doing that,
Marcello is present throughout.

418
00:21:41,349 --> 00:21:43,181
So even when you're not--

419
00:21:43,268 --> 00:21:45,350
So, in the same way
that Kittridge was present

420
00:21:45,437 --> 00:21:46,973
throughout the beginning of the scene,

421
00:21:47,063 --> 00:21:49,555
Marcello is present
throughout the second half.

422
00:21:49,649 --> 00:21:52,311
And a very tough balance
we were trying to figure out.

423
00:21:52,402 --> 00:21:54,484
There's drama and suspense,

424
00:21:54,571 --> 00:21:59,111
and a spooky story we're telling
about the Entity with music.

425
00:21:59,200 --> 00:22:01,908
Then you have to get out of the way
so that you can enjoy the humor

426
00:22:01,995 --> 00:22:02,985
-of this stuff.
-Exactly.

427
00:22:03,079 --> 00:22:06,492
I love that the IMF--
I love the way you remythologized it.

428
00:22:06,583 --> 00:22:09,075
And it's one of the first
proper laughs in the movie.

429
00:22:09,169 --> 00:22:11,627
When we're working on these,

430
00:22:11,713 --> 00:22:14,375
you're always kind of gauging
how engaged the audience is,

431
00:22:14,466 --> 00:22:16,958
if you're sitting with them,
by how much they laugh.

432
00:22:17,052 --> 00:22:21,717
-And they laugh on Rob Delaney's delivery.
-"Should he choose to accept.”

433
00:22:21,806 --> 00:22:23,638
-1 love that.
-You felt the whole audience laugh.

434
00:22:23,725 --> 00:22:25,432
You know that they're in.

435
00:22:25,518 --> 00:22:28,180
-They paid attention, yeah.
-Yeah.

436
00:22:28,271 --> 00:22:30,433
-We have one of those on every movie.
-We do.

437
00:22:30,523 --> 00:22:33,561
The first laugh is like
the on-ramp to the movie.

438
00:22:33,651 --> 00:22:35,358
Correct. Exactly.

439
00:22:37,530 --> 00:22:41,114
So, in editing this entire sequence,

440
00:22:41,201 --> 00:22:44,694
the challenge of editing this
entire sequence was not only information,

441
00:22:44,788 --> 00:22:46,904
but all of the tonal shifts.

442
00:22:46,998 --> 00:22:50,536
So you're actually having
multiple scenes within a scene,

443
00:22:50,627 --> 00:22:54,837
and we treated it that way
very specifically so that, you know,

444
00:22:54,923 --> 00:22:59,292
over the course of I think
what was 14 pages of dialogue,

445
00:22:59,385 --> 00:23:00,750
you felt an evolution.

446
00:23:00,845 --> 00:23:03,007
And a lot of that came
from things we learned

447
00:23:03,098 --> 00:23:06,011
on Top Gun: Maverick in the bar scene.

448
00:23:06,101 --> 00:23:09,890
It's a massive introduction of lots
of characters and lots of information,

449
00:23:09,979 --> 00:23:13,017
and how do you do it in a way
that the audience can feel it

450
00:23:13,108 --> 00:23:15,019
and not have to concentrate on it?

451
00:23:15,110 --> 00:23:19,650
They're absorbing what matters, but they
don't have to keep track of all of it.

452
00:23:19,739 --> 00:23:22,572
The more you watch the movie,
the more you return to the scene,

453
00:23:22,659 --> 00:23:27,074
the more information
you'll glean out of it.

454
00:23:27,163 --> 00:23:30,622
So the editing of this scene
was very precise,

455
00:23:30,708 --> 00:23:34,872
the way that we chose to cut
on certain lines of dialogue,

456
00:23:34,963 --> 00:23:38,581
the way that we choose to cross the line.

457
00:23:38,675 --> 00:23:42,293
You know, we're keeping Ilsa alive
in the story, obviously, at this point,

458
00:23:42,387 --> 00:23:44,003
deliberately with the compositions,

459
00:23:44,097 --> 00:23:49,217
and every time we cut,
it's on a very specific idea shift

460
00:23:49,310 --> 00:23:51,221
or we're--

461
00:23:51,312 --> 00:23:53,223
-A subject change.
-Yeah, a subject change.

462
00:23:53,314 --> 00:23:56,022
We're forcing the audience
to move their eyes

463
00:23:56,109 --> 00:23:58,191
from one side of the screen to the other

464
00:23:58,278 --> 00:24:01,612
so that you are forced
to keep engaged with the story.

465
00:24:01,698 --> 00:24:02,859
Not letting you drift.

466
00:24:02,949 --> 00:24:05,941
This flashback we really put in
almost in the last week of editing.

467
00:24:06,035 --> 00:24:10,154
After two and a half years, we figured out
that this was a great place.

468
00:24:10,248 --> 00:24:15,084
Initially, the reveal
of this was after Rome.

469
00:24:15,170 --> 00:24:21,212
Well, this whole idea that we were
holding back on the supposed death

470
00:24:21,301 --> 00:24:25,295
of Ilsa was originally--

471
00:24:25,388 --> 00:24:27,425
We had thrown that idea out.

472
00:24:28,266 --> 00:24:30,883
Yeah, 'cause we wanted the desert
to have a win in it.

473
00:24:30,977 --> 00:24:33,890
Yes. Well, we knew that if you went
into the credits

474
00:24:33,980 --> 00:24:37,564
believing that she had died
and withheld it all the way to Rome,

475
00:24:37,650 --> 00:24:40,267
-which is what we were gonna do...
-A good hour into the movie.

476
00:24:40,361 --> 00:24:42,477
...it affected the entire tone
of the airport.

477
00:24:43,239 --> 00:24:45,822
So we knew you had to reveal this
somewhere else.

478
00:24:45,909 --> 00:24:48,367
-Yeah.
-And we went full circle.

479
00:24:48,453 --> 00:24:49,739
We threw the idea out,

480
00:24:49,829 --> 00:24:53,117
and in the very last week of editing,
the idea came back.

481
00:24:53,208 --> 00:24:55,700
And a lot of this is told
through sound design.

482
00:24:55,793 --> 00:24:58,956
This is actually shot on the back lot
at Longcross Studios.

483
00:24:59,047 --> 00:25:00,629
It was shot much later.

484
00:25:00,715 --> 00:25:04,549
Yes, so here we come back,
and you see us again crossing the line.

485
00:25:04,636 --> 00:25:08,755
And we've now shifted
the audience's context,

486
00:25:08,848 --> 00:25:10,464
"cause now we know that Ilsa's alive,

487
00:25:10,558 --> 00:25:14,051
and therefore, we know that Kittridge
has had the wool pulled over his eyes

488
00:25:14,145 --> 00:25:17,228
about the fact that she's dead,
and Ethan has outsmarted him.

489
00:25:17,315 --> 00:25:20,273
How he's got the key.
It's just so-- It's great.

490
00:25:20,360 --> 00:25:23,398
And how all of this serves
to lay up the cut to credits.

491
00:25:23,488 --> 00:25:25,820
We were always struggling with
where do the credits go.

492
00:25:25,907 --> 00:25:26,897
Yes.

493
00:25:26,991 --> 00:25:29,858
And once we built this structure
and presented it to Tom,

494
00:25:29,953 --> 00:25:31,660
we had the credits in a different place.

495
00:25:31,746 --> 00:25:33,282
Tom was very happy with the structure.

496
00:25:33,373 --> 00:25:35,831
The only note he had
was the credits are in the wrong place.

497
00:25:35,917 --> 00:25:38,124
-The credits have to come after--
-Come after a win.

498
00:25:38,211 --> 00:25:41,249
They should come after-- You should have
a lift when you go into the music.

499
00:25:41,339 --> 00:25:43,171
-Correct.
-You want to feel a cheer.

500
00:25:43,258 --> 00:25:47,422
And we said, "Yes,
but that's 28 minutes into the movie."

501
00:25:47,512 --> 00:25:49,002
- I know.
-Nobody does that.

502
00:25:49,097 --> 00:25:51,429
And he said, "Yeah,
but it's in the right place.

503
00:25:51,516 --> 00:25:52,756
It just feels right."

504
00:25:52,850 --> 00:25:56,559
And one of the things I love about working
with Tom is there are very few rules.

505
00:25:56,646 --> 00:25:59,684
These are the line crosses that people
are like, "Why are you line crossing?"

506
00:25:59,774 --> 00:26:02,061
And it's literally to make your eyes move.

507
00:26:02,151 --> 00:26:03,687
Part of it is to keep you alert

508
00:26:03,778 --> 00:26:06,440
and make you refocus on Kittridge
on the left-hand side.

509
00:26:06,531 --> 00:26:08,442
It's so that you don't tune out.

510
00:26:08,533 --> 00:26:09,944
-We're shaping--
-Exactly.

511
00:26:10,034 --> 00:26:13,197
We're actually directing your eye
and your ear

512
00:26:13,288 --> 00:26:15,871
and cutting on key words,
cutting on key subjects.

513
00:26:15,957 --> 00:26:16,947
Yeah.

514
00:26:17,834 --> 00:26:20,041
And you know,
when we're on this side of Tom,

515
00:26:20,128 --> 00:26:23,962
we can be more internal with him,
you know, for these moments.

516
00:26:24,048 --> 00:26:27,006
Yeah. So all of these line crosses
are actually...

517
00:26:27,093 --> 00:26:28,800
-I love Henry's acting.
-...deliberate.

518
00:26:28,886 --> 00:26:30,547
-Look at his eye muscles.
-I know.

519
00:26:30,638 --> 00:26:32,629
It's so good.

520
00:26:32,724 --> 00:26:34,715
He's really phenomenal,

521
00:26:34,809 --> 00:26:38,473
and he very, very carefully
rewrites specific lines,

522
00:26:38,563 --> 00:26:41,897
chooses additional words, "willingly,"
whispered one word.

523
00:26:41,983 --> 00:26:42,973
Yeah, yeah.

524
00:26:43,067 --> 00:26:47,732
And when he adds the word "willingly,"
he implies they're spying on everybody,

525
00:26:47,822 --> 00:26:52,658
and he brings these elegant
little flourishes to everything.

526
00:26:52,744 --> 00:26:55,611
He's such, such an elegant actor.

527
00:26:55,705 --> 00:26:59,369
Really, the word I use often is just
very lyrical in his communication.

528
00:26:59,459 --> 00:27:02,747
This is one shot
that I really love in the film.

529
00:27:02,837 --> 00:27:05,295
The energy of this shot and the motion,

530
00:27:05,381 --> 00:27:09,716
and again, you're bringing in
the geography of the room when it matters.

531
00:27:09,802 --> 00:27:10,792
Exactly.

532
00:27:10,887 --> 00:27:13,254
And not in a way that's sort of arbitrary.

533
00:27:13,348 --> 00:27:16,386
I love here,
because the first time you see this,

534
00:27:16,476 --> 00:27:19,719
you're not really paying attention
to what Ethan is doing in the background.

535
00:27:19,812 --> 00:27:22,053
And then the second time you see it,
you know what's coming,

536
00:27:22,148 --> 00:27:24,355
and so you're like,
"Wait, what was he doing back there?"

537
00:27:24,442 --> 00:27:28,731
And we had to be so particular
of when we cut to that side of the line.

538
00:27:28,821 --> 00:27:32,530
So you see
there's multiple angles covering Henry,

539
00:27:33,659 --> 00:27:37,527
and all of that is to give us the space

540
00:27:37,622 --> 00:27:41,490
so we could control
when to cut to Ethan and when not to.

541
00:27:42,543 --> 00:27:46,036
And we shot two cameras
on this side of Henry

542
00:27:46,130 --> 00:27:47,996
so that you'd have some variety.

543
00:27:48,091 --> 00:27:50,253
And that was a big deal
throughout most of the movie,

544
00:27:50,343 --> 00:27:52,425
knowing that some of these scenes
were longer,

545
00:27:52,512 --> 00:27:55,880
to always cover them from multiple angles
on multiple sides

546
00:27:55,973 --> 00:27:58,135
so that there's always a visual variety.

547
00:27:58,226 --> 00:27:59,887
Yeah. This is so satisfying.

548
00:27:59,977 --> 00:28:03,140
Here's Henry having the time of his life
playing Tom playing Henry.

549
00:28:03,940 --> 00:28:06,056
I know, it's so good.
He's playing Ethan Hunt. It's awesome.

550
00:28:06,150 --> 00:28:09,438
And there's our dart gun
from Rogue Nation.

551
00:28:09,529 --> 00:28:10,769
Yeah.

552
00:28:10,863 --> 00:28:14,777
And these are the titles by Filmograph LA.

553
00:28:14,867 --> 00:28:17,108
This is always a challenge,

554
00:28:17,954 --> 00:28:21,072
designing titles, A,
to be different from other movies

555
00:28:21,165 --> 00:28:23,122
and what shots to put in them.

556
00:28:23,960 --> 00:28:27,203
And you can see that we've done
something conceptually here.

557
00:28:27,296 --> 00:28:28,707
I'm often having--

558
00:28:28,798 --> 00:28:31,506
There's often a splinter of the audience

559
00:28:31,592 --> 00:28:35,881
that's complaining about how the title
sequence is filled with spoilers,

560
00:28:35,972 --> 00:28:38,930
and because we have the Entity
running through it

561
00:28:39,016 --> 00:28:40,552
and corrupting the credits,

562
00:28:40,643 --> 00:28:43,305
we included shots
that actually aren't in the movie.

563
00:28:43,396 --> 00:28:46,388
Yeah, there aren't many,
but there are a couple in there,

564
00:28:46,482 --> 00:28:50,771
and you get to see
that they're tearing the image, you know,

565
00:28:50,862 --> 00:28:52,819
to show that the Entity
is distorting the--

566
00:28:52,905 --> 00:28:55,738
I love this.
I love these tiny, little, short cuts.

567
00:28:55,825 --> 00:28:59,989
-But yes, how it's corrupting--
-And we changed the palette to blue.

568
00:29:00,079 --> 00:29:02,366
Well, that was actually you.
We'd originally done it all in blue.

569
00:29:02,457 --> 00:29:04,824
-Originally, the Entity was red.
-Correct.

570
00:29:04,917 --> 00:29:09,161
And suddenly, it felt very familiar
to HAL and to Sauron.

571
00:29:09,255 --> 00:29:12,168
And so we finally decided to make it blue

572
00:29:12,258 --> 00:29:14,750
and realized the graphics
in the nightclub were blue.

573
00:29:14,844 --> 00:29:15,834
Correct.

574
00:29:15,928 --> 00:29:18,215
And that the movie had been
sort of telling us that all along.

575
00:29:18,306 --> 00:29:20,718
And that's why the credits are blue
on the desert here.

576
00:29:20,808 --> 00:29:23,140
But they were originally--
All the credits were blue,

577
00:29:23,227 --> 00:29:25,685
and Eddie very astutely pointed out,

578
00:29:27,315 --> 00:29:28,771
it has a cold feel.

579
00:29:28,858 --> 00:29:30,314
-It's not warm.
-Yeah, exactly.

580
00:29:30,401 --> 00:29:33,314
It's just easier to look at, actually.

581
00:29:33,404 --> 00:29:36,146
-One of my favorite inserts in the movie.
-Fantastic.

582
00:29:36,240 --> 00:29:39,278
Beautiful hand acting,
great flare in the background.

583
00:29:39,368 --> 00:29:41,609
All these things coming together
in a very elegant way.

584
00:29:41,704 --> 00:29:43,240
It's a very tricky shot to get.

585
00:29:43,331 --> 00:29:45,288
These are all shot practically.

586
00:29:45,374 --> 00:29:46,990
This is all inside an Osprey.

587
00:29:47,084 --> 00:29:49,246
That's really an Osprey
flying behind them.

588
00:29:51,631 --> 00:29:55,340
And all of this stuff was done
in the air in Abu Dhabi.

589
00:29:55,426 --> 00:29:57,963
Everything you're looking at,
that's all practical.

590
00:29:58,054 --> 00:30:01,922
This is, like, one of the best speeches,
a classic McQuarrie speech, you know?

591
00:30:02,016 --> 00:30:03,347
"Do you not consider him secure

592
00:30:03,434 --> 00:30:06,927
until you have driven a wooden stake
through his open heart.”

593
00:30:07,021 --> 00:30:09,183
-And Shea Whigham delivered it.
-It's so good.

594
00:30:09,273 --> 00:30:11,731
And here's our introduction to Benji,
Simon Pegg,

595
00:30:11,817 --> 00:30:13,979
which we did try a version of this scene

596
00:30:14,070 --> 00:30:16,858
where we started with Ethan
literally holding the key up and--

597
00:30:16,948 --> 00:30:19,485
-"So what's the play?"
-"So what's the play?" And--

598
00:30:19,575 --> 00:30:21,862
-And it dramatically affected Benji.
-Yeah.

599
00:30:21,953 --> 00:30:25,287
-It affected our connection to Benji.
-How the audience perceived him.

600
00:30:25,373 --> 00:30:29,082
So we left this in
so that he cracks a joke immediately.

601
00:30:29,168 --> 00:30:32,786
And again, you're introducing character.

602
00:30:34,090 --> 00:30:36,752
-And this is such great team banter.
-Yes.

603
00:30:36,842 --> 00:30:39,584
And then,
"Or as we like to call it, Monday."

604
00:30:41,138 --> 00:30:42,799
And as only Simon can do.

605
00:30:42,890 --> 00:30:49,262
And so what you might be perceiving as
a repetition of information is actually--

606
00:30:49,355 --> 00:30:53,394
We're introducing the characters,
and we're also taking into account

607
00:30:54,110 --> 00:30:57,603
that people don't absorb
the very important information.

608
00:30:57,697 --> 00:30:59,313
There's so much going on visually.

609
00:30:59,407 --> 00:31:02,149
There's so many things happening
in the scene that

610
00:31:02,243 --> 00:31:03,779
if you're perceiving repetition,

611
00:31:03,869 --> 00:31:06,987
it's because
you're way ahead on the bell curve.

612
00:31:07,081 --> 00:31:09,322
And here's another example
of one of your wides,

613
00:31:09,417 --> 00:31:13,752
which hinges around an object
so that you get common geography,

614
00:31:13,838 --> 00:31:17,297
but it's always based around
an important prop or--

615
00:31:17,383 --> 00:31:19,249
Yes, that it's a geography shot,

616
00:31:19,343 --> 00:31:24,383
but it's one that's hidden in there,
and it's motivated by the--

617
00:31:24,473 --> 00:31:27,511
Instead of just cutting out
to an establishing shot.

618
00:31:27,602 --> 00:31:29,388
They were all very carefully considered,

619
00:31:29,478 --> 00:31:31,640
-and all things we found on the day.
-Here's another one.

620
00:31:31,731 --> 00:31:32,562
-Yeah.
-Yeah.

621
00:31:32,648 --> 00:31:35,936
So you're keeping geography in there.

622
00:31:36,027 --> 00:31:38,644
You're not stuck
in these tight close-ups all the time.

623
00:31:38,738 --> 00:31:41,446
You have to be
very, very careful with that.

624
00:31:41,532 --> 00:31:44,866
We're actually cutting to close-ups
of actors very specifically

625
00:31:44,952 --> 00:31:48,741
to make sure that you
are gathering that information.

626
00:31:51,334 --> 00:31:54,497
I remember seeing these dailies
and just thinking this was totally dope.

627
00:31:54,587 --> 00:31:56,749
-These Ospreys are fantastic.
-It's just like, "Oh, my word."

628
00:31:56,839 --> 00:31:58,295
The scale of this.

629
00:31:58,382 --> 00:32:03,502
I love all the cast there, all the extras,
the characters behind them. So good.

630
00:32:03,596 --> 00:32:07,840
Most of them-- Most of them are actually
stunts who loved working with these two,

631
00:32:07,933 --> 00:32:10,095
and their first day on the movie.

632
00:32:10,186 --> 00:32:11,517
Yeah.

633
00:32:11,604 --> 00:32:14,722
When they showed up,
I handed them a couple pages of dialogue

634
00:32:14,815 --> 00:32:18,683
and said, "Don't worry,
there's gonna be no sound.

635
00:32:18,778 --> 00:32:20,519
We're probably gonna
replace a lot of this.

636
00:32:20,613 --> 00:32:21,944
Just go up and have fun."

637
00:32:22,031 --> 00:32:23,738
And they were in an Osprey
doing it for real.

638
00:32:23,824 --> 00:32:24,939
They were in an Osprey.

639
00:32:25,034 --> 00:32:27,992
They got in an Osprey with Erik Jendresen,

640
00:32:28,079 --> 00:32:30,161
and we're shooting their dialogue
in the Osprey,

641
00:32:30,247 --> 00:32:32,534
and we knew we would be picking up
a lot of the stuff

642
00:32:32,625 --> 00:32:36,038
with the graphics back on stage,
so, they didn't--

643
00:32:36,671 --> 00:32:39,709
All the pressure was off.
They could just go up and have fun.

644
00:32:39,799 --> 00:32:42,461
This sequence represents

645
00:32:42,551 --> 00:32:46,761
what has to be probably one
of the hardest sequences we ever--

646
00:32:46,847 --> 00:32:49,339
This was like the opera from Rogue Nation.

647
00:32:49,433 --> 00:32:51,424
-Yes.
-The amount of intercutting

648
00:32:52,645 --> 00:32:56,730
and the way you have to balance
the amount of time the characters get

649
00:32:56,816 --> 00:32:59,558
and when you intercut from one
character to another

650
00:32:59,652 --> 00:33:01,689
and how you keep all the stories alive.

651
00:33:01,779 --> 00:33:04,737
And how it was developing on the fly,
you know?

652
00:33:04,824 --> 00:33:07,782
So for instance, when Tom
is walking through the airport here,

653
00:33:07,868 --> 00:33:11,782
we knew we'd be shooting this scene
back on a stage months later.

654
00:33:11,872 --> 00:33:13,579
This, you couldn't go back and reshoot.

655
00:33:13,666 --> 00:33:17,500
So I just had Tom walk
through the airport saying adverbs.

656
00:33:17,586 --> 00:33:19,327
-Yes, that's right.
-"Probably. Maybe.

657
00:33:19,422 --> 00:33:20,787
Definitely. Permanently."

658
00:33:20,881 --> 00:33:23,623
Yeah. Your comment, yeah.

659
00:33:23,718 --> 00:33:26,756
And knowing that I could then
write the rest of their--

660
00:33:26,846 --> 00:33:30,055
And you have to remember, this was
filmed at the height of the pandemic.

661
00:33:30,141 --> 00:33:31,131
-Yes.
-And so,

662
00:33:31,225 --> 00:33:34,468
when I was getting these dailies,
everyone had masks on,

663
00:33:34,562 --> 00:33:37,099
and then you would hear
Mary Boulding shout, "Action."

664
00:33:37,189 --> 00:33:39,601
All the masks would come off,
and they would do the scene,

665
00:33:39,692 --> 00:33:41,182
then they would all go straight back on.

666
00:33:41,277 --> 00:33:44,190
-And they were all in pods.
-They were all in, yeah, pods of ten.

667
00:33:45,322 --> 00:33:47,654
Now, was this Shea Whigham's idea?

668
00:33:47,742 --> 00:33:50,359
No, this was an idea that came prior,

669
00:33:50,453 --> 00:33:53,821
-but Shea's performance and this idea.
-Yeah, yeah, yeah.

670
00:33:53,914 --> 00:33:57,077
And he said, "Can I do this,"
and he asked the actor.

671
00:33:57,168 --> 00:33:59,125
Yeah, it's so good. It's so fun.

672
00:33:59,211 --> 00:34:01,202
And then this is such a great nod

673
00:34:01,297 --> 00:34:04,881
to current deepfake
artificial intelligence technology,

674
00:34:04,967 --> 00:34:08,005
which, you know, is evolving week by week

675
00:34:08,095 --> 00:34:10,883
and, you know, it is terrifyingly real.

676
00:34:10,973 --> 00:34:12,463
And the notion of--

677
00:34:12,558 --> 00:34:15,721
That always gets a great laugh as well,
"No one is safe from Phineas Phreak."

678
00:34:15,811 --> 00:34:16,972
It's lovely. And Ving--

679
00:34:17,062 --> 00:34:19,770
It's so funny 'cause Ving,
when you feed him those lines...

680
00:34:19,857 --> 00:34:20,688
I remember this.

681
00:34:20,775 --> 00:34:22,516
...he'd always look at me and go,
"Really, brother?"

682
00:34:22,610 --> 00:34:24,476
I was like, "Yeah, just do it.
If it doesn't work”--

683
00:34:24,570 --> 00:34:27,403
And he's always uncertain about the humor,

684
00:34:27,490 --> 00:34:30,073
and then he just loves it
when he watches it pay off.

685
00:34:31,368 --> 00:34:34,486
I remember seeing these dailies
and just think they were fantastic.

686
00:34:35,164 --> 00:34:39,658
How you did this with, you know--
It's so elegant and--

687
00:34:39,752 --> 00:34:42,494
You know, there's some times here--
"Cause he's not actually saying any lines

688
00:34:42,588 --> 00:34:45,250
and we added in, "Benji.,
get me on that flight to Venice."

689
00:34:45,341 --> 00:34:47,833
Exactly, 'cause we knew
the sequence was developing,

690
00:34:47,927 --> 00:34:51,545
and we knew things were going to evolve,
because you're into plot.

691
00:34:51,639 --> 00:34:53,505
And whenever you're into plot--

692
00:34:53,599 --> 00:34:54,634
And here's this shot.

693
00:34:54,725 --> 00:34:56,261
That was very challenging

694
00:34:56,352 --> 00:34:58,684
'cause almost exclusively,
you're in Ethan's point of view,

695
00:34:58,771 --> 00:35:02,105
and that one shot of Hayley,
you are not in his point of view.

696
00:35:02,191 --> 00:35:03,681
Yes, he has to miss it.

697
00:35:03,776 --> 00:35:07,815
So we have to kind of break
our own editorial rule there a little bit.

698
00:35:07,905 --> 00:35:12,900
And now we're into what is really
a critical essence of this movie

699
00:35:12,993 --> 00:35:16,111
and how it is shot, how it is edited:
movement.

700
00:35:16,664 --> 00:35:19,622
And you'll watch the way
that Hayley and Tom move.

701
00:35:19,708 --> 00:35:24,077
You'll watch the way
that the camera moves.

702
00:35:24,171 --> 00:35:29,086
Everything in their relationship
is a dance.

703
00:35:29,176 --> 00:35:31,713
You have two characters
who don't want to be together,

704
00:35:31,804 --> 00:35:33,761
who are opposed to one another,

705
00:35:34,265 --> 00:35:39,806
actually, you know, from the outset,
don't necessarily like one another.

706
00:35:40,563 --> 00:35:43,897
And yet everything we're doing
with their physicality is telling you

707
00:35:43,983 --> 00:35:45,940
they actually work together.

708
00:35:46,026 --> 00:35:47,266
They belong together.

709
00:35:47,361 --> 00:35:50,729
And everything that we're doing in the
movie is to create a sense of affinity.

710
00:35:50,823 --> 00:35:52,985
I love this shot. It's so good.

711
00:35:53,075 --> 00:35:55,487
-And that's movement.
-It's so good.

712
00:35:55,578 --> 00:35:56,909
Yeah, that's where every--

713
00:35:56,996 --> 00:36:00,580
All of the coverage
is being motivated by action.

714
00:36:00,666 --> 00:36:02,577
None of it is for show.

715
00:36:02,668 --> 00:36:05,285
It's all there
to create a sense of geography,

716
00:36:05,379 --> 00:36:10,374
a sense of space, and to eliminate
traditional coverage whenever possible.

717
00:36:10,467 --> 00:36:12,799
All these graphics.
Let's talk about the graphics.

718
00:36:12,887 --> 00:36:14,423
Yeah, the graphics from BLIND.

719
00:36:14,513 --> 00:36:17,551
BLIND doing the graphics,
all of which was extraordinarily,

720
00:36:17,641 --> 00:36:20,178
extraordinarily complex and complicated.

721
00:36:20,269 --> 00:36:21,885
You've got such a tiny amount of time

722
00:36:21,979 --> 00:36:24,562
to draw the audience's eye
to what you need them to see.

723
00:36:24,648 --> 00:36:28,687
And it's really important that
we don't trust that you're doing the work.

724
00:36:28,777 --> 00:36:31,815
We're trying to bring it to you
so that you don't have to work.

725
00:36:31,906 --> 00:36:34,989
This was all shot months later,

726
00:36:35,534 --> 00:36:39,653
maybe even longer,
maybe like a year or so later, in England.

727
00:36:39,747 --> 00:36:42,159
-It was a train station in Birmingham.
-In Birmingham.

728
00:36:42,249 --> 00:36:44,365
Yeah, Birmingham New Street Station,
upstairs.

729
00:36:44,460 --> 00:36:47,248
And this is where--

730
00:36:47,338 --> 00:36:50,706
This is one of the few times in the movie
where we're using longer lenses

731
00:36:50,799 --> 00:36:54,212
and it's an introduction
to the sensational Hayley Atwell.

732
00:36:55,804 --> 00:36:58,887
And the editing of this scene,
the coverage back and forth,

733
00:36:58,974 --> 00:37:00,806
the choice of performances.

734
00:37:00,893 --> 00:37:04,011
In every instance,
they gave us a different energy.

735
00:37:05,022 --> 00:37:09,641
Hayley gave us a whole cornucopia
of different emotional--

736
00:37:09,735 --> 00:37:13,228
And there's versions where Tom is charming
and there's versions where--

737
00:37:13,322 --> 00:37:15,438
-And what was nice--
-This was all done in camera.

738
00:37:15,532 --> 00:37:18,274
The magic tricks are all in camera,
just in case you're wondering.

739
00:37:18,369 --> 00:37:20,736
And we had to do it so many times
to get it just right.

740
00:37:20,829 --> 00:37:23,321
I think that was like take 17
or something like that.

741
00:37:23,415 --> 00:37:26,999
Yes. And you can feel Tom getting
a little frustrated with the magic trick.

742
00:37:27,086 --> 00:37:29,202
What I love here is,
I remember when you pitched me the idea

743
00:37:29,296 --> 00:37:31,663
that you're not going to see
any of the pickpocketing,

744
00:37:31,757 --> 00:37:34,499
and I was really unsure
if that would work,

745
00:37:34,593 --> 00:37:37,585
and it works brilliantly,
because people pay attention.

746
00:37:37,680 --> 00:37:40,672
When he lifts up that thing and he goes,
"So why was this in your pocket?"

747
00:37:40,766 --> 00:37:43,804
And everyone understands immediately
that they've just been--

748
00:37:43,894 --> 00:37:46,261
Well, the whole idea is
it's an invisible art.

749
00:37:46,355 --> 00:37:47,720
You're not supposed to see it.

750
00:37:47,815 --> 00:37:51,558
Although we do then show it
one time in the story.

751
00:37:51,652 --> 00:37:53,359
-On the train? Exactly.
-On the train.

752
00:37:53,445 --> 00:37:54,480
Which, again, is so great

753
00:37:54,571 --> 00:37:58,064
'cause you can hear the penny dropping
for the audience at that point.

754
00:37:58,158 --> 00:38:00,616
But I love how these characters play.

755
00:38:00,703 --> 00:38:02,614
I love the air we left in this scene.

756
00:38:02,705 --> 00:38:06,494
-And here's a move motivated by--
-By this prop in the foreground.

757
00:38:06,583 --> 00:38:09,200
It's motivated by a prop,
but it's also motivated by a turn.

758
00:38:09,294 --> 00:38:10,409
A turn, emotionally.

759
00:38:10,504 --> 00:38:12,370
-She has just made a choice.
-Exactly.

760
00:38:12,464 --> 00:38:14,796
And these movies are, obviously--

761
00:38:14,883 --> 00:38:18,751
These two chapters
are about choice and acceptance.

762
00:38:18,846 --> 00:38:21,964
In that moment, she's made a choice
and her life has changed.

763
00:38:22,057 --> 00:38:24,139
-She's simply not aware of it.
-Yeah.

764
00:38:24,226 --> 00:38:25,682
Erik Jendresen's choice of the Zippo.

765
00:38:25,769 --> 00:38:27,100
-That was his--
-It's so good.

766
00:38:27,187 --> 00:38:30,851
When they presented me with the possible
props that could be a Geiger counter,

767
00:38:30,941 --> 00:38:33,854
he looked at it first and said,
"Slip a Zippo in there."

768
00:38:33,944 --> 00:38:36,652
And without my knowing it,
when I walked up to the table,

769
00:38:36,739 --> 00:38:38,901
of course, it's right where my eye went.

770
00:38:38,991 --> 00:38:40,607
Was a great choice on Erik's part.

771
00:38:40,701 --> 00:38:42,942
All of this stuff with Ving around the--

772
00:38:43,037 --> 00:38:46,530
I will say that the amount
of CCTV footage that you shot--

773
00:38:46,623 --> 00:38:51,208
Like, every single setup, they had
four little, tiny cameras filming CCTV.

774
00:38:51,295 --> 00:38:54,037
-And we used--
-And we used every tiny--

775
00:38:54,131 --> 00:38:58,796
Every single angle was in this,
and it was hours and hours of it.

776
00:38:58,886 --> 00:39:00,923
This shot, we had 15 minutes
at the end of the day.

777
00:39:01,013 --> 00:39:02,970
Look at that beautiful backlight there,
the sunset.

778
00:39:03,057 --> 00:39:05,799
Yeah, you just nailed it.
It's a beautiful oner again.

779
00:39:05,893 --> 00:39:09,602
It was dictated entirely by necessity.

780
00:39:09,688 --> 00:39:11,679
-I had no time.
-And Tarzan is so good.

781
00:39:11,774 --> 00:39:14,266
Like, everything he's doing is
so active in these scenes.

782
00:39:14,359 --> 00:39:15,349
He's phenomenal.

783
00:39:15,444 --> 00:39:18,653
Greg Tarzan Davis who plays the character
of Degas, behind Briggs.

784
00:39:18,739 --> 00:39:21,572
And here,
we had a different line originally

785
00:39:21,658 --> 00:39:23,945
when we were still finding
Hayley's character.

786
00:39:24,036 --> 00:39:25,652
-That's right.
-And it was just too frivolous,

787
00:39:25,746 --> 00:39:28,113
and so we slipped this other line in.

788
00:39:28,207 --> 00:39:31,074
Basically turned the sound off,
read her lips,

789
00:39:31,168 --> 00:39:34,001
and said,
"What other words can I slip in there?"

790
00:39:34,088 --> 00:39:36,580
"This is getting exciting,"
is what you put in, yeah.

791
00:39:37,341 --> 00:39:38,672
This is--

792
00:39:38,759 --> 00:39:41,342
Now, what you're gonna see here,
the camera that we're using--

793
00:39:41,428 --> 00:39:42,964
We're using a combination of--

794
00:39:43,055 --> 00:39:47,219
That's a Rialto.
It's a small handheld camera.

795
00:39:47,309 --> 00:39:48,424
There's Steadicam,

796
00:39:48,519 --> 00:39:51,011
and then there's a camera
called a Stabileye.

797
00:39:51,105 --> 00:39:52,140
We're gonna get real nerdy.

798
00:39:52,231 --> 00:39:55,269
-We're talking about editorial work here.
-Everyone loves this stuff, Chris.

799
00:39:55,359 --> 00:39:57,475
Stabileye is like a handheld remote head,

800
00:39:57,569 --> 00:40:01,187
so you have somebody sitting
at wheels operating the camera,

801
00:40:01,281 --> 00:40:03,943
and you have a camera operator
who's carrying it,

802
00:40:04,034 --> 00:40:07,527
and the person operating the wheels,
Chunky, is talking to Ross,

803
00:40:07,621 --> 00:40:10,033
the operator
who's moving the camera around,

804
00:40:10,124 --> 00:40:14,209
while Chunky is panning
and tilting the head.

805
00:40:14,294 --> 00:40:16,706
And you'll see there's some
extraordinary camerawork

806
00:40:16,797 --> 00:40:19,334
that you can't do with a Steadicam.

807
00:40:19,424 --> 00:40:21,210
Graphics on the bomb again.

808
00:40:21,301 --> 00:40:25,386
Very specific graphics
that are exhaustive.

809
00:40:25,472 --> 00:40:32,265
And really, you have so few frames
to communicate so much information,

810
00:40:32,354 --> 00:40:33,970
and you always want it to be fluid.

811
00:40:34,064 --> 00:40:36,522
And here comes one hell of a shot.

812
00:40:36,608 --> 00:40:39,771
This is done with a Stabileye.
Couldn't do that with a Steadicam.

813
00:40:39,862 --> 00:40:42,604
-Going all the way down to the floor.
-To be able to jib down like that.

814
00:40:42,698 --> 00:40:47,408
And this was us
discovering the uses of this equipment

815
00:40:47,494 --> 00:40:50,077
and figuring out how can it serve us best.

816
00:40:50,164 --> 00:40:53,452
There's a great kind of dance shot
with them to the left there.

817
00:40:53,542 --> 00:40:56,876
-This is, again, the movement.
-See them doing a do-si-do here as they--

818
00:40:56,962 --> 00:41:00,876
And, again, the graphics, you know, that's
telling you that Hayley has seen them

819
00:41:00,966 --> 00:41:03,458
when you don't really see Hayley see them.

820
00:41:04,094 --> 00:41:08,930
Again, all of this, you're seeing
how the graphics are three-dimensional,

821
00:41:09,892 --> 00:41:11,553
that everything feels tactile,

822
00:41:11,643 --> 00:41:15,477
and it gives you a sense
of Luther having an overview

823
00:41:15,564 --> 00:41:18,898
and a three-dimensional
God's-eye view of this airport.

824
00:41:19,484 --> 00:41:22,351
But it's all done very subtly.
We're not trying to overdo it.

825
00:41:22,446 --> 00:41:23,902
This is a--

826
00:41:25,240 --> 00:41:28,073
That was a push-in with the Stabileye.

827
00:41:29,119 --> 00:41:31,656
And again, it's all character,

828
00:41:32,664 --> 00:41:35,372
and it's character and camera
working together.

829
00:41:35,459 --> 00:41:39,828
And Simon selling this whole moment
fantastically well.

830
00:41:39,922 --> 00:41:42,584
-Really, really well.
-He's an astonishing actor, Simon.

831
00:41:42,674 --> 00:41:44,836
It's like he understands the genre,

832
00:41:44,927 --> 00:41:49,137
and he can switch modes
emotionally, effortlessly.

833
00:41:49,223 --> 00:41:55,640
Well, his secret mojo is that,
while we think of Benji as the humor,

834
00:41:55,729 --> 00:41:58,892
it's a back door to incredible drama.

835
00:41:58,982 --> 00:42:01,895
He has amazing dramatic chops.

836
00:42:01,985 --> 00:42:08,482
And it's interesting how Benji
and Ethan are two sides of the same coin.

837
00:42:08,575 --> 00:42:13,411
Benji. tends to be the funny guy,

838
00:42:13,497 --> 00:42:16,785
but then he has moments of genuine drama.

839
00:42:16,875 --> 00:42:19,367
-Ethan is the dramatic guy...
-Yes.

840
00:42:19,461 --> 00:42:22,078
...who then has genuine moments of humor.

841
00:42:22,172 --> 00:42:24,459
And they each complement one another,

842
00:42:24,549 --> 00:42:26,586
and they don't step on
one another's space.

843
00:42:26,677 --> 00:42:29,669
-That's correct.
-And we really discovered that as--

844
00:42:30,264 --> 00:42:33,848
We were able to articulate that
only very recently

845
00:42:33,934 --> 00:42:36,972
when we were lining up stuff
that's gonna show up in Part Two.

846
00:42:37,062 --> 00:42:39,679
And, "Are you afraid of death”
was actually not

847
00:42:39,773 --> 00:42:41,309
in the original assembly of the film.

848
00:42:41,400 --> 00:42:43,858
-That was added later.
-Correct, it was another line.

849
00:42:43,944 --> 00:42:48,484
There were a couple of moments
in this scene that were off-putting,

850
00:42:48,573 --> 00:42:53,488
where how I had written Simon,

851
00:42:53,578 --> 00:42:57,367
they were lines that were humorous,

852
00:42:57,457 --> 00:42:59,824
but they had a negative connotation.

853
00:42:59,918 --> 00:43:00,908
Yes.

854
00:43:01,003 --> 00:43:03,620
And it was very interesting
that the balance of humor--

855
00:43:03,714 --> 00:43:10,586
And something I see in a lot of movies is
humor presented in a negative way,

856
00:43:11,471 --> 00:43:13,462
a negativity between characters

857
00:43:13,557 --> 00:43:17,300
that's meant to be them
either busting on each other

858
00:43:17,394 --> 00:43:19,761
or intention, yelling at one another.

859
00:43:19,855 --> 00:43:21,766
It actually has--

860
00:43:21,857 --> 00:43:26,272
It's counter-intentional and actually
alienates you from the character.

861
00:43:26,361 --> 00:43:28,318
And there were about four lines
of dialogue,

862
00:43:28,405 --> 00:43:32,148
and after the first test screening,
Tom picked them out.

863
00:43:32,242 --> 00:43:38,158
We noticed that Benji wasn't resonating
the way he usually does in these movies,

864
00:43:38,248 --> 00:43:39,238
and Tom flagged it.

865
00:43:39,333 --> 00:43:41,825
And that was always
the most important thing for you.

866
00:43:41,918 --> 00:43:44,376
That was always there,
but it was in a different place,

867
00:43:44,463 --> 00:43:45,999
and we rearranged these riddles.

868
00:43:46,089 --> 00:43:48,877
That's why you're seeing the dials
are going in a different order.

869
00:43:48,967 --> 00:43:51,800
-They used to go left to right.
-This is another amazing shot.

870
00:43:51,887 --> 00:43:53,298
I love this.

871
00:43:53,388 --> 00:43:57,632
This was, again, in Birmingham,
and all of these--

872
00:43:57,726 --> 00:44:01,344
Again, you're feeling movement
with these characters.

873
00:44:02,773 --> 00:44:06,266
Intercutting all this stuff
with the riddles and, you know,

874
00:44:06,360 --> 00:44:07,646
making sure that the rhythms

875
00:44:07,736 --> 00:44:10,319
of the sequence
are getting kind of faster and faster.

876
00:44:10,405 --> 00:44:13,818
And the camera moving, and having
to be aware of where everything was

877
00:44:13,909 --> 00:44:18,654
in the order in which it was happening
so you're feeling a visual progression.

878
00:44:18,747 --> 00:44:20,829
And the music is building, building,
building, building.

879
00:44:20,916 --> 00:44:23,078
It's building, and then right here,

880
00:44:23,168 --> 00:44:25,626
the cue just takes
a moment to breathe, coming up.

881
00:44:25,712 --> 00:44:28,545
-And speaking of music--
-"Forty five seconds."

882
00:44:28,632 --> 00:44:29,588
-Yeah.
-Yeah.

883
00:44:29,674 --> 00:44:32,416
Here we go. The music stops now.
Yeah, I love it.

884
00:44:32,511 --> 00:44:38,132
This is a sequence that really didn't come
together until the music came together.

885
00:44:38,225 --> 00:44:39,715
<i>Yeah, Lome and his team.</i>

886
00:44:39,810 --> 00:44:43,223
As much as the other work
that went into it,

887
00:44:43,313 --> 00:44:46,977
it's almost one continuous piece of music
from the moment the key comes up,

888
00:44:47,067 --> 00:44:48,933
-and not a short one.
-Yeah.

889
00:44:49,027 --> 00:44:53,988
And it's where the music starts
and also when the music stops.

890
00:44:54,074 --> 00:44:58,534
It's all designed to create
a sense of momentum and lift.

891
00:44:58,620 --> 00:45:00,907
And we had watched this scene
numerous times

892
00:45:00,997 --> 00:45:02,783
and were really struggling with it,

893
00:45:02,874 --> 00:45:06,287
and when the music came on, we knew,
"Now we know it's gonna work."

894
00:45:06,378 --> 00:45:07,368
Yeah.

895
00:45:08,505 --> 00:45:11,293
And again, you're feeling the team.

896
00:45:11,383 --> 00:45:14,466
It's all about creating a bond
between the team.

897
00:45:14,553 --> 00:45:19,764
When you took out the scene in the lounge
or when we cut it shorter,

898
00:45:19,850 --> 00:45:22,057
you lost any sense of their bond.

899
00:45:22,144 --> 00:45:23,930
-Another reference to good luck.
-Good luck.

900
00:45:24,020 --> 00:45:25,727
Which you'll see.

901
00:45:25,814 --> 00:45:28,932
So Operation Podkova as well is Operation
Horseshoe right at the beginning.

902
00:45:29,025 --> 00:45:33,189
The podkova is a horseshoe,
and the horseshoe is symbol for good luck.

903
00:45:33,280 --> 00:45:36,648
And that's a motif that's gonna pay off

904
00:45:37,409 --> 00:45:38,695
in Part Two.

905
00:45:39,828 --> 00:45:45,198
CCTV turned out to be the one
effective shot we had to show that,

906
00:45:45,292 --> 00:45:47,078
again, 'cause we're shooting
everything quickly.

907
00:45:47,169 --> 00:45:51,379
And that shop, the handbag shop
was the one piece of gear

908
00:45:51,465 --> 00:45:53,376
that I brought back from the set,

909
00:45:53,467 --> 00:45:55,925
knowing that if I get them in this corner,

910
00:45:56,011 --> 00:45:59,094
I can then reshoot any coverage I need.

911
00:45:59,806 --> 00:46:01,422
And a lot of this is--

912
00:46:01,516 --> 00:46:04,508
By the way, that camera move
going around Hayley,

913
00:46:04,603 --> 00:46:06,719
that's Chunky and Hayley working together.

914
00:46:06,813 --> 00:46:09,680
She actually is walking
at multiple speeds.

915
00:46:09,774 --> 00:46:12,732
She feels like she's walking
at one continuous speed,

916
00:46:12,819 --> 00:46:16,608
but she's actually working with Chunky
to give him the time to get around,

917
00:46:16,698 --> 00:46:19,816
and it's extremely delicate,
delicate dance.

918
00:46:20,452 --> 00:46:22,489
The graphics of the sunglasses,
by the way,

919
00:46:22,579 --> 00:46:25,742
we worked on those for a long, long time.

920
00:46:25,832 --> 00:46:27,322
This is all happening--

921
00:46:27,417 --> 00:46:30,500
So Shea Whigham is wearing a wig here
'cause he was playing G. Gordon Liddy.

922
00:46:30,587 --> 00:46:33,079
I didn't even realize that
until you said it.

923
00:46:33,173 --> 00:46:34,663
It's the most terrible hairline--

924
00:46:34,758 --> 00:46:36,874
It's one of those things
where people just don't notice.

925
00:46:36,968 --> 00:46:41,303
And Hair and Makeup was just not--
to make very clear,

926
00:46:41,389 --> 00:46:43,221
they had three days to get a wig ready.

927
00:46:43,308 --> 00:46:45,015
They were mortified.
And I said, "Don't worry."

928
00:46:45,101 --> 00:46:46,182
This was an interesting thing

929
00:46:46,269 --> 00:46:48,636
where you added the "Rome"
really at the end because--

930
00:46:48,730 --> 00:46:50,562
Just so that you--

931
00:46:50,649 --> 00:46:52,481
Well, we originally
had a shot that showed it.

932
00:46:52,567 --> 00:46:53,557
Yes.

933
00:46:53,652 --> 00:46:57,486
But we stopped-- the whole scene stopped
so you could read "Rome."

934
00:46:57,572 --> 00:47:00,781
So instead we went through here
and planted Rome there.

935
00:47:00,867 --> 00:47:03,154
-Yeah.
-Those are all added later.

936
00:47:04,287 --> 00:47:08,702
So that you subconsciously realize
that she's on her way to Rome, and then...

937
00:47:08,792 --> 00:47:10,749
-That's right.
-...when they turn up in Rome, you're not--

938
00:47:10,835 --> 00:47:13,452
And again, Tom, giving this energy.

939
00:47:13,547 --> 00:47:15,663
He gave us different performances
through the glass,

940
00:47:15,757 --> 00:47:18,840
different reactions to Hayley,
which we could then shape--

941
00:47:18,927 --> 00:47:21,840
And there was a moment
where Hayley was kind of smug.

942
00:47:21,930 --> 00:47:23,637
She kind of spiked the football.

943
00:47:23,723 --> 00:47:25,589
-She smiles.
-And she did the nose thing.

944
00:47:25,684 --> 00:47:27,641
She tapped the side of her nose
like The Sting.

945
00:47:27,727 --> 00:47:29,638
We played with all these different ideas.

946
00:47:29,729 --> 00:47:31,891
And what happened was,
you rejected the character.

947
00:47:31,982 --> 00:47:33,063
Correct.

948
00:47:33,149 --> 00:47:36,437
You felt a sense that she was celebrating
beating Ethan.

949
00:47:36,528 --> 00:47:39,896
And we dialed all that back,
and it changed your affinity.

950
00:47:39,990 --> 00:47:41,321
That's not Luther, by the way.

951
00:47:41,408 --> 00:47:45,948
Also, it certainly made her feel
more like she was a little nervous

952
00:47:46,037 --> 00:47:49,155
and in over her head a little bit,
of, like, what's she got into?

953
00:47:49,249 --> 00:47:51,456
Rather than just being in control.

954
00:47:51,543 --> 00:47:54,410
Oh, this is amazing.
You absolutely shot this for real.

955
00:47:54,504 --> 00:47:56,620
-And this was all for real.
-This was all for real.

956
00:47:56,715 --> 00:47:58,706
Although a lot of the people
in the background there--

957
00:47:58,800 --> 00:48:01,087
Anybody in the background there,
they weren't there.

958
00:48:01,177 --> 00:48:02,918
-Yeah.
-This is real.

959
00:48:03,013 --> 00:48:05,596
That was, again, you just--
This was a lot of fun.

960
00:48:05,682 --> 00:48:07,719
It was amazing
that you got that timed out.

961
00:48:07,809 --> 00:48:11,677
It's a real challenge
getting all of these elements to line up

962
00:48:11,771 --> 00:48:15,856
and doing it in a very limited time
and, again, doing it during COVID.

963
00:48:17,068 --> 00:48:19,856
And that was the airport.
My God. I'm glad that's over.

964
00:48:20,614 --> 00:48:21,604
Our graphics here--

965
00:48:21,698 --> 00:48:24,816
More beautiful graphics
from Andrew and the team at BLIND.

966
00:48:24,909 --> 00:48:29,369
And this really evolved over time
to include more and more.

967
00:48:29,456 --> 00:48:31,993
And you did actually build this.
This was full of monitors.

968
00:48:32,083 --> 00:48:35,997
I mean, they got, like, 300 monitors
from a museum in Cambridge.

969
00:48:36,087 --> 00:48:38,875
-Yes, all of that's practical.
-Like, CRTs.

970
00:48:38,965 --> 00:48:43,129
What's fun about this
is there actually is no set.

971
00:48:43,219 --> 00:48:44,926
You're looking at a sound stage.

972
00:48:45,013 --> 00:48:47,175
That's right. The walls of the sound stage.

973
00:48:47,265 --> 00:48:50,223
We realized if we did it this way,
shot at darkness--

974
00:48:50,310 --> 00:48:53,894
And you'll notice, like, pointing a lot
of source lights at the camera--

975
00:48:53,980 --> 00:48:55,562
There are no walls to the set.

976
00:48:55,649 --> 00:48:57,310
That's in the corner of a sound stage.

977
00:48:57,400 --> 00:48:59,516
This scene used to be quite a bit longer,

978
00:48:59,611 --> 00:49:03,525
and you'll see a little section of it
in the deleted shots reel.

979
00:49:03,615 --> 00:49:07,529
It was exposition where they were
explaining what the Entity was doing

980
00:49:07,619 --> 00:49:09,701
and how the government was reacting to it.

981
00:49:09,788 --> 00:49:13,622
It was all to keep the notion of
the Entity alive and create that pressure.

982
00:49:14,918 --> 00:49:18,161
And we just had it in our pocket,
but we also--

983
00:49:18,254 --> 00:49:21,918
What's weird about this is
Rome is never this empty.

984
00:49:22,008 --> 00:49:23,043
Yes.

985
00:49:23,134 --> 00:49:25,626
These aerial shots were done
when everyone was in lockdown.

986
00:49:25,720 --> 00:49:27,711
We had to add a lot of the lights in Rome.

987
00:49:27,806 --> 00:49:29,968
There's a few people
on the streets really.

988
00:49:30,058 --> 00:49:32,971
I love this. I love the way
you covered this scene as well.

989
00:49:33,853 --> 00:49:37,141
These are terrific actors from Italy
that you--

990
00:49:37,232 --> 00:49:40,600
-These guys are absolutely sensational.
-They're so good.

991
00:49:40,694 --> 00:49:44,403
I love the fact that you only reveal the
two people behind her in the reflection.

992
00:49:44,489 --> 00:49:47,231
When we're on her coverage,
all you see are these two uniforms.

993
00:49:47,325 --> 00:49:51,364
And if you're paying close attention,
which most people aren't,

994
00:49:51,454 --> 00:49:53,786
to the people in the background,

995
00:49:53,873 --> 00:49:56,831
you can see where we shot in Italy
and where we shot in the UK

996
00:49:56,918 --> 00:50:01,412
because the cops change
several times throughout.

997
00:50:03,174 --> 00:50:04,585
And that was a challenge

998
00:50:04,676 --> 00:50:08,635
because this scene was broken up
over so many locations because of...

999
00:50:08,722 --> 00:50:10,713
Love the reveal of the handcuffs there.

1000
00:50:10,807 --> 00:50:12,172
-Beautiful directing.
-Thank you.

1001
00:50:12,267 --> 00:50:13,428
Yeah.

1002
00:50:13,518 --> 00:50:15,600
And then it's so satisfying
hearing the audience

1003
00:50:15,687 --> 00:50:17,928
when she takes the paper clip,
'cause everyone's like,

1004
00:50:18,022 --> 00:50:19,228
"She's got the paper clip!"

1005
00:50:19,315 --> 00:50:22,398
And I love the fact that it doesn't
pay off for another 20 minutes.

1006
00:50:22,485 --> 00:50:25,068
And, well, that was really interesting.

1007
00:50:25,155 --> 00:50:26,566
That was...

1008
00:50:27,949 --> 00:50:32,364
Tom was really, really particular
about setting it up early

1009
00:50:32,454 --> 00:50:34,070
and then letting them forget about it.

1010
00:50:34,164 --> 00:50:35,996
Yes, yes. I love it.

1011
00:50:36,082 --> 00:50:37,993
Yeah. And I had had it--

1012
00:50:38,084 --> 00:50:41,202
I was subtler
in the reveal of the paper clip.

1013
00:50:41,296 --> 00:50:44,459
And then we just pushed it real hard.

1014
00:50:45,550 --> 00:50:46,790
Some of these Dutch angles...

1015
00:50:46,885 --> 00:50:49,798
I love the way Hayley's eyes move there
at the end when she's thinking.

1016
00:50:49,888 --> 00:50:52,380
-And again, you remember, she gave us...
-So many options.

1017
00:50:52,474 --> 00:50:53,555
...So many options.

1018
00:50:53,641 --> 00:50:54,847
Ones where she was bluffing--

1019
00:50:54,934 --> 00:50:57,926
This is an awesome shot
of Pom Klementieff here playing Paris.

1020
00:50:58,021 --> 00:51:00,308
-I love the nose sniff.
-She's wonderful.

1021
00:51:00,398 --> 00:51:02,264
Pom delivers such a--

1022
00:51:02,358 --> 00:51:04,816
So you see here,
this is the stuff I shot in Italy.

1023
00:51:04,903 --> 00:51:05,893
Yeah.

1024
00:51:05,987 --> 00:51:07,728
And all of that was my paper clip story.

1025
00:51:07,822 --> 00:51:11,281
Then when we went back to do the inserts,
we really pushed it.

1026
00:51:11,367 --> 00:51:12,573
We just underlined it.

1027
00:51:12,660 --> 00:51:14,571
And that was the thing, is sometimes

1028
00:51:14,662 --> 00:51:17,074
you're just being too subtle
and too clever by half.

1029
00:51:17,165 --> 00:51:20,453
And we were always checking one another
to say, "You know what? Just say it."

1030
00:51:20,543 --> 00:51:23,831
And there were times I was being subtle,
Tom was being subtle,

1031
00:51:24,714 --> 00:51:27,581
and we were just always there
giving ourselves the options.

1032
00:51:27,675 --> 00:51:29,712
-I love this shot of Esai.
-It's so good.

1033
00:51:29,803 --> 00:51:31,544
The light in this scene,
all of this stuff.

1034
00:51:31,638 --> 00:51:33,925
Again, another set designed
by Gary Freeman.

1035
00:51:34,015 --> 00:51:35,471
Yeah.

1036
00:51:35,558 --> 00:51:37,845
And lit by...

1037
00:51:39,103 --> 00:51:41,720
What's interesting is, watching this,

1038
00:51:41,815 --> 00:51:44,273
you're not aware of the fact
that that establishing shot

1039
00:51:44,359 --> 00:51:47,693
of Gabriel walking in, or Esai walking in,

1040
00:51:47,779 --> 00:51:49,645
past Grace

1041
00:51:49,739 --> 00:51:53,027
was shot, like, over a year
before we shot this scene.

1042
00:51:53,117 --> 00:51:56,030
Yes. Well, Esai was on the movie--

1043
00:51:56,120 --> 00:51:59,954
Esai and Hayley were both on the movie
well over a hundred days each

1044
00:52:00,041 --> 00:52:02,032
before they had
a substantial dialogue scene.

1045
00:52:02,126 --> 00:52:03,116
That's true. Yeah.

1046
00:52:03,211 --> 00:52:05,498
And it was always in the schedule,

1047
00:52:05,588 --> 00:52:08,831
but then there would be
some sort of disruption because of COVID,

1048
00:52:08,925 --> 00:52:10,962
and things were constantly moving around.

1049
00:52:11,678 --> 00:52:14,636
And so a lot of what they were doing
on the movie was their action

1050
00:52:14,722 --> 00:52:16,679
and not their character work.

1051
00:52:16,766 --> 00:52:19,633
-So a lot of times--
- I love the music cue here as well.

1052
00:52:19,727 --> 00:52:21,968
The kind of snake "charmer-y" vibe.

1053
00:52:22,063 --> 00:52:24,725
Yeah, the vibraphone flute,

1054
00:52:24,816 --> 00:52:27,433
-which was the Entity cue for us.
-That's right.

1055
00:52:27,527 --> 00:52:30,986
We really believe
that was telling the story of the Entity.

1056
00:52:31,072 --> 00:52:35,566
And Edgar Wright
came to a screening early on,

1057
00:52:35,660 --> 00:52:39,449
and he said, "Could there be a sound
or a musical cue for the Entity?"

1058
00:52:39,539 --> 00:52:41,826
- I said, "Are you kidding me?"
-We were looking at each other, going...

1059
00:52:41,916 --> 00:52:43,281
"Are you kidding me? It's right there."

1060
00:52:43,376 --> 00:52:45,492
When we went back
and watched the movie with that filter,

1061
00:52:45,587 --> 00:52:47,954
we realized it was everywhere
but on the Entity.

1062
00:52:48,047 --> 00:52:49,253
Exactly. Exactly.

1063
00:52:49,340 --> 00:52:53,129
And that's when we brought in
a sound design element.

1064
00:52:53,219 --> 00:52:55,085
-It was James Mather.
-That's right.

1065
00:52:55,179 --> 00:52:57,887
And James Mather,
when I described what I was looking for--

1066
00:52:57,974 --> 00:53:00,181
Some kind of "bass-y" sound
with vibration--

1067
00:53:00,268 --> 00:53:02,635
He brought up an early version
of that sound.

1068
00:53:02,729 --> 00:53:03,719
That's right.

1069
00:53:03,813 --> 00:53:07,397
-And it was his broken Sonos soundbar.
-Broken Sonos soundbar.

1070
00:53:07,483 --> 00:53:09,770
And when we get to Venice,
we'll talk more about that.

1071
00:53:09,861 --> 00:53:13,695
I do remember, when you shot this,
this introduction to Hayley,

1072
00:53:13,781 --> 00:53:18,196
it took you-- this moment
of connecting the two characters--

1073
00:53:18,286 --> 00:53:19,868
Took quite a long time to film.

1074
00:53:19,954 --> 00:53:21,740
This was in Senate House in London,
wasn't it?

1075
00:53:21,831 --> 00:53:24,573
Yes. And as a result,
as we ran out of time...

1076
00:53:24,667 --> 00:53:26,749
You did all of-- You did this...

1077
00:53:26,836 --> 00:53:30,329
All of Ethan's coverage
is on a stage a year later.

1078
00:53:30,423 --> 00:53:31,788
I know, I know.

1079
00:53:32,383 --> 00:53:33,373
So, poor Hayley.

1080
00:53:33,468 --> 00:53:36,756
We got to the point where we were about
to turn the camera around on her

1081
00:53:36,846 --> 00:53:39,008
and shoot her first dialogue scene.

1082
00:53:39,098 --> 00:53:41,305
And all her characterization,
all her backstory,

1083
00:53:41,392 --> 00:53:43,008
everything is in this scene.

1084
00:53:44,020 --> 00:53:45,510
And this, we shot, you remember--

1085
00:53:45,605 --> 00:53:48,518
This was all information.
It was dialogue in the scene.

1086
00:53:48,608 --> 00:53:49,939
Ethan saying it.

1087
00:53:50,026 --> 00:53:52,563
And we kept feeling
like we have to shoot this.

1088
00:53:52,654 --> 00:53:54,190
We actually have to show it.

1089
00:53:54,280 --> 00:53:56,942
And we finally did.
There's Barnaby. He was just sensational.

1090
00:53:57,033 --> 00:53:59,821
Came out for a day, and we just
had such a great time with him.

1091
00:54:00,578 --> 00:54:04,287
So, yes, everything you're looking at
with Hayley in her coverage,

1092
00:54:04,374 --> 00:54:07,241
we just built a little three-wall set
with a carpet.

1093
00:54:07,335 --> 00:54:09,667
Yeah. And I remember
doing an edit of this scene

1094
00:54:09,754 --> 00:54:11,995
where I just had literally Tom's side

1095
00:54:12,090 --> 00:54:16,049
and then just either using white
or blank, you know, slates to say...

1096
00:54:16,135 --> 00:54:17,921
-Her off-camera dialogue.
-Yeah, exactly.

1097
00:54:18,012 --> 00:54:20,379
But, yeah, look at this.

1098
00:54:20,473 --> 00:54:22,714
Again, this is just so well-composed.

1099
00:54:22,809 --> 00:54:25,301
Here's a line improvised by Hayley.

1100
00:54:27,313 --> 00:54:28,599
It was really wonderful.

1101
00:54:28,690 --> 00:54:30,852
She was sitting on the steps
of her trailer.

1102
00:54:30,942 --> 00:54:33,309
-This one.
-We were talking about her character.

1103
00:54:33,403 --> 00:54:35,861
"Can't blame a girl for making
an honest-- dishonest living."

1104
00:54:35,947 --> 00:54:37,278
Yeah.

1105
00:54:37,365 --> 00:54:41,074
And that was one
of the key understandings of Grace.

1106
00:54:41,160 --> 00:54:42,821
That was kind of the beginning of that.

1107
00:54:42,912 --> 00:54:46,121
And Grace was somebody
who was developing over time

1108
00:54:46,207 --> 00:54:49,666
based entirely on one essential element,

1109
00:54:49,752 --> 00:54:52,870
which was we had to have affinity
for this character,

1110
00:54:52,964 --> 00:54:55,501
no matter how much
she might be betraying the team

1111
00:54:55,591 --> 00:54:57,081
and out on her own.

1112
00:54:57,176 --> 00:54:58,883
You had to be rooting for her.

1113
00:54:58,970 --> 00:55:01,553
It was a very, very delicate dance.

1114
00:55:01,639 --> 00:55:06,054
Very few actors could pull it off
as elegantly as Hayley.

1115
00:55:06,144 --> 00:55:06,975
She's just...

1116
00:55:07,061 --> 00:55:11,976
She was fearless as well because
she really gave us so many options

1117
00:55:12,066 --> 00:55:14,524
and trusted you and me

1118
00:55:14,610 --> 00:55:19,901
to find the best version
of her character editorially.

1119
00:55:19,991 --> 00:55:22,699
-It was--
-This was a very tricky scene.

1120
00:55:22,785 --> 00:55:25,197
I remember this took us
almost two days to build.

1121
00:55:25,288 --> 00:55:26,949
Yes, it took a long time.

1122
00:55:27,040 --> 00:55:31,034
"Cause, I mean, each line delivery,
you've got maybe 50 different options.

1123
00:55:31,127 --> 00:55:32,367
-Yeah.
-Something like that.

1124
00:55:32,462 --> 00:55:34,874
You could see there's a subtle shift
in the camera there.

1125
00:55:34,964 --> 00:55:36,921
So when Tom is reacting,

1126
00:55:37,008 --> 00:55:40,091
you just feel the camera
jib up a little bit, create pressure.

1127
00:55:40,178 --> 00:55:44,422
The rest of the scene
is relying really on them,

1128
00:55:44,515 --> 00:55:46,973
and it's just--
it's feeling their chemistry.

1129
00:55:47,060 --> 00:55:50,724
And so much of what we're doing here
in these compositions

1130
00:55:50,813 --> 00:55:53,680
-and cuts bouncing back and forth...
- I love those cuts there.

1131
00:55:53,775 --> 00:55:57,313
...it's all meant to create the energy
of what the characters

1132
00:55:57,612 --> 00:55:58,773
are feeling.

1133
00:55:58,863 --> 00:56:00,353
That's not Shea Whigham.

1134
00:56:00,448 --> 00:56:02,906
He was not available to us that day.

1135
00:56:02,992 --> 00:56:04,903
And that is Shea Whigham.

1136
00:56:04,994 --> 00:56:09,955
There's a lot of use of body doubles
in the making of these two films.

1137
00:56:10,666 --> 00:56:11,997
Tom, insert king.

1138
00:56:12,085 --> 00:56:15,419
That's a very tricky insert to get
to tell that story on the fly.

1139
00:56:15,505 --> 00:56:17,872
I love the way she looks at him
like, "What am I gonna do?"

1140
00:56:17,965 --> 00:56:19,455
"What have I gotten myself into?"

1141
00:56:19,550 --> 00:56:21,006
-And it allows this.
-Yeah.

1142
00:56:21,094 --> 00:56:23,586
That little piece of behavior
allows the shift.

1143
00:56:23,679 --> 00:56:26,546
And I love these supporting players here.

1144
00:56:26,641 --> 00:56:30,009
-All these faces are so great.
-Yeah.

1145
00:56:30,103 --> 00:56:31,434
And they...

1146
00:56:31,521 --> 00:56:33,853
And the affinity I have for them,

1147
00:56:33,940 --> 00:56:35,806
because every single one
of these men stands up,

1148
00:56:35,900 --> 00:56:37,516
believing they're protecting her.

1149
00:56:38,236 --> 00:56:40,227
And I like all of these guys.

1150
00:56:40,321 --> 00:56:44,189
And it puts Ethan
in a very uncomfortable position,

1151
00:56:44,283 --> 00:56:46,775
and Tom plays it so well.

1152
00:56:46,869 --> 00:56:50,112
That was a big Technocrane
to get that shot.

1153
00:56:51,332 --> 00:56:54,415
We had half a day to shoot
all of this business out here.

1154
00:56:54,502 --> 00:56:55,867
-It was very challenging.
-Fantastic shot.

1155
00:56:55,962 --> 00:56:59,876
Placing the bike in a way
that it became foreground, created energy.

1156
00:56:59,966 --> 00:57:02,207
And watch Hayley's expressions.

1157
00:57:02,301 --> 00:57:06,920
Just watch when she's--
what she's doing these...

1158
00:57:07,014 --> 00:57:09,381
The character she's giving you,

1159
00:57:09,475 --> 00:57:13,218
the activity, the animation in her face
is really extraordinary.

1160
00:57:13,312 --> 00:57:15,770
-All the way through this chase scene.
-Yeah.

1161
00:57:15,857 --> 00:57:18,690
This used to be twice as long
as it is in the movie now.

1162
00:57:18,776 --> 00:57:20,062
This is awesome, the way we...

1163
00:57:20,153 --> 00:57:22,565
-There's a cut right there.
-There's a tiny dissolve

1164
00:57:22,655 --> 00:57:24,771
to get from one take to another there.

1165
00:57:24,866 --> 00:57:26,231
It's brilliant Eddie Hamilton editing.

1166
00:57:26,325 --> 00:57:28,487
We loved her delivery in one scene,
in one shot.

1167
00:57:28,578 --> 00:57:30,489
-The impact.
-The impact in another.

1168
00:57:30,580 --> 00:57:33,663
And it actually looks like a oner,
and there's actually a dissolve in there.

1169
00:57:33,749 --> 00:57:35,035
It's quite, quite spectacular.

1170
00:57:35,126 --> 00:57:37,333
I remember watching that as dailies
and just...

1171
00:57:37,420 --> 00:57:39,707
It was such fun to put all this together.

1172
00:57:39,797 --> 00:57:42,380
-This was. And the chaotic nature.
-The way he keeps looking at her.

1173
00:57:42,466 --> 00:57:43,797
Like, "What is she doing?"

1174
00:57:43,885 --> 00:57:47,048
The streets of Venice, or of Rome, rather.

1175
00:57:47,138 --> 00:57:50,096
The streets of Rome,
the cobblestones, everything's uneven.

1176
00:57:50,183 --> 00:57:54,973
It creates a really particular energy
to the camera.

1177
00:57:55,062 --> 00:58:00,273
And what you're seeing is Rome is really
participating in the camerawork here.

1178
00:58:00,359 --> 00:58:03,522
You wouldn't get quite the same energy.

1179
00:58:03,613 --> 00:58:05,650
This was all shot in a back lot

1180
00:58:05,740 --> 00:58:08,778
for the simple reason
that if we tried to shoot it in Rome,

1181
00:58:08,868 --> 00:58:11,200
it would have taken us a day
just to install everything.

1182
00:58:11,287 --> 00:58:15,531
We only had two days
on this location on Imperiali.

1183
00:58:15,625 --> 00:58:19,289
I love this point of view
that you're in here, directorially.

1184
00:58:19,378 --> 00:58:21,790
You know, the sound design
is all going very subjective.

1185
00:58:21,881 --> 00:58:23,997
All dictated by practicality.

1186
00:58:24,091 --> 00:58:26,583
All dictated by the fact
that if I stayed in the car,

1187
00:58:26,677 --> 00:58:28,793
- I didn't have to shoot it in Rome.
-I love it.

1188
00:58:28,888 --> 00:58:32,347
And then this slow-motion bike
knocking the two guys down coming up.

1189
00:58:32,433 --> 00:58:34,549
I never thought we could pull this off.

1190
00:58:34,644 --> 00:58:38,433
It always gets a great reaction.
It's just so elegantly done.

1191
00:58:38,522 --> 00:58:40,729
It tells you when-- because I look at it

1192
00:58:40,816 --> 00:58:43,023
and I still struggle
with the animation of the bike.

1193
00:58:43,110 --> 00:58:47,855
What it tells you is that technical
excellence only gets you so far.

1194
00:58:47,949 --> 00:58:50,031
You've got to invest them in the story,

1195
00:58:50,117 --> 00:58:52,449
and that'll carry you.

1196
00:58:52,536 --> 00:58:55,699
This shot was--

1197
00:58:55,790 --> 00:58:57,531
Chunky was not available that day,

1198
00:58:57,625 --> 00:59:00,617
and Shaun,
our other camera operator, was there.

1199
00:59:00,711 --> 00:59:03,123
This is an extremely complicated shot.

1200
00:59:03,214 --> 00:59:07,458
Again, I remember seeing this in
the dailies and thinking, "Just another"--

1201
00:59:07,551 --> 00:59:08,791
It's so elegant.

1202
00:59:08,886 --> 00:59:11,173
It's like the story's building.

1203
00:59:11,264 --> 00:59:12,846
Everything's motivated.

1204
00:59:12,932 --> 00:59:15,264
We've just had a very cutty sequence
with the cars.

1205
00:59:15,351 --> 00:59:18,514
So you're allowing the audience
just to change gear, you know...

1206
00:59:18,604 --> 00:59:21,517
-All dictated by practicality.
-Practicality.

1207
00:59:21,607 --> 00:59:23,769
Because by doing this,
I've eliminated coverage,

1208
00:59:23,859 --> 00:59:25,224
and even though we shot this 18 times--

1209
00:59:25,319 --> 00:59:27,310
It's very hard to do this stuff.

1210
00:59:27,405 --> 00:59:30,318
It's, like-- It's advanced filmmaking.

1211
00:59:30,408 --> 00:59:32,149
-You know, it's...
-It's a gamble.

1212
00:59:32,243 --> 00:59:34,154
It's an enormous gamble
because if you don't get it--

1213
00:59:34,245 --> 00:59:35,576
Yes, yes.

1214
00:59:35,663 --> 00:59:39,247
You're buying yourself the time
to shoot it provided you get it.

1215
00:59:39,333 --> 00:59:41,074
So we went to a racetrack, you remember?

1216
00:59:41,168 --> 00:59:44,536
And we lined up
all the cars and the actors

1217
00:59:44,630 --> 00:59:47,463
and we figured out the shot
and rehearsed it

1218
00:59:47,550 --> 00:59:49,541
and then went to the location to get it.

1219
00:59:49,635 --> 00:59:51,546
So, we were very well prepared.

1220
00:59:51,637 --> 00:59:53,503
-I love Tarzan.
-Tarzan's so energetic.

1221
00:59:53,597 --> 00:59:54,928
He's so great.

1222
00:59:55,016 --> 00:59:57,178
And Tarzan is just--

1223
00:59:57,268 --> 01:00:00,761
A lot of what you're seeing
is just his natural instinct as an actor.

1224
01:00:00,855 --> 01:00:02,311
-That moment with Shea?
-Yeah.

1225
01:00:02,398 --> 01:00:06,357
That was Shea on set, feeling that moment

1226
01:00:06,444 --> 01:00:08,731
and creating energy between him and Ethan,

1227
01:00:08,821 --> 01:00:10,437
'cause we were still...

1228
01:00:10,531 --> 01:00:13,273
We knew what we wanted their story to be.

1229
01:00:13,367 --> 01:00:15,779
But how do you tell it?
How do you tell it through behavior?

1230
01:00:15,870 --> 01:00:19,363
And Shea suggested that idea.

1231
01:00:19,457 --> 01:00:20,663
He's a brilliant actor.

1232
01:00:20,750 --> 01:00:22,832
I love the fact
that this is totally visual,

1233
01:00:22,918 --> 01:00:25,956
and the audience completely understands
why they have to switch seats.

1234
01:00:26,047 --> 01:00:27,958
-Well, it's vital.
-Yeah.

1235
01:00:28,049 --> 01:00:29,414
When we're making these movies,

1236
01:00:29,508 --> 01:00:32,296
we are making films
for an international audience.

1237
01:00:32,386 --> 01:00:36,300
We don't want you to have to read the
subtitles to be able to follow the story.

1238
01:00:36,390 --> 01:00:38,472
We want you to watch it as a silent movie,

1239
01:00:38,559 --> 01:00:40,550
and whether or not you're listening
to the dialogue

1240
01:00:40,644 --> 01:00:42,305
is really, quite frankly, trivial to me.

1241
01:00:42,396 --> 01:00:43,886
We always edit.

1242
01:00:43,981 --> 01:00:47,064
When we're watching these scenes back,
we watch them with no sound and no music.

1243
01:00:47,151 --> 01:00:49,609
When we're working on these sequences,

1244
01:00:49,695 --> 01:00:53,279
they have to work
completely visually first.

1245
01:00:53,366 --> 01:00:57,576
And then we know the sound design
and the music will just elevate it.

1246
01:00:57,661 --> 01:01:00,119
Now, this shot with the Humvee coming up,

1247
01:01:00,206 --> 01:01:02,072
you saw it hit those cars.

1248
01:01:02,166 --> 01:01:05,784
When it did that,
it destroyed the steering in the car.

1249
01:01:05,878 --> 01:01:08,791
And now the stunt driver
is trying to control the car.

1250
01:01:09,548 --> 01:01:11,789
And it just had a mind of its own.

1251
01:01:11,884 --> 01:01:13,420
It's up on the pavement.

1252
01:01:13,511 --> 01:01:15,798
We added the bus later
and just used the shot.

1253
01:01:15,888 --> 01:01:17,879
You'll see this was a little bit longer,

1254
01:01:17,973 --> 01:01:21,637
that they used to spin around
in front of the wedding cake monument.

1255
01:01:21,727 --> 01:01:22,717
Well, that was it.

1256
01:01:22,812 --> 01:01:26,225
We were getting a lot of notes about
length in the car chase and in the train,

1257
01:01:26,315 --> 01:01:28,727
and we just kept pulling out shots
one at a time.

1258
01:01:28,818 --> 01:01:30,274
And in the end...

1259
01:01:30,361 --> 01:01:32,227
There was also a sense

1260
01:01:32,321 --> 01:01:35,484
that the chase stopped, started

1261
01:01:35,574 --> 01:01:37,690
and then stopped again,
like, 15 seconds later.

1262
01:01:37,785 --> 01:01:40,698
That's the lesson we learn
every time we make a chase scene.

1263
01:01:40,788 --> 01:01:41,619
Right.

1264
01:01:41,705 --> 01:01:44,367
There's always a shot in there somewhere.
Just an individual shot.

1265
01:01:44,458 --> 01:01:47,576
I love this. I remember-- It's such fun.

1266
01:01:47,670 --> 01:01:49,786
The way that these shots are so dynamic.

1267
01:01:49,880 --> 01:01:51,837
Your editing in this, too,
is just extraordinary.

1268
01:01:51,924 --> 01:01:53,210
Thank you.

1269
01:01:53,300 --> 01:01:56,759
-And it's all very chaotic.
-This is an amazing shot.

1270
01:01:56,846 --> 01:01:59,053
Behind Tom here,
when you see all the bikes, just...

1271
01:01:59,640 --> 01:02:02,632
Oh, my God. This.
It made modern art out of those things.

1272
01:02:02,726 --> 01:02:06,219
There was an eight-foot-high sculpture
of smashed scooters.

1273
01:02:07,022 --> 01:02:10,014
And here we are,
this is the essence of this chase,

1274
01:02:10,109 --> 01:02:15,525
for all the energy
and all the resources that go into it--

1275
01:02:15,614 --> 01:02:18,026
The cops, the stunt performers,
the street closures--

1276
01:02:18,117 --> 01:02:22,236
None of it would work without
the performance of these two actors.

1277
01:02:22,329 --> 01:02:26,664
And always covering them,
almost always, in a two-shot.

1278
01:02:26,750 --> 01:02:28,616
There are very few single shots.

1279
01:02:29,670 --> 01:02:31,001
And that means that--

1280
01:02:31,088 --> 01:02:34,752
It's not that--
You're not able to create performance

1281
01:02:34,842 --> 01:02:37,800
the way we do in other scenes
where we get to pick and choose takes.

1282
01:02:37,887 --> 01:02:38,877
Exactly.

1283
01:02:38,971 --> 01:02:42,464
They both have to be in the moment
at every moment.

1284
01:02:42,558 --> 01:02:45,050
Look at the skill of Tom's driving there
to knock the scooters.

1285
01:02:45,144 --> 01:02:48,637
-That's all real. That's all practical.
-It's incredibly difficult.

1286
01:02:48,731 --> 01:02:50,847
Tom is one of the best stunt drivers
in the world,

1287
01:02:50,941 --> 01:02:53,979
and we all kind of
slightly take it for granted.

1288
01:02:54,069 --> 01:02:56,481
- I know.
-"Tom will get us out of this."

1289
01:02:56,572 --> 01:02:59,781
And of course, what do I do?
I handcuff him to his costar.

1290
01:02:59,867 --> 01:03:01,574
-Figure that out.
-He's driving with one hand.

1291
01:03:01,660 --> 01:03:03,571
-Now we're into dance.
- I love this.

1292
01:03:03,662 --> 01:03:06,950
We're now into Fred Astaire
and Ginger Rogers.

1293
01:03:07,041 --> 01:03:09,703
You watch this,
everything about their behavior

1294
01:03:09,793 --> 01:03:13,286
from this moment on throughout the film,
it becomes a dance.

1295
01:03:13,380 --> 01:03:16,247
And this is, of course, the introduction

1296
01:03:16,342 --> 01:03:20,427
of the third character in the car chase,
which is the FIAT.

1297
01:03:20,513 --> 01:03:23,301
This idea of FIAT 500 occurred to me--

1298
01:03:23,390 --> 01:03:25,631
I don't know if you and I
have ever talked about this.

1299
01:03:25,726 --> 01:03:26,636
No, go on.

1300
01:03:26,727 --> 01:03:31,221
When I was location scouting Fallout,
and I was walking along the Seine River,

1301
01:03:31,315 --> 01:03:33,147
and I found a little FIAT 500 and thought,

1302
01:03:33,234 --> 01:03:35,225
"Wouldn't it be funny
if Tom drove this car?"

1303
01:03:35,319 --> 01:03:37,185
Oh, my word. Back then? Like, 2017?

1304
01:03:37,279 --> 01:03:39,486
Yeah, yeah.
I was already thinking about it.

1305
01:03:39,573 --> 01:03:41,985
-Now, watch the behaviors.
-The performances here are so great.

1306
01:03:42,076 --> 01:03:44,158
Watch Hayley's behavior,

1307
01:03:44,245 --> 01:03:46,327
her eyes, the expressions

1308
01:03:46,413 --> 01:03:47,869
and, most critically,

1309
01:03:47,957 --> 01:03:50,449
she's underplaying all of it.

1310
01:03:50,543 --> 01:03:52,705
It's all internal,

1311
01:03:52,795 --> 01:03:56,129
but it's all very, very active, right?

1312
01:03:56,215 --> 01:03:59,424
This is a perfect example
of Tom leaning into

1313
01:04:00,010 --> 01:04:02,172
just the gentle humor of this moment.

1314
01:04:02,263 --> 01:04:05,847
As the strength of Tom as Ethan Hunt.

1315
01:04:05,933 --> 01:04:06,923
Correct.

1316
01:04:07,017 --> 01:04:09,008
And really,
the strength of Tom as an actor.

1317
01:04:09,103 --> 01:04:11,561
He's not afraid to look afraid.
<i>Edge of Tomorrow.</i>

1318
01:04:11,647 --> 01:04:14,765
Even in <i>Top Gun: Maverick,</i>
he shows his character's vulnerability,

1319
01:04:14,858 --> 01:04:16,269
his character's weaknesses.

1320
01:04:16,360 --> 01:04:19,478
He allows his character
to be taken down a peg,

1321
01:04:19,572 --> 01:04:24,157
and it's what he's giving to the actors

1322
01:04:24,243 --> 01:04:25,904
in the scene with him.

1323
01:04:25,995 --> 01:04:27,952
-And Pom is just--
-That was interesting.

1324
01:04:28,038 --> 01:04:30,746
This little moment here
we created out of side--

1325
01:04:30,833 --> 01:04:33,825
Out of, like, B-roll of her sitting...

1326
01:04:33,919 --> 01:04:36,502
Her sitting in the car
waiting for us to call action.

1327
01:04:36,589 --> 01:04:38,421
Pom is always so active,

1328
01:04:38,507 --> 01:04:41,169
and we needed
this tiny little beat to explain--

1329
01:04:41,260 --> 01:04:43,627
-That was just Pom not acting.
-I know. Exactly.

1330
01:04:43,721 --> 01:04:47,339
We were trying to explain the fact
that the police are back on their trail,

1331
01:04:47,433 --> 01:04:49,390
and we decided to do it
with the police radio.

1332
01:04:49,476 --> 01:04:51,387
Here comes the other character
in the scene, Hayley's hair.

1333
01:04:51,478 --> 01:04:52,684
Hayley's hair!

1334
01:04:53,939 --> 01:04:56,931
You wanted me to cut the second one,
and I was like, "No. It's too cool.”

1335
01:04:57,026 --> 01:04:59,484
-I love it. It's great.
-It's a gravity-defying shot.

1336
01:04:59,570 --> 01:05:02,107
-Here we go to the Spanish Steps.
-Oh, my God.

1337
01:05:02,197 --> 01:05:03,687
Again, hard.

1338
01:05:03,782 --> 01:05:05,944
You never thought this was gonna work,
and yet,

1339
01:05:06,035 --> 01:05:08,618
it plays so well for the audience.

1340
01:05:08,704 --> 01:05:11,662
Well, when you invest this much--

1341
01:05:11,749 --> 01:05:14,958
We built the Spanish Steps,
sections of the Spanish Steps,

1342
01:05:15,044 --> 01:05:18,207
and it took so much time
and so much energy.

1343
01:05:18,297 --> 01:05:20,834
And ultimately, in the end,

1344
01:05:20,924 --> 01:05:23,211
after you've spent so much time doing I,

1345
01:05:23,302 --> 01:05:26,010
I just ended up feeling like
this was all an elaborate way

1346
01:05:26,096 --> 01:05:28,258
to just get the people to switch places.

1347
01:05:28,849 --> 01:05:31,557
-I no longer saw the forest for the trees.
-Yeah.

1348
01:05:32,144 --> 01:05:36,604
And it was only when it played
for an audience the first time,

1349
01:05:36,690 --> 01:05:38,681
and their reaction, that I realized...

1350
01:05:38,776 --> 01:05:40,062
-It's...
-Of course.

1351
01:05:40,152 --> 01:05:43,019
I remember you had prevised this
back in, like...

1352
01:05:43,113 --> 01:05:45,229
<i>Oh, yes.
Not a reference 10 Battleship Potemkin.</i>

1353
01:05:45,324 --> 01:05:46,689
I just needed the car...

1354
01:05:46,784 --> 01:05:49,276
It's amazing how many non-references
are in the movie.

1355
01:05:49,370 --> 01:05:51,077
I guess they're subconscious.

1356
01:05:51,830 --> 01:05:55,789
So all of that was done without ever
physically touching the Spanish Steps.

1357
01:05:55,876 --> 01:05:57,162
-Yeah.
-And then...

1358
01:05:57,252 --> 01:06:00,665
So here, we're still in London,
and then this was in London.

1359
01:06:01,465 --> 01:06:04,127
I remember you lining up this shot
of the Hummer,

1360
01:06:04,218 --> 01:06:05,800
and the compositions are so strong.

1361
01:06:05,886 --> 01:06:07,627
And then here, from this point on,

1362
01:06:07,721 --> 01:06:10,213
we're basically, from here, we're back in...

1363
01:06:10,307 --> 01:06:11,718
-We're back in Rome.
-Back in Rome.

1364
01:06:11,809 --> 01:06:14,767
And this, again, was not intended.
They were just supposed to drive away.

1365
01:06:15,437 --> 01:06:18,930
When we got to the bottom of the stairs,
we found this little moment of character.

1366
01:06:19,024 --> 01:06:22,107
But of course, we hadn't planned for it.

1367
01:06:22,194 --> 01:06:26,813
So, we were not very popular
with the neighbors.

1368
01:06:27,408 --> 01:06:29,149
But it was--

1369
01:06:29,243 --> 01:06:32,577
It turned out to be absolutely phenomenal,
and it really made the sequence.

1370
01:06:32,663 --> 01:06:35,655
Yeah, I mean, this is-- it is so wonderful

1371
01:06:35,749 --> 01:06:38,707
when you see an audience
crying with laughter at this point

1372
01:06:38,794 --> 01:06:40,660
because you don't know...

1373
01:06:41,380 --> 01:06:42,791
You have no idea,

1374
01:06:42,881 --> 01:06:45,714
when you've been working on the movie
for two and a half years,

1375
01:06:45,801 --> 01:06:47,838
if it's gonna play, and it's just so--

1376
01:06:47,928 --> 01:06:49,259
You hope it will.

1377
01:06:49,346 --> 01:06:52,338
-But, yeah, you hope it will.
-It just works.

1378
01:06:52,433 --> 01:06:55,971
It absolutely works. It's so satisfying.

1379
01:06:56,061 --> 01:06:57,677
It's a real long game.

1380
01:06:58,355 --> 01:07:00,722
And, again, like, always in a two-shot.
Always in a two-shot.

1381
01:07:00,816 --> 01:07:02,773
You're seeing the two of them together.

1382
01:07:02,860 --> 01:07:04,692
It's so hard to do that.

1383
01:07:04,778 --> 01:07:07,566
You take it for granted,
watching the movie, but really...

1384
01:07:07,656 --> 01:07:10,865
It's hard to do sitting in a booth
in a restaurant...

1385
01:07:10,951 --> 01:07:11,941
100%.

1386
01:07:12,035 --> 01:07:14,777
...let alone handcuffed to your costar,
who's actually driving the car.

1387
01:07:14,872 --> 01:07:17,409
-Yeah.
-I love this shot.

1388
01:07:17,499 --> 01:07:19,706
There's just such a great story
in that shot.

1389
01:07:19,793 --> 01:07:23,161
And you left all the tire marks
from the previous takes.

1390
01:07:23,255 --> 01:07:25,792
Yeah, that's our little nod
to <I>Smokey and the Bandit.</I>

1391
01:07:25,883 --> 01:07:28,420
When you watch that movie,
there's tire tracks everywhere.

1392
01:07:28,510 --> 01:07:30,217
- I know.
-Yeah.

1393
01:07:30,304 --> 01:07:33,012
It's stuff like that where I just went,
"No, let's show the work."

1394
01:07:33,098 --> 01:07:34,429
-Exactly.
-Yeah.

1395
01:07:34,516 --> 01:07:37,349
And again, all of this was kind
of an embarrassment of riches.

1396
01:07:37,436 --> 01:07:41,100
We were really-- We kept cutting
this down more and more.

1397
01:07:41,190 --> 01:07:44,728
And you're starting to feel it right here,

1398
01:07:44,818 --> 01:07:47,480
but we were still holding on
because what you're feeling

1399
01:07:47,571 --> 01:07:49,687
is you're feeling character,

1400
01:07:49,782 --> 01:07:51,489
you're feeling these two working together.

1401
01:07:51,575 --> 01:07:53,282
They're starting to communicate.

1402
01:07:53,368 --> 01:07:55,985
And that's really what the sequence
is about in the end.

1403
01:07:56,663 --> 01:08:01,078
It's all about creating a team
between these two characters

1404
01:08:01,168 --> 01:08:04,752
who, like it or not, they are a team.

1405
01:08:04,838 --> 01:08:07,705
They don't wanna be together,
but they belong,

1406
01:08:07,800 --> 01:08:09,461
and they're--

1407
01:08:09,551 --> 01:08:12,543
This was my visual idea
that they come back where they started.

1408
01:08:12,638 --> 01:08:14,424
-Great.
-Way too subtle.

1409
01:08:14,515 --> 01:08:17,553
And this two-shot of them
we shot much, much later.

1410
01:08:18,227 --> 01:08:21,140
It was all to solve the geography problem
with them looking at the car.

1411
01:08:21,230 --> 01:08:24,222
But when they turned around
and looked back through the window,

1412
01:08:24,316 --> 01:08:25,522
I thought, "Oh my God."

1413
01:08:25,609 --> 01:08:28,146
Those shots, by the way,
looking up through the pedals, again,

1414
01:08:28,237 --> 01:08:31,446
are really difficult because
you have to cut the front of the car off,

1415
01:08:31,949 --> 01:08:34,816
put a camera there,
elevate the car six feet off the ground.

1416
01:08:34,910 --> 01:08:36,651
And I blame James Mangold.

1417
01:08:36,745 --> 01:08:39,157
I gotta tip my hat to James Mangold.

1418
01:08:39,248 --> 01:08:43,367
I watched <I>Ford v Ferrari</I>,
and he put the camera behind the pedals.

1419
01:08:43,460 --> 01:08:47,545
I remember Anthony Dod Mantle,
and they did that in <I>Rush</I> as well.

1420
01:08:48,674 --> 01:08:49,755
-Did they?
-Yeah.

1421
01:08:49,842 --> 01:08:51,549
Good.
So everybody's taking from everybody.

1422
01:08:51,635 --> 01:08:52,750
Exactly!

1423
01:08:53,011 --> 01:08:55,378
I remember seeing those shots in Rush

1424
01:08:55,472 --> 01:08:58,214
that they did, and thinking...

1425
01:08:58,308 --> 01:09:01,016
Watch this performance, this behavior.

1426
01:09:01,103 --> 01:09:04,266
First of all, blowing her hair
out of her face and what that--

1427
01:09:04,356 --> 01:09:07,690
But her eye movement there,
you can already see her thinking,

1428
01:09:07,776 --> 01:09:09,733
"This is gonna be bad."

1429
01:09:09,820 --> 01:09:14,064
There's such great behavior between them,
and, again, she's not celebrating.

1430
01:09:14,157 --> 01:09:17,400
She's not rubbing it in.

1431
01:09:18,078 --> 01:09:20,991
And it was very, very important

1432
01:09:21,081 --> 01:09:24,870
that as far as she pushed us,
she never pushed us too far.

1433
01:09:26,712 --> 01:09:28,999
This was on a set we built
on the back lot.

1434
01:09:29,089 --> 01:09:31,376
It was also the set that we reconverted

1435
01:09:31,466 --> 01:09:34,128
for the shot of Ilsa
taking the key off of the--

1436
01:09:34,219 --> 01:09:38,087
That's correct. Yeah, the rainy shot from
the beginning of the mission briefing.

1437
01:09:38,181 --> 01:09:39,888
We moved some walls around,
added some rain.

1438
01:09:39,975 --> 01:09:42,262
All of that in the background
is a set extension.

1439
01:09:42,352 --> 01:09:46,971
Fantastic work from both Gary Freeman
and his team.

1440
01:09:47,065 --> 01:09:50,854
And also ILM did a phenomenal job.

1441
01:09:51,528 --> 01:09:54,771
And the question here was,
we left this shot longer originally,

1442
01:09:54,865 --> 01:09:57,357
so how long do you stay in it?

1443
01:09:57,451 --> 01:10:00,068
And you had to cut to this shot sooner
before you started to realize,

1444
01:10:00,162 --> 01:10:01,402
-"Wait, what happened?"
-Yeah.

1445
01:10:01,496 --> 01:10:04,864
I love Tom's behavior here
with the steering wheel.

1446
01:10:04,958 --> 01:10:06,119
It's just so good.

1447
01:10:06,209 --> 01:10:10,203
And you're looking at
a deceptively complex oner

1448
01:10:10,297 --> 01:10:13,585
that's all to hide the stuff
you don't want to look at in Rome,

1449
01:10:13,675 --> 01:10:15,882
the big electrical boxes
and all these things.

1450
01:10:16,470 --> 01:10:18,757
That's shot in England a year later.

1451
01:10:18,847 --> 01:10:21,134
That was a year later, that shot, I know.

1452
01:10:21,725 --> 01:10:26,515
And all of this was designed
to just celebrate Rome

1453
01:10:26,605 --> 01:10:31,099
and the very most beautiful parts of Rome.

1454
01:10:31,193 --> 01:10:35,232
This is shot on a back lot
some long time later.

1455
01:10:35,322 --> 01:10:39,691
I've lost track
of how long some of the gaps were.

1456
01:10:39,785 --> 01:10:41,696
And this was the idea we were originally--

1457
01:10:41,787 --> 01:10:45,746
This is where we were going to flash back
to the desert and show that.

1458
01:10:45,832 --> 01:10:49,450
But we realized very early on
if you wait that long, it's gonna...

1459
01:10:49,544 --> 01:10:51,376
This is another genius music cue,

1460
01:10:51,463 --> 01:10:52,919
which I remember you discovered

1461
01:10:53,006 --> 01:10:55,919
because it starts
as Tom walks out of the subway

1462
01:10:56,009 --> 01:10:58,091
and takes us
all the way through to Venice.

1463
01:10:58,178 --> 01:11:01,842
It's one of the places
where people might feel

1464
01:11:01,932 --> 01:11:03,889
-that they can take a break.
-That's right.

1465
01:11:03,976 --> 01:11:06,513
But the way that you develop the music cue

1466
01:11:06,603 --> 01:11:09,641
with Lorne and Cecile Tournesac,
our music editor,

1467
01:11:09,731 --> 01:11:11,642
meant that we just
keep our foot on the gas here

1468
01:11:11,733 --> 01:11:14,065
so that you are not compelled
to take a break.

1469
01:11:14,152 --> 01:11:15,984
We are at the point in the movie
where everybody,

1470
01:11:16,071 --> 01:11:18,563
when they feel the energy stop
in the first test screening,

1471
01:11:18,657 --> 01:11:19,738
they all got up to go pee.

1472
01:11:19,825 --> 01:11:20,906
Exactly.

1473
01:11:21,660 --> 01:11:23,526
And that is something
we are very conscious of.

1474
01:11:23,620 --> 01:11:25,782
We watch how many people go
to the bathroom,

1475
01:11:25,872 --> 01:11:27,533
when they go to the bathroom,

1476
01:11:27,624 --> 01:11:30,082
and that tells us that something
in the story is--

1477
01:11:30,168 --> 01:11:32,000
-That was a little punch in.
-I love that punch in.

1478
01:11:32,087 --> 01:11:37,002
But also, this was a scene
that was shot quite late in the day

1479
01:11:37,092 --> 01:11:40,926
when we realized we need
to recontextualize the White Widow

1480
01:11:41,013 --> 01:11:45,007
and the fact that, you know,
she refers to him as John Lark.

1481
01:11:45,100 --> 01:11:49,435
Well, we made the same mistake
we did on Fallout.

1482
01:11:49,521 --> 01:11:52,855
We took for granted how much you knew

1483
01:11:52,941 --> 01:11:56,935
and whether or not you needed
to properly introduce the character.

1484
01:11:57,029 --> 01:12:00,147
So we reshot the scene,
and of course it's in the safe house.

1485
01:12:00,240 --> 01:12:02,823
Anything in the safe house,
we know we're gonna end up reshooting

1486
01:12:02,909 --> 01:12:04,115
'cause it's always a set up.

1487
01:12:04,202 --> 01:12:08,036
It's always the reasons
for why the action is about to happen

1488
01:12:08,123 --> 01:12:10,364
in a much bigger location.

1489
01:12:10,459 --> 01:12:12,746
There's all our CCTV footage.

1490
01:12:12,836 --> 01:12:18,172
And what's really interesting is because
we shot this scene a number of times,

1491
01:12:19,217 --> 01:12:22,551
you'll notice
that in one shot that's coming up,

1492
01:12:22,637 --> 01:12:24,628
Rebecca's in the background

1493
01:12:25,265 --> 01:12:26,926
-but it's not Rebecca...
-Right.

1494
01:12:27,017 --> 01:12:30,385
...'cause she was off
shooting something else.

1495
01:12:31,938 --> 01:12:34,475
All of these things,
these inserts and these graphics,

1496
01:12:34,566 --> 01:12:36,477
everything,
you have to account for all of this.

1497
01:12:36,568 --> 01:12:40,482
It's an enormous, enormous amount of work
to keep track of,

1498
01:12:40,572 --> 01:12:44,691
especially when it's a shot from
a location you can't go back and get.

1499
01:12:44,785 --> 01:12:47,117
Also look at the windows
and the architecture.

1500
01:12:47,204 --> 01:12:50,242
That's all Tom's safe house in Amsterdam.

1501
01:12:50,332 --> 01:12:52,790
There, that right there,
that's not Rebecca.

1502
01:12:52,876 --> 01:12:55,959
-Yeah, that's right.
-That's somebody standing in for Rebecca,

1503
01:12:56,046 --> 01:12:59,505
because we had to reshoot elements of Tom

1504
01:12:59,591 --> 01:13:03,960
and then we realized later,
we had to reshoot Rebecca's backstory.

1505
01:13:04,054 --> 01:13:08,218
We had a completely different backstory
for why she knew what she knew.

1506
01:13:08,308 --> 01:13:10,049
-Two-frame dissolve.
-Yeah.

1507
01:13:10,560 --> 01:13:13,097
And, of course,
matching their eyes in the frame.

1508
01:13:13,188 --> 01:13:16,556
We repositioned the shot
so that their frames matched,

1509
01:13:16,650 --> 01:13:20,609
and all of this is to create
just a slight sense of dreaminess.

1510
01:13:20,695 --> 01:13:23,232
I remember cutting to Tom
specifically before the IMF

1511
01:13:23,323 --> 01:13:24,939
so that that landed for the audience.

1512
01:13:25,033 --> 01:13:26,990
That's right. Again, shaping--

1513
01:13:27,077 --> 01:13:30,820
Every single cut in this scene is landing

1514
01:13:30,914 --> 01:13:35,533
on the dialogue we want you listening to
with the assumption that

1515
01:13:35,627 --> 01:13:39,040
you probably weren't listening
to the dialogue just before it.

1516
01:13:39,131 --> 01:13:43,671
And it's all very carefully directed
to keep you listening, keep you engaged

1517
01:13:43,760 --> 01:13:46,798
because we know it's a lot of information.

1518
01:13:46,888 --> 01:13:48,845
And then this was a reshoot.

1519
01:13:48,932 --> 01:13:52,926
We had a completely different story
with Ilsa

1520
01:13:53,019 --> 01:13:58,856
and a backstory that, really,
it was too coincidental, didn't work.

1521
01:13:58,942 --> 01:14:02,526
She had actually had a backstory
involving Gabriel.

1522
01:14:03,822 --> 01:14:05,358
It all felt too convenient.

1523
01:14:05,448 --> 01:14:10,443
And the reason we rewrote this, why we
didn't write this in the first place is

1524
01:14:10,537 --> 01:14:13,450
we never wanted to hand exposition
to Ilsa.

1525
01:14:15,000 --> 01:14:19,335
We didn't want to give her the job
of telling the story.

1526
01:14:19,421 --> 01:14:24,211
And what happened was
it actually came around full circle,

1527
01:14:24,301 --> 01:14:26,087
and it served it immensely

1528
01:14:26,178 --> 01:14:30,297
because what happens now is Ilsa
and Ethan are on the same footing.

1529
01:14:30,390 --> 01:14:33,007
They're both on the same kind of mission.

1530
01:14:33,101 --> 01:14:36,765
Each one is trying to stop
their government from getting the key.

1531
01:14:37,856 --> 01:14:39,893
And we also changed the blocking,

1532
01:14:39,983 --> 01:14:42,315
and we put Ethan
in the center of the room.

1533
01:14:42,402 --> 01:14:47,488
Do you remember that originally
Ethan and Ilsa were on their own plane

1534
01:14:47,574 --> 01:14:50,362
and Benji. and Luther
were on a different plane?

1535
01:14:50,452 --> 01:14:57,245
And what we've done now in our blocking
is strictly necessitated by practicality.

1536
01:14:57,334 --> 01:15:01,248
We've put Ethan in the center
of the things he cares about most,

1537
01:15:01,338 --> 01:15:03,705
which is his friends.

1538
01:15:03,798 --> 01:15:06,790
Also, one of the things I like here
is the crosses on the window.

1539
01:15:06,885 --> 01:15:08,250
None of it was intentional.

1540
01:15:09,512 --> 01:15:13,801
It's the key and it's also crosshairs.

1541
01:15:13,892 --> 01:15:17,351
It's sort of you're seeing Ethan
being caught in this window.

1542
01:15:17,437 --> 01:15:20,304
And the Dutch angles in this scene--
You see there's a lot of--

1543
01:15:20,398 --> 01:15:22,480
Yeah, here, there's a big-- There you go.

1544
01:15:22,567 --> 01:15:26,731
The simple reason why there's a Dutch
angle in the scene is purely practical.

1545
01:15:26,821 --> 01:15:29,358
It's not a reference to anything.

1546
01:15:30,200 --> 01:15:33,318
You're low so you can give Ethan power.

1547
01:15:33,411 --> 01:15:40,204
You have to Dutch it or else
you'd have cut Rebecca off in the frame.

1548
01:15:40,293 --> 01:15:45,754
And what we were doing with each one of
these frames is finding the emotionality,

1549
01:15:45,840 --> 01:15:48,127
finding the feeling of the frame

1550
01:15:48,218 --> 01:15:52,337
and letting that be what dictated
where we put the camera,

1551
01:15:52,430 --> 01:15:54,046
how we position everything.

1552
01:15:55,308 --> 01:15:58,642
They were all dictated by the emotions

1553
01:15:58,728 --> 01:16:01,436
within the lines
that these characters were--

1554
01:16:01,523 --> 01:16:03,639
When you reshot this,
you were able to make a callback

1555
01:16:03,733 --> 01:16:06,976
to "who or what is the most important
thing to you," as well, which I love.

1556
01:16:07,070 --> 01:16:08,435
Yes. That's right.

1557
01:16:09,698 --> 01:16:10,813
That was a--

1558
01:16:11,908 --> 01:16:15,071
That brought that whole thing full circle,
brought the Entity back in.

1559
01:16:15,161 --> 01:16:18,199
And I remember you had asked me
at one point, you know,

1560
01:16:18,290 --> 01:16:23,205
"I really wish the Entity said something
that Benji. said at the airport."

1561
01:16:23,295 --> 01:16:24,956
And I said, "He does.
He says, 'You are done.'"

1562
01:16:25,046 --> 01:16:26,127
Yes, yes, yes.

1563
01:16:26,214 --> 01:16:29,377
Yeah. But, again,
that's something we run into all the time.

1564
01:16:29,467 --> 01:16:31,583
Even when something is that overt,

1565
01:16:32,220 --> 01:16:34,712
-it tends to be overlooked.
-Yeah.

1566
01:16:34,806 --> 01:16:38,344
There's a lot of things in this movie
that people get the second time

1567
01:16:38,435 --> 01:16:41,223
and even the third time
that they watch the movie.

1568
01:16:41,313 --> 01:16:44,021
It's why we encourage everybody
to watch it again and again.

1569
01:16:44,774 --> 01:16:45,889
And, more importantly,

1570
01:16:45,984 --> 01:16:49,727
it's why we try to make a movie
that you want to watch again.

1571
01:16:49,821 --> 01:16:50,811
Yeah, exactly.

1572
01:16:51,573 --> 01:16:55,066
So talking very quickly about backlight,
in a lot of the scenes you can see--

1573
01:16:55,160 --> 01:16:57,652
Yeah, Venice,
especially later on at night,

1574
01:16:57,746 --> 01:17:01,740
you'll see the way that the scenes are lit
incorporate a lot of backlight.

1575
01:17:01,833 --> 01:17:06,418
This roof deck was built
on top of the Gritti Palace

1576
01:17:07,172 --> 01:17:10,460
specifically so that we can get
the most spectacular view of Venice.

1577
01:17:10,550 --> 01:17:15,090
So my apologies to anybody going to Venice
and hoping to recreate the scene.

1578
01:17:15,180 --> 01:17:16,215
You can't.

1579
01:17:17,223 --> 01:17:21,308
But this is because
we were shooting nights,

1580
01:17:21,394 --> 01:17:24,728
we had the opportunity to go up here
right before.

1581
01:17:24,814 --> 01:17:29,103
We'd start an hour early
and shoot these scenes at magic hour.

1582
01:17:29,194 --> 01:17:32,152
And over the course of two nights,
we found the scene,

1583
01:17:32,238 --> 01:17:34,696
we found the behavior,
we found the dialogue,

1584
01:17:34,783 --> 01:17:37,696
-and we were really excited.
- I love the simplicity of it.

1585
01:17:37,786 --> 01:17:38,947
That's what it is.

1586
01:17:39,037 --> 01:17:42,120
Their relationship is about
their chemistry and their behavior

1587
01:17:43,166 --> 01:17:44,748
and not about their dialogue and--

1588
01:17:44,834 --> 01:17:45,824
Here's another one.

1589
01:17:45,919 --> 01:17:48,832
I mean, I remember seeing this and just--

1590
01:17:48,922 --> 01:17:51,505
-This was extremely complicated.
-The amount of setup for this scene,

1591
01:17:51,591 --> 01:17:53,081
but look how beautiful this is.

1592
01:17:53,176 --> 01:17:56,043
My sympathies go out to everybody
who worked on <I>Jaws.</I>

1593
01:17:56,763 --> 01:17:59,471
Working on water is extremely complicated.

1594
01:17:59,557 --> 01:18:03,141
And, again, just their rhythm
and their energy together

1595
01:18:03,228 --> 01:18:07,347
and creating that relationship
between those two people,

1596
01:18:07,440 --> 01:18:10,558
obviously, in preparation
for what was coming.

1597
01:18:12,987 --> 01:18:15,524
This, we had done months of testing.

1598
01:18:15,615 --> 01:18:16,946
-Do you remember?
-Yes.

1599
01:18:17,033 --> 01:18:22,904
Trying to create these images
that were just pushing the envelope,

1600
01:18:22,997 --> 01:18:26,911
but were always, at the same time,
very, very, very--

1601
01:18:27,710 --> 01:18:29,166
It all had to be tasteful.

1602
01:18:29,254 --> 01:18:32,463
And finding a way
to shape light and create--

1603
01:18:32,549 --> 01:18:35,041
And that's where the body paint came from.

1604
01:18:35,802 --> 01:18:39,261
It was a way that everything
was always created in silhouette

1605
01:18:39,347 --> 01:18:40,633
and everything was implied.

1606
01:18:40,723 --> 01:18:45,433
These graphics that Gary Freeman found
that are all being projected all over it

1607
01:18:45,520 --> 01:18:48,512
ultimately were incorporated
into the design of the Entity.

1608
01:18:48,606 --> 01:18:53,146
And here's Hayley
and the 100-mm lens working together

1609
01:18:53,695 --> 01:18:55,902
to create a sense of her energy.

1610
01:18:55,989 --> 01:19:01,359
And this was Esai Morales's
first day of dialogue on the movie

1611
01:19:01,453 --> 01:19:04,536
after he'd been on the movie
for a long, long time.

1612
01:19:05,206 --> 01:19:07,413
And I loved the lighting in here.

1613
01:19:07,500 --> 01:19:13,121
I loved what Hair and Makeup had done
with Hayley, all of which is very subtle.

1614
01:19:13,214 --> 01:19:16,081
-And the wardrobe on Hayley.
-The wardrobe is sensational.

1615
01:19:16,176 --> 01:19:18,258
And all of it is just playing
to her strengths.

1616
01:19:18,344 --> 01:19:23,555
And it wasn't until much, much, much later
that we found the music. Do you remember?

1617
01:19:23,641 --> 01:19:25,177
-Oh, my word.
-It was in the last weeks.

1618
01:19:25,268 --> 01:19:26,804
The music in the nightclub.

1619
01:19:26,895 --> 01:19:28,511
Yeah, we originally had a track

1620
01:19:28,605 --> 01:19:32,974
which the dancers had choreographed
their movements to,

1621
01:19:33,610 --> 01:19:37,103
and it stayed on the movie
for two years, longer even.

1622
01:19:37,197 --> 01:19:39,985
And then right at the end,
the Paramount music department

1623
01:19:40,074 --> 01:19:43,487
helped us find
around 200 different dance tracks.

1624
01:19:43,578 --> 01:19:46,866
-Yes.
-And Cecile Tournesac, our music editor,

1625
01:19:46,956 --> 01:19:49,573
worked with Chris to identify three

1626
01:19:49,667 --> 01:19:55,709
and then spent, you know, a couple of days
cutting all these tracks with stems

1627
01:19:56,257 --> 01:19:59,340
so that every piece, every transition

1628
01:19:59,427 --> 01:20:05,469
and every character interaction was
underscored with this music so elegantly.

1629
01:20:05,558 --> 01:20:08,596
And I remember walking into her room,
and you played it to me,

1630
01:20:08,686 --> 01:20:10,893
and I was just mesmerized by it.

1631
01:20:10,980 --> 01:20:12,311
I thought it was so good.

1632
01:20:12,398 --> 01:20:15,106
And I loved the kind of retro feel of it.

1633
01:20:15,193 --> 01:20:16,433
There was something--

1634
01:20:16,528 --> 01:20:20,237
I felt like I was watching a movie
from another era.

1635
01:20:21,157 --> 01:20:25,071
It really harkened back to,
I don't know what.

1636
01:20:27,288 --> 01:20:30,076
Something phenomenal about these shots.
There's Pom in the background.

1637
01:20:30,166 --> 01:20:33,033
And these were some of the shots
where we went,

1638
01:20:33,127 --> 01:20:35,710
"Man, you just can't take your eyes
off Pom, no matter where she is."

1639
01:20:35,797 --> 01:20:36,787
She's there the whole time.

1640
01:20:36,881 --> 01:20:38,872
You had to be very careful
how you compose those things,

1641
01:20:38,967 --> 01:20:44,337
because you didn't want to take away
from other people and their power.

1642
01:20:45,014 --> 01:20:48,257
And it helped that, you know,
Pom is very much in the story.

1643
01:20:48,351 --> 01:20:51,844
But, again, we pushed her way back

1644
01:20:52,939 --> 01:20:56,307
because she's just simply so dynamic
and so powerful

1645
01:20:56,401 --> 01:20:59,063
that you found yourself looking at her

1646
01:20:59,153 --> 01:21:01,064
when you were supposed
to be looking other places.

1647
01:21:01,155 --> 01:21:03,988
All of this-- All of this back and forth--

1648
01:21:04,075 --> 01:21:08,410
There was originally
a little more dialogue,

1649
01:21:08,496 --> 01:21:10,157
a little more history,

1650
01:21:10,248 --> 01:21:13,661
and we just ultimately
boiled it down to behavior

1651
01:21:14,210 --> 01:21:16,292
and character dynamics
through composition.

1652
01:21:16,379 --> 01:21:19,246
It was just much more effective.

1653
01:21:19,340 --> 01:21:23,334
And then here is
the sensational Vanessa Kirby.

1654
01:21:24,887 --> 01:21:27,879
This shot was done-- You remember
we went back and reshot this?

1655
01:21:27,974 --> 01:21:33,014
-Yeah.
-So this was done a year and a half later.

1656
01:21:33,730 --> 01:21:37,473
All of this, the phenomenal set
that was built by Gary Freeman.

1657
01:21:37,984 --> 01:21:41,022
Again, when you shoot
a big sequence like this,

1658
01:21:41,112 --> 01:21:44,355
you go to a location,
and you shoot all of your practical stuff,

1659
01:21:44,449 --> 01:21:46,440
and then when it gets down
to the nitty-gritty,

1660
01:21:46,534 --> 01:21:49,526
the plot, the story, the reasons,
things that will change a lot,

1661
01:21:49,621 --> 01:21:53,865
you do that on a set where you have
a lot more control, a little more time.

1662
01:21:55,043 --> 01:21:57,876
And here's another Stabileye camera move.

1663
01:21:57,962 --> 01:21:59,703
Just these elegant moves.

1664
01:21:59,797 --> 01:22:02,505
And what I like about
the Stabileye versus the Steadicam,

1665
01:22:02,592 --> 01:22:04,208
it's not as precise.

1666
01:22:04,302 --> 01:22:06,339
-There's a little bit of float in it.
-Exactly.

1667
01:22:06,429 --> 01:22:09,012
It creates a slightly odd background.

1668
01:22:09,098 --> 01:22:11,089
You feel a background shift
throughout the shot.

1669
01:22:11,184 --> 01:22:13,221
It's a little bit of instability.

1670
01:22:13,311 --> 01:22:16,849
Here we are with more sleight of hand.
All of this stuff done practically.

1671
01:22:17,732 --> 01:22:20,895
And finding ways to line up these shots.
That's a hard shot.

1672
01:22:20,985 --> 01:22:24,478
Also keep to keep everyone alive in
the scene, and when do you cut to Gabriel,

1673
01:22:24,572 --> 01:22:27,109
and how long can you be away
from this or that,

1674
01:22:27,200 --> 01:22:28,907
and how to get through this quickly.

1675
01:22:28,993 --> 01:22:32,827
You know, you reach a point in the long
movie where you're going through,

1676
01:22:32,914 --> 01:22:37,454
trying to take every single tiny moment
of air out of a film.

1677
01:22:37,543 --> 01:22:44,040
And air is where you can feel
the audience is given a tiny beat of time

1678
01:22:44,133 --> 01:22:46,875
for their attention to drift
ever so slightly,

1679
01:22:46,969 --> 01:22:50,337
and so we're constantly compressing
and compressing and compressing.

1680
01:22:50,431 --> 01:22:54,720
And at the same time, doing everything
we can to avoid being "cutty."

1681
01:22:54,811 --> 01:22:55,892
Always.

1682
01:22:55,978 --> 01:22:58,845
And we feel ourselves saying,
"We've overcooked it here."

1683
01:22:58,940 --> 01:23:03,025
And quite often, we will over-tighten
the scene and put air back in,

1684
01:23:03,111 --> 01:23:06,229
but then we know
that it's as tight as a drum.

1685
01:23:06,322 --> 01:23:09,531
-This was terrific behavior...
-Again, Tarzan and Shea,

1686
01:23:09,617 --> 01:23:10,982
they are just--

1687
01:23:11,077 --> 01:23:13,034
They were an effortless double act.

1688
01:23:13,121 --> 01:23:15,408
They required very, very little.

1689
01:23:16,541 --> 01:23:18,999
They had fantastic behavior.

1690
01:23:19,085 --> 01:23:21,042
Here you are, you've got a few wide shots.

1691
01:23:21,129 --> 01:23:22,619
-Exactly.
-We're establishing geography.

1692
01:23:22,714 --> 01:23:24,705
The Widow's started talking already,

1693
01:23:24,799 --> 01:23:27,461
and we're just trying
to get through the scene.

1694
01:23:27,552 --> 01:23:28,713
We're compressing time,

1695
01:23:28,803 --> 01:23:33,718
we're folding images on top of one another
to get to this moment where she's talking.

1696
01:23:33,808 --> 01:23:39,770
So, one of the things that you talk to me
about, Chris, is the intimacy of a lens.

1697
01:23:39,856 --> 01:23:42,723
Like the longer the lens is, the more
intimate you are with the character.

1698
01:23:42,817 --> 01:23:45,354
Well, yes,
the higher the number on the lens,

1699
01:23:45,445 --> 01:23:49,439
the more intimacy that lens contains,
as a general rule of thumb.

1700
01:23:49,532 --> 01:23:52,866
Yeah, and you kind of really
leaned into it with a scene like this,

1701
01:23:52,952 --> 01:23:55,284
where, I mean,
there are no wide shots in this

1702
01:23:55,371 --> 01:23:56,861
and there were at the beginning,

1703
01:23:56,956 --> 01:23:58,867
-but now it's all common geography.
-There's pressure.

1704
01:23:58,958 --> 01:24:03,077
And whenever we would try to go wider,
the pressure would just dissolve.

1705
01:24:03,171 --> 01:24:04,787
You were no longer connected
to the characters.

1706
01:24:04,881 --> 01:24:06,872
-You were outside of the scene.
-Correct.

1707
01:24:06,966 --> 01:24:11,176
And I always imagine the camera
to be the audience.

1708
01:24:12,138 --> 01:24:14,800
The audience is an invisible presence
in the scene.

1709
01:24:14,891 --> 01:24:17,349
You're a ghost watching the scene.

1710
01:24:17,435 --> 01:24:21,178
And that's why it's always so disturbing
when an actor looks right at the lens.

1711
01:24:21,272 --> 01:24:23,388
You've sort of suddenly been caught out.

1712
01:24:24,233 --> 01:24:26,975
Looking at the common geography there,
when you're on a profile of the Widow,

1713
01:24:27,069 --> 01:24:28,730
-you see Ilsa.
-Well, that's just it.

1714
01:24:28,821 --> 01:24:31,233
It was constantly keeping you
aware of where people were

1715
01:24:31,324 --> 01:24:33,691
-in relation to one another.
-Correct.

1716
01:24:33,785 --> 01:24:37,574
And it was decided very early on to put
Gabriel at the center of this scene.

1717
01:24:37,663 --> 01:24:40,496
Now, this is where we leaned into
the sound design and the score,

1718
01:24:40,583 --> 01:24:45,168
but you really hear James Mather's
malfunctioning Sonos soundbar here.

1719
01:24:45,254 --> 01:24:48,337
And he had recorded it on his phone
and he played it to us,

1720
01:24:48,424 --> 01:24:49,960
and he just said, "How about this?"

1721
01:24:50,051 --> 01:24:52,964
And we leaned into it.
He had recorded about five minutes of it.

1722
01:24:53,054 --> 01:24:56,263
And there was a point
where he was playing bits of Fallout

1723
01:24:56,349 --> 01:25:00,343
through his soundbar and recording it,
but it's so distorted, you can't tell.

1724
01:25:00,436 --> 01:25:05,146
With the phenomenal
camera operating of Chunky.

1725
01:25:05,233 --> 01:25:07,520
And the timing of that lens flare
and everything.

1726
01:25:08,945 --> 01:25:13,030
So we really found the sonic identity
of the Entity at that point,

1727
01:25:13,115 --> 01:25:16,483
which was, again, very late in the day
in our sound mix.

1728
01:25:16,577 --> 01:25:19,740
And one of the sensational things
that's happening in the story,

1729
01:25:19,831 --> 01:25:22,619
these graphics that are playing
on the screen,

1730
01:25:22,708 --> 01:25:26,042
there are many times
when you feel them sync with the dialogue.

1731
01:25:26,128 --> 01:25:28,039
-Extraordinary.
-It's all coincidental.

1732
01:25:28,130 --> 01:25:29,791
It's all so--

1733
01:25:29,882 --> 01:25:34,251
It's all just kind of the magic
of being there and being in the moment,

1734
01:25:34,345 --> 01:25:38,134
and the actors are just playing and the--

1735
01:25:38,224 --> 01:25:40,215
Watch this. "Keep the key."

1736
01:25:40,309 --> 01:25:42,266
When she says, "Keep the key,"
that's like the--

1737
01:25:42,353 --> 01:25:43,684
Yeah, all the lights.

1738
01:25:43,771 --> 01:25:45,978
The lights go off with her. You can feel--

1739
01:25:46,065 --> 01:25:48,523
It's this almost oddly synchronous--

1740
01:25:48,609 --> 01:25:50,691
All of these little moments
that are happening,

1741
01:25:51,195 --> 01:25:54,529
and as a result,
that's why we chose some of those takes.

1742
01:25:54,615 --> 01:26:00,907
But in many cases, the best take happened
to have the right vibe going on behind it.

1743
01:26:00,997 --> 01:26:04,535
There was something ethereal
happening in this scene

1744
01:26:04,625 --> 01:26:06,866
beyond anything we had really anticipated.

1745
01:26:06,961 --> 01:26:08,497
These are--

1746
01:26:08,588 --> 01:26:13,298
When you're an editor and you read
the pages for a scene like this,

1747
01:26:13,384 --> 01:26:16,251
you are SO anxious

1748
01:26:16,345 --> 01:26:22,182
about how to keep the scene vibrant
and dynamic and alive.

1749
01:26:22,268 --> 01:26:26,057
And, you know, when I saw
these dailies coming in, it was--

1750
01:26:26,147 --> 01:26:27,763
I mean, everything is just so well--

1751
01:26:27,857 --> 01:26:30,019
You've got actors, like,
firing on all cylinders

1752
01:26:30,109 --> 01:26:35,070
but the compositions and the lighting
and the dynamic choice of angles,

1753
01:26:35,156 --> 01:26:38,990
it's just a joy
to put this stuff together.

1754
01:26:39,076 --> 01:26:41,113
And, you know, we work on it for days.

1755
01:26:41,203 --> 01:26:44,867
I mean, this scene
took us several days to put together,

1756
01:26:44,957 --> 01:26:50,327
and then we refined it in the weeks
and months that followed many, many times

1757
01:26:50,421 --> 01:26:53,539
to get the tonal shifts right

1758
01:26:53,633 --> 01:26:56,466
and each little beat
with each character correct.

1759
01:26:57,345 --> 01:27:00,463
-It was painstaking. It really was.
-Yeah.

1760
01:27:00,556 --> 01:27:02,547
And who to be on and when.

1761
01:27:02,642 --> 01:27:04,724
We rearranged the dialogue many times.

1762
01:27:04,810 --> 01:27:05,800
Endlessly.

1763
01:27:05,895 --> 01:27:08,227
And it really did evolve

1764
01:27:08,314 --> 01:27:13,229
throughout the course
of the entire editing of the film.

1765
01:27:13,319 --> 01:27:16,562
We went back to this scene many times.
Never satisfied.

1766
01:27:16,656 --> 01:27:18,272
Tom had phenomenal notes on this scene.

1767
01:27:18,366 --> 01:27:20,027
He had a phenomenal sense of--

1768
01:27:22,662 --> 01:27:24,653
Of presence in the scene

1769
01:27:24,747 --> 01:27:28,706
and feeling connected
to the protagonist in the scene.

1770
01:27:29,752 --> 01:27:31,208
So it's such a juggling act.

1771
01:27:31,295 --> 01:27:35,755
You have so many characters
you have to create presence for,

1772
01:27:35,841 --> 01:27:39,334
but you can never lose
whose point of view the scene is,

1773
01:27:39,428 --> 01:27:42,136
and point of view is something
we haven't really talked about.

1774
01:27:42,223 --> 01:27:46,512
Yeah, it's something which we lean into.

1775
01:27:46,602 --> 01:27:49,970
I mean, obviously,
protagonist-driven films like this,

1776
01:27:50,064 --> 01:27:51,771
where Ethan is--

1777
01:27:51,857 --> 01:27:54,599
We're in his point of view
almost all the time

1778
01:27:54,694 --> 01:27:58,062
whenever we're with the characters.

1779
01:27:58,155 --> 01:28:00,692
It's the same with Maverick
in <I>Top Gun: Maverick.</I>

1780
01:28:00,783 --> 01:28:03,241
You know, you rarely leave
his point of view.

1781
01:28:03,911 --> 01:28:08,075
So you're experiencing the emotions
of the scene through the character.

1782
01:28:09,458 --> 01:28:11,540
And point of view is a very--

1783
01:28:12,878 --> 01:28:16,246
It's a simple and yet very complex thing...

1784
01:28:18,676 --> 01:28:19,916
to identify.

1785
01:28:20,011 --> 01:28:22,127
And, again, a lot of it
has to do with blocking,

1786
01:28:22,221 --> 01:28:25,134
a lot of it has to do with editing
and the structuring of the scene,

1787
01:28:25,224 --> 01:28:28,512
but always remembering
whose point of view you're in

1788
01:28:28,602 --> 01:28:29,933
and how quickly you can lose it,

1789
01:28:30,021 --> 01:28:32,729
how quickly you can step out
of a character's point of view,

1790
01:28:32,815 --> 01:28:34,852
often unconsciously.

1791
01:28:34,942 --> 01:28:38,810
And Tom was very good
at coming in at key moments

1792
01:28:38,904 --> 01:28:40,486
and looking at it and just saying,

1793
01:28:40,573 --> 01:28:43,531
"I've lost the point of view
of this scene.”

1794
01:28:43,617 --> 01:28:46,951
He's also the only actor
I've ever worked with

1795
01:28:47,038 --> 01:28:48,745
who says, "Don't cut to me there."

1796
01:28:48,831 --> 01:28:50,071
Yes. Yes, yes.

1797
01:28:50,166 --> 01:28:52,749
So it's not to say that he's coming in
and going, "Cut to Ethan."

1798
01:28:52,835 --> 01:28:55,702
He's just very astute at understanding

1799
01:28:55,796 --> 01:28:59,460
when to reconnect the audience
to the protagonist.

1800
01:28:59,550 --> 01:29:03,259
And that is the challenge of these movies.

1801
01:29:03,345 --> 01:29:08,340
They are protagonist-driven movies,
but with these large ensemble casts,

1802
01:29:08,434 --> 01:29:10,675
and you can never lose that point of view.

1803
01:29:12,646 --> 01:29:16,435
And here's the fabulous Pom Klementieff.

1804
01:29:16,525 --> 01:29:18,311
Which is her second line in the movie.

1805
01:29:18,402 --> 01:29:20,609
I know the speaking French
was something you discovered.

1806
01:29:20,696 --> 01:29:23,438
- I remember watching her screen test...
-Yes.

1807
01:29:23,532 --> 01:29:25,739
...and the moment she spoke French--

1808
01:29:25,826 --> 01:29:27,908
Was she slightly off-camera
when she did that?

1809
01:29:28,788 --> 01:29:33,498
No, I was off-set,
and I was over by the monitor.

1810
01:29:34,710 --> 01:29:38,999
And she mentioned, casually,
as she was running lines with Tom,

1811
01:29:39,090 --> 01:29:41,172
that English wasn't her first language.

1812
01:29:41,717 --> 01:29:43,754
I said,
"Wait, what's your first language?"

1813
01:29:43,844 --> 01:29:45,630
-She said, "French."
-Yeah.

1814
01:29:45,721 --> 01:29:49,464
And Tom, who was on the set,
just said, "McQ,"

1815
01:29:49,558 --> 01:29:51,549
and I said, "I'm way ahead of you."

1816
01:29:51,644 --> 01:29:54,432
I said, "Pom, just throw out
all your dialogue. Just speak”--

1817
01:29:54,522 --> 01:29:56,889
-This is sensational.
-Look at Vanessa here.

1818
01:29:56,982 --> 01:30:01,271
Vanessa, her performance in this movie,
I can't get enough of it.

1819
01:30:01,362 --> 01:30:03,694
She gave us
such an embarrassment of riches,

1820
01:30:03,781 --> 01:30:06,239
and it's really been sensational
watching her.

1821
01:30:06,325 --> 01:30:08,316
She's extremely humble about it as well.

1822
01:30:08,410 --> 01:30:09,866
Yes, she really is.

1823
01:30:09,954 --> 01:30:15,575
But she has such, such command,
and is a lovely person to boot.

1824
01:30:16,961 --> 01:30:18,952
This, all of this stuff kicking off,

1825
01:30:19,588 --> 01:30:23,081
all of this coverage,
very, very challenging, very little time.

1826
01:30:23,175 --> 01:30:25,712
And designing all this fight sequence,

1827
01:30:25,803 --> 01:30:28,761
and then you remember how we were
struggling to cut this stuff together

1828
01:30:28,848 --> 01:30:32,386
and get this shot in the story
to see her leaving.

1829
01:30:32,476 --> 01:30:34,342
It was extremely, extremely challenging.

1830
01:30:34,436 --> 01:30:36,427
And you were telling me,
"I can't get it in there."

1831
01:30:36,522 --> 01:30:38,138
I said, " Doesn't matter.
We have to get it in."

1832
01:30:38,232 --> 01:30:39,313
Yeah, yeah.

1833
01:30:40,568 --> 01:30:42,104
Again, a little more sleight of hand.

1834
01:30:42,194 --> 01:30:45,312
This is amazing sleight of hand here,
again, all in camera.

1835
01:30:45,406 --> 01:30:49,195
This shot coming up now, where the key
disappears, all in camera. It's so good.

1836
01:30:49,285 --> 01:30:52,778
And again, her performance,
the subtleties in her expressions.

1837
01:30:52,872 --> 01:30:56,706
There's ten emotions happening
in that moment.

1838
01:30:56,792 --> 01:31:01,502
And now we're into, again, another
significantly challenging sequence,

1839
01:31:01,589 --> 01:31:04,456
which is the foot chase in Venice.

1840
01:31:05,718 --> 01:31:07,755
There are no easy sequences in this movie.

1841
01:31:07,845 --> 01:31:10,758
-No, I would say there are no easy shots.
-No. Exactly.

1842
01:31:10,848 --> 01:31:12,930
Again, all of this shot
at the height of COVID.

1843
01:31:13,017 --> 01:31:15,930
All the dancers were in one pod,
all the extras were in another.

1844
01:31:18,564 --> 01:31:21,272
There's our little nod to Michael Curtiz.

1845
01:31:21,358 --> 01:31:27,149
I saw, when Hayley walked by that light
the first time, she cast a little shadow,

1846
01:31:27,239 --> 01:31:30,732
and so we moved the light to give her
much more of a dramatic shadow.

1847
01:31:30,826 --> 01:31:32,362
Thing we found on the day.

1848
01:31:32,453 --> 01:31:35,571
This was a fight scene we developed
the night before.

1849
01:31:36,582 --> 01:31:38,164
This is all done--

1850
01:31:38,250 --> 01:31:42,244
When we found this location
and started to find the--

1851
01:31:45,090 --> 01:31:48,799
The scale of this location and what
we could do there in the time we had.

1852
01:31:48,886 --> 01:31:50,593
Because we shot the courtyard so quickly,

1853
01:31:50,679 --> 01:31:53,171
we bought ourselves the time
to shoot this,

1854
01:31:53,265 --> 01:31:57,099
and the actors did
a phenomenal, phenomenal job.

1855
01:31:57,186 --> 01:32:01,976
But this was all developed
in the days before we shot it.

1856
01:32:04,235 --> 01:32:06,602
This music cue, by the way, this was a--

1857
01:32:06,695 --> 01:32:08,481
This was a slam dunk from Lorne.

1858
01:32:08,572 --> 01:32:11,064
Yeah, this was one
that was presented to us,

1859
01:32:11,158 --> 01:32:13,991
and when we dropped it
on the scene the first time, it was just--

1860
01:32:14,078 --> 01:32:15,443
We edit without music.

1861
01:32:15,537 --> 01:32:21,032
Yeah, and the way Lorne works is he will
write suites of music not to picture.

1862
01:32:21,126 --> 01:32:24,960
Just he'll get a vibe from some
of the dailies that he might have seen

1863
01:32:25,047 --> 01:32:26,663
or with conversations with Chris

1864
01:32:26,757 --> 01:32:28,919
and then write, like,
an eight-minute suite,

1865
01:32:29,009 --> 01:32:30,499
and then we'll build--

1866
01:32:30,594 --> 01:32:34,679
We'll dive into the suites after
we've cut the scene and see what lands.

1867
01:32:34,765 --> 01:32:36,005
But this was always--

1868
01:32:36,100 --> 01:32:38,432
And because we don't cut with--

1869
01:32:38,519 --> 01:32:40,601
- I got to talk about Raffaella.
-Go ahead. Yes.

1870
01:32:40,688 --> 01:32:43,100
This is Raffaella Giovannetti.

1871
01:32:44,275 --> 01:32:46,642
I asked her to shape a few candles

1872
01:32:46,735 --> 01:32:51,775
just to create the sense of direction
going down this corridor,

1873
01:32:51,865 --> 01:32:55,108
and the next night when I got there,
she, in Venice,

1874
01:32:55,202 --> 01:32:56,863
had managed to get more candles.

1875
01:32:56,954 --> 01:32:58,820
- I know.
-I don't know how she got them overnight.

1876
01:32:58,914 --> 01:33:01,451
-She's an amazing set decorator.
-I never asked for that whole thing.

1877
01:33:01,542 --> 01:33:05,160
Actually, the voice of the police radio
in Italy is Raffaella's voice,

1878
01:33:05,254 --> 01:33:06,995
'cause she's Italian.

1879
01:33:07,089 --> 01:33:10,582
And I spent the next several years
talking about Raffaella's candles.

1880
01:33:10,676 --> 01:33:13,589
Look at the projections on the wall there.
I think they're just stunning.

1881
01:33:13,679 --> 01:33:15,920
Gary Freeman, again, designing--

1882
01:33:16,015 --> 01:33:19,553
He did a phenomenal job of finding
the designers for those graphics.

1883
01:33:19,643 --> 01:33:20,849
There's a Stabileye shot.

1884
01:33:20,936 --> 01:33:23,724
These are really, really challenging,
running in Venice.

1885
01:33:23,814 --> 01:33:26,397
- I love this.
-You can't have vehicles in Venice,

1886
01:33:26,483 --> 01:33:29,692
so everything you're seeing
is being operated by hand

1887
01:33:29,778 --> 01:33:32,065
by Ross Sheppard and Chunky Richmond.

1888
01:33:32,156 --> 01:33:36,115
Ross is carrying the Stabileye.
Chunky is operating the wheels.

1889
01:33:36,201 --> 01:33:40,570
And, of course, you're shooting
in these tight alleys with an entire crew,

1890
01:33:40,664 --> 01:33:43,406
hundreds of people, during COVID.

1891
01:33:43,500 --> 01:33:45,457
It was really, really challenging.

1892
01:33:45,544 --> 01:33:47,455
And all the little source lights there
you've added.

1893
01:33:48,047 --> 01:33:48,912
Yes.

1894
01:33:49,006 --> 01:33:51,293
Well, the interesting thing about Venice,

1895
01:33:51,383 --> 01:33:54,171
if you try to shoot in Venice
with practical light,

1896
01:33:54,261 --> 01:33:56,252
it looks like a set.

1897
01:33:56,347 --> 01:33:59,009
-Yeah.
-It's lit very expressly.

1898
01:33:59,099 --> 01:34:04,139
And so all of the source lights you're
seeing in this sequence were brought in,

1899
01:34:04,229 --> 01:34:05,390
carried in by hand,

1900
01:34:05,481 --> 01:34:08,098
and they were all there
to create backlight,

1901
01:34:08,192 --> 01:34:10,524
to get rid of the sort of--

1902
01:34:10,611 --> 01:34:14,354
Everything looks a little bit like
Disney World because it's all top lit.

1903
01:34:14,448 --> 01:34:17,190
It's just-- There is no mystery,
there's no shadow,

1904
01:34:17,284 --> 01:34:19,116
and we had to create all of that.

1905
01:34:19,870 --> 01:34:21,452
Which, when you're in Venice,

1906
01:34:21,538 --> 01:34:25,076
everything has to be carried
to set by hand, brought in by boat.

1907
01:34:25,834 --> 01:34:30,294
Setting up your power is very difficult
because you need to have a nearby square.

1908
01:34:30,381 --> 01:34:36,923
Every single location was dictated by
its proximity to our ability to add power.

1909
01:34:38,138 --> 01:34:40,254
Martin Smith's lighting,
even in this boat--

1910
01:34:40,891 --> 01:34:42,677
His choice to add these tubes

1911
01:34:42,768 --> 01:34:45,055
and just to give everything
a sense of light.

1912
01:34:45,145 --> 01:34:50,060
And then this we shot back on a set
much, much later

1913
01:34:50,901 --> 01:34:52,187
so we would have control,

1914
01:34:52,277 --> 01:34:54,644
and the thought was, because we had walls,

1915
01:34:54,738 --> 01:34:56,854
we'd be able to cut holes
to get the camera in,

1916
01:34:56,949 --> 01:35:01,068
and we discovered you don't need to.

1917
01:35:01,161 --> 01:35:02,242
Yeah. This--

1918
01:35:02,329 --> 01:35:04,616
The way this was all intercut
was quite a challenge...

1919
01:35:04,706 --> 01:35:06,037
And very late.

1920
01:35:06,125 --> 01:35:11,791
...because we wanted both fights
to kind of kick off at the same time.

1921
01:35:11,880 --> 01:35:15,589
And so, originally, we had a version
where Ethan started first,

1922
01:35:15,676 --> 01:35:19,510
and then we cut to Hayley and she--
or Grace, I should say, and then--

1923
01:35:19,596 --> 01:35:26,059
But this way,
we get to find an elegant build

1924
01:35:26,145 --> 01:35:28,682
so that you're with Ethan
and you're seeing his predicament,

1925
01:35:28,772 --> 01:35:31,139
and you're with Grace
and you're seeing her predicament.

1926
01:35:32,192 --> 01:35:35,935
Pom had the best time filming this.
I mean, she worked insanely hard.

1927
01:35:37,197 --> 01:35:39,154
-She did.
-But then the music cue.

1928
01:35:39,241 --> 01:35:40,652
You get that, "So be it,"

1929
01:35:40,742 --> 01:35:43,279
and then the music cue starts here,
and we're off with the fight.

1930
01:35:43,370 --> 01:35:44,610
And we're off again.

1931
01:35:44,705 --> 01:35:50,041
And again, another sensational cue
which was a lot--

1932
01:35:50,127 --> 01:35:51,242
It was a real challenge.

1933
01:35:51,336 --> 01:35:56,831
And this is Gabriel's theme,
essentially, that came--

1934
01:35:56,925 --> 01:35:59,838
A variation of it--
that came in very late.

1935
01:35:59,928 --> 01:36:02,966
What you're seeing here is the camera
operating of Chunky Richmond

1936
01:36:03,056 --> 01:36:06,469
in sync with the unbelievable physicality
of the actors.

1937
01:36:06,560 --> 01:36:09,848
-It's all very, very physically punishing.
-It's really difficult.

1938
01:36:09,938 --> 01:36:11,770
But you can see the camera Chunky's using,

1939
01:36:11,857 --> 01:36:15,270
which is a Rialto,
a very small handheld unit,

1940
01:36:16,278 --> 01:36:18,861
which creates a real energy.

1941
01:36:19,740 --> 01:36:22,903
Whereas here,
we're being much more presentational.

1942
01:36:22,993 --> 01:36:24,449
It's a different kind of energy.

1943
01:36:24,536 --> 01:36:28,404
It's also a different stage
of the shooting of the movie.

1944
01:36:28,499 --> 01:36:31,241
And so you can see our visual style

1945
01:36:31,335 --> 01:36:36,671
and our understanding
of the equipment we're using is evolving.

1946
01:36:36,757 --> 01:36:40,921
We're being very particular
as to when to use certain cameras

1947
01:36:41,011 --> 01:36:44,049
and communicate certain energies.

1948
01:36:45,641 --> 01:36:47,348
This was something I was excited about,

1949
01:36:47,434 --> 01:36:50,893
the notion of bringing in a sword fight
into all the different--

1950
01:36:51,855 --> 01:36:54,517
Bringing in deserts and horses and swords.

1951
01:36:54,608 --> 01:36:58,476
It was all these things
which are the iconography of adventure.

1952
01:36:59,404 --> 01:37:03,193
They all subtly kind of bring
in that sense of adventure,

1953
01:37:03,283 --> 01:37:04,739
even Hayley's costume.

1954
01:37:05,369 --> 01:37:10,660
The wardrobe she's wearing
has a slightly pirate feel to it.

1955
01:37:10,749 --> 01:37:12,990
Same with Rebecca.

1956
01:37:13,085 --> 01:37:15,201
God, I remember
when you were shooting this

1957
01:37:15,295 --> 01:37:18,162
and how dynamic
all these different moves were,

1958
01:37:18,257 --> 01:37:20,840
and these moments with Pom.

1959
01:37:20,926 --> 01:37:23,384
And the intercutting
that we then had to do.

1960
01:37:23,470 --> 01:37:25,711
And also, I feel for Hayley

1961
01:37:25,806 --> 01:37:29,094
because the fight with Gabriel
was originally quite a bit longer,

1962
01:37:29,184 --> 01:37:31,676
and we cut it down to the bones,

1963
01:37:31,770 --> 01:37:34,853
because you're focused more on Ethan.

1964
01:37:34,940 --> 01:37:36,726
Well, it just-- You felt--

1965
01:37:37,442 --> 01:37:39,604
You've just felt an imbalance.

1966
01:37:39,695 --> 01:37:43,108
This was a very challenging scene
to create the balance

1967
01:37:43,198 --> 01:37:45,439
-between the three fights...
-Correct.

1968
01:37:45,534 --> 01:37:46,569
...that are happening.

1969
01:37:46,660 --> 01:37:49,869
We tried this endless different ways,

1970
01:37:49,955 --> 01:37:53,914
intercutting it so many different ways
before we landed on this version of--

1971
01:37:54,835 --> 01:37:56,417
Yes. And it also--

1972
01:37:56,503 --> 01:38:00,588
The really important thing
for us is Grace had to have--

1973
01:38:01,174 --> 01:38:05,008
She had to have ability,
but she doesn't have honed skills.

1974
01:38:05,095 --> 01:38:05,926
Yes.

1975
01:38:06,013 --> 01:38:08,721
What you're doing is you're seeing
the development of a character

1976
01:38:08,807 --> 01:38:12,971
over the course of these two movies
and she enters into it as raw material,

1977
01:38:13,061 --> 01:38:16,645
and so you had to give her space to grow.

1978
01:38:17,816 --> 01:38:21,354
That was shot much, much later
on a green screen, you remember?

1979
01:38:21,445 --> 01:38:23,903
-Yes, "I hoped it would be you." Yeah.
-Yeah.

1980
01:38:24,781 --> 01:38:27,068
All of that. And then this--

1981
01:38:27,159 --> 01:38:28,900
This we had, I think--

1982
01:38:28,994 --> 01:38:33,204
I seem to remember
we only had one night to shoot--

1983
01:38:34,041 --> 01:38:38,285
To shoot all of the coverage
of their fight with the two of them.

1984
01:38:38,378 --> 01:38:40,585
This was really,
really challenging stuff to do.

1985
01:38:41,298 --> 01:38:43,130
Lots of rehearsal went into it.

1986
01:38:44,134 --> 01:38:46,501
And Tom's running. When to cut to Tom.

1987
01:38:47,679 --> 01:38:48,965
And again, that's point of view.

1988
01:38:49,056 --> 01:38:52,424
Keeping that character in there,
keeping that point of view alive.

1989
01:38:54,770 --> 01:38:55,885
This is a drone.

1990
01:38:55,979 --> 01:39:01,145
It was the only kind of camera you could
use that was a vehicle was a drone.

1991
01:39:01,234 --> 01:39:05,319
We used it very sparingly in Venice.

1992
01:39:05,405 --> 01:39:08,067
And you can also see
all the backlight we put in.

1993
01:39:08,158 --> 01:39:11,617
And all the atmosphere,
all that fog you're seeing, that's ours.

1994
01:39:11,703 --> 01:39:17,073
We brought it in and pumped in tons
of this water-based mist.

1995
01:39:19,461 --> 01:39:21,202
And the knife changed. Do you remember?

1996
01:39:21,296 --> 01:39:22,878
Yes, that's right.

1997
01:39:23,799 --> 01:39:27,918
I mean, some of you may have picked up
on the fact that the knife here is the one

1998
01:39:28,011 --> 01:39:31,379
that Gabriel puts down
on the table in the nightclub,

1999
01:39:31,473 --> 01:39:35,842
which Grace then picks up and then uses
to fight Gabriel on the bridge.

2000
01:39:35,936 --> 01:39:38,177
The journey of the knife
and the journey of Pom's sword.

2001
01:39:38,271 --> 01:39:39,682
Yes, exactly.

2002
01:39:39,773 --> 01:39:44,392
Pom's sword is the one that
she shows the Widow earlier in the film.

2003
01:39:44,486 --> 01:39:47,319
This was a shot, Tom said,
"You know what, just in case,

2004
01:39:47,406 --> 01:39:50,023
let's just get this. Just get this shot.”

2005
01:39:50,117 --> 01:39:54,657
We were getting ready to go, and he--
and we just had a little time left.

2006
01:39:54,746 --> 01:39:56,532
We were getting really close
to the end of the day,

2007
01:39:56,623 --> 01:39:58,990
and he goes, "I just have a feeling.
Let's just get this shot.”

2008
01:39:59,084 --> 01:40:03,499
We really hadn't settled
on how we were gonna play this reveal.

2009
01:40:05,090 --> 01:40:09,675
And we also were dealing with the fact
that there were paparazzi watching us,

2010
01:40:09,761 --> 01:40:12,253
and some of it we couldn't
shoot on location

2011
01:40:12,347 --> 01:40:14,805
because we didn't want
to give any of this away,

2012
01:40:14,891 --> 01:40:18,600
so it created a lot
of technical challenges for us.

2013
01:40:18,687 --> 01:40:21,600
We shot this a long time later
on the stage.

2014
01:40:24,025 --> 01:40:25,356
And we actually had to--

2015
01:40:25,444 --> 01:40:27,776
You remember,
we had to digitally remove her pulse.

2016
01:40:27,863 --> 01:40:30,355
-You could see her pulse on her neck.
-I remember, in her neck.

2017
01:40:32,451 --> 01:40:34,067
She's doing a phenomenal job, by the way.

2018
01:40:34,161 --> 01:40:35,868
You can't see her eyes moving.

2019
01:40:35,954 --> 01:40:38,946
This was also another music cue

2020
01:40:39,040 --> 01:40:42,999
which was so difficult
to get the balance right

2021
01:40:43,086 --> 01:40:45,453
and yet works so well.

2022
01:40:45,547 --> 01:40:49,415
And it's the same cue that's playing
when they're in the gondola.

2023
01:40:49,509 --> 01:40:51,295
And it's something I love about...

2024
01:40:53,805 --> 01:40:55,967
When you can take a piece of music

2025
01:40:56,057 --> 01:40:59,971
and it can actually convey
two completely separate emotions.

2026
01:41:00,061 --> 01:41:04,476
It's very romantic and then suddenly
very tragic with very little variation.

2027
01:41:04,566 --> 01:41:06,557
And one of the reasons that that works--

2028
01:41:06,651 --> 01:41:10,485
Again, here, sensational camera operating
by Chunky Richmond.

2029
01:41:11,156 --> 01:41:12,738
This was shot at like 4:00 a.m.

2030
01:41:12,824 --> 01:41:14,110
This was shot, yeah,

2031
01:41:14,201 --> 01:41:16,693
-like 5:00 a.m. the following morning.
-At sunup.

2032
01:41:16,787 --> 01:41:20,655
But one of the things
I love about the music is that,

2033
01:41:20,749 --> 01:41:23,867
-because we cut with no temp...
-Yes.

2034
01:41:23,960 --> 01:41:26,952
...the movie develops
its own internal rhythm

2035
01:41:27,047 --> 01:41:30,881
and we find ourselves very often
taking the same piece of music

2036
01:41:30,967 --> 01:41:35,586
and it lays almost cut for cut
on multiple scenes in the movie.

2037
01:41:36,556 --> 01:41:37,671
And then here we are.

2038
01:41:39,142 --> 01:41:41,224
This was kind of
a revelation to us, this scene.

2039
01:41:41,311 --> 01:41:43,643
-You remember, we started shooting this--
-I remember this.

2040
01:41:43,730 --> 01:41:46,597
We shot completely different coverage
of Hayley,

2041
01:41:47,150 --> 01:41:49,437
and the camera was front on.

2042
01:41:49,528 --> 01:41:52,270
-And her hair was down.
-And her hair was down.

2043
01:41:52,364 --> 01:41:54,275
-And nothing about it worked.
-Yeah.

2044
01:41:54,366 --> 01:41:55,948
It was the same dialogue,

2045
01:41:56,034 --> 01:41:57,945
but when we pulled her hair back,

2046
01:41:58,036 --> 01:42:02,451
and when we shot over her shoulder
and kept the audience from--

2047
01:42:02,541 --> 01:42:06,205
We had the audience
kind of peering around.

2048
01:42:06,294 --> 01:42:09,161
It created a completely different energy
or way into the scene.

2049
01:42:10,215 --> 01:42:13,333
I love Ving and her together.

2050
01:42:13,885 --> 01:42:15,796
And then this is very, very critical,

2051
01:42:15,887 --> 01:42:20,131
the recognition that this person has--

2052
01:42:20,225 --> 01:42:24,890
This person
has sacrificed their life for her,

2053
01:42:24,980 --> 01:42:26,937
and the feeling that it creates

2054
01:42:27,023 --> 01:42:32,985
that's gonna resonate
all the way into chapter two.

2055
01:42:34,739 --> 01:42:37,731
But here, we now start playing with--

2056
01:42:38,869 --> 01:42:41,031
There's gotta be a tonal shift.
It's a real challenge.

2057
01:42:41,121 --> 01:42:43,829
-We've allowed the audience...
-To mourn.

2058
01:42:43,915 --> 01:42:45,371
-...to have a moment of grief.
-Yeah.

2059
01:42:45,458 --> 01:42:47,620
And the story can't stop.

2060
01:42:47,711 --> 01:42:49,293
That's the real challenge.

2061
01:42:49,379 --> 01:42:51,586
And so you have to create all that space--

2062
01:42:51,673 --> 01:42:54,210
Tom up on the roof,
Benji's behavior there--

2063
01:42:54,301 --> 01:42:57,794
And because of who they are
and what they do,

2064
01:42:57,888 --> 01:42:59,344
they have to keep going.

2065
01:42:59,431 --> 01:43:00,921
And that was a real challenge.

2066
01:43:01,016 --> 01:43:03,303
We talked about this at length,
and of course,

2067
01:43:03,393 --> 01:43:09,514
we know that the ambition is
that these unresolved emotions,

2068
01:43:09,608 --> 01:43:13,977
they end up resonating
into the second chapter.

2069
01:43:15,488 --> 01:43:17,399
And you remember,
we compressed this scene.

2070
01:43:17,490 --> 01:43:20,232
-We had it playing much longer.
-Yeah.

2071
01:43:21,369 --> 01:43:25,158
And we started to--
We started to play with the idea--

2072
01:43:25,248 --> 01:43:27,990
We were just lingering on people too long,

2073
01:43:28,084 --> 01:43:32,544
and we started to accelerate--

2074
01:43:32,631 --> 01:43:33,837
Or, actually, not accelerate,

2075
01:43:33,924 --> 01:43:36,507
-but overlap a little bit more.
-Yeah, exactly.

2076
01:43:37,218 --> 01:43:38,834
Another great music cue here.

2077
01:43:38,929 --> 01:43:41,842
And then, I remember seeing
these dailies come in.

2078
01:43:41,932 --> 01:43:46,017
We had a completely different concept
for the reveal, and it didn't work.

2079
01:43:46,102 --> 01:43:47,388
It was absolutely terrible.

2080
01:43:47,479 --> 01:43:51,313
And we completely constructed this shot
on the day.

2081
01:43:51,399 --> 01:43:54,232
And what's amazing is this shot here,
Vanessa is actually lying--

2082
01:43:54,319 --> 01:43:56,606
Vanessa is lying there
and we just painted out her body.

2083
01:43:56,696 --> 01:43:59,108
So that's why it looks absolutely real.

2084
01:43:59,199 --> 01:44:01,691
-There's a wipe behind Benji's back.
-Yeah.

2085
01:44:01,785 --> 01:44:04,652
-And then a second one's coming.
- I love this moment of behavior here.

2086
01:44:04,746 --> 01:44:05,861
It's so human.

2087
01:44:06,414 --> 01:44:08,621
This, like, "Oh, my God, here I go.
I'm gonna do this."

2088
01:44:08,708 --> 01:44:10,540
Yes, and that's, again--

2089
01:44:10,627 --> 01:44:13,995
Those are the things that Tom
is always keenly, keenly aware of.

2090
01:44:15,340 --> 01:44:18,753
And that was one where
he was looking at it and just saying,

2091
01:44:18,843 --> 01:44:21,460
"Just take a moment.
Just take a moment, kind of show her."

2092
01:44:21,554 --> 01:44:23,761
I love the first time people see this,
they're just like,

2093
01:44:23,848 --> 01:44:26,556
"Wait a second. How-- What--
How did you do that?"

2094
01:44:26,643 --> 01:44:28,759
-"Where was the switch?"
-Yeah, "How did you do that?"

2095
01:44:28,853 --> 01:44:32,972
And again, you're looking at, you know,
Vanessa just doing such an amazing job.

2096
01:44:33,066 --> 01:44:34,306
She's so sensational,

2097
01:44:34,401 --> 01:44:39,487
and the work that we did with
visual effects to keep her eyes brown.

2098
01:44:39,572 --> 01:44:43,657
You don't see her put in contact lenses,
and we just ran with that idea.

2099
01:44:43,743 --> 01:44:46,235
We left her eyes brown
through the sequence

2100
01:44:46,329 --> 01:44:49,287
so you could see what we call
the White Widow and the Gray Widow.

2101
01:44:49,374 --> 01:44:52,287
It got too confusing
talking about Grace and the Widow.

2102
01:44:53,420 --> 01:44:58,961
And one of the amazing things,
the incredible things here, is that

2103
01:44:59,050 --> 01:45:04,261
Vanessa Kirby, who delivers such
a sensational performance, is overlooked

2104
01:45:04,347 --> 01:45:06,054
for her sensational performance,

2105
01:45:06,141 --> 01:45:08,758
because you're thinking about
another actor the entire time.

2106
01:45:08,852 --> 01:45:11,469
-It's Hayley Atwell in there.
-It's very, very generous.

2107
01:45:11,563 --> 01:45:13,895
-It's incredible.
-This is always a great payoff.

2108
01:45:13,982 --> 01:45:16,519
I remember reading this in the script
and thinking this was a terrific--

2109
01:45:16,609 --> 01:45:19,226
This was really fun,
the first time the audience saw it.

2110
01:45:19,320 --> 01:45:20,435
Yeah.

2111
01:45:20,530 --> 01:45:25,696
And again, you've managed
to transition past an emotion,

2112
01:45:25,785 --> 01:45:28,072
but Tom hangs on to it.

2113
01:45:28,163 --> 01:45:31,406
The whole idea is that Ethan
is hanging on to that emotion

2114
01:45:31,499 --> 01:45:35,458
because again,
we can't accelerate past what's happened,

2115
01:45:35,545 --> 01:45:40,335
so you're feeling an emotional transition
happening here.

2116
01:45:42,510 --> 01:45:43,500
That was another--

2117
01:45:43,595 --> 01:45:46,303
That was all originally
one move with Chunky.

2118
01:45:46,389 --> 01:45:48,005
It's really phenomenal the way Hayley

2119
01:45:48,099 --> 01:45:51,888
and Chunky particular
really worked well together.

2120
01:45:51,978 --> 01:45:53,844
They really-- They really just--

2121
01:45:53,938 --> 01:45:59,524
It's another person with whom
she is dancing in all this coverage.

2122
01:45:59,611 --> 01:46:03,605
And you'll also notice that when you cut
to Ethan throughout this scene,

2123
01:46:03,698 --> 01:46:07,783
you're cutting to him on the first part
of somebody else's line,

2124
01:46:07,869 --> 01:46:12,284
so that the person is saying
what Ethan is thinking.

2125
01:46:12,373 --> 01:46:13,613
Sometimes you're on a profile--

2126
01:46:13,708 --> 01:46:16,325
Like there, Benji's talking
and that's what Ethan's thinking.

2127
01:46:16,419 --> 01:46:19,457
And what you're feeling now is
the relationship

2128
01:46:19,547 --> 01:46:20,912
between these three characters.

2129
01:46:21,007 --> 01:46:23,339
They are all of the same mind.
That's all intentional.

2130
01:46:23,426 --> 01:46:24,712
It's all by design,

2131
01:46:24,803 --> 01:46:29,263
and it's all created to constantly create
a sense of affinity

2132
01:46:29,349 --> 01:46:32,887
without the kind of stale idea
of, you know,

2133
01:46:32,977 --> 01:46:36,720
actors just talking about their--
busting each other's chops.

2134
01:46:37,649 --> 01:46:39,640
It's creating friendship.

2135
01:46:39,734 --> 01:46:42,442
It's like, "How do you create friendship
and keep the story moving,"

2136
01:46:42,529 --> 01:46:44,691
and you do it through composition.

2137
01:46:47,033 --> 01:46:51,277
Tom here-- This was really phenomenal,
his delivery of that,

2138
01:46:51,371 --> 01:46:53,533
and Hayley's reaction, the subtlety of it.

2139
01:46:53,623 --> 01:46:56,991
First time I saw
your first assembly of this scene--

2140
01:46:57,085 --> 01:46:58,120
This always worked.

2141
01:46:58,211 --> 01:47:00,202
-This always worked, this moment.
-This killed.

2142
01:47:00,296 --> 01:47:02,333
This really, really worked.

2143
01:47:02,423 --> 01:47:06,633
It's like what she's wanted to hear
someone say to her her entire life.

2144
01:47:06,719 --> 01:47:09,757
-Yes. And how do you write that?
- I know.

2145
01:47:09,848 --> 01:47:12,590
-And the idea...
-Look at her.

2146
01:47:12,684 --> 01:47:15,426
... of understanding what that is
and communicating it,

2147
01:47:15,520 --> 01:47:19,639
and communicating it to such an extent
that she can then pull it back.

2148
01:47:20,150 --> 01:47:23,893
That is an extraordinary,
extraordinary performance.

2149
01:47:24,529 --> 01:47:26,395
All four of these actors working together,

2150
01:47:26,489 --> 01:47:30,448
really, really carrying one another
through the scene.

2151
01:47:31,202 --> 01:47:32,613
And then, here, this was--

2152
01:47:32,704 --> 01:47:34,820
Boy, this was a challenge to edit,

2153
01:47:34,914 --> 01:47:37,997
and we knew we had to get
into the third act,

2154
01:47:38,084 --> 01:47:42,078
but we also knew we had to tell
this very important story,

2155
01:47:42,172 --> 01:47:44,664
which is Luther's departure.

2156
01:47:45,508 --> 01:47:47,465
Luther has to leave the story.

2157
01:47:47,552 --> 01:47:49,168
This was twofold.

2158
01:47:49,262 --> 01:47:52,300
One, there really wasn't anything
for Luther to be doing

2159
01:47:52,932 --> 01:47:54,297
in the third act of the movie.

2160
01:47:54,976 --> 01:48:01,643
Two, there's a very important element
in chapter two that is coming,

2161
01:48:01,733 --> 01:48:06,694
and where Luther is going and where
they will find him in the second story.

2162
01:48:06,779 --> 01:48:12,866
It was important to begin creating
the threads that were setting up Part Two.

2163
01:48:12,952 --> 01:48:14,363
I love these scenes,

2164
01:48:14,454 --> 01:48:18,914
when you have the history
between these two characters resonating

2165
01:48:19,000 --> 01:48:22,209
through the decades
of watching these movies

2166
01:48:22,295 --> 01:48:25,037
and seeing the two of them together.

2167
01:48:25,131 --> 01:48:27,873
And that is both the characters
and the actors.

2168
01:48:27,967 --> 01:48:28,957
100%.

2169
01:48:29,052 --> 01:48:31,259
The idea that these are the two guys
who've been together

2170
01:48:31,346 --> 01:48:32,836
since the very first mission.

2171
01:48:32,931 --> 01:48:35,343
And here we are again, crossing the line.

2172
01:48:35,433 --> 01:48:36,889
Just look at the 75.

2173
01:48:36,976 --> 01:48:40,264
-It's 135, sorry, this one.
-I think this was a 135, yeah.

2174
01:48:40,355 --> 01:48:43,063
-It's so internal with Ethan.
-Yes.

2175
01:48:43,149 --> 01:48:45,265
And it's very rare.
We use it in this movie.

2176
01:48:45,360 --> 01:48:47,192
We used it quite a lot more in Fallout.

2177
01:48:47,695 --> 01:48:52,440
Chunky came to me
in the first Cary Elwes scene

2178
01:48:53,117 --> 01:48:57,611
and said,
"You know you wanna use this 60 mm lens."

2179
01:48:57,705 --> 01:48:58,740
I was like--

2180
01:48:58,831 --> 01:49:02,540
Robert Elswit had kind of discouraged me
from using a 60

2181
01:49:02,627 --> 01:49:06,586
for a lot of Rogue Nation,

2182
01:49:07,423 --> 01:49:10,381
and I had just developed the habit
of not using it.

2183
01:49:10,468 --> 01:49:13,881
And the 60 mil that Chunky liked
was a close-focus 60 mil,

2184
01:49:13,972 --> 01:49:15,963
so it was a slightly wider lens,

2185
01:49:16,057 --> 01:49:20,392
but it allowed you to get closer
without it being unflattering.

2186
01:49:20,478 --> 01:49:24,813
And we went from using a variety
of lenses to primarily using two.

2187
01:49:24,899 --> 01:49:28,187
We used a 40 and 60 for much of the movie.

2188
01:49:28,278 --> 01:49:30,360
This is very granular, dorky stuff.

2189
01:49:32,615 --> 01:49:35,448
But, yeah, this was--

2190
01:49:35,535 --> 01:49:38,493
Listen, you just have to imagine me
listening to this stuff

2191
01:49:38,579 --> 01:49:39,990
when I was 12 years old.

2192
01:49:40,081 --> 01:49:43,324
Listening to my DVD commentaries,
and this is where I have my film school.

2193
01:49:43,418 --> 01:49:45,455
So honestly, like, dive in and be--

2194
01:49:45,545 --> 01:49:47,331
All the dorky stuff is
what people want to hear.

2195
01:49:47,422 --> 01:49:49,208
-That's why we're here.
-I love it.

2196
01:49:49,299 --> 01:49:52,087
Okay, so I can do some dorky
editorial stuff real quick.

2197
01:49:52,176 --> 01:49:53,382
So if you want--

2198
01:49:53,469 --> 01:49:56,302
So the Sony VENICE camera shoots at 6K,

2199
01:49:56,389 --> 01:49:59,973
and in the Avid Media Composer timeline,

2200
01:50:00,059 --> 01:50:03,643
we're actually using
ultra-high-definition resolution,

2201
01:50:03,730 --> 01:50:06,062
which is 3840 by 2160.

2202
01:50:06,149 --> 01:50:09,892
And we're using an offline resolution
called Avid DNxHR LB,

2203
01:50:11,195 --> 01:50:15,280
which allows us to edit
in ultra-high-definition quality

2204
01:50:15,366 --> 01:50:20,486
and allows us to screen and create
trailers and promo reels and, you know--

2205
01:50:20,580 --> 01:50:24,574
So we're just working with, like,
phenomenal resolution

2206
01:50:24,667 --> 01:50:27,159
and color from the word "go,"
which is great.

2207
01:50:27,253 --> 01:50:32,168
And also, it means all our visual effects
come in at ultra HD and 4K,

2208
01:50:32,258 --> 01:50:35,467
and we can review them
without having to compromise.

2209
01:50:36,262 --> 01:50:37,252
Now, this was a--

2210
01:50:37,347 --> 01:50:39,304
And the reason I work
with Eddie Hamilton is

2211
01:50:39,390 --> 01:50:41,176
so I don't have to understand any of that.

2212
01:50:41,267 --> 01:50:44,885
All that nonsense. But there's people
out there who will hear it and enjoy it.

2213
01:50:44,979 --> 01:50:46,561
Now, what were you gonna say
about the train?

2214
01:50:46,647 --> 01:50:49,184
Well, this whole scene was interesting

2215
01:50:49,275 --> 01:50:52,984
because we had a different setup
for the third act.

2216
01:50:53,071 --> 01:50:54,061
Yes.

2217
01:50:54,155 --> 01:50:58,945
And we leaned into this slightly
different version

2218
01:50:59,035 --> 01:51:01,902
where Grace is forced to go on her own.

2219
01:51:02,872 --> 01:51:05,739
But that shot of her assembling the key,
by the way, was

2220
01:51:05,833 --> 01:51:08,291
one of the last shots
of principal photography.

2221
01:51:08,378 --> 01:51:09,664
Yeah.

2222
01:51:11,672 --> 01:51:14,039
And this scene, in fact, was--

2223
01:51:14,133 --> 01:51:15,669
We built this set later,

2224
01:51:15,760 --> 01:51:19,469
realizing we needed a different
transition into the third act.

2225
01:51:19,555 --> 01:51:21,512
Grace needed to join the team.

2226
01:51:21,599 --> 01:51:23,431
She was really...

2227
01:51:24,894 --> 01:51:27,352
We had a completely different construct

2228
01:51:27,438 --> 01:51:30,556
for how and why
they ended up on the train,

2229
01:51:32,276 --> 01:51:36,440
and this really brought
them together as a team.

2230
01:51:38,074 --> 01:51:41,192
And Tom was wearing a wig there,
'cause he was already in his...

2231
01:51:41,285 --> 01:51:42,775
That's right.

2232
01:51:42,870 --> 01:51:45,612
-...Part Two hairstyle.
-Yeah.

2233
01:51:45,706 --> 01:51:48,073
There are a couple of shots
throughout the movie like that.

2234
01:51:48,167 --> 01:51:50,534
This, I remember,
was one of our first days on the train.

2235
01:51:50,628 --> 01:51:53,746
And I remember walking in here
as Gary had designed the set.

2236
01:51:53,840 --> 01:51:55,877
As soon as I walked on the set, I said,

2237
01:51:55,967 --> 01:51:59,050
"My God, there's only one character
that can be in this car."

2238
01:51:59,137 --> 01:52:02,175
What's so great about that moment there
with the Widow is that

2239
01:52:02,265 --> 01:52:04,176
you think it's Grace.

2240
01:52:04,684 --> 01:52:05,674
The audience is going,

2241
01:52:05,768 --> 01:52:08,180
-"Grace is already dead."
-We hope you think it's Grace.

2242
01:52:08,271 --> 01:52:10,478
I think there's a percentage
of the audience.

2243
01:52:10,565 --> 01:52:11,646
Now, this was real.

2244
01:52:11,732 --> 01:52:13,018
This was done for real.

2245
01:52:13,109 --> 01:52:16,352
Like Pom just lost her mind
doing all these stunts

2246
01:52:16,446 --> 01:52:17,902
on the actual roof of the train.

2247
01:52:17,989 --> 01:52:22,028
She's tied on with cables
which we remove with VFX.

2248
01:52:22,118 --> 01:52:25,110
And this is completely her,
this little moment with the heart.

2249
01:52:25,204 --> 01:52:27,070
This is all Pom just doing her thing.

2250
01:52:27,165 --> 01:52:31,534
And, in fact, every actor in the movie
has some flourish,

2251
01:52:31,627 --> 01:52:35,586
some great little bit of behavior
that's entirely improvised.

2252
01:52:36,257 --> 01:52:38,999
How to get backlight in a shot?
Knock a lamp on the floor.

2253
01:52:40,553 --> 01:52:41,543
And this--

2254
01:52:41,637 --> 01:52:43,674
We should give credit to Mark Taylor,
our sound mixer,

2255
01:52:43,764 --> 01:52:48,725
for coming up with this idea
of having the Entity on this mask.

2256
01:52:48,811 --> 01:52:50,927
-Yeah, that was added in post.
-Yeah.

2257
01:52:51,022 --> 01:52:54,481
Because people were asking,
"How does he communicate?"

2258
01:52:54,567 --> 01:52:57,730
And so, Mark said--
when we were mixing the sound, he said,

2259
01:52:57,820 --> 01:52:59,902
"Maybe you should add something there."”

2260
01:52:59,989 --> 01:53:02,071
He was actually a little nervous of--

2261
01:53:02,158 --> 01:53:05,276
-Oh, yeah, this was--
-The last shot of the first phase

2262
01:53:05,369 --> 01:53:07,155
-of principal photography.
-A beautiful shot.

2263
01:53:07,246 --> 01:53:09,453
There were many phases
of principal photography.

2264
01:53:09,957 --> 01:53:12,073
Mark was worried about telling you,
and I said,

2265
01:53:12,168 --> 01:53:14,284
"No, it's a genius idea.
Go and tell Chris."

2266
01:53:14,378 --> 01:53:16,244
That's what I was so shocked by is, like,

2267
01:53:16,339 --> 01:53:18,671
how many other great ideas
were people afraid to tell me?

2268
01:53:18,758 --> 01:53:19,873
Sound mixers, you know,

2269
01:53:19,967 --> 01:53:24,086
they don't feel it's appropriate
to say that kind of stuff.

2270
01:53:24,180 --> 01:53:27,263
The Internet doesn't have any problem
telling me how to do my job.

2271
01:53:27,350 --> 01:53:29,182
Well, why shouldn't the crew?

2272
01:53:30,353 --> 01:53:33,141
You should talk about Rocky,
on the right there.

2273
01:53:33,231 --> 01:53:37,646
-Rocky is a legend in stunt movies.
-This guy driving the train, there.

2274
01:53:37,735 --> 01:53:40,853
Yeah, he was in <I>Goldfinger</I>,
for goodness' sake. Yeah.

2275
01:53:40,947 --> 01:53:44,110
Amazing. He's been around for
a million years. He's the loveliest guy.

2276
01:53:44,867 --> 01:53:45,948
Love that cut.

2277
01:53:46,035 --> 01:53:48,777
See, this was great directing, I swear.

2278
01:53:48,871 --> 01:53:53,866
This was you, coming up with this idea
of knocking the wine glass.

2279
01:53:53,960 --> 01:53:56,577
And then all these phenomenal shots
of the train.

2280
01:53:56,671 --> 01:53:59,538
- I love them.
-I love the moving Dutch.

2281
01:53:59,632 --> 01:54:02,715
-That's Chunky working with Esai.
-Yeah.

2282
01:54:02,802 --> 01:54:05,134
It was really lovely,
all of this behavior.

2283
01:54:05,221 --> 01:54:07,758
We had very little time shooting
in the locomotive.

2284
01:54:07,848 --> 01:54:11,136
These shots on the wheels
were done in Yorkshire, I remember.

2285
01:54:11,227 --> 01:54:13,343
Yeah, we never had time
to get them in Norway.

2286
01:54:13,437 --> 01:54:17,055
You had incredible luck with the weather
that one week you shot in Yorkshire.

2287
01:54:17,149 --> 01:54:19,015
We did. We shot in four days.

2288
01:54:19,110 --> 01:54:23,069
We shot everything
that we shot in Yorkshire,

2289
01:54:23,155 --> 01:54:27,991
which is the majority of Hayley
and Tom's business on the train together.

2290
01:54:28,703 --> 01:54:29,909
It's quite a lot of coverage.

2291
01:54:29,996 --> 01:54:32,533
This is for real, you know, in Norway.

2292
01:54:33,207 --> 01:54:35,824
-Yeah.
-With Tom riding the--

2293
01:54:35,918 --> 01:54:37,329
That's in Yorkshire.

2294
01:54:37,920 --> 01:54:39,786
And here's the--

2295
01:54:40,965 --> 01:54:42,547
This scene came in and out, didn't it?

2296
01:54:42,633 --> 01:54:45,295
-This whole idea of the two of them.
-It wasn't in the first cut of the film.

2297
01:54:45,386 --> 01:54:47,548
We were looking at length,
and we left it out.

2298
01:54:47,638 --> 01:54:50,926
We really debated,
with all the momentum we were creating,

2299
01:54:51,017 --> 01:54:55,056
could we stop and have a moment
with these two characters?

2300
01:54:55,146 --> 01:54:58,434
And there's two things happening here.

2301
01:54:58,524 --> 01:55:03,269
One, it's setting up the development
of these two characters

2302
01:55:03,362 --> 01:55:05,444
for where they go in the second story.

2303
01:55:05,531 --> 01:55:06,521
That's not as critical.

2304
01:55:06,616 --> 01:55:12,362
What it's really doing is it's reminding
you of the importance of the key,

2305
01:55:12,455 --> 01:55:16,824
-but also why it matters to Ethan.
-Yeah.

2306
01:55:17,793 --> 01:55:24,540
And it's really contextualizing for you
the stakes of what's to come.

2307
01:55:24,634 --> 01:55:27,843
And those are things that
you're not necessarily aware of,

2308
01:55:27,928 --> 01:55:30,761
but it's all working to create a feeling.

2309
01:55:30,848 --> 01:55:35,684
And this sequence was very, very
particular in creating the balance

2310
01:55:35,770 --> 01:55:38,979
that if you didn't get enough
of the information,

2311
01:55:39,065 --> 01:55:40,976
-the action didn't matter.
-Yep.

2312
01:55:41,067 --> 01:55:43,775
If you spent too much time
on the information,

2313
01:55:43,861 --> 01:55:45,522
the action was exhausting.

2314
01:55:45,613 --> 01:55:47,604
And it was like an accordion, this scene.

2315
01:55:48,115 --> 01:55:53,736
We kept squeezing and pulling
in different directions,

2316
01:55:53,829 --> 01:55:57,447
trying to find the right balance
of information and emotion

2317
01:55:57,541 --> 01:56:01,455
so that you had the maximum effect
at the end.

2318
01:56:01,545 --> 01:56:05,209
And that's why I recommend everybody,
when they watch this movie,

2319
01:56:05,758 --> 01:56:08,420
just let the movie take you.

2320
01:56:09,637 --> 01:56:14,848
The reason you're feeling certain things
is because of the presentation of others.

2321
01:56:14,934 --> 01:56:17,016
This is a really fun camera move

2322
01:56:18,813 --> 01:56:21,931
by virtue of the fact that a camera
could never physically do that.

2323
01:56:22,024 --> 01:56:24,641
And there's a little trickery
in that we removed one window

2324
01:56:24,735 --> 01:56:28,273
that allowed Chunky to step out of the way
and then step back in.

2325
01:56:29,198 --> 01:56:33,408
And, again, it's these shots
that don't call attention to themselves

2326
01:56:34,662 --> 01:56:36,027
and great visual effects work.

2327
01:56:36,122 --> 01:56:39,535
All those reflections on the brass,
all of that,

2328
01:56:39,625 --> 01:56:41,286
that's all green screen.

2329
01:56:41,377 --> 01:56:44,540
This is all on a set on a sound stage.

2330
01:56:44,630 --> 01:56:49,249
Phenomenal lighting
by Martin Smith and Fraser

2331
01:56:49,969 --> 01:56:52,506
that creates this very subtle,
interactive feeling.

2332
01:56:52,596 --> 01:56:54,587
It's always creating a sense of movement.

2333
01:56:55,224 --> 01:57:00,185
The train very, very much feels alive, but
again, never gets in the way of the story.

2334
01:57:00,271 --> 01:57:01,432
Sound design as well.

2335
01:57:04,316 --> 01:57:09,061
And this we shot a long time later,
the shots looking up at Vanessa,

2336
01:57:09,155 --> 01:57:12,443
when we changed--
we tweaked the story a little bit.

2337
01:57:12,533 --> 01:57:15,150
But again,
because you have these tiny, little sets,

2338
01:57:15,244 --> 01:57:19,238
you can go back and shape character,
create moments of tension and suspense.

2339
01:57:20,249 --> 01:57:24,243
And all of that is about creating reasons,
things that motivate characters.

2340
01:57:24,336 --> 01:57:27,374
So this is the best bit,
this blowing the hair.

2341
01:57:27,465 --> 01:57:30,583
-Just a fun bit--
-Exactly what she does in the Fiat.

2342
01:57:30,676 --> 01:57:32,132
Well, and it's Vanessa.

2343
01:57:32,219 --> 01:57:37,214
She's such a brilliant study
and is doing such a phenomenal job.

2344
01:57:37,308 --> 01:57:38,298
You can see her--

2345
01:57:38,392 --> 01:57:41,726
You're absolutely connected to Grace
through her performance.

2346
01:57:41,812 --> 01:57:45,430
Our director-- Sorry, sorry, sorry.

2347
01:57:45,524 --> 01:57:48,186
-Somebody will have found it by now.
-Somebody would have found it by now.

2348
01:57:48,277 --> 01:57:50,735
Okay, I won't say any more. All right.

2349
01:57:51,781 --> 01:57:55,991
This was--
God, we had so much fun with Vanessa.

2350
01:57:56,076 --> 01:58:00,411
She spent a lot of time playing with
the comedy and finding the right balance.

2351
01:58:00,498 --> 01:58:03,115
-And again, here are the brown eyes.
-Yeah.

2352
01:58:04,627 --> 01:58:05,958
This is--

2353
01:58:06,045 --> 01:58:09,754
And here's Jonathan,
the guy standing behind Henry Czerny.

2354
01:58:09,840 --> 01:58:13,504
-The bodyguard.
-He was cast as a--

2355
01:58:13,594 --> 01:58:16,586
-We needed another...
-Another bodyguard.

2356
01:58:16,680 --> 01:58:19,012
...of the Widow's henchmen.

2357
01:58:19,099 --> 01:58:22,012
And Jonathan was only supposed to be on
the movie for a day,

2358
01:58:22,520 --> 01:58:23,555
and by circumstance,

2359
01:58:23,646 --> 01:58:26,604
as the story evolved and he turned into
the guy who picked up the key,

2360
01:58:26,690 --> 01:58:28,601
he ended up working on the movie
for months.

2361
01:58:28,692 --> 01:58:32,526
-Yeah.
-It was really a lovely opportunity.

2362
01:58:33,656 --> 01:58:36,990
And all of that was shot
on a track much, much later in the UK,

2363
01:58:37,076 --> 01:58:38,942
<i>all of Benji's work in the car.</i>

2364
01:58:39,036 --> 01:58:40,026
All because of--

2365
01:58:40,120 --> 01:58:43,112
Astonishing shots done
on helicopters in Norway.

2366
01:58:43,207 --> 01:58:44,618
That was in Norway.

2367
01:58:44,708 --> 01:58:46,369
That was really great work...

2368
01:58:49,296 --> 01:58:52,004
-by Will and Phil.
-Phil.

2369
01:58:53,926 --> 01:59:00,548
Our camera operator and pilot
Will Banks and Phil Arntz.

2370
01:59:00,641 --> 01:59:01,972
-That's right.
-Really extraordinary.

2371
01:59:02,059 --> 01:59:04,801
-Collectively known as "Phwill."
-"Phwill." Yeah.

2372
01:59:04,895 --> 01:59:07,728
-An extraordinary camera team.
-Yeah.

2373
01:59:07,815 --> 01:59:11,729
-And whose real moment to sing--
-Tour de force comes in <I>Part Two</I>.

2374
01:59:11,819 --> 01:59:13,560
Their tour de force is coming in <I>Part Two</I>.

2375
01:59:13,654 --> 01:59:14,940
Amazing work in Part Two.

2376
01:59:15,030 --> 01:59:20,867
And I love this, as we see
the old Kittridge enter into the story.

2377
01:59:20,953 --> 01:59:25,538
You realize he's still Kittridge,
and he brings the heat.

2378
01:59:25,624 --> 01:59:27,535
And Henry does it so effectively.

2379
01:59:27,626 --> 01:59:31,369
Henry and Vanessa together,
working with them together--

2380
01:59:31,463 --> 01:59:33,420
They had such an affinity for one another.

2381
01:59:33,507 --> 01:59:36,044
They were really enjoying
working together.

2382
01:59:36,135 --> 01:59:37,921
And you can feel it in this scene,

2383
01:59:38,012 --> 01:59:42,222
as the actors are really playing together
and exploring and finding--

2384
01:59:42,808 --> 01:59:46,972
You know, Vanessa mixing up her--

2385
01:59:47,062 --> 01:59:50,930
-Her pronouns of "she" and "I."
-Yes, yes.

2386
01:59:51,025 --> 01:59:52,982
That was the one wide shot
in the scene as well.

2387
01:59:53,068 --> 01:59:54,979
Yep. And the only one that was necessary.

2388
01:59:55,070 --> 01:59:56,060
There you go.

2389
01:59:56,155 --> 01:59:59,318
Again, when you jumped out to a wide,
you just felt yourself--

2390
01:59:59,408 --> 02:00:02,776
And I was very careful
to hide Grace's name.

2391
02:00:02,870 --> 02:00:03,951
Yeah.

2392
02:00:04,038 --> 02:00:07,906
I wanted to keep that air of mystery,
so we went back and reshot that.

2393
02:00:08,000 --> 02:00:11,584
Erik Jendresen had suggested another name
that was in the passport.

2394
02:00:11,670 --> 02:00:12,535
Yep.

2395
02:00:12,630 --> 02:00:15,622
And I saw it a hundred times
before I finally went,

2396
02:00:15,716 --> 02:00:17,457
"Where did he get the name Rose Fleming?"

2397
02:00:17,551 --> 02:00:19,542
-Yes.
-And I went, "I know where he got it."

2398
02:00:19,637 --> 02:00:23,050
And I looked up Ian Fleming,
and of course it was his mother.

2399
02:00:23,140 --> 02:00:27,259
I was like, "We're not putting
a James Bond reference in the passport.”

2400
02:00:27,353 --> 02:00:29,435
I don't want to hear about that forever.

2401
02:00:30,272 --> 02:00:34,561
<i>So, yes, I changed her name,
and only Hayley and I know her real name.</i>

2402
02:00:35,819 --> 02:00:40,404
And Vanessa here
is just sensational twice.

2403
02:00:40,491 --> 02:00:44,155
Here she is again,
coming from a character--

2404
02:00:44,244 --> 02:00:46,736
Totally unafraid to play as well
and just--

2405
02:00:46,830 --> 02:00:47,820
All the--

2406
02:00:47,915 --> 02:00:51,078
-From broad comedy to dark and sinister.
-Exactly.

2407
02:00:51,168 --> 02:00:55,207
She did it all and was really--
never had an issue,

2408
02:00:55,297 --> 02:00:56,537
very, very fearless,

2409
02:00:56,632 --> 02:00:58,248
just gave us lots of options.

2410
02:00:58,342 --> 02:00:59,878
Did you direct this on Zoom?

2411
02:00:59,969 --> 02:01:02,176
- I was directing this on Zoom.
-Oh, my word.

2412
02:01:02,262 --> 02:01:04,970
I had been contact-traced
and had to direct all--

2413
02:01:05,057 --> 02:01:08,766
Everything in this car
had to be directed on Zoom.

2414
02:01:09,895 --> 02:01:11,226
Very, very frustrating.

2415
02:01:13,107 --> 02:01:14,188
Cary Elwes.

2416
02:01:14,817 --> 02:01:18,230
This was a really fun couple of days
in the train.

2417
02:01:18,320 --> 02:01:19,731
We had very little time to shoot.

2418
02:01:19,822 --> 02:01:22,780
We had to be very surgical
in terms of how we planned all of this.

2419
02:01:23,492 --> 02:01:26,826
We designed these fights
so that they could be covered

2420
02:01:26,912 --> 02:01:30,576
with minimum coverage and maximum speed.

2421
02:01:31,667 --> 02:01:34,250
I think that we knew there was a lot
going on in this train

2422
02:01:34,336 --> 02:01:35,701
that couldn't be involved.

2423
02:01:35,796 --> 02:01:39,630
And again, movement, behavior,

2424
02:01:40,509 --> 02:01:42,500
all of which is telling story

2425
02:01:42,594 --> 02:01:45,461
and introducing characters,
reintroducing characters.

2426
02:01:45,556 --> 02:01:50,141
There was a great shot of Esai Morales
walking on the roof of the train,

2427
02:01:50,227 --> 02:01:52,685
which explained how he got
from one end of the train to the other.

2428
02:01:52,771 --> 02:01:54,808
-But in the end, we cut it out.
-Yes.

2429
02:01:54,898 --> 02:01:58,516
But he did do it for real,
walked on the roof of a moving train.

2430
02:01:58,610 --> 02:02:00,396
And he looked great doing it.

2431
02:02:00,487 --> 02:02:03,730
It removed an air of mystery
to what he was doing.

2432
02:02:03,824 --> 02:02:05,280
Again, Dutch angles.

2433
02:02:05,367 --> 02:02:07,108
The Dutch angle is just there to--

2434
02:02:07,202 --> 02:02:08,658
You're in Cary's point of view.

2435
02:02:08,746 --> 02:02:12,080
You have to Dutch the camera
in order to keep Pom in it.

2436
02:02:12,166 --> 02:02:18,879
This is also one of the rare instances
of Pom and Esai in the same frame.

2437
02:02:18,964 --> 02:02:22,832
And it was really about the power that we
were giving each character individually.

2438
02:02:23,510 --> 02:02:25,626
It was all about keeping a balance
between the two of them.

2439
02:02:25,721 --> 02:02:29,055
We never wanted Pom
to feel like a subordinate.

2440
02:02:29,141 --> 02:02:33,726
We wanted Pom
to feel very much like a character

2441
02:02:33,812 --> 02:02:35,849
who was on a level with Gabriel.

2442
02:02:35,939 --> 02:02:40,729
And if you put them together in the frame
too much, it started to disrupt that.

2443
02:02:40,819 --> 02:02:44,278
Now what you feel--
He's seated. She's standing.

2444
02:02:44,364 --> 02:02:46,981
There's an equality
in all of their framing,

2445
02:02:47,076 --> 02:02:48,817
an equality to all their power.

2446
02:02:48,911 --> 02:02:51,528
Never wanted one character
to take away from another.

2447
02:02:52,664 --> 02:02:57,079
<i>And this, the notion of bringing
back the flashbacks of the Sevastopol,</i>

2448
02:02:57,169 --> 02:02:59,126
is a very late development.

2449
02:02:59,213 --> 02:03:03,081
And also, you know, one of those things
that was so obvious, we were--

2450
02:03:03,175 --> 02:03:05,667
Yeah, exactly. Originally, it just plays--

2451
02:03:05,761 --> 02:03:07,343
Originally, the scene was much shorter.

2452
02:03:07,429 --> 02:03:08,419
-Yep.
-And--

2453
02:03:08,514 --> 02:03:09,629
And in our first test,

2454
02:03:09,723 --> 02:03:12,681
one of the guys in the focus group said,
"What was with that scene?"

2455
02:03:12,768 --> 02:03:15,760
He said,
"Either make it longer or cut it out.”

2456
02:03:15,854 --> 02:03:17,265
-Yeah.
-We were--

2457
02:03:17,356 --> 02:03:18,972
We were, again, being subtle,

2458
02:03:19,066 --> 02:03:22,354
and we were alluding to things
that were gonna show up in Part Two.

2459
02:03:22,444 --> 02:03:24,936
And really, what the audience wanted
at this point,

2460
02:03:25,030 --> 02:03:29,524
and what we really realized we were
obligated to do is,

2461
02:03:29,618 --> 02:03:30,653
"Let's clear all this up."

2462
02:03:30,744 --> 02:03:33,236
Yeah. And explain what happened
with the keys.

2463
02:03:33,330 --> 02:03:34,491
-Yep.
-Yeah.

2464
02:03:34,581 --> 02:03:39,417
And of course the journey of the keys
is gonna feature in Part Two,

2465
02:03:39,503 --> 02:03:41,835
or at least that's the plan today.

2466
02:03:41,922 --> 02:03:45,415
Here we are again, moving back and forth
to other sides of the line

2467
02:03:46,176 --> 02:03:49,089
and doing a high and low pass
with each side.

2468
02:03:49,179 --> 02:03:52,672
So, essentially, what you do is
you just shoot two cameras.

2469
02:03:52,766 --> 02:03:56,100
You shoot one pass
where the cameras are low,

2470
02:03:56,186 --> 02:03:57,551
one pass where they're high.

2471
02:03:57,646 --> 02:03:59,978
And now you've got four different angles
to cut from,

2472
02:04:00,065 --> 02:04:03,524
each one conveying a different sense
of emotional pressure,

2473
02:04:04,319 --> 02:04:08,278
some of which are giving a sense
of control and power, like this angle.

2474
02:04:08,365 --> 02:04:10,447
And then other angles,
when you go high on him,

2475
02:04:10,534 --> 02:04:12,821
you're creating pressure,
looking down on him.

2476
02:04:14,663 --> 02:04:18,156
And all of this is very
carefully assembled

2477
02:04:18,250 --> 02:04:21,038
in such a way that we understand.

2478
02:04:21,128 --> 02:04:22,243
It's a dialogue scene.

2479
02:04:22,337 --> 02:04:24,624
You're probably not listening
to everything.

2480
02:04:24,715 --> 02:04:26,376
You're tuning in and out of the scene.

2481
02:04:26,466 --> 02:04:29,208
And so what we're doing
with each and every cut,

2482
02:04:29,303 --> 02:04:31,010
each and every shift in the angle,

2483
02:04:31,096 --> 02:04:33,633
is keeping you alert,
keeping you on your toes

2484
02:04:33,724 --> 02:04:37,638
and doing it in a way that you
don't have to concentrate on the scene.

2485
02:04:38,562 --> 02:04:41,304
And then at key moments like this,
just a little push-in.

2486
02:04:41,398 --> 02:04:46,484
That's Chunky operating a Steadicam
in an extremely confined space,

2487
02:04:46,570 --> 02:04:49,653
extremely precise measurements.

2488
02:04:49,740 --> 02:04:51,572
Very, very difficult to do.

2489
02:04:51,658 --> 02:04:52,989
Focus pulling in this--

2490
02:04:53,076 --> 02:04:54,407
-Paul Wheeldon.
-Pauly Sharps. Yeah.

2491
02:04:54,494 --> 02:04:58,158
Paul Wheeldon, our focus puller.
Pauly Sharps, we call him.

2492
02:04:58,248 --> 02:05:01,457
Very difficult job,
and one that's very particular,

2493
02:05:01,543 --> 02:05:03,204
because in certain instances,

2494
02:05:03,295 --> 02:05:09,132
we're using focus to edit or to shift
between two characters.

2495
02:05:09,218 --> 02:05:12,836
And Paul had to really develop
a sense of our storytelling

2496
02:05:12,930 --> 02:05:15,922
in order to be able to catch that
in real time.

2497
02:05:17,100 --> 02:05:20,013
And then here we go.
We've got a deceptive power angle.

2498
02:05:20,103 --> 02:05:21,184
So this one--

2499
02:05:21,271 --> 02:05:24,514
This is one shot we did later on
in front of a green screen.

2500
02:05:24,608 --> 02:05:26,474
-Pom's not there.
-Yeah, this was a pickup...

2501
02:05:26,568 --> 02:05:30,027
-We stole the shots from earlier.
-...suggested by Tom, wasn't it?

2502
02:05:30,113 --> 02:05:33,481
It was just the-- Yes, it was Tom
just being that much more specific,

2503
02:05:33,575 --> 02:05:37,364
being that much clearer
about why Cary was on that train.

2504
02:05:38,413 --> 02:05:41,155
And the specificity of things
is something--

2505
02:05:41,250 --> 02:05:44,743
You can never, ever be too specific.
You can always take it out.

2506
02:05:45,796 --> 02:05:49,460
Just explain and over-explain.
You can always pull it back.

2507
02:05:50,217 --> 02:05:53,426
And it's a lesson we have to learn
over and over again.

2508
02:05:54,179 --> 02:05:55,169
And here's Pom.

2509
02:05:55,264 --> 02:05:57,926
This shot, she really connected.

2510
02:05:59,685 --> 02:06:02,347
And Esai, I have to say,
was a great sport about it.

2511
02:06:02,437 --> 02:06:05,020
He thanked her. He was like,
"That was great. I looked awesome."

2512
02:06:05,107 --> 02:06:08,520
I remember this shot you took--
It was very, very hard.

2513
02:06:08,610 --> 02:06:12,399
We had a very different idea for I,
and that was the one that

2514
02:06:14,199 --> 02:06:16,361
-we actually settled on.
-It's really great.

2515
02:06:16,451 --> 02:06:17,987
You know, in order to do the inserts

2516
02:06:18,078 --> 02:06:21,196
where you have the object in
the foreground and the character behind--

2517
02:06:21,290 --> 02:06:24,078
Yes, that's the whole idea,
that we don't shoot at an object.

2518
02:06:24,167 --> 02:06:25,453
We shoot across it.

2519
02:06:25,544 --> 02:06:27,581
That's a very rare instance
of shooting at it,

2520
02:06:27,671 --> 02:06:30,003
and it's because it's so important.

2521
02:06:30,090 --> 02:06:33,958
You also saw these--
Watch the push-ins that are happening.

2522
02:06:34,052 --> 02:06:36,384
The Steadicam is very low.
It's on a Bazooka.

2523
02:06:36,471 --> 02:06:40,510
It's mounted on a base,
but it's still being held by hand.

2524
02:06:40,600 --> 02:06:45,219
And Chunky is pushing in
to create this sense of emotion.

2525
02:06:45,314 --> 02:06:48,272
Again, low angle that's conveying power.

2526
02:06:48,358 --> 02:06:50,975
We originally had done
pressure angles on her.

2527
02:06:51,069 --> 02:06:53,527
-We were up above her eyeline.
-We didn't use any of them, really.

2528
02:06:53,613 --> 02:06:56,025
No, they didn't communicate
the right emotion.

2529
02:06:56,116 --> 02:06:59,825
We realized that just--
It's sometimes counterintuitive.

2530
02:06:59,911 --> 02:07:01,697
-There's a pressure angle.
-Yeah.

2531
02:07:02,664 --> 02:07:04,280
And--

2532
02:07:04,374 --> 02:07:08,117
But the camera moves,
everything that's happening between--

2533
02:07:08,211 --> 02:07:10,748
-This, the pullback to the reveal.
-Yes.

2534
02:07:10,839 --> 02:07:13,752
These moves,
which are kind of imperceptible,

2535
02:07:13,842 --> 02:07:17,460
are extraordinarily challenging
and precise to do.

2536
02:07:17,554 --> 02:07:20,512
And all because we made a decision
very early on

2537
02:07:20,599 --> 02:07:23,512
to use Steadicam
and never put the camera on rails,

2538
02:07:23,602 --> 02:07:26,310
that it would always leave
the coverage feeling alive.

2539
02:07:26,396 --> 02:07:28,512
And when we did put the camera on rails,

2540
02:07:28,607 --> 02:07:30,848
whenever we would lock it down
for any reason,

2541
02:07:30,942 --> 02:07:32,182
you feel it immediately.

2542
02:07:32,277 --> 02:07:34,018
Here's another push-in from Chunky.

2543
02:07:34,112 --> 02:07:35,944
I will say, a little Easter egg for you.

2544
02:07:36,031 --> 02:07:39,149
The lights flashing
on the key are actually flashing

2545
02:07:39,242 --> 02:07:40,983
in the rhythm of the <i>Mission</i> theme.

2546
02:07:41,078 --> 02:07:43,866
That was you. That was your gift to them.

2547
02:07:45,165 --> 02:07:48,203
So that's just if you're paying attention,
you can hum that to yourself.

2548
02:07:48,293 --> 02:07:49,704
That was Eddie's nerdy little note.

2549
02:07:49,795 --> 02:07:53,254
I was like, "Let's do it in the rhythm
of the <I>Mission</I> theme just for fun."

2550
02:07:53,340 --> 02:07:54,705
-This was--
-I remember--

2551
02:07:54,800 --> 02:07:56,791
Tom shot that for real in Norway.

2552
02:07:56,885 --> 02:07:58,046
-Yeah.
-Incredibly dangerous.

2553
02:07:58,136 --> 02:08:02,596
This was the first day of dialogue
on the movie.

2554
02:08:02,682 --> 02:08:05,470
And Simon Pegg came to Norway

2555
02:08:05,560 --> 02:08:09,975
and sat on an apple box just out of frame

2556
02:08:10,065 --> 02:08:14,184
and was yelling his dialogue for Tom
in the wind.

2557
02:08:14,277 --> 02:08:18,942
Very cold,
and all shot on the edge of this cliff.

2558
02:08:19,032 --> 02:08:24,368
And again, this was the first test
of our camera philosophy,

2559
02:08:24,454 --> 02:08:28,948
which was cranes, Steadicam, Stabileye,

2560
02:08:29,042 --> 02:08:33,161
no dolly, no rails, no locked-off cameras.

2561
02:08:33,255 --> 02:08:36,589
The only time camera's locked off
is when it's on vehicles like this,

2562
02:08:36,675 --> 02:08:38,086
and the vehicle itself is moving.

2563
02:08:38,176 --> 02:08:39,666
Correct.

2564
02:08:39,761 --> 02:08:41,343
And what you end up with

2565
02:08:41,430 --> 02:08:44,513
over the course of the movie is
a very specific visual texture,

2566
02:08:44,599 --> 02:08:47,967
<i>very specific visual energy
that's different from Fallout,</i>

2567
02:08:48,061 --> 02:08:49,802
which is, in turn, different from Rogue.

2568
02:08:49,896 --> 02:08:53,230
This is a terrific piece of directing,
just revealing the ramp behind him there.

2569
02:08:53,316 --> 02:08:55,478
- I always felt like this was too subtle.
-I just love that.

2570
02:08:55,569 --> 02:08:57,185
I feel like I'm the only person seeing it.

2571
02:08:57,279 --> 02:08:59,316
No, no, I think it definitely works.

2572
02:08:59,406 --> 02:09:02,194
It's so satisfying. It's just so fun.

2573
02:09:02,284 --> 02:09:05,197
Every time I'm watching it with an
audience, I can feel them not getting it.

2574
02:09:05,287 --> 02:09:07,619
-Okay.
-It's so funny you say that.

2575
02:09:07,706 --> 02:09:08,912
That was shot on the back lot.

2576
02:09:08,999 --> 02:09:12,663
It was just a little piece of ridge,
and all those mountains were added later.

2577
02:09:13,336 --> 02:09:15,327
There was no way to get that
on the edge of the cliff.

2578
02:09:15,422 --> 02:09:18,631
-Should we talk about the train whistles?
-Oh, my God, the shrill whistle.

2579
02:09:18,717 --> 02:09:20,958
-Yeah.
-John Frankenheimer's <I>The Train</I>.

2580
02:09:21,553 --> 02:09:25,137
You wanna talk about movies
that are inspiring to this film?

2581
02:09:25,223 --> 02:09:27,055
Almost none of the films
that people pick out

2582
02:09:27,142 --> 02:09:31,181
as inspirations or references are,
in fact, inspirations or--

2583
02:09:31,271 --> 02:09:34,138
If you haven't seen it, it's what, 19647
Black-and-white.

2584
02:09:34,232 --> 02:09:36,098
- I think it's '64.
-Burt Lancaster.

2585
02:09:36,193 --> 02:09:40,437
It is the grandaddy of all action films--
practical action films.

2586
02:09:40,530 --> 02:09:44,569
It's an extraordinary,
extraordinary piece of cinema,

2587
02:09:44,659 --> 02:09:47,117
a piece of logistics, action.

2588
02:09:47,204 --> 02:09:49,741
Many, many, many trains gave their lives.

2589
02:09:51,291 --> 02:09:54,329
And it's--

2590
02:09:54,419 --> 02:09:56,786
It's a logistical
and technical masterpiece.

2591
02:09:56,880 --> 02:09:58,245
It's also actually substantial.

2592
02:09:58,340 --> 02:09:59,956
-It's about something.
-Yeah.

2593
02:10:00,050 --> 02:10:02,257
It's a really, really phenomenal film.

2594
02:10:02,344 --> 02:10:08,181
And in it, the train whistles are
extremely shrill and urgent-sounding.

2595
02:10:08,266 --> 02:10:11,054
And all the whistles that we kept hearing

2596
02:10:11,144 --> 02:10:13,260
in our sound design were just--
they were quaint.

2597
02:10:13,355 --> 02:10:16,814
They were Thomas the Tank Engine,
and we needed that pitch.

2598
02:10:16,900 --> 02:10:18,811
We've got to talk about
this stunt here, surely.

2599
02:10:18,902 --> 02:10:21,860
-Hang on. Oh, my word. Oh, my word.
-Do we?

2600
02:10:21,947 --> 02:10:24,188
-We were all there on day one...
-This is not the only commentary!

2601
02:10:24,282 --> 02:10:26,819
-...of principal photography.
-Day one of principal photography.

2602
02:10:26,910 --> 02:10:28,947
-Yeah.
-Tom Cruise.

2603
02:10:29,037 --> 02:10:31,995
And we were all
just heart-in-mouth watching this.

2604
02:10:32,082 --> 02:10:33,823
-Six times.
-And he's doing this for real.

2605
02:10:33,917 --> 02:10:35,954
He jumped out of a helicopter
and the cameraman--

2606
02:10:36,044 --> 02:10:38,832
-This is more impressive than the stunt.
-This is insane.

2607
02:10:38,922 --> 02:10:42,460
He is in free fall.
He's falling at 240 miles an hour.

2608
02:10:42,551 --> 02:10:44,292
-He's acting in free fall.
-Yeah.

2609
02:10:44,386 --> 02:10:46,252
-He's just--
-Let's not forget the cameraman.

2610
02:10:46,346 --> 02:10:47,461
The cameraman is also--

2611
02:10:47,556 --> 02:10:50,093
Jon Devore, who has a camera on his head...

2612
02:10:50,183 --> 02:10:51,173
Yeah.

2613
02:10:51,268 --> 02:10:54,511
...and has to be looking at Tom
while in free fall,

2614
02:10:54,604 --> 02:10:56,140
so he can't watch where he's going.

2615
02:10:56,231 --> 02:10:58,063
-Yeah, yeah, yeah.
-It's--

2616
02:10:58,149 --> 02:11:01,358
I love the rhythms that you came up with
here, intercutting the--

2617
02:11:01,444 --> 02:11:06,439
The way you came up with the idea
of this phone decoding--

2618
02:11:06,533 --> 02:11:09,321
-Decrypting in order to buy us time.
-Buy us time.

2619
02:11:09,411 --> 02:11:11,448
-Yeah, it's so elegant.
-And to extend time.

2620
02:11:11,538 --> 02:11:13,779
We were really feeling our way
through these scenes

2621
02:11:13,873 --> 02:11:17,332
and had to figure out
how to intercut them later.

2622
02:11:17,419 --> 02:11:22,084
And, you know, there was so much story
that had to be feathered in together.

2623
02:11:22,173 --> 02:11:23,163
And yes, ultimately,

2624
02:11:23,258 --> 02:11:25,841
the idea of an upload
gave us a ticking clock.

2625
02:11:25,927 --> 02:11:27,588
It created space for us.

2626
02:11:27,679 --> 02:11:31,798
But then even then, this intercutting
was extraordinarily challenging.

2627
02:11:31,891 --> 02:11:36,055
Here's our little, tiny, tiny nods
to the pickpocket coming up.

2628
02:11:36,688 --> 02:11:38,554
And Vanessa's performance is
just sensational.

2629
02:11:38,648 --> 02:11:40,230
This shot here, you just get--

2630
02:11:40,317 --> 02:11:44,231
This was really just to get the insert
of him putting the key in his pocket,

2631
02:11:44,321 --> 02:11:45,356
and we just stayed there.

2632
02:11:45,447 --> 02:11:46,437
And I love this here.

2633
02:11:46,531 --> 02:11:48,693
If you watch what she does
with her right hand just there,

2634
02:11:48,783 --> 02:11:50,319
just slides the key in her pocket.

2635
02:11:50,410 --> 02:11:52,026
It's very subtle. It's so good.

2636
02:11:52,120 --> 02:11:53,326
It's really great.

2637
02:11:53,413 --> 02:11:55,620
She's just sensational.

2638
02:11:55,707 --> 02:11:57,163
Anyway, so back to the whistle.

2639
02:11:57,250 --> 02:12:00,993
So the whistle is almost identical
to the one in The Train.

2640
02:12:01,087 --> 02:12:04,580
I kept pointing them to <I>The Train</I>,
saying, "Nope, it's not urgent enough."

2641
02:12:04,674 --> 02:12:07,917
But if it was too shrill,
it became punishing.

2642
02:12:08,011 --> 02:12:09,046
Correct.

2643
02:12:09,137 --> 02:12:11,879
A big thing that we had--
and it was a big note Tom had--

2644
02:12:11,973 --> 02:12:17,218
Many, many notes throughout the movie
that sounds that were meant to be--

2645
02:12:17,312 --> 02:12:20,225
You know, that were meant to be urgent
or "action-y,"

2646
02:12:20,315 --> 02:12:24,684
explosions that you felt,
but they were also punishing.

2647
02:12:24,778 --> 02:12:25,768
-Yeah.
-They were.

2648
02:12:25,862 --> 02:12:30,982
And what Tom really insisted upon in the
mix was that the mix always be pleasant,

2649
02:12:31,076 --> 02:12:32,441
even when the sounds weren't.

2650
02:12:32,535 --> 02:12:35,197
-He said, "Make it satisfying."
-Yes.

2651
02:12:35,288 --> 02:12:37,700
He said the explosions
need to be satisfying, not punishing.

2652
02:12:37,791 --> 02:12:41,125
-His note was "fireworks."
-Yeah. Yes, yes.

2653
02:12:41,211 --> 02:12:43,953
And if you look here,
you see it for the blink of an eye,

2654
02:12:44,047 --> 02:12:47,256
the name of the train is
the General Rive-Reine.

2655
02:12:47,342 --> 02:12:48,332
That is a--

2656
02:12:48,426 --> 02:12:51,339
The "general" is obviously
Buster Keaton's <i>The General,</i>

2657
02:12:51,429 --> 02:12:53,215
and "Rive-Reine" is the train station

2658
02:12:53,306 --> 02:12:55,673
-in The Train.
-The Train. Yeah.

2659
02:12:55,767 --> 02:12:58,225
And "rive," I think it means "riverbank."

2660
02:12:58,311 --> 02:13:01,269
So that was a subtle nod
to <I>Bridge on the River Kwai.</I>

2661
02:13:01,356 --> 02:13:04,690
-I love it.
-The three train wreck movies that were--

2662
02:13:04,776 --> 02:13:08,895
That were huge, huge influences on me

2663
02:13:09,948 --> 02:13:13,236
just in terms of filmmaking,
not so much in terms of a train sequence,

2664
02:13:13,326 --> 02:13:15,533
and what started this whole movie for me.

2665
02:13:15,620 --> 02:13:19,614
When Tom said, "What do you wanna do?"
I said, "I wanna wreck a train."

2666
02:13:19,708 --> 02:13:23,667
And he said, "Why?"
And I said, "Frankenheimer and--

2667
02:13:23,753 --> 02:13:28,247
And Buster Keaton and David Lean all did,

2668
02:13:28,341 --> 02:13:30,548
and I'd really like to try one."

2669
02:13:30,635 --> 02:13:33,002
And, boy, I paid the price for that,

2670
02:13:33,722 --> 02:13:35,838
as this sequence just took on
a life of its own.

2671
02:13:35,932 --> 02:13:38,344
Shooting on a train is
extremely difficult.

2672
02:13:38,435 --> 02:13:41,848
This is all on a set,
but as you can see, the train is moving.

2673
02:13:41,938 --> 02:13:44,305
It's on a gimbal.
It's on a system of airbags.

2674
02:13:44,399 --> 02:13:49,144
And of course, as the train is a runaway,
we started turning up the heat on those.

2675
02:13:49,237 --> 02:13:55,199
And only in very few shots do we stabilize
the train just so that the camera--

2676
02:13:55,285 --> 02:13:57,071
This, editorially, is a challenge,

2677
02:13:57,162 --> 02:14:00,826
getting the balance of these cuts right
and building the suspense.

2678
02:14:00,915 --> 02:14:03,373
And ultimately, it was the music there,

2679
02:14:03,460 --> 02:14:07,044
having the music end right before
you were anticipating the gunshot.

2680
02:14:07,130 --> 02:14:10,168
The music was actually playing
through the smash.

2681
02:14:11,426 --> 02:14:15,511
And when we changed the music, the
audience's reaction shifted immediately.

2682
02:14:15,597 --> 02:14:20,307
And it's a delicate balance of editing,
tension, performance, music.

2683
02:14:20,393 --> 02:14:25,479
It's an extraordinarily, extraordinarily
delicate balance, all of this.

2684
02:14:26,232 --> 02:14:30,567
Freddie lifting the gun
and how all of these elements play.

2685
02:14:30,653 --> 02:14:32,143
And then the editing of these emotions.

2686
02:14:32,238 --> 02:14:36,653
The actors gave us so much,
and we wanted to stay with them.

2687
02:14:36,743 --> 02:14:38,199
And originally, they had a hug.

2688
02:14:38,286 --> 02:14:40,778
At the end of this moment,
they hugged each other.

2689
02:14:40,872 --> 02:14:42,658
It was very short. It was only--

2690
02:14:42,749 --> 02:14:44,865
-Seconds.
-We're talking seven seconds, maybe.

2691
02:14:44,959 --> 02:14:47,917
But it contributed to a sense
of resolution.

2692
02:14:48,004 --> 02:14:49,119
I know.

2693
02:14:49,214 --> 02:14:51,581
And we had to save the hug till later
in the scene.

2694
02:14:51,674 --> 02:14:53,836
And also, you felt that the actors--

2695
02:14:53,927 --> 02:14:58,012
That the characters were making it
about them and not the mission.

2696
02:14:58,097 --> 02:14:59,428
And the audience is going,

2697
02:14:59,516 --> 02:15:01,757
"The key! The key!
You forgot about the key!"

2698
02:15:01,851 --> 02:15:04,343
Exactly. You could only spend
so much time there

2699
02:15:04,437 --> 02:15:07,395
before you felt yourself
losing the audience.

2700
02:15:08,149 --> 02:15:09,981
This was a reshoot for geography.

2701
02:15:10,068 --> 02:15:11,729
Yeah, we had to explain that they were--

2702
02:15:11,820 --> 02:15:14,687
The original was so great.
I didn't want to reshoot it.

2703
02:15:14,781 --> 02:15:16,613
And then we reshot it,
and it was so much better.

2704
02:15:16,699 --> 02:15:19,657
And I continually ribbed Tom in saying,

2705
02:15:19,744 --> 02:15:22,156
"Thank God I had the idea
to reshoot this."

2706
02:15:23,665 --> 02:15:28,000
And this is one
of my favorite compositions in the film.

2707
02:15:28,086 --> 02:15:30,874
And this is where I really developed
an addiction

2708
02:15:30,964 --> 02:15:33,080
to extreme and punishing conditions.

2709
02:15:33,842 --> 02:15:37,631
I started to realize
that the drama that came with,

2710
02:15:38,388 --> 02:15:40,880
you know,
adding really miserable elements--

2711
02:15:40,974 --> 02:15:44,433
-Yes, yes. Exactly.
-Wind and sand and water and everything.

2712
02:15:44,519 --> 02:15:47,602
And if you just-- having them
and not confronting them,

2713
02:15:47,689 --> 02:15:49,350
not turning them up to 11--

2714
02:15:49,440 --> 02:15:52,182
If you're not going to go for it,
don't bother going for it at all.

2715
02:15:52,277 --> 02:15:54,939
Tom really did climb up
onto the roof of a train, of course.

2716
02:15:55,029 --> 02:15:56,144
He really did.

2717
02:15:56,239 --> 02:15:58,571
This is very elegant setup
for what's to come,

2718
02:15:58,658 --> 02:16:00,649
seeing Grace run through the kitchen car.

2719
02:16:00,743 --> 02:16:02,233
This is shot in Yorkshire and Norway.

2720
02:16:02,328 --> 02:16:06,492
They absolutely are stood
on a train for real.

2721
02:16:06,583 --> 02:16:09,701
And just all of these little pieces--

2722
02:16:09,794 --> 02:16:11,831
The backlight again. It's so--

2723
02:16:11,921 --> 02:16:15,380
Backlight is something we could do
a whole commentary about.

2724
02:16:16,217 --> 02:16:20,336
It's an essential part of texture
in the photography

2725
02:16:20,430 --> 02:16:21,920
of this movie and in Fallout

2726
02:16:22,015 --> 02:16:25,258
-Yeah.
-<I>Fallout</I> is "backlight-apalooza."

2727
02:16:26,352 --> 02:16:29,140
But all of these, where they're going
right through the sun--

2728
02:16:29,230 --> 02:16:32,393
A lot of these shots, you can see
how foggy and misty it is in Norway.

2729
02:16:32,483 --> 02:16:34,099
The weather was very temperamental,

2730
02:16:34,193 --> 02:16:37,231
and when you got the sun,
you were very, very lucky to get it,

2731
02:16:37,906 --> 02:16:39,396
and we were.

2732
02:16:39,490 --> 02:16:41,606
You did shoot a version of this scene

2733
02:16:41,701 --> 02:16:44,113
where Ethan and Grace
both went through the luggage car.

2734
02:16:44,203 --> 02:16:46,535
I did. That was very early on.

2735
02:16:46,623 --> 02:16:48,830
-They went through the luggage car.
-We went back and did it,

2736
02:16:48,917 --> 02:16:50,248
one with just Grace on the train.

2737
02:16:50,335 --> 02:16:53,418
We were still figuring out
all of these many pieces

2738
02:16:53,504 --> 02:16:55,040
and how it all played.

2739
02:16:55,131 --> 02:16:57,463
All of this stuff is
very physically challenging.

2740
02:16:57,550 --> 02:17:00,588
It's extremely, extremely,
physically difficult

2741
02:17:01,179 --> 02:17:03,841
even with a train
that isn't moving 200 miles an hour.

2742
02:17:03,932 --> 02:17:08,142
This is a sensational oner operated
by Ross Sheppard

2743
02:17:08,227 --> 02:17:10,764
and Chunky Richmond using the Stabileye.

2744
02:17:10,855 --> 02:17:14,473
That is a lot of storytelling
in one very quick camera move.

2745
02:17:15,276 --> 02:17:17,108
Really did a sensational job.

2746
02:17:17,195 --> 02:17:19,527
And again, those are shots that are not--

2747
02:17:19,614 --> 02:17:21,196
They're all just telling story.

2748
02:17:21,282 --> 02:17:25,492
They're not calling attention
to themselves and their performance.

2749
02:17:25,578 --> 02:17:26,909
Shea Whigham,

2750
02:17:26,996 --> 02:17:30,489
that was an improv, by the way,
when he grabbed Henry's face.

2751
02:17:33,044 --> 02:17:35,502
And that little beat was a pickup,

2752
02:17:36,381 --> 02:17:40,841
and it was based on all the energy
we had learned with the Rialto.

2753
02:17:40,927 --> 02:17:41,758
Yeah.

2754
02:17:41,844 --> 02:17:44,461
And again, these shots
all were much longer.

2755
02:17:44,555 --> 02:17:49,425
It was a phenomenal performance,
and we really didn't want to cut it down.

2756
02:17:49,519 --> 02:17:54,480
And you felt the movie just waiting
and getting frustrated.

2757
02:17:54,565 --> 02:17:56,226
And the more we cut it,

2758
02:17:56,317 --> 02:17:59,810
the more you connected to the character,
the more urgency you felt for them.

2759
02:17:59,904 --> 02:18:02,566
This was real on the roof--
Grace on that train.

2760
02:18:02,657 --> 02:18:04,739
-Yeah, story is king.
-Yeah.

2761
02:18:05,535 --> 02:18:07,242
And then this was--

2762
02:18:08,079 --> 02:18:12,198
This was an idea that developed
as we were rehearsing the fight,

2763
02:18:12,959 --> 02:18:15,747
and suddenly came up with the idea
of 18 inches of clearance

2764
02:18:16,379 --> 02:18:21,089
and what kind of complication
that would present for the characters,

2765
02:18:21,175 --> 02:18:23,382
but also for the camera.

2766
02:18:23,469 --> 02:18:28,885
Because suddenly, we realized the camera
could at no time be higher than the actors

2767
02:18:28,975 --> 02:18:32,513
or you'd be disconnected
from the reality of the scene,

2768
02:18:32,603 --> 02:18:36,813
when you suddenly realize the camera was
looking through the roof of the tunnel.

2769
02:18:36,899 --> 02:18:38,139
Yeah, we're down to the bone.

2770
02:18:38,234 --> 02:18:40,191
All these scenes were down
to the absolute bone.

2771
02:18:40,278 --> 02:18:42,144
All of these sequences were much longer.

2772
02:18:42,238 --> 02:18:45,356
You interrogate every shot,
every frame of every shot.

2773
02:18:45,450 --> 02:18:49,865
And many of the shots were pulled out
and then later put back in.

2774
02:18:49,954 --> 02:18:53,447
They all really had to
have their day in court.

2775
02:18:53,541 --> 02:18:56,283
They all had to fight for their existence.

2776
02:18:56,377 --> 02:18:57,959
And all of it was because--

2777
02:18:58,046 --> 02:19:01,630
Yeah, if you took too much time
in any one moment,

2778
02:19:01,716 --> 02:19:04,549
by the time you got to
the most important part of the sequence,

2779
02:19:04,635 --> 02:19:06,000
you're already worn out.

2780
02:19:06,095 --> 02:19:08,257
Tom would always say,
"Leave them wanting more."

2781
02:19:08,347 --> 02:19:09,587
-Yeah.
-That was his mantra.

2782
02:19:09,682 --> 02:19:14,017
It's like you never want any one course
of this movie to fill you up.

2783
02:19:14,645 --> 02:19:19,264
You always want to be thinking, "I could
have just had a little bit more of that,"

2784
02:19:19,358 --> 02:19:20,519
and then move on.

2785
02:19:21,652 --> 02:19:22,733
We were very, very sensitive.

2786
02:19:22,820 --> 02:19:25,232
And we can assure everybody
who's saying, "But why didn't you?"

2787
02:19:25,323 --> 02:19:27,234
Because the movie was really--

2788
02:19:27,325 --> 02:19:29,783
-Yeah.
-You were worn out.

2789
02:19:29,869 --> 02:19:32,702
-The movie is not better.
-It wasn't better.

2790
02:19:32,789 --> 02:19:34,530
And we had the same thing with Fallout.

2791
02:19:34,624 --> 02:19:38,162
We did cut <i>Fallout</i> five minutes shorter
than its final running time.

2792
02:19:38,753 --> 02:19:41,791
And when we did that,
the movie didn't work.

2793
02:19:41,881 --> 02:19:44,714
And people out there listening
may think five minutes is--

2794
02:19:44,801 --> 02:19:46,041
Doesn't sound like a lot,

2795
02:19:46,135 --> 02:19:49,298
but it's actually a huge amount
of screen time if you're trying to--

2796
02:19:49,388 --> 02:19:55,225
Well, last cuts we did to this movie
amounted to about 90 seconds...

2797
02:19:55,311 --> 02:19:57,393
-Yes, exactly.
-...throughout the entire film.

2798
02:19:57,480 --> 02:19:59,437
And you're constantly looking
at the running time.

2799
02:19:59,524 --> 02:20:01,356
-Significant difference.
-Yeah, it really is.

2800
02:20:01,442 --> 02:20:04,184
You really can't--
You just can't believe--

2801
02:20:04,278 --> 02:20:05,894
We'll talk about a scene later,

2802
02:20:05,988 --> 02:20:09,276
the scene with Ethan and Paris
where we did a really short version,

2803
02:20:09,367 --> 02:20:11,449
and it was just information,
had no emotion.

2804
02:20:11,536 --> 02:20:13,618
You just felt
no emotional connection to it.

2805
02:20:13,704 --> 02:20:14,569
Yeah.

2806
02:20:14,664 --> 02:20:16,575
A lot of these were pickups we did later.

2807
02:20:17,083 --> 02:20:21,293
Just the intimacy of it.
It was too difficult to do on a train.

2808
02:20:21,379 --> 02:20:23,086
You really had to get the performance.

2809
02:20:23,172 --> 02:20:26,710
I mean, I will say though,
Shea and Tarzan were on that train.

2810
02:20:26,801 --> 02:20:29,259
-This is--
-Tarzan's first time on a train.

2811
02:20:29,345 --> 02:20:33,384
And I don't mean on top of it.
He'd never been in or on a train.

2812
02:20:33,474 --> 02:20:34,839
- I know. Amazing.
-It's extraordinary.

2813
02:20:34,934 --> 02:20:36,550
It was his first time out of the country.

2814
02:20:36,644 --> 02:20:38,430
They're actually stood
on the roof of that train.

2815
02:20:38,521 --> 02:20:39,977
-It's just extraordinary.
-Yeah.

2816
02:20:40,064 --> 02:20:41,930
We were all--
the crew were all underneath them,

2817
02:20:42,024 --> 02:20:44,732
inside, where we were monitoring
what you were doing.

2818
02:20:44,819 --> 02:20:48,062
I was there that day,
and we were all just spellbound

2819
02:20:48,156 --> 02:20:49,612
by what was going on.

2820
02:20:49,699 --> 02:20:51,030
It was hard.

2821
02:20:51,117 --> 02:20:53,484
-It was very hard.
-That was a really tough environment.

2822
02:20:53,578 --> 02:20:56,115
But look at what
a tough environment gives you.

2823
02:20:56,205 --> 02:20:59,118
You can't-- You just can't fake it.

2824
02:20:59,208 --> 02:21:02,997
And it's really--
the energy that it gives you,

2825
02:21:03,087 --> 02:21:04,703
the presence that it gives you,

2826
02:21:05,298 --> 02:21:07,881
it's something sensational.

2827
02:21:07,967 --> 02:21:11,835
And Shea and Tom,

2828
02:21:12,930 --> 02:21:15,922
they're--
the whole story being communicated

2829
02:21:16,017 --> 02:21:17,678
through these two characters

2830
02:21:17,768 --> 02:21:19,725
over the course
of about three lines of dialogue

2831
02:21:19,812 --> 02:21:21,723
and some behavior in the film.

2832
02:21:21,814 --> 02:21:26,183
And all of that
is gonna be followed up in Part Two.

2833
02:21:26,277 --> 02:21:28,860
Design of Gabriel's watch.

2834
02:21:28,946 --> 02:21:30,607
This was interesting,

2835
02:21:30,907 --> 02:21:32,113
because we originally scored this.

2836
02:21:32,200 --> 02:21:33,690
-We had music running throughout.
-Yes.

2837
02:21:33,784 --> 02:21:36,867
In our second preview,
we did not have score,

2838
02:21:36,954 --> 02:21:38,570
and it played better.

2839
02:21:38,664 --> 02:21:42,123
It played better because there was music
running through this whole sequence.

2840
02:21:42,210 --> 02:21:43,041
Correct.

2841
02:21:43,127 --> 02:21:45,664
You were exhausted
by the time we got to the end.

2842
02:21:45,755 --> 02:21:49,043
And you could feel right where the music
was wearing out its welcome.

2843
02:21:49,133 --> 02:21:51,750
-Yeah.
-And you wanted sound design.

2844
02:21:51,844 --> 02:21:54,381
-Yeah.
-The design is so sensational.

2845
02:21:55,306 --> 02:21:58,719
And you remember, there was that time
when we were playing with the mix

2846
02:21:58,809 --> 02:22:01,141
and trying to do both,
have our cake and eat it too.

2847
02:22:01,229 --> 02:22:02,219
Yes, yes.

2848
02:22:02,313 --> 02:22:03,803
And it just was mud.

2849
02:22:03,898 --> 02:22:05,935
-It's very difficult to do that.
-No.

2850
02:22:06,025 --> 02:22:09,359
-One truly has to battle for the other.
-If you have loud sound effects and music.

2851
02:22:09,445 --> 02:22:12,278
And then this is so satisfying,
this moment.

2852
02:22:12,365 --> 02:22:15,107
He got the key. Then we have the hug.

2853
02:22:15,201 --> 02:22:17,192
And then we have
this immensely satisfying tale.

2854
02:22:17,286 --> 02:22:19,618
-Which wasn't in earlier cuts.
-Yes.

2855
02:22:19,705 --> 02:22:22,447
But this was always something
that Tom said, "No, no, no.

2856
02:22:22,541 --> 02:22:25,124
We need to have this moment
where Gabriel finds the lighter."

2857
02:22:25,211 --> 02:22:28,294
He was very specific about the timing,
and he was driving us crazy.

2858
02:22:28,381 --> 02:22:30,964
-And he was right. He's always right.
-He was. Absolutely was.

2859
02:22:31,050 --> 02:22:33,212
And it's so much fun.

2860
02:22:33,302 --> 02:22:35,213
You can hear the audience
reacting to this.

2861
02:22:35,304 --> 02:22:37,887
Well, this satisfaction again.
You get a win.

2862
02:22:37,974 --> 02:22:39,965
-Yeah.
-Because of what's gonna happen.

2863
02:22:40,059 --> 02:22:41,891
That is the victory of the movie.

2864
02:22:41,978 --> 02:22:44,891
He's got the key,
and the villain's out of the story.

2865
02:22:45,690 --> 02:22:48,182
But he's not safe.
He's not home and dry yet.

2866
02:22:48,276 --> 02:22:50,233
-Another oner.
-That's fabulous.

2867
02:22:50,319 --> 02:22:53,528
This is another great moment of humor
which works so well.

2868
02:22:53,614 --> 02:22:55,981
People love to see the boss get--

2869
02:22:56,075 --> 02:22:59,739
-Yes, they love to see it when the--
-Yeah, the boss is humiliated.

2870
02:22:59,829 --> 02:23:01,945
I know. It's just so much fun.

2871
02:23:02,039 --> 02:23:04,076
-Look at this! For real.
-This is real.

2872
02:23:04,166 --> 02:23:06,157
Real, real, real amazing.

2873
02:23:06,252 --> 02:23:08,619
The two actors, smoke, backlighting.

2874
02:23:08,713 --> 02:23:12,832
-Yeah.
-It's just an extraordinary miracle.

2875
02:23:12,925 --> 02:23:15,462
All those things working together,

2876
02:23:15,553 --> 02:23:18,420
and just a lot of really--
I say, a miracle.

2877
02:23:18,514 --> 02:23:21,051
It's a lot of hard work
from a lot of very skilled people.

2878
02:23:21,142 --> 02:23:22,974
Hayley and Tom trained--

2879
02:23:23,060 --> 02:23:26,394
I mean, they are in incredible
physical condition, both of them...

2880
02:23:26,480 --> 02:23:29,222
-They really are.
-...in order to do this over and over again.

2881
02:23:29,317 --> 02:23:32,059
-It's punishing.
-In such amazing sync with one another.

2882
02:23:32,153 --> 02:23:35,612
Also, never losing the sense of adventure.

2883
02:23:35,698 --> 02:23:37,359
Or there's a lightness to it,

2884
02:23:37,450 --> 02:23:39,657
as much as they're playing
the urgency in the drama.

2885
02:23:40,578 --> 02:23:42,319
Huge props to the sound design crew here.

2886
02:23:42,413 --> 02:23:45,201
The amount of detail in the clanking.

2887
02:23:45,291 --> 02:23:49,785
And let's talk about the special effects
crew who built this rig.

2888
02:23:49,879 --> 02:23:51,040
Yes, yes!

2889
02:23:51,130 --> 02:23:52,245
Yeah. Who built--

2890
02:23:52,340 --> 02:23:57,426
All of the work and special effects
going into building these rigs

2891
02:23:57,511 --> 02:24:01,254
which are all being pushed
on real train tracks by diesel trains.

2892
02:24:01,349 --> 02:24:02,464
I know. Amazing.

2893
02:24:02,558 --> 02:24:03,844
It's really quite extraordinary.

2894
02:24:03,934 --> 02:24:06,301
There's the General Rive-Reine
on the side there.

2895
02:24:06,395 --> 02:24:08,352
A little Easter egg nobody's caught yet.

2896
02:24:08,439 --> 02:24:11,147
And then, of course--

2897
02:24:11,233 --> 02:24:13,850
-Yeah, you did this for real.
-This was a 70-ton train.

2898
02:24:13,944 --> 02:24:16,902
-Yeah.
-And tossed it off a cliff.

2899
02:24:18,324 --> 02:24:20,486
-And you couldn't get that--
-Yeah.

2900
02:24:20,576 --> 02:24:24,820
Like, those things where we
attached the cameras to the train

2901
02:24:24,914 --> 02:24:26,575
and discovered the physics of it

2902
02:24:26,665 --> 02:24:29,327
only when it went off the tracks.

2903
02:24:29,418 --> 02:24:31,159
And we only had one take to get it.

2904
02:24:31,253 --> 02:24:34,837
And the cameras did not survive,
but the tiny little memory cards did.

2905
02:24:34,924 --> 02:24:36,756
-No, the cameras did survive.
-They did?

2906
02:24:36,842 --> 02:24:39,004
-Oh, yeah. Every camera survived.
-I love it. Okay.

2907
02:24:39,095 --> 02:24:41,177
One camera took a direct hit
from the locomotive.

2908
02:24:41,263 --> 02:24:42,879
-And was still fine?
-And it survived.

2909
02:24:42,973 --> 02:24:44,555
-Amazing.
-It was a usable camera.

2910
02:24:44,642 --> 02:24:47,760
You get the little cards out
and send them off

2911
02:24:47,853 --> 02:24:49,343
and you get this amazing footage.

2912
02:24:49,438 --> 02:24:53,272
Now, the structure of this sequence is--

2913
02:24:53,859 --> 02:24:58,228
It has to be
the most complicated thing that we--

2914
02:24:58,322 --> 02:25:01,155
Beyond the opera,
beyond anything we've ever had to execute

2915
02:25:01,242 --> 02:25:03,984
in terms of, well,
the logistics of shooting it.

2916
02:25:04,078 --> 02:25:04,909
Yes.

2917
02:25:04,995 --> 02:25:10,161
Then getting the sequence to actually work
as a climax to a movie.

2918
02:25:10,251 --> 02:25:12,413
There's so much sensational photography,

2919
02:25:12,503 --> 02:25:15,541
SO many sensational stunts,
things going on.

2920
02:25:15,631 --> 02:25:19,420
Just amazing shots
that were the work of so many people.

2921
02:25:20,177 --> 02:25:23,135
And yet, we just kept hearing
the sequence was too long.

2922
02:25:23,222 --> 02:25:25,589
-Yeah, too long, too long.
-One car too many.

2923
02:25:25,683 --> 02:25:29,472
Yeah, we originally prevised this
over three years ago,

2924
02:25:29,562 --> 02:25:31,052
from when we're talking now.

2925
02:25:31,147 --> 02:25:34,185
-Yes. February of two-thousand--
-So it was February 2020.

2926
02:25:34,275 --> 02:25:35,185
Twenty, yeah.

2927
02:25:35,276 --> 02:25:38,359
And the scene,
the previs evolved over that summer

2928
02:25:38,446 --> 02:25:40,528
while we were finishing <i>Top Gun: Maverick.</i>

2929
02:25:40,614 --> 02:25:43,606
And then I remember thinking,

2930
02:25:43,701 --> 02:25:46,033
"We may have action fatigue here," Chris.

2931
02:25:46,120 --> 02:25:48,532
But we kept working at this scene,

2932
02:25:48,622 --> 02:25:51,034
and we are literally down to the bone.

2933
02:25:51,125 --> 02:25:54,993
Every shot is the absolute minimum length
it can be to tell the story.

2934
02:25:55,087 --> 02:25:58,296
And we cut out pieces
of action from each car.

2935
02:25:58,382 --> 02:26:01,875
I mean this, I remember just--
When I saw these dailies, it was amazing.

2936
02:26:01,969 --> 02:26:04,176
The zero G. Everyone loves the zero G.

2937
02:26:04,263 --> 02:26:07,221
But there was a whole extra section here.

2938
02:26:07,308 --> 02:26:09,675
Where the furniture was blocking the door.

2939
02:26:09,768 --> 02:26:11,930
We just cut straight to this
so that they get out.

2940
02:26:12,021 --> 02:26:15,059
We just cut this out.
There's actually a leap in geography.

2941
02:26:15,149 --> 02:26:15,980
It's a huge cross...

2942
02:26:16,066 --> 02:26:17,807
We used to wait and see
this whole car fall.

2943
02:26:17,902 --> 02:26:19,813
We were like, "No, let's get them inside."

2944
02:26:19,904 --> 02:26:23,397
When you did that, when we took it out,
that was the one that...

2945
02:26:23,491 --> 02:26:25,107
-It was so much better.
-...made it work.

2946
02:26:25,201 --> 02:26:28,489
-And this is for real. They did this--
-This is a giant vertical set.

2947
02:26:28,579 --> 02:26:32,618
Giant set that's kind of moving
from 45 degrees to 90 degrees.

2948
02:26:33,292 --> 02:26:36,034
And, yeah, very difficult.

2949
02:26:36,128 --> 02:26:38,165
The piano. Oh, my word.

2950
02:26:38,255 --> 02:26:40,041
This was-- The piano--

2951
02:26:40,132 --> 02:26:42,339
Shooting the piano
and getting the inserts correct.

2952
02:26:42,426 --> 02:26:46,340
I remember when
you originally told me that

2953
02:26:46,430 --> 02:26:48,341
this is what was gonna happen at the end,

2954
02:26:48,432 --> 02:26:50,890
I remember thinking
what a genius idea it was,

2955
02:26:50,976 --> 02:26:52,808
and if we could pull it off.

2956
02:26:52,895 --> 02:26:57,105
And it's incredible
how successfully it works,

2957
02:26:57,191 --> 02:26:58,773
this vertical set.

2958
02:26:58,859 --> 02:27:01,567
This piece of behavior here
is just utterly marvelous.

2959
02:27:01,654 --> 02:27:04,521
-It's like the car chase.
-Yeah.

2960
02:27:04,615 --> 02:27:07,403
-As much work--
-This, when she grabs him!

2961
02:27:07,493 --> 02:27:09,404
-It's so good.
-It's great.

2962
02:27:09,495 --> 02:27:10,610
This is our favorite.

2963
02:27:10,704 --> 02:27:13,662
This is the biggest laugh in the movie,
when he goes, "Do you trust me?"

2964
02:27:13,749 --> 02:27:15,365
-No.
-She shakes her head.

2965
02:27:16,126 --> 02:27:19,585
Well, what's great is there's
enormous humor in what's happening,

2966
02:27:19,672 --> 02:27:22,039
but they don't stop acting dramatically.

2967
02:27:22,132 --> 02:27:24,214
-No, no.
-They're not playing it for laughs.

2968
02:27:24,301 --> 02:27:27,293
And that was Tom. That was really--
It's a testament to Tom.

2969
02:27:27,388 --> 02:27:30,255
It was really him finding
those flourishes with Hayley.

2970
02:27:30,349 --> 02:27:31,555
-Yeah.
-And her performance.

2971
02:27:31,642 --> 02:27:35,306
Look here,
just the last, split-second cut to her.

2972
02:27:35,980 --> 02:27:38,392
The performance is telling me
she's not gonna go.

2973
02:27:38,482 --> 02:27:42,020
She does-- She's doing
such a great job of building tension.

2974
02:27:42,111 --> 02:27:46,480
The reaction from the audience
at this moment is just bewildered.

2975
02:27:46,574 --> 02:27:48,156
-This--
-Astonishment.

2976
02:27:48,242 --> 02:27:51,701
The months and the physical exertion,

2977
02:27:51,787 --> 02:27:53,698
all the energy that went into this,

2978
02:27:53,789 --> 02:27:57,783
the hard work of so many
amazing, amazing people...

2979
02:27:57,876 --> 02:27:58,741
Yeah.

2980
02:27:58,836 --> 02:28:01,294
...for all the physical exertion
you're seeing going on.

2981
02:28:01,380 --> 02:28:04,372
I'm getting all
my <i>Poseidon Adventure</i> flashbacks as well.

2982
02:28:04,466 --> 02:28:08,425
And it really-- none of this would work,
for all of its spectacle--

2983
02:28:08,512 --> 02:28:13,302
It wouldn't work if not for
your connection to these two performers.

2984
02:28:13,392 --> 02:28:14,382
It really is.

2985
02:28:14,476 --> 02:28:16,342
None of it works. None of it.

2986
02:28:16,979 --> 02:28:20,517
It's just a sensational, sensational
amount of storytelling.

2987
02:28:20,608 --> 02:28:23,316
They are hanging vertically.
They were there for hours and hours.

2988
02:28:23,402 --> 02:28:24,984
-Tom's being stretched like taffy.
-Yeah.

2989
02:28:25,070 --> 02:28:26,936
-His shoulders were killing him.
-It was brutal.

2990
02:28:27,031 --> 02:28:28,817
And then, hallelujah.

2991
02:28:29,408 --> 02:28:32,070
-And this, where we played with the music.
-Pom Klementieff comes back.

2992
02:28:32,161 --> 02:28:34,402
Tom had a really great note
on the music here.

2993
02:28:34,496 --> 02:28:38,239
Shifted the cue,
and it made all the difference.

2994
02:28:38,334 --> 02:28:41,747
-Just a few-- like one second...
-Yeah.

2995
02:28:41,837 --> 02:28:45,501
... to the right, and it changed it all.

2996
02:28:45,591 --> 02:28:48,299
Look at this little look
that Paris gives Ethan here.

2997
02:28:48,385 --> 02:28:49,796
-She's sensational.
-Just so good.

2998
02:28:49,887 --> 02:28:52,675
-And it wasn't the take we originally had...
-No.

2999
02:28:52,765 --> 02:28:55,553
...because we cut out of this shot
at a different time.

3000
02:28:55,643 --> 02:28:57,509
And when we changed that,

3001
02:28:57,603 --> 02:29:00,265
we were able to use the take
that was right.

3002
02:29:00,356 --> 02:29:02,848
Again, it was just not being precious.

3003
02:29:02,941 --> 02:29:04,477
Just obeying the story,

3004
02:29:04,568 --> 02:29:08,186
following the stuff that connects you
emotionally to the characters.

3005
02:29:08,280 --> 02:29:11,363
Not the technical excellence
of a given shot.

3006
02:29:13,661 --> 02:29:17,529
And this was-- this scene,

3007
02:29:18,957 --> 02:29:20,698
another scene I directed over Zoom.

3008
02:29:20,793 --> 02:29:24,787
Yeah. Another scene though which,
even in its earliest iterations,

3009
02:29:24,880 --> 02:29:27,292
was just absolutely firing
on all cylinders.

3010
02:29:27,383 --> 02:29:29,374
-One of my favorite shots.
-I love this shot.

3011
02:29:29,468 --> 02:29:32,551
And the connection
between these two characters.

3012
02:29:32,638 --> 02:29:38,350
Another thing I really like
about working with this cast is

3013
02:29:38,435 --> 02:29:41,393
just momentary connections
between characters

3014
02:29:41,480 --> 02:29:44,689
who don't otherwise
really interact with one another.

3015
02:29:44,775 --> 02:29:46,812
They just all have a feeling to them.

3016
02:29:46,902 --> 02:29:49,894
And this,
because I was directing over Zoom

3017
02:29:49,988 --> 02:29:52,650
-and in a low resolution...
-Yeah.

3018
02:29:52,741 --> 02:29:55,403
-...I didn't see Pom's tears.
-Yeah.

3019
02:29:55,494 --> 02:29:58,361
And I was really taken
with her performance.

3020
02:29:59,206 --> 02:30:02,870
-Not seeing so much of the subtlety of it...
-Yeah.

3021
02:30:02,960 --> 02:30:05,543
-...for months later.
-Look at that tear.

3022
02:30:05,629 --> 02:30:06,619
It's amazing.

3023
02:30:06,714 --> 02:30:08,625
It's sensational. It's really--

3024
02:30:08,716 --> 02:30:12,926
And that, of course, came later,
when I realized I should--

3025
02:30:13,679 --> 02:30:15,215
I just asked Hayley very quickly.

3026
02:30:15,305 --> 02:30:17,842
I said, "Just give me a moment.
Just give me a beat here."

3027
02:30:17,933 --> 02:30:19,515
She conjured that up.

3028
02:30:19,601 --> 02:30:22,593
It was the kind of thing
that she could just turn on like a switch.

3029
02:30:22,688 --> 02:30:25,430
Really, three sensational actors here.

3030
02:30:25,524 --> 02:30:27,686
And Tom,

3031
02:30:27,776 --> 02:30:30,268
really, you know,
when we cut the scene shorter--

3032
02:30:30,362 --> 02:30:32,649
-Yeah.
-Everything was about Tom.

3033
02:30:32,740 --> 02:30:35,323
I did a brutally short version,
which you have to do.

3034
02:30:35,409 --> 02:30:36,820
You have to try it.

3035
02:30:36,910 --> 02:30:38,400
And we both looked at it.

3036
02:30:38,495 --> 02:30:41,032
-We both felt the same thing.
-There was just nothing there.

3037
02:30:41,123 --> 02:30:42,534
-It ceased to be emotional.
-Yeah.

3038
02:30:42,624 --> 02:30:43,739
It was a conversation.

3039
02:30:43,834 --> 02:30:46,792
We put back all the air.
Like, we barely trimmed this down.

3040
02:30:46,879 --> 02:30:49,792
Well, this is a scene
in which the air is earned.

3041
02:30:49,882 --> 02:30:51,418
Yeah.

3042
02:30:51,508 --> 02:30:56,423
And it mattered more that you connected
emotionally to this character

3043
02:30:56,513 --> 02:30:59,426
than the information in the scene,

3044
02:30:59,516 --> 02:31:01,974
which is A, information we all know.

3045
02:31:02,060 --> 02:31:04,176
We're just seeing Ethan learn it.

3046
02:31:04,271 --> 02:31:05,853
Chunky, that push-in.

3047
02:31:05,939 --> 02:31:08,897
-Again, camera and actor working together.
-Beautiful.

3048
02:31:08,984 --> 02:31:11,976
Really sensational work
from everybody here.

3049
02:31:13,614 --> 02:31:18,484
And Pom describing to me
kind of her mental process

3050
02:31:18,577 --> 02:31:22,286
and how she prepared for this
was really something else.

3051
02:31:22,372 --> 02:31:27,913
Her taking on the idea of a character
who was dying.

3052
02:31:28,003 --> 02:31:32,839
And her interpretation of death
was really something quite beautiful.

3053
02:31:32,925 --> 02:31:33,915
Wow.

3054
02:31:34,009 --> 02:31:35,591
It was all about letting go.

3055
02:31:35,677 --> 02:31:38,886
And so she's in the state of letting go
throughout the scene.

3056
02:31:38,972 --> 02:31:40,337
Wow.

3057
02:31:40,432 --> 02:31:43,641
Really, really,
I'm not remotely articulating it.

3058
02:31:43,727 --> 02:31:45,934
Yes, I understand.

3059
02:31:46,021 --> 02:31:50,140
And then here's a moment coming up
that we reshot.

3060
02:31:50,234 --> 02:31:54,102
This little exchange between them,
which is remarkably simple

3061
02:31:54,196 --> 02:31:57,029
in this finished version of the movie,

3062
02:31:57,115 --> 02:32:00,733
we experimented with
and iterated many times because--

3063
02:32:00,828 --> 02:32:03,320
Just the goodbye.
Just how they leave each other.

3064
02:32:03,413 --> 02:32:06,576
Everything else was
from the original coverage

3065
02:32:06,667 --> 02:32:08,374
but how they left one another.

3066
02:32:08,460 --> 02:32:10,792
Here, this moment here was reshot.

3067
02:32:10,879 --> 02:32:13,291
Yes, this is two years later.
Tom's wearing a wig.

3068
02:32:14,758 --> 02:32:16,465
And then you're back in real time.

3069
02:32:16,552 --> 02:32:21,012
Chunky, terrified of heights, by the way,
is a hundred-and-some feet in the air,

3070
02:32:21,098 --> 02:32:24,181
operating off of that platform
with nothing but a little rope,

3071
02:32:24,268 --> 02:32:27,010
standing on an 18-inch-wide piece of wood.

3072
02:32:27,104 --> 02:32:30,392
-Exquisite bit of Shea Whigham...
-Extraordinary coverage. Yeah.

3073
02:32:30,482 --> 02:32:33,065
-Shea, what he's able to deliver.
-...thought-acting. Yeah.

3074
02:32:33,151 --> 02:32:36,735
And really, again, it's in moments.

3075
02:32:36,822 --> 02:32:39,109
These actors
were fully developed characters.

3076
02:32:39,199 --> 02:32:41,987
I remember one time you asked Tarzan
to say, "I don't feel a pulse.”

3077
02:32:42,077 --> 02:32:43,738
-"I don't feel a pulse!"
-Pom said, "What?"

3078
02:32:43,829 --> 02:32:45,615
Pom woke up and was like, "No, no!"

3079
02:32:45,706 --> 02:32:48,164
Pom was so terrified
we were gonna Kill her.

3080
02:32:48,250 --> 02:32:53,666
This, here's another elegant rewrite
from Henry Czerny.

3081
02:32:53,755 --> 02:32:55,496
Just adding the word "authentic.”

3082
02:32:55,591 --> 02:32:57,081
Yes. "Face."

3083
02:32:57,175 --> 02:32:59,086
-"That's better, isn't it?"
-Yeah.

3084
02:33:01,179 --> 02:33:03,796
"Face to authentic face." So good.

3085
02:33:04,391 --> 02:33:07,429
And the first time
we watched this in a theater,

3086
02:33:08,020 --> 02:33:11,513
in a cut much longer,
with no music in the third act,

3087
02:33:11,607 --> 02:33:13,393
no visual effects.

3088
02:33:13,483 --> 02:33:15,850
And Hayley said her line,

3089
02:33:15,944 --> 02:33:18,777
and what was really sensational--

3090
02:33:19,907 --> 02:33:22,023
The audience cheered,
and that's how we knew,

3091
02:33:22,117 --> 02:33:24,654
"Okay, we might actually
get away with this.

3092
02:33:24,745 --> 02:33:27,658
We still have a lot of work to do.
We can still do better."

3093
02:33:28,498 --> 02:33:30,330
Now, the speed flying,

3094
02:33:30,417 --> 02:33:32,749
this is extremely dangerous.

3095
02:33:32,836 --> 02:33:36,670
While it may look delicate,
it may look peaceful,

3096
02:33:36,757 --> 02:33:41,547
that-- any gust of wind
can drive you right into those rocks.

3097
02:33:41,637 --> 02:33:44,504
Any gust of wind can invert Tom,

3098
02:33:44,598 --> 02:33:48,341
and the speed wings,
it can just collapse on him.

3099
02:33:48,435 --> 02:33:52,303
And you can go on YouTube and watch
a lot of really terrifying malfunctions

3100
02:33:52,397 --> 02:33:55,355
of speed wings.

3101
02:33:55,442 --> 02:33:58,025
And then this landing.

3102
02:33:58,111 --> 02:34:00,148
You couldn't predict your trajectory.

3103
02:34:00,238 --> 02:34:02,149
You approximate your trajectory,

3104
02:34:02,783 --> 02:34:04,899
but a crosswind could blow you
in either direction,

3105
02:34:04,993 --> 02:34:07,485
and we're in a vehicle
driving towards him.

3106
02:34:07,579 --> 02:34:10,446
He's just gone by the crane
by just a few feet.

3107
02:34:10,540 --> 02:34:13,248
If the wind had just pushed him
just a little bit to his left,

3108
02:34:13,835 --> 02:34:15,075
there was no way for him to stop,

3109
02:34:15,170 --> 02:34:17,707
and he would have wrapped himself
right around our crane.

3110
02:34:19,424 --> 02:34:20,755
But I got the shot.

3111
02:34:22,260 --> 02:34:25,048
And, again, all of this,
the language of our film,

3112
02:34:25,138 --> 02:34:28,221
these 180-degree hinges

3113
02:34:28,308 --> 02:34:30,015
all telling you in cover--

3114
02:34:30,102 --> 02:34:32,093
You know, just eliminating coverage

3115
02:34:32,187 --> 02:34:34,474
and focusing on character.

3116
02:34:34,564 --> 02:34:36,726
That all just became...

3117
02:34:38,652 --> 02:34:40,814
the bread and butter of our film.

3118
02:34:40,904 --> 02:34:44,738
This was shot many months later than this,

3119
02:34:44,825 --> 02:34:48,864
when we changed the context
of the end scene.

3120
02:34:48,954 --> 02:34:52,618
We realized we had a different idea
for how we were gonna

3121
02:34:52,708 --> 02:34:54,494
take the audience out of the movie.

3122
02:34:54,584 --> 02:34:57,918
And then this is a practical shot
shot in Svalbard...

3123
02:34:58,005 --> 02:34:59,211
That's it.

3124
02:34:59,297 --> 02:35:01,755
...while we were shooting pieces
of Part Two,

3125
02:35:01,842 --> 02:35:05,130
while we were on hiatus from Part One.

3126
02:35:06,513 --> 02:35:08,595
And then this, of course, is a sequence--

3127
02:35:08,682 --> 02:35:11,094
Mark Bristol, by the way,
our storyboard artist, is the guy

3128
02:35:11,184 --> 02:35:14,017
who had the concept
of starting upside down under the ice.

3129
02:35:14,104 --> 02:35:15,094
Thank you, Mark.

3130
02:35:15,188 --> 02:35:18,021
And that was to match
the dunes in the desert

3131
02:35:18,108 --> 02:35:20,691
for a match cut that never was.

3132
02:35:21,278 --> 02:35:25,897
And then, of course, here is our promise

3133
02:35:26,158 --> 02:35:28,775
for what's coming in Part Two.

3134
02:35:29,619 --> 02:35:31,735
More great graphics from Filmograph.

3135
02:35:31,830 --> 02:35:32,820
Yes.

3136
02:35:32,914 --> 02:35:37,329
And "<I>Part One</I>" to remind the audience
that, you know, it is a part one.

3137
02:35:37,419 --> 02:35:40,081
Our sensational crew.

3138
02:35:40,172 --> 02:35:43,585
Chris Brock, our unit production manager,
the hardest-working man in show business.

3139
02:35:43,675 --> 02:35:45,211
-First assistant director...
-Mary.

3140
02:35:45,302 --> 02:35:48,715
...Tommy Gormley who--
And then, of course, Mary Boulding...

3141
02:35:48,805 --> 02:35:50,796
-And Nick Degan.
-...who took over for Tommy.

3142
02:35:50,891 --> 02:35:52,757
-And Wade. And Nick.
-You want to talk about--

3143
02:35:52,851 --> 02:35:55,969
Yes, Wade Eastwood,
who's been with us for many, many years.

3144
02:35:56,063 --> 02:36:00,899
But Mary Boulding is somebody
that I don't talk about nearly enough.

3145
02:36:02,277 --> 02:36:06,521
A director is nothing
without a great first AD.

3146
02:36:06,615 --> 02:36:10,609
And Mary is somebody who we've known
since Edge of Tomorrow...

3147
02:36:10,702 --> 02:36:13,285
-Yeah.
-...where she was working as--

3148
02:36:13,371 --> 02:36:16,784
-Accidentally credited as Mark Boulding.
-Mark Boulding.

3149
02:36:16,875 --> 02:36:18,866
She was credited as Mark Boulding.

3150
02:36:20,170 --> 02:36:22,787
-It's absolutely terrible.
- I know!

3151
02:36:22,881 --> 02:36:26,044
Terrible. And now finds herself,

3152
02:36:26,885 --> 02:36:29,422
or rather worked very, very hard,

3153
02:36:29,513 --> 02:36:31,845
and at the age of 30,

3154
02:36:31,932 --> 02:36:36,017
was working as a first AD on this movie.

3155
02:36:36,103 --> 02:36:40,062
And really did
an unbelievably phenomenal job.

3156
02:36:40,148 --> 02:36:43,015
And you look at all of the people
in these credits.

3157
02:36:43,110 --> 02:36:45,898
They're all people
that are being managed and wrangled

3158
02:36:45,987 --> 02:36:49,105
by Chris Brock, Tommy Gormley,

3159
02:36:50,534 --> 02:36:51,524
Mary.

3160
02:36:52,244 --> 02:36:54,235
Really an extraordinary,
extraordinary team.

3161
02:36:54,329 --> 02:36:56,991
You can't make even the smallest movie--

3162
02:36:57,082 --> 02:36:59,619
Cecile Tournesac,
supervising music editor,

3163
02:36:59,709 --> 02:37:02,701
who cut together all of these
extraordinary cues and edited--

3164
02:37:02,796 --> 02:37:05,288
My team just went past.

3165
02:37:05,382 --> 02:37:07,339
Thank you to Tom Coope and Chris Frith.

3166
02:37:07,425 --> 02:37:10,793
Ben Piltz, production manager
for all of our locations.

3167
02:37:10,887 --> 02:37:13,504
When you talk about different departments,

3168
02:37:14,266 --> 02:37:16,633
it's really interesting
to listen to people,

3169
02:37:16,726 --> 02:37:18,842
you know, talking about so-and-so's work.

3170
02:37:18,937 --> 02:37:22,146
-And isolating it by department head.
-Yes.

3171
02:37:23,275 --> 02:37:26,859
The truth of the matter is--
There went Martin Smith, our gaffer.

3172
02:37:26,945 --> 02:37:28,185
The truth of the matter is,

3173
02:37:28,280 --> 02:37:31,614
no one department makes
any movie look like it does.

3174
02:37:31,700 --> 02:37:35,284
And great cinematography is relying
on great production design.

3175
02:37:35,370 --> 02:37:39,534
And great production design
is relying on great locations

3176
02:37:39,624 --> 02:37:43,458
and costume design, hair and makeup.

3177
02:37:43,545 --> 02:37:47,004
It's all working together
to make the image you see.

3178
02:37:47,090 --> 02:37:48,922
And it's a really important thing
to remember

3179
02:37:49,009 --> 02:37:52,752
that when you're looking at the work
of one sensational person,

3180
02:37:52,846 --> 02:37:54,883
one sensational performance,

3181
02:37:54,973 --> 02:37:59,467
one sensational credit on the movie,

3182
02:37:59,561 --> 02:38:03,520
it's actually the work of so many
other people supporting that person.

3183
02:38:03,607 --> 02:38:05,564
Yeah, all the costume department.

3184
02:38:05,650 --> 02:38:07,140
-Amazing.
-Yes, costume department.

3185
02:38:07,235 --> 02:38:10,353
-And I say all of this--
-Amy, hair and makeup.

3186
02:38:10,447 --> 02:38:14,486
And I say all of this
because all of it applies to my job.

3187
02:38:14,576 --> 02:38:18,410
You know, you're the last name
in the opening credits,

3188
02:38:18,496 --> 02:38:21,238
and you get a lot of credit,
and you get a lot of glory.

3189
02:38:21,333 --> 02:38:26,328
And the truth of the matter is that
I'm here because of all these people.

3190
02:38:26,421 --> 02:38:29,288
-There's Will Banks and Phil Arntz.
-Yeah.

3191
02:38:29,382 --> 02:38:32,374
Our helicopter-- Our aerial unit.

3192
02:38:33,887 --> 02:38:36,094
And then, of course,
all the countries that we shot in:

3193
02:38:36,181 --> 02:38:38,013
Abu Dhabi, Italy,

3194
02:38:38,099 --> 02:38:40,511
Norway, United Kingdom.

3195
02:38:40,602 --> 02:38:44,766
Extraordinary local crew
in all of those places.

3196
02:38:44,856 --> 02:38:48,224
Amazing people
and really amazing cultures.

3197
02:38:48,318 --> 02:38:53,859
And one of the true privileges of this job
is being able to travel the world,

3198
02:38:53,949 --> 02:38:56,532
go places that many people will never go,

3199
02:38:56,618 --> 02:38:59,531
see things that other people
never have access to.

3200
02:38:59,621 --> 02:39:00,452
Yeah.

3201
02:39:00,538 --> 02:39:02,870
-Just going on the roof of the airport...
-Yeah!

3202
02:39:02,958 --> 02:39:04,699
-...in Abu Dhabi.
-In Abu Dhabi. Absolutely.

3203
02:39:04,799 --> 02:39:06,961
And you find yourself there,
going, "This is my office."

3204
02:39:07,045 --> 02:39:09,161
It's all, again, the work--

3205
02:39:09,256 --> 02:39:12,374
The roof of a train,
driving at high speeds through Norway.

3206
02:39:12,467 --> 02:39:14,083
Driving at high speed through Norway.

3207
02:39:14,177 --> 02:39:16,214
-Norway, who lent us a railroad.
-I know.

3208
02:39:16,304 --> 02:39:18,136
Allowed us to take over and do that.

3209
02:39:18,223 --> 02:39:21,636
The extraordinary resources

3210
02:39:23,019 --> 02:39:27,638
and goodwill from all of these people.

3211
02:39:27,732 --> 02:39:29,848
And it's something
we take very, very seriously.

3212
02:39:29,943 --> 02:39:31,809
We go to all these countries,

3213
02:39:31,903 --> 02:39:34,861
and we go there
to celebrate those cultures

3214
02:39:34,948 --> 02:39:36,780
and celebrate those countries

3215
02:39:36,866 --> 02:39:39,824
and hopefully inspire people to go there.

3216
02:39:39,911 --> 02:39:44,621
And then for anybody who can't go there,
we want to bring it to you.

3217
02:39:44,708 --> 02:39:50,454
That is, again, all of the hard work
of all of these people bringing it to you.

3218
02:39:50,547 --> 02:39:54,711
And in this case, and I get
somewhat emotional thinking about it,

3219
02:39:54,801 --> 02:39:57,133
these are all people,
every single one of these people,

3220
02:39:57,220 --> 02:40:01,930
who were away from their families
for sometimes months at a time,

3221
02:40:03,101 --> 02:40:07,516
all during very, very difficult times
of making this particular film.

3222
02:40:08,315 --> 02:40:10,101
Not a single name that you're looking at--

3223
02:40:10,191 --> 02:40:13,183
Yeah, we should probably, given that
we're looking at Industrial Light and Magic,

3224
02:40:13,278 --> 02:40:18,739
we should give enormous credit
to Robin Saxen, who is the VFX producer.

3225
02:40:18,825 --> 02:40:20,736
-VFX producer.
-Alex Wuttke.

3226
02:40:20,827 --> 02:40:24,320
-Alex Wuttke.
-Who was our visual effects supervisor.

3227
02:40:24,414 --> 02:40:27,748
And the whole team, the whole VFX team,
who just worked miracles.

3228
02:40:27,834 --> 02:40:31,828
And in a department that,
in the circumstances,

3229
02:40:31,921 --> 02:40:35,255
you would think that because
they're not on all of these locations,

3230
02:40:35,342 --> 02:40:38,755
they're back at home,
and shots are being shipped to them.

3231
02:40:39,596 --> 02:40:44,762
The extreme difficulties
of this production trickled down to them,

3232
02:40:44,851 --> 02:40:47,013
and they were under enormous pressure

3233
02:40:47,103 --> 02:40:49,470
right up until the day
before the premiere.

3234
02:40:49,564 --> 02:40:53,808
I remember we were still tweaking shots
and getting things done.

3235
02:40:55,695 --> 02:40:58,983
The work that they do,
the unsung work that they do,

3236
02:40:59,074 --> 02:41:03,864
and the extraordinary pressure
of it is something

3237
02:41:03,953 --> 02:41:06,035
that cannot be overstated.

3238
02:41:06,122 --> 02:41:07,203
I mean, very much so.

3239
02:41:07,290 --> 02:41:11,500
So, we edited this movie over a period
of about two and a half years,

3240
02:41:13,254 --> 02:41:19,466
from September 2020
until pretty much June 2023.

3241
02:41:20,345 --> 02:41:21,961
Yeah. And...

3242
02:41:23,390 --> 02:41:28,510
Yeah, it was, you know,
quite an intense experience for everybody,

3243
02:41:28,603 --> 02:41:33,439
and-- but we love it, and I love--

3244
02:41:33,525 --> 02:41:37,769
I'm very privileged to work with Chris
McQuarrie and Tom Cruise on these films.

3245
02:41:37,862 --> 02:41:40,149
-We are the ones who are privileged.
-Both terrific leaders.

3246
02:41:40,240 --> 02:41:42,106
- I speak for Tom without hesitation.
-Thank you.

3247
02:41:42,200 --> 02:41:47,115
Terrific leaders to collaborate with
and great, great filmmakers

3248
02:41:47,205 --> 02:41:51,494
who really understand,
you know, in detail,

3249
02:41:51,584 --> 02:41:57,250
how to make really entertaining movies
that work for worldwide audiences.

3250
02:41:57,340 --> 02:42:00,674
Well, as this is the editorial commentary,
I'm gonna cut you off

3251
02:42:00,760 --> 02:42:03,001
and talk about you, Eddie Hamilton.

3252
02:42:03,096 --> 02:42:06,134
The number of times on a movie
where I will turn to Eddie and say,

3253
02:42:06,224 --> 02:42:08,841
"Does this work? And is this gonna work?

3254
02:42:08,935 --> 02:42:11,723
Is this too long,
and is an audience gonna understand this?"

3255
02:42:11,813 --> 02:42:14,305
And you're always the one to say,
"That doesn't matter now."

3256
02:42:14,399 --> 02:42:15,889
-Yeah.
-"It doesn't matter now.

3257
02:42:15,984 --> 02:42:17,224
The audience will tell us."

3258
02:42:17,318 --> 02:42:20,902
And you never ever,
ever lose your positive spirit,

3259
02:42:20,989 --> 02:42:23,356
your amazing attention to detail.

3260
02:42:23,450 --> 02:42:26,863
The way you manage your team,
the way you manage the crew--

3261
02:42:27,829 --> 02:42:30,321
How, in a very high-pressure environment,

3262
02:42:30,415 --> 02:42:35,251
I have never once seen you lose your shit.

3263
02:42:35,336 --> 02:42:37,828
-Very kind of you to say, Chris.
- I gotta say that.

3264
02:42:37,922 --> 02:42:39,583
You are a gentleman,

3265
02:42:39,674 --> 02:42:44,214
and it infuriates me
because you're, frankly--

3266
02:42:44,304 --> 02:42:46,716
It's an admonishment to everybody else.

3267
02:42:46,806 --> 02:42:49,764
It's a great privilege to be
on these journeys with you.

3268
02:42:49,851 --> 02:42:51,842
We really are the ones who are privileged.

3269
02:42:51,936 --> 02:42:53,552
You all out there, watching the movie.

3270
02:42:53,646 --> 02:42:55,603
I say this without hyperbole.

3271
02:42:55,690 --> 02:42:58,648
You are the ballast that holds
this whole thing together, man.

3272
02:42:58,735 --> 02:43:01,648
We all face a lot of pressure

3273
02:43:01,738 --> 02:43:03,945
and a lot of difficulty
and a lot of strife,

3274
02:43:04,824 --> 02:43:06,189
and it all comes down to you.

3275
02:43:06,284 --> 02:43:08,525
-Thank you, Chris.
-We really appreciate it.

3276
02:43:08,620 --> 02:43:11,487
And of course,
we appreciate you, the audience.

3277
02:43:11,581 --> 02:43:14,164
Thank you for watching,
everyone out there at home.

3278
02:43:14,250 --> 02:43:16,537
Great to talk to you. Bye-bye.

3279
02:43:19,714 --> 02:43:20,704
English (US)