Original subtitles

Downloaded from YTS.BZ

- Promise me you will come back.

What if I can't?

- This is definitely the biggest movie

Official YIFY movies site: YTS.BZ

that I've ever done, in terms of its ambition.

The scale of all the sets,

and the amount of people involved, it's just so large.

- A great filmmaker like Christopher Nolan

can do scope and action, but also heart

and humanity and rawness.

- This is him at his best, going for it, you know?

Pedal to the metal, like, we are gonna make

the biggest and most impressive movie that's ever been made.

[dramatic music]

[muffled yelling]

Let's go home.

[shouting]

- "The Odyssey" is a massive story.

And that's part of the appeal of it,

is it's not really just one story.

It manages to encompass a lot of different genres.

So for me, the idea of taking on this biggest of stories

with a top-level cast, using all the techniques

and resources of a massive Hollywood production.

Whether you're talking about visual effects

or practical stunts, real locations, building sets,

we needed to use all of it for "The Odyssey,"

every trick in the book.

That's never been done before,

and that's a really exciting challenge to take on.

- You're a man who needs to control his fate.

But you cannot control this.

And three, two, one, action!

[tense music]

- This is such an ambitious film.

It's sort of like seven different ambitious movies

all rolled up into one.

We needed the right people to take on this challenge.

- Chris gets the finest craftsmen

in the world at what they do, and then he asks everybody

to push the envelope.

That's the thing that's exciting about these pictures,

is you can feel everybody straining--straining--

to do better than they've done before, to just fulfill

what's being asked of them.

- Chris looked at me and he goes,

this is gonna be a hard movie.

And I said, yeah, I know.

And he goes, no, this is gonna be a really hard movie.

And I was like, got it.

- Part of what I've been doing in my films over the years,

whether you look at "The Dark Knight" or "Interstellar"

or "Inception," they're taking sometimes fanciful ideas

but trying to ground them in something

really recognizable for the audience.

And I wanted to apply that to the world of Greek mythology.

That's a huge task for every department head

to find that reality, to create an entire world

that you can put into action in front of the camera

and then bring the audience into that space.

- Everyone's on that same page of trying

to find the best possible,

essentially in-camera solutions.

My role is constantly wracking my brains

for how are we gonna do this,

which may involve special effects

or the art department or whoever.

- I reminded myself and learned firsthand

every single day Chris's motto of

"If it's easy, everybody would be doing it."

- No one could stand between me and home.

Not even the gods.

- It feels like we made six or seven movies,

and in a sense, we did.

Every single chapter of this adventure

was at a different location

that posed a different challenge.

- You just know that the locations,

when you're telling a story like this, are gonna be

like characters unto themselves,

so they have to be extra special.

And so we found ourselves in these really amazing places.

- There are parts of the world that I don't think I would

even have ever seen or known about

had it not been for this experience.

- There's a certain level of information

that you learn when something is real.

So when you go to these places, you just feel it,

and it just adds another layer

to what it is that you're trying to express.

Action.

- One of the things I like about shooting on location

is we're moving countries every couple of weeks.

So it gives you this incredible momentum.

The issue on this film is that we're shooting

in extraordinary places that were

hard to get to, hard to shoot in.

- You know, normally if you're doing a Hollywood movie,

the base camp is 10 seconds away from the set.

When you're shooting a Chris Nolan movie, it's like,

no, that's a 45-minute hike in sandals up there, full costume.

- We're at a location called Santa Catarina Castle.

It's on the top of a hill.

- All the equipment drops are happening here.

You guys gotta film some of that.

Load-in's gonna be nuts.

♪ ♪

Getting the camera equipment and the grip equipment,

all of it just up here on this hill.

- We have, basically, the footpath,

a funicular cableway for equipment,

and a few helicopters to get

equipment and crew up as needed.

- We all feel so fortunate and lucky.

As hard as this is to work like this up here in this...

It's worth it. [laughs]

- Being on a mountaintop and having the capability

to shoot 360 degrees

and not having to worry about blue screens

or visual effects lights

and all this sort of stuff just gives so much freedom

to us as the actors to just let it happen,

where you just have to be a human being and react

to the beautiful sunset that's happening

on top of the mountain.

- I mean, every location we went to, I would get there,

and I'd just start laughing.

You're like, who thought you should shoot a movie here?

You know, we're shooting in Nestor's Cave in Greece.

They say it's the cave where Zeus was born,

and it's this incredible place, but nobody's ever tried

to shoot a film up there.

And so to go up there with the crew

and to see the rigging that they did to basically turn it

into a natural soundstage, yeah,

I don't know any other director who would try it.

- There was no location that was straightforward and easy.

But all of those locations made sense for the story, really.

It wouldn't be the film that it is without going there

and doing it for real.

Tell me what you remember.

We won the war.

And then what?

[indistinct crew chatter]

- Chris is not happy with what's already been done.

He wants to do things that haven't been done before

and do them on a scale that hasn't been done before.

And anything he can do to enhance the experience

of movie going and watching and entertainment,

it's like, that's his goal.

- My first day in Morocco, they were shooting the beach

where they pull the horse out of the water.

I asked, I was like, can I visit set?

So I walk over this sand dune.

And I reckon I walked 20 minutes through extras

and boats and fires and buildings

and all this sort of stuff before I saw

the first crew member.

I was like, where is the crew?

Like, where is everyone?

That was the moment it really set in

that I was lucky enough to be a part of something

that is different and special.

Because I've never seen anything on that scale before.

- When you look at large-scale filmmaking,

each section of the film has to be as impressive as possible.

It has to take the audience somewhere

they haven't been before.

Troy, for example, and the fall of Troy,

we needed that to be on an absolutely colossal scale.

[muffled shouting]

- I knew from the get-go there was no set extensions,

there was no CGI.

We wanted to build as much as possible.

Finding this terraced town, Ait Benhaddou,

the different layers and terraces helped us so much,

and then designing everything into that.

This is pretty darn big.

It just feels like a real massive city.

Let's just say we got our steps every day.

And we wanted the horse to rival the scale of the temple.

- Did you ever hear the story of the horse?

♪ ♪

- It's 35 feet tall, 8,000 or 9000 pounds.

We shipped it in, like, nine or ten crates.

- The audience is very familiar with this trick.

Everyone knows what the Trojan horse is.

It can't be a big roller-skate--

it can't be on wheels, you know?

So I had this idea that what if it's left there

as if it's meant to be taken by the waves

as an offering to Poseidon.

- Chris and I specifically wanted a more

sophisticated-looking horse.

They're master craftsmen, and they were sea people.

And so we took the inspiration of the ship siding

and applied that to the horse to make it

sort of a Trojan horse you've never, ever seen before.

- The goal was to make it manageable by human power,

because in the script, there's 100 guys pulling it.

And so we really worked hard to try

to make it as strong and lightweight

and durable as possible.

- When they say it takes a village, it certainly does.

Special effects built the structural spine.

We made all the parts.

Originally, we had the entire horse cut out of foam.

And from there, we made molds.

And then from there, we made the fiberglass panels

and put all the infrastructure in it.

This was incredible.

And they actually moved it from the shore to the town

and erecting it up the Temple of Athena.

- It's really like everything in this whole movie,

you know, there's such a journey.

You know, everyone works together to get it done.

- When you see it all together with the wardrobe

and the people, it's absolutely epic.

I mean, it's just stunning to see it come together.

All of those extras.

I remember going in the extras tent in Ouarzazate

and going, holy mother.

It was quite extraordinary. [laughs]

I don't know how we've accomplished it.

What was always very important in the design was texture.

The textures are really absolutely essential

for each and every character.

Nothing was flat.

Everything felt three dimensional,

and you could actually feel it.

- There's so much detail and thought

in every costume, set piece.

The sets are so massive, and everybody's working

at such a high level that you really feel immersed.

Like, I really stepped into this world.

Ithaca's king is coming back.

No, he's not.

- Odysseus's Ithaca, with the palace,

we used these existing ruins and built onto them.

It had to convince the audience why he needs to get home.

- When I first got to Favignana,

I didn't even realize that the set part was a set.

I literally--like, I remember just leaning against the wall,

and it was squidgy.

And it's completely seamless with the real ruins.

It was absolutely incredible.

- Ruth comes at everything from a place of reality,

of going to a location and building there

and changing it into what you need to be,

basing it on something there.

- This is all us. We put all this.

[knocking]

But then you can turn around here,

and you get all of this, which is epic.

We're gonna tie this into our palace

on stage in Los Angeles.

Chris knew he wanted this to be a very large set.

It's really our only build of the entire movie.

Everything else is built on location in an environment.

- Ruth and her crew built this absolutely incredible set

that was really huge and really detailed.

And you walked in there, and it didn't feel like a set.

It felt like its own world.

[yelling]

♪ ♪

Nice, guys.

So just, like, a quick parry, and keep going.

So parry, keep going, forward, fall to the ground.

- When you're taking on something as epic scale

and grand as this, about the attack

of the gates at Troy and the Trojan Horse

and bow and arrows and swords and now you think,

how do we take that to the next level?

- Walk through this bit again, will you please,

when you grab these two axes.

- I said to George Cottle, we need the fighting in the film,

we need the action in the film to be remarkable and credible,

and we need the actors to do it.

Matt and all of the cast

were in incredible physical condition,

and they all worked so, so hard to deliver that.

- Movie fighting is really more like dancing than anything,

because it really requires both people

to be in the right place.

The guys that George put around me were really

super experienced so that I was moving from one expert

dance partner to the next one.

- The actors have to be as good as the stunt guys,

but then also bring the acting elements into those equations.

So we try to make the choreography

so ingrained in them that

they can truly concentrate on their character.

- You know, lots of directors would look at the action

and go, that looks awesome. Great. Shoot it.

But Chris is looking for, why is it awesome

and what makes these characters tick?

Finding those little story pieces within the great action

is what makes Chris so special.

Okay, we're gonna go.

Action!

♪ ♪

Keep us straight!

[waves crashing]

rowers: Pull!

And pull!

- When I was adapting the screenplay,

I was sort of privately kind of hoping I'd be able

to minimize the amount of boat time.

But it's "The Odyssey."

Of course we're gonna be on this boat for months,

as we were.

Last call.

If you do not need to be on this boat, please get off now.

Boat's pushing off.

- One of the main challenges here was

that we were using period wooden ships.

We did everything we could to hide engines in them,

but those engines were just kind of, like,

to keep them in a certain direction.

These were ultimately gonna have to be sailed

by half stunt, half cast.

- There's a reason we don't row great big open boats

around on the ocean anymore, okay?

But to get that feel, you do the real thing.

We rowed this boat.

When I say, "we," I mean those poor guys out there.

- There was a rowing camp, because all Odysseus's guys

had to learn how to row this giant 100-ton ship.

- As that ship's moving, if you drop that oar,

it can jam you in the chest,

and it actually has the ability to pick you up

and eject you from the boat.

There needs to be a real conscious effort

to make sure you're safe.

At first, it wasn't great,

but then within a couple of days, they had it dialed in,

and they had oars in, oars out, ready and rowing.

Row!

And row!

- They learned how to put the sail up on the boat.

They learned how to row.

You know, we're out there doing these things for real,

and that is tremendously taxing of people.

It was incredibly, incredibly difficult.

- Being out there on the boat together,

and nobody could go off or go sit down somewhere

or go to a trailer or go--it was no--

we were out in the middle of the ocean together.

And it was like, what's the next shot?

We're doing a close up.

Matt is looking over where the ship is sailing to,

and a dolphin jumps right through frame.

I mean, come on.

I'll tell you where that would not happen, on the tank.

And luckily, we had this great big IMAX camera,

and we recorded it.

- And for me, it's been my long held dream,

I mean, really, since I was about 16 years old

to do an entire film on IMAX.

The thing that was stopping us was always the sound.

[camera rattles]

IMAX has an incredible team of engineers

who found a way to enclose the camera in this box

so that we could shoot the most intimate scenes.

We could have the camera six inches away

and still get dialogue.

And so for the first time ever,

we've been able to do the entire film

on the incredible IMAX film format.

It's a long held dream finally coming to fruition.

- We, as filmmakers, we're not supposed to be comfortable.

We're supposed to present the audience

with the best experience possible.

So all our effort was all in service

of trying to put our audience, you know, in our shoes,

and experience something extraordinary.

- I think the IMAX is gonna really allow

the audience to feel like they are a part

of this journey with us.

You're really gonna be immersed in this world.

- I think Chris has a way of pulling you in

when you're watching his films.

So naturally, the same thing starts

to happen with the music.

One of the first things that people would expect

when you go to see a movie of this scale

in a movie theater is to hear the sound

of a big, cinematic orchestra.

And you've seen that before.

You've heard that before.

For this one, Chris wanted it to be different.

[dramatic pounding]

- We wanted the film to feel like a recognizable world

to people, even though it was gonna be Ancient Greece.

We don't want it to look or feel

like previous movies that take on this

kind of classical world.

What can we do that's more timeless than that?

- I knew that in order to create this completely

original world, I also had to get out of my comfort zone

and find sounds that I haven't worked with before.

- Ludwig went very deep on researching the instruments

that they might have had at that time.

[aulos hums]

- Chris had mentioned early that

he was interested in aulos.

He was interested in lyre.

[lyre strumming]

The aulos is an ancient Greek instrument.

It was the most popular rock star instrument

for 1,000 years.

- This is a replica of an aulos.

The original dates from between the sixth century

and the fifth century B.C.

We don't have any surviving reeds.

So I worked with two other people,

and we spent a while trying to work out and figure out

how this bit worked at the top.

We had to read lots of ancient source material

and try and work out how they did it.

[aulos humming]

- This is a reconstruction of an ancient Greek lyre.

To be able to play it in a philological way,

we have to do research between iconography,

philological sources, and personal experience

as a musician.

[lyre strumming]

Nice.

Wow. You nailed it.

- Another thing that Chris mentioned,

too, early on in our conversations

was to use bronze.

You know, this is the Bronze Age.

So gongs, you know, for example, made of bronze.

You know, you can make these instruments

sound a way that you never heard them before.

[ominous bonging]

We started to experiment with a lot of other stuff,

hitting walls, hitting railings,

hitting any kind of things you could find outside,

like scrap metal or air conditioning units.

[ethereal vocalizations]

Using vocals kind of became

how we could also add on to some of the more

emotional pacing of the score.

[pensive music]

- There's real intimacy and humanity in the soundtrack.

And I love that, because it sort of subverts

all your expectations.

[music swells]

My dad is coming home.

Bringing vengeance.

Bringing it all.

- I'm a big fan of film history,

particularly the silent era.

In-camera spectacle was everything.

A cast of thousands, extraordinary sets,

extraordinary locations.

Over time, with visual effects technology, a lot of that

has got lost in Hollywood production.

We're able to do both.

We can go back to an older era of filmmaking,

but also add on to that an entire level

of fantasy and imagination through the power

of visual effects.

We're trying to do it all.

That's what "The Odyssey" is and needs to be on screen.

[choir vocalizing]

Action!

- Chris really shoots on this massive scale,

on this massive format.

But he basically shoots independent films.

And there's a lot of urgency to that.

- He goes the extra distance to make it feel authentic for us

on set, which then makes it feel

more authentic for the audience in the theater.

- People know a lot of the story,

but they've never seen it in this way.

And it really deserves a huge canvas.

- As a fan, I'm so excited to see this film.

Let's go!

- Like, I cannot wait to sit in that IMAX theater

and completely be lost in this world that he's created.

- In your lifetime, if there is one movie

that you go to the cinema, no matter what,

this is the movie to do it, because this is pure cinema.

♪ ♪