1 00:00:04,439 --> 00:00:05,069 Promise me you will come back. 2 00:00:05,093 --> 00:00:07,181 What if I can't? 3 00:00:07,398 --> 00:00:09,966 This is definitely the biggest movie 4 00:00:10,140 --> 00:00:12,664 that I've ever done, in terms of its ambition. 5 00:00:12,882 --> 00:00:14,666 The scale of all the sets, 6 00:00:14,884 --> 00:00:17,017 and the amount of people involved, it's just so large. 7 00:00:17,191 --> 00:00:19,671 A great filmmaker like Christopher Nolan 8 00:00:19,889 --> 00:00:23,153 can do scope and action, but also heart 9 00:00:23,371 --> 00:00:24,981 and humanity and rawness. 10 00:00:25,155 --> 00:00:28,202 This is him at his best, going for it, you know? 11 00:00:28,419 --> 00:00:30,291 Pedal to the metal, like, we are gonna make 12 00:00:30,508 --> 00:00:34,164 the biggest and most impressive movie that's ever been made. 13 00:00:41,041 --> 00:00:42,390 Let's go home. 14 00:00:44,696 --> 00:00:47,656 "The Odyssey" is a massive story. 15 00:00:47,873 --> 00:00:48,981 And that's part of the appeal of it, 16 00:00:49,005 --> 00:00:50,485 is it's not really just one story. 17 00:00:50,702 --> 00:00:54,054 It manages to encompass a lot of different genres. 18 00:00:54,228 --> 00:00:58,493 So for me, the idea of taking on this biggest of stories 19 00:00:58,710 --> 00:01:01,844 with a top-level cast, using all the techniques 20 00:01:02,062 --> 00:01:05,108 and resources of a massive Hollywood production. 21 00:01:05,326 --> 00:01:07,023 Whether you're talking about visual effects 22 00:01:07,197 --> 00:01:10,505 or practical stunts, real locations, building sets, 23 00:01:10,722 --> 00:01:12,855 we needed to use all of it for "The Odyssey," 24 00:01:13,073 --> 00:01:14,335 every trick in the book. 25 00:01:14,552 --> 00:01:16,095 That's never been done before, 26 00:01:16,119 --> 00:01:18,382 and that's a really exciting challenge to take on. 27 00:01:20,863 --> 00:01:23,083 You're a man who needs to control his fate. 28 00:01:23,300 --> 00:01:26,129 But you cannot control this. 29 00:01:26,347 --> 00:01:29,393 And three, two, one, action! 30 00:01:32,570 --> 00:01:35,269 This is such an ambitious film. 31 00:01:35,486 --> 00:01:38,707 It's sort of like seven different ambitious movies 32 00:01:38,924 --> 00:01:40,511 all rolled up into one. 33 00:01:40,535 --> 00:01:44,191 We needed the right people to take on this challenge. 34 00:01:44,408 --> 00:01:46,149 Chris gets the finest craftsmen 35 00:01:46,367 --> 00:01:49,109 in the world at what they do, and then he asks everybody 36 00:01:49,326 --> 00:01:50,849 to push the envelope. 37 00:01:51,067 --> 00:01:53,001 That's the thing that's exciting about these pictures, 38 00:01:53,025 --> 00:01:58,118 is you can feel everybody straining... straining... 39 00:01:58,292 --> 00:02:02,383 to do better than they've done before, to just fulfill 40 00:02:02,600 --> 00:02:04,733 what's being asked of them. 41 00:02:07,779 --> 00:02:09,059 Chris looked at me and he goes, 42 00:02:09,216 --> 00:02:10,739 this is gonna be a hard movie. 43 00:02:10,956 --> 00:02:12,499 And I said, yeah, I know. 44 00:02:12,523 --> 00:02:16,092 And he goes, no, this is gonna be a really hard movie. 45 00:02:16,266 --> 00:02:18,138 And I was like, got it. 46 00:02:19,574 --> 00:02:21,854 Part of what I've been doing in my films over the years, 47 00:02:22,054 --> 00:02:25,406 whether you look at "The Dark Knight" or "Interstellar" 48 00:02:25,623 --> 00:02:29,149 or "Inception," they're taking sometimes fanciful ideas 49 00:02:29,323 --> 00:02:30,933 but trying to ground them in something 50 00:02:31,151 --> 00:02:32,867 really recognizable for the audience. 51 00:02:32,891 --> 00:02:37,113 And I wanted to apply that to the world of Greek mythology. 52 00:02:37,287 --> 00:02:39,289 That's a huge task for every department head 53 00:02:39,507 --> 00:02:43,119 to find that reality, to create an entire world 54 00:02:43,293 --> 00:02:46,427 that you can put into action in front of the camera 55 00:02:46,644 --> 00:02:48,690 and then bring the audience into that space. 56 00:02:50,779 --> 00:02:52,607 Everyone's on that same page of trying 57 00:02:52,824 --> 00:02:54,478 to find the best possible, 58 00:02:54,696 --> 00:02:57,002 essentially in-camera solutions. 59 00:02:57,177 --> 00:03:00,180 My role is constantly wracking my brains 60 00:03:00,354 --> 00:03:02,573 for how are we gonna do this, 61 00:03:02,791 --> 00:03:04,836 which may involve special effects 62 00:03:05,054 --> 00:03:07,665 or the art department or whoever. 63 00:03:07,883 --> 00:03:11,016 I reminded myself and learned firsthand 64 00:03:11,191 --> 00:03:14,194 every single day Chris's motto of. 65 00:03:14,411 --> 00:03:16,239 "If it's easy, everybody would be doing it." 66 00:03:16,457 --> 00:03:20,330 No one could stand between me and home. 67 00:03:20,548 --> 00:03:22,376 Not even the gods. 68 00:03:25,466 --> 00:03:27,468 It feels like we made six or seven movies, 69 00:03:27,685 --> 00:03:29,470 and in a sense, we did. 70 00:03:29,687 --> 00:03:32,212 Every single chapter of this adventure 71 00:03:32,386 --> 00:03:34,170 was at a different location 72 00:03:34,344 --> 00:03:36,259 that posed a different challenge. 73 00:03:38,261 --> 00:03:40,220 You just know that the locations, 74 00:03:40,437 --> 00:03:42,415 when you're telling a story like this, are gonna be 75 00:03:42,439 --> 00:03:43,677 like characters unto themselves, 76 00:03:43,701 --> 00:03:45,399 so they have to be extra special. 77 00:03:45,616 --> 00:03:50,360 And so we found ourselves in these really amazing places. 78 00:03:50,578 --> 00:03:52,338 There are parts of the world that I don't think I would 79 00:03:52,362 --> 00:03:55,191 even have ever seen or known about 80 00:03:55,365 --> 00:03:57,585 had it not been for this experience. 81 00:03:57,802 --> 00:04:00,065 There's a certain level of information 82 00:04:00,240 --> 00:04:02,111 that you learn when something is real. 83 00:04:02,285 --> 00:04:04,896 So when you go to these places, you just feel it, 84 00:04:05,114 --> 00:04:07,203 and it just adds another layer 85 00:04:07,377 --> 00:04:09,292 to what it is that you're trying to express. 86 00:04:09,510 --> 00:04:11,009 Action. 87 00:04:11,033 --> 00:04:13,078 One of the things I like about shooting on location 88 00:04:13,253 --> 00:04:16,560 is we're moving countries every couple of weeks. 89 00:04:16,778 --> 00:04:20,129 So it gives you this incredible momentum. 90 00:04:20,303 --> 00:04:22,262 The issue on this film is that we're shooting 91 00:04:22,479 --> 00:04:23,674 in extraordinary places that were 92 00:04:23,698 --> 00:04:25,743 hard to get to, hard to shoot in. 93 00:04:25,961 --> 00:04:27,939 You know, normally if you're doing a Hollywood movie, 94 00:04:27,963 --> 00:04:30,618 the base camp is 10 seconds away from the set. 95 00:04:30,835 --> 00:04:32,770 When you're shooting a Chris Nolan movie, it's like, 96 00:04:32,794 --> 00:04:38,278 no, that's a 45-minute hike in sandals up there, full costume. 97 00:04:38,452 --> 00:04:42,586 We're at a location called Santa Catarina Castle. 98 00:04:42,804 --> 00:04:44,109 It's on the top of a hill. 99 00:04:44,284 --> 00:04:46,286 All the equipment drops are happening here. 100 00:04:46,503 --> 00:04:47,783 You guys gotta film some of that. 101 00:04:47,809 --> 00:04:49,506 Load-in's gonna be nuts. 102 00:04:54,598 --> 00:04:57,297 Getting the camera equipment and the grip equipment, 103 00:04:57,514 --> 00:05:00,561 all of it just up here on this hill. 104 00:05:00,778 --> 00:05:02,737 We have, basically, the footpath, 105 00:05:02,954 --> 00:05:05,653 a funicular cable way for equipment, 106 00:05:05,870 --> 00:05:07,655 and a few helicopters to get 107 00:05:07,872 --> 00:05:09,152 equipment and crew up as needed. 108 00:05:09,309 --> 00:05:11,833 We all feel so fortunate and lucky. 109 00:05:12,050 --> 00:05:16,925 As hard as this is to work like this up here in this... 110 00:05:18,535 --> 00:05:20,624 It's worth it. 111 00:05:20,842 --> 00:05:23,584 Being on a mountaintop and having the capability 112 00:05:23,801 --> 00:05:25,629 to shoot 360 degrees 113 00:05:25,847 --> 00:05:28,589 and not having to worry about blue screens 114 00:05:28,806 --> 00:05:30,393 or visual effects lights 115 00:05:30,417 --> 00:05:32,497 and all this sort of stuff just gives so much freedom 116 00:05:32,593 --> 00:05:34,986 to us as the actors to just let it happen, 117 00:05:35,204 --> 00:05:37,946 where you just have to be a human being and react 118 00:05:38,163 --> 00:05:40,209 to the beautiful sunset that's happening 119 00:05:40,383 --> 00:05:41,950 on top of the mountain. 120 00:05:42,167 --> 00:05:44,058 I mean, every location we went to, I would get there, 121 00:05:44,082 --> 00:05:45,562 and I'd just start laughing. 122 00:05:45,780 --> 00:05:49,697 You're like, who thought you should shoot a movie here? 123 00:05:49,914 --> 00:05:52,090 You know, we're shooting in Nestor's Cave in Greece. 124 00:05:52,308 --> 00:05:55,050 They say it's the cave where Zeus was born, 125 00:05:55,267 --> 00:05:58,183 and it's this incredible place, but nobody's ever tried 126 00:05:58,358 --> 00:05:59,750 to shoot a film up there. 127 00:05:59,968 --> 00:06:02,231 And so to go up there with the crew 128 00:06:02,405 --> 00:06:05,452 and to see the rigging that they did to basically turn it 129 00:06:05,669 --> 00:06:08,542 into a natural sound stage, yeah, 130 00:06:08,759 --> 00:06:11,545 I don't know any other director who would try it. 131 00:06:11,762 --> 00:06:15,331 There was no location that was straightforward and easy. 132 00:06:15,505 --> 00:06:19,291 But all of those locations made sense for the story, really. 133 00:06:19,466 --> 00:06:22,382 It wouldn't be the film that it is without going there 134 00:06:22,599 --> 00:06:25,210 and doing it for real. 135 00:06:25,385 --> 00:06:28,823 Tell me what you remember. 136 00:06:29,040 --> 00:06:31,652 We won the war. 137 00:06:31,869 --> 00:06:33,393 And then what? 138 00:06:40,661 --> 00:06:43,446 Chris is not happy with what's already been done. 139 00:06:43,664 --> 00:06:45,927 He wants to do things that haven't been done before 140 00:06:46,144 --> 00:06:48,277 and do them on a scale that hasn't been done before. 141 00:06:48,451 --> 00:06:51,585 And anything he can do to enhance the experience 142 00:06:51,802 --> 00:06:54,414 of movie going and watching and entertainment, 143 00:06:54,588 --> 00:06:56,198 it's like, that's his goal. 144 00:06:57,547 --> 00:07:00,420 My first day in Morocco, they were shooting the beach 145 00:07:00,637 --> 00:07:02,317 where they pull the horse out of the water. 146 00:07:02,465 --> 00:07:03,905 I asked, I was like, can I visit set? 147 00:07:03,945 --> 00:07:05,903 So I walk over this sand dune. 148 00:07:06,121 --> 00:07:10,038 And I reckon I walked 20 minutes through extras 149 00:07:10,255 --> 00:07:11,996 and boats and fires and buildings 150 00:07:12,214 --> 00:07:14,695 and all this sort of stuff before I saw 151 00:07:14,912 --> 00:07:16,174 the first crew member. 152 00:07:16,392 --> 00:07:17,654 I was like, where is the crew? 153 00:07:17,872 --> 00:07:19,221 Like, where is everyone? 154 00:07:19,439 --> 00:07:21,092 That was the moment it really set in 155 00:07:21,310 --> 00:07:23,486 that I was lucky enough to be a part of something 156 00:07:23,704 --> 00:07:26,054 that is different and special. 157 00:07:26,271 --> 00:07:28,404 Because I've never seen anything on that scale before. 158 00:07:30,667 --> 00:07:34,018 When you look at large-scale filmmaking, 159 00:07:34,236 --> 00:07:37,848 each section of the film has to be as impressive as possible. 160 00:07:38,066 --> 00:07:39,217 It has to take the audience somewhere 161 00:07:39,241 --> 00:07:40,566 they haven't been before. 162 00:07:40,590 --> 00:07:43,071 Troy, for example, and the fall of Troy, 163 00:07:43,288 --> 00:07:46,727 we needed that to be on an absolutely colossal scale. 164 00:07:50,165 --> 00:07:51,882 I knew from the get-go there was no set extensions, 165 00:07:51,906 --> 00:07:53,385 there was no CGI. 166 00:07:53,560 --> 00:07:55,605 We wanted to build as much as possible. 167 00:07:55,823 --> 00:07:59,479 Finding this terraced town, Ait Benhaddou, 168 00:07:59,696 --> 00:08:02,133 the different layers and terraces helped us so much, 169 00:08:02,351 --> 00:08:05,180 and then designing everything into that. 170 00:08:05,397 --> 00:08:07,225 This is pretty darn big. 171 00:08:07,443 --> 00:08:10,794 It just feels like a real massive city. 172 00:08:11,012 --> 00:08:12,840 Let's just say we got our steps every day. 173 00:08:13,057 --> 00:08:18,106 And we wanted the horse to rival the scale of the temple. 174 00:08:18,323 --> 00:08:21,892 Did you ever hear the story of the horse? 175 00:08:26,767 --> 00:08:29,421 It's 35 feet tall, 8,000 or 9000 pounds. 176 00:08:29,596 --> 00:08:32,207 We shipped it in, like, nine or ten crates. 177 00:08:32,424 --> 00:08:34,224 The audience is very familiar with this trick. 178 00:08:34,339 --> 00:08:35,899 Everyone knows what the Trojan horse is. 179 00:08:35,993 --> 00:08:37,473 It can't be a big roller-skate... 180 00:08:37,647 --> 00:08:39,127 it can't be on wheels, you know? 181 00:08:39,344 --> 00:08:41,651 So I had this idea that what if it's left there 182 00:08:41,869 --> 00:08:43,566 as if it's meant to be taken by the waves 183 00:08:43,784 --> 00:08:45,525 as an offering to Poseidon. 184 00:08:45,742 --> 00:08:48,310 Chris and I specifically wanted a more 185 00:08:48,528 --> 00:08:50,878 sophisticated-looking horse. 186 00:08:51,095 --> 00:08:53,073 They're master craftsmen, and they were sea people. 187 00:08:53,097 --> 00:08:55,883 And so we took the inspiration of the ship siding 188 00:08:56,100 --> 00:08:58,668 and applied that to the horse to make it 189 00:08:58,886 --> 00:09:01,541 sort of a Trojan horse you've never, ever seen before. 190 00:09:01,758 --> 00:09:04,674 The goal was to make it manageable by human power, 191 00:09:04,892 --> 00:09:07,372 because in the script, there's 100 guys pulling it. 192 00:09:07,547 --> 00:09:09,331 And so we really worked hard to try 193 00:09:09,549 --> 00:09:11,333 to make it as strong and lightweight 194 00:09:11,551 --> 00:09:13,093 and durable as possible. 195 00:09:13,117 --> 00:09:14,660 When they say it takes a village, it certainly does. 196 00:09:14,684 --> 00:09:16,364 Special effects built the structural spine. 197 00:09:16,556 --> 00:09:18,558 We made all the parts. 198 00:09:18,775 --> 00:09:20,815 Originally, we had the entire horse cut out of foam. 199 00:09:20,995 --> 00:09:23,867 And from there, we made molds. 200 00:09:24,085 --> 00:09:25,671 And then from there, we made the fiberglass panels 201 00:09:25,695 --> 00:09:27,741 and put all the infrastructure in it. 202 00:09:30,221 --> 00:09:31,658 This was incredible. 203 00:09:31,875 --> 00:09:34,704 And they actually moved it from the shore to the town 204 00:09:34,922 --> 00:09:37,315 and erecting it up the Temple of Athena. 205 00:09:37,533 --> 00:09:38,989 It's really like everything in this whole movie, 206 00:09:39,013 --> 00:09:40,425 you know, there's such a journey. 207 00:09:40,449 --> 00:09:42,209 You know, everyone works together to get it done. 208 00:09:42,233 --> 00:09:44,888 When you see it all together with the wardrobe 209 00:09:45,106 --> 00:09:46,890 and the people, it's absolutely epic. 210 00:09:47,108 --> 00:09:50,328 I mean, it's just stunning to see it come together. 211 00:09:50,546 --> 00:09:52,504 All of those extras. 212 00:09:52,679 --> 00:09:56,117 I remember going in the extras tent in Ouarzazate 213 00:09:56,334 --> 00:09:59,120 and going, holy mother. 214 00:09:59,337 --> 00:10:01,775 It was quite extraordinary. 215 00:10:01,992 --> 00:10:04,821 I don't know how we've accomplished it. 216 00:10:05,039 --> 00:10:09,086 What was always very important in the design was texture. 217 00:10:09,304 --> 00:10:12,655 The textures are really absolutely essential 218 00:10:12,873 --> 00:10:14,614 for each and every character. 219 00:10:14,831 --> 00:10:16,006 Nothing was flat. 220 00:10:16,224 --> 00:10:18,443 Everything felt three dimensional, 221 00:10:18,618 --> 00:10:20,620 and you could actually feel it. 222 00:10:20,794 --> 00:10:22,194 There's so much detail and thought 223 00:10:22,273 --> 00:10:25,276 in every costume, set piece. 224 00:10:25,494 --> 00:10:28,671 The sets are so massive, and everybody's working 225 00:10:28,889 --> 00:10:32,457 at such a high level that you really feel immersed. 226 00:10:32,632 --> 00:10:35,547 Like, I really stepped into this world. 227 00:10:37,898 --> 00:10:39,595 Ithaca's king is coming back. 228 00:10:39,769 --> 00:10:40,944 No, he's not. 229 00:10:43,207 --> 00:10:46,123 Odysseus's Ithaca, with the palace, 230 00:10:46,341 --> 00:10:49,910 we used these existing ruins and built onto them. 231 00:10:50,127 --> 00:10:53,870 It had to convince the audience why he needs to get home. 232 00:10:54,088 --> 00:10:55,872 When I first got to Favignana, 233 00:10:56,090 --> 00:10:59,571 I didn't even realize that the set part was a set. 234 00:10:59,746 --> 00:11:02,923 I literally... like, I remember just leaning against the wall, 235 00:11:03,140 --> 00:11:04,620 and it was squidgy. 236 00:11:04,794 --> 00:11:06,883 And it's completely seamless with the real ruins. 237 00:11:07,101 --> 00:11:08,600 It was absolutely incredible. 238 00:11:08,624 --> 00:11:10,844 Ruth comes at everything from a place of reality, 239 00:11:11,061 --> 00:11:13,020 of going to a location and building there 240 00:11:13,237 --> 00:11:14,737 and changing it into what you need to be, 241 00:11:14,761 --> 00:11:16,197 basing it on something there. 242 00:11:16,414 --> 00:11:18,155 This is all us. We put all this. 243 00:11:19,679 --> 00:11:20,999 But then you can turn around here, 244 00:11:21,158 --> 00:11:24,292 and you get all of this, which is epic. 245 00:11:24,509 --> 00:11:26,294 We're gonna tie this into our palace 246 00:11:26,511 --> 00:11:28,513 on stage in Los Angeles. 247 00:11:28,688 --> 00:11:31,821 Chris knew he wanted this to be a very large set. 248 00:11:32,039 --> 00:11:34,998 It's really our only build of the entire movie. 249 00:11:35,216 --> 00:11:39,176 Everything else is built on location in an environment. 250 00:11:39,394 --> 00:11:43,311 Ruth and her crew built this absolutely incredible set 251 00:11:43,528 --> 00:11:47,794 that was really huge and really detailed. 252 00:11:48,011 --> 00:11:50,171 And you walked in there, and it didn't feel like a set. 253 00:11:50,318 --> 00:11:53,974 It felt like its own world. 254 00:12:04,680 --> 00:12:07,422 Nice, guys. 255 00:12:07,639 --> 00:12:09,641 So just, like, a quick parry, and keep going. 256 00:12:09,816 --> 00:12:12,079 So parry, keep going, forward, fall to the ground. 257 00:12:12,296 --> 00:12:14,777 When you're taking on something as epic scale 258 00:12:14,995 --> 00:12:17,040 and grand as this, about the attack 259 00:12:17,258 --> 00:12:20,174 of the gates at Troy and the Trojan Horse 260 00:12:20,391 --> 00:12:23,481 and bow and arrows and swords and now you think, 261 00:12:23,699 --> 00:12:25,179 how do we take that to the next level? 262 00:12:25,309 --> 00:12:27,311 Walk through this bit again, will you please, 263 00:12:27,529 --> 00:12:29,289 when you grab these two axes. 264 00:12:29,313 --> 00:12:31,838 I said to George Cottle, we need the fighting in the film, 265 00:12:32,055 --> 00:12:35,667 we need the action in the film to be remarkable and credible, 266 00:12:35,842 --> 00:12:37,122 and we need the actors to do it. 267 00:12:39,759 --> 00:12:41,543 Matt and all of the cast 268 00:12:41,761 --> 00:12:43,980 were in incredible physical condition, 269 00:12:44,198 --> 00:12:47,375 and they all worked so, so hard to deliver that. 270 00:12:49,594 --> 00:12:52,075 Movie fighting is really more like dancing than anything, 271 00:12:52,293 --> 00:12:53,773 because it really requires both people 272 00:12:53,860 --> 00:12:55,252 to be in the right place. 273 00:12:55,470 --> 00:12:58,125 The guys that George put around me were really 274 00:12:58,342 --> 00:13:01,693 super experienced so that I was moving from one expert 275 00:13:01,868 --> 00:13:04,000 dance partner to the next one. 276 00:13:04,218 --> 00:13:06,916 The actors have to be as good as the stunt guys, 277 00:13:07,134 --> 00:13:10,702 but then also bring the acting elements into those equations. 278 00:13:10,877 --> 00:13:13,836 So we try to make the choreography 279 00:13:14,054 --> 00:13:15,533 so ingrained in them that 280 00:13:15,751 --> 00:13:17,927 they can truly concentrate on their character. 281 00:13:18,145 --> 00:13:20,079 You know, lots of directors would look at the action 282 00:13:20,103 --> 00:13:22,105 and go, that looks awesome. Great. Shoot it. 283 00:13:22,323 --> 00:13:24,760 But Chris is looking for, why is it awesome 284 00:13:24,934 --> 00:13:27,067 and what makes these characters tick? 285 00:13:27,284 --> 00:13:30,244 Finding those little story pieces within the great action 286 00:13:30,461 --> 00:13:32,637 is what makes Chris so special. 287 00:13:32,812 --> 00:13:34,248 Okay, we're gonna go. 288 00:13:34,465 --> 00:13:35,727 Action! 289 00:13:41,864 --> 00:13:43,823 Keep us straight! 290 00:13:47,522 --> 00:13:49,437 Rowers: Pull! 291 00:13:49,654 --> 00:13:51,787 And pull! 292 00:13:51,961 --> 00:13:53,745 When I was adapting the screenplay, 293 00:13:53,920 --> 00:13:55,880 I was sort of privately kind of hoping I'd be able 294 00:13:56,052 --> 00:13:57,837 to minimize the amount of boat time. 295 00:13:58,011 --> 00:13:59,403 But it's "The Odyssey." 296 00:13:59,621 --> 00:14:01,077 Of course we're gonna be on this boat for months, 297 00:14:01,101 --> 00:14:02,276 as we were. 298 00:14:02,493 --> 00:14:04,123 Last call. 299 00:14:04,147 --> 00:14:05,603 If you do not need to be on this boat, please get off now. 300 00:14:05,627 --> 00:14:06,865 Boat's pushing off. 301 00:14:06,889 --> 00:14:07,997 One of the main challenges here was 302 00:14:08,021 --> 00:14:10,850 that we were using period wooden ships. 303 00:14:11,024 --> 00:14:13,024 We did everything we could to hide engines in them, 304 00:14:13,200 --> 00:14:14,612 but those engines were just kind of, like, 305 00:14:14,636 --> 00:14:16,725 to keep them in a certain direction. 306 00:14:16,899 --> 00:14:18,268 These were ultimately gonna have to be sailed 307 00:14:18,292 --> 00:14:20,337 by half stunt, half cast. 308 00:14:20,555 --> 00:14:23,645 There's a reason we don't row great big open boats 309 00:14:23,863 --> 00:14:25,865 around on the ocean anymore, okay? 310 00:14:26,082 --> 00:14:29,346 But to get that feel, you do the real thing. 311 00:14:29,564 --> 00:14:30,913 We rowed this boat. 312 00:14:31,131 --> 00:14:33,131 When I say, "we," I mean those poor guys out there. 313 00:14:34,786 --> 00:14:38,834 There was a rowing camp, because all Odysseus's guys 314 00:14:39,008 --> 00:14:42,533 had to learn how to row this giant 100-ton ship. 315 00:14:44,405 --> 00:14:46,842 As that ship's moving, if you drop that oar, 316 00:14:47,016 --> 00:14:48,365 it can jam you in the chest, 317 00:14:48,583 --> 00:14:50,039 and it actually has the ability to pick you up 318 00:14:50,063 --> 00:14:51,388 and eject you from the boat. 319 00:14:51,412 --> 00:14:53,457 There needs to be a real conscious effort 320 00:14:53,675 --> 00:14:54,850 to make sure you're safe. 321 00:14:55,024 --> 00:14:57,113 At first, it wasn't great, 322 00:14:57,331 --> 00:14:59,942 but then within a couple of days, they had it dialed in, 323 00:15:00,160 --> 00:15:04,642 and they had oars in, oars out, ready and rowing. 324 00:15:04,860 --> 00:15:06,644 Row! 325 00:15:06,862 --> 00:15:08,646 And row! 326 00:15:08,864 --> 00:15:11,562 They learned how to put the sail up on the boat. 327 00:15:11,780 --> 00:15:13,303 They learned how to row. 328 00:15:13,521 --> 00:15:15,107 You know, we're out there doing these things for real, 329 00:15:15,131 --> 00:15:17,786 and that is tremendously taxing of people. 330 00:15:17,960 --> 00:15:20,223 It was incredibly, incredibly difficult. 331 00:15:20,441 --> 00:15:22,269 Being out there on the boat together, 332 00:15:22,486 --> 00:15:25,185 and nobody could go off or go sit down somewhere 333 00:15:25,402 --> 00:15:27,491 or go to a trailer or go... it was no... 334 00:15:27,709 --> 00:15:30,538 we were out in the middle of the ocean together. 335 00:15:30,755 --> 00:15:33,367 And it was like, what's the next shot? 336 00:15:33,584 --> 00:15:35,127 We're doing a close up. 337 00:15:35,151 --> 00:15:38,198 Matt is looking over where the ship is sailing to, 338 00:15:38,415 --> 00:15:41,375 and a dolphin jumps right through frame. 339 00:15:41,592 --> 00:15:43,681 I mean, come on. 340 00:15:43,899 --> 00:15:46,293 I'll tell you where that would not happen, on the tank. 341 00:15:46,510 --> 00:15:48,010 And luckily, we had this great big IMAX camera, 342 00:15:48,034 --> 00:15:49,035 and we recorded it. 343 00:15:54,344 --> 00:15:56,477 And for me, it's been my long held dream, 344 00:15:56,694 --> 00:15:58,566 I mean, really, since I was about 16 years old 345 00:15:58,783 --> 00:16:01,786 to do an entire film on IMAX. 346 00:16:01,961 --> 00:16:04,311 The thing that was stopping us was always the sound. 347 00:16:06,574 --> 00:16:08,576 IMAX has an incredible team of engineers 348 00:16:08,793 --> 00:16:13,233 who found a way to enclose the camera in this box 349 00:16:13,450 --> 00:16:15,496 so that we could shoot the most intimate scenes. 350 00:16:15,713 --> 00:16:17,585 We could have the camera six inches away 351 00:16:17,802 --> 00:16:20,327 and still get dialogue. 352 00:16:20,544 --> 00:16:22,024 And so for the first time ever, 353 00:16:22,242 --> 00:16:23,682 we've been able to do the entire film 354 00:16:23,852 --> 00:16:26,115 on the incredible IMAX film format. 355 00:16:26,333 --> 00:16:29,553 It's a long held dream finally coming to fruition. 356 00:16:29,771 --> 00:16:32,426 We, as filmmakers, we're not supposed to be comfortable. 357 00:16:32,643 --> 00:16:34,819 We're supposed to present the audience 358 00:16:34,994 --> 00:16:36,865 with the best experience possible. 359 00:16:37,039 --> 00:16:39,999 So all our effort was all in service 360 00:16:40,216 --> 00:16:43,611 of trying to put our audience, you know, in our shoes, 361 00:16:43,828 --> 00:16:46,440 and experience something extraordinary. 362 00:16:46,657 --> 00:16:48,964 I think the IMAX is gonna really allow 363 00:16:49,138 --> 00:16:51,097 the audience to feel like they are a part 364 00:16:51,314 --> 00:16:52,837 of this journey with us. 365 00:16:53,012 --> 00:16:56,711 You're really gonna be immersed in this world. 366 00:16:56,928 --> 00:16:59,409 I think Chris has a way of pulling you in 367 00:16:59,627 --> 00:17:01,020 when you're watching his films. 368 00:17:01,237 --> 00:17:02,847 So naturally, the same thing starts 369 00:17:03,022 --> 00:17:05,546 to happen with the music. 370 00:17:05,763 --> 00:17:07,809 One of the first things that people would expect 371 00:17:08,027 --> 00:17:10,029 when you go to see a movie of this scale 372 00:17:10,203 --> 00:17:12,553 in a movie theater is to hear the sound 373 00:17:12,770 --> 00:17:14,859 of a big, cinematic orchestra. 374 00:17:15,034 --> 00:17:16,141 And you've seen that before. 375 00:17:16,165 --> 00:17:17,621 You've heard that before. 376 00:17:17,645 --> 00:17:19,995 For this one, Chris wanted it to be different. 377 00:17:22,737 --> 00:17:25,479 We wanted the film to feel like a recognizable world 378 00:17:25,696 --> 00:17:28,873 to people, even though it was gonna be Ancient Greece. 379 00:17:29,048 --> 00:17:30,571 We don't want it to look or feel 380 00:17:30,788 --> 00:17:33,356 like previous movies that take on this 381 00:17:33,574 --> 00:17:35,184 kind of classical world. 382 00:17:35,402 --> 00:17:37,578 What can we do that's more timeless than that? 383 00:17:37,795 --> 00:17:40,320 I knew that in order to create this completely 384 00:17:40,537 --> 00:17:42,887 original world, I also had to get out of my comfort zone 385 00:17:43,062 --> 00:17:46,065 and find sounds that I haven't worked with before. 386 00:17:46,239 --> 00:17:50,547 Ludwig went very deep on researching the instruments 387 00:17:50,765 --> 00:17:53,028 that they might have had at that time. 388 00:17:54,725 --> 00:17:56,205 Chris had mentioned early that 389 00:17:56,423 --> 00:17:58,077 he was interested in aulos. 390 00:17:58,294 --> 00:17:59,948 He was interested in lyre. 391 00:18:03,256 --> 00:18:05,997 The aulos is an ancient Greek instrument. 392 00:18:06,172 --> 00:18:08,348 It was the most popular rock star instrument 393 00:18:08,565 --> 00:18:12,221 for 1,000 years. 394 00:18:12,439 --> 00:18:15,485 This is a replica of an aulos. 395 00:18:15,703 --> 00:18:18,097 The original dates from between the sixth century 396 00:18:18,314 --> 00:18:20,055 and the fifth century B.C. 397 00:18:20,229 --> 00:18:23,145 We don't have any surviving reeds. 398 00:18:23,363 --> 00:18:26,279 So I worked with two other people, 399 00:18:26,496 --> 00:18:29,151 and we spent a while trying to work out and figure out 400 00:18:29,369 --> 00:18:30,805 how this bit worked at the top. 401 00:18:31,022 --> 00:18:32,894 We had to read lots of ancient source material 402 00:18:33,112 --> 00:18:35,723 and try and work out how they did it. 403 00:18:40,467 --> 00:18:43,644 This is a reconstruction of an ancient Greek lyre. 404 00:18:43,861 --> 00:18:46,995 To be able to play it in a philological way, 405 00:18:47,169 --> 00:18:49,867 we have to do research between iconography, 406 00:18:50,085 --> 00:18:53,523 philological sources, and personal experience 407 00:18:53,741 --> 00:18:54,959 as a musician. 408 00:19:00,965 --> 00:19:02,619 Nice. 409 00:19:02,837 --> 00:19:04,752 Wow. You nailed it. 410 00:19:04,969 --> 00:19:06,295 Another thing that Chris mentioned, 411 00:19:06,319 --> 00:19:07,513 too, early on in our conversations 412 00:19:07,537 --> 00:19:08,601 was to use bronze. 413 00:19:08,625 --> 00:19:10,932 You know, this is the Bronze Age. 414 00:19:11,150 --> 00:19:13,761 So gongs, you know, for example, made of bronze. 415 00:19:13,978 --> 00:19:15,347 You know, you can make these instruments 416 00:19:15,371 --> 00:19:17,460 sound a way that you never heard them before. 417 00:19:19,201 --> 00:19:21,201 We started to experiment with a lot of other stuff, 418 00:19:21,290 --> 00:19:23,118 hitting walls, hitting railings, 419 00:19:23,292 --> 00:19:26,295 hitting any kind of things you could find outside, 420 00:19:26,513 --> 00:19:28,950 like scrap metal or air conditioning units. 421 00:19:33,650 --> 00:19:36,044 Using vocals kind of became 422 00:19:36,218 --> 00:19:39,221 how we could also add on to some of the more 423 00:19:39,439 --> 00:19:42,442 emotional pacing of the score. 424 00:19:44,748 --> 00:19:49,405 There's real intimacy and humanity in the soundtrack. 425 00:19:49,623 --> 00:19:51,755 And I love that, because it sort of subverts 426 00:19:51,973 --> 00:19:54,410 all your expectations. 427 00:19:57,761 --> 00:20:00,460 My dad is coming home. 428 00:20:00,677 --> 00:20:01,896 Bringing vengeance. 429 00:20:04,725 --> 00:20:07,336 Bringing it all. 430 00:20:07,554 --> 00:20:09,208 I'm a big fan of film history, 431 00:20:09,382 --> 00:20:10,600 particularly the silent era. 432 00:20:10,818 --> 00:20:13,168 In-camera spectacle was everything. 433 00:20:13,342 --> 00:20:15,562 A cast of thousands, extraordinary sets, 434 00:20:15,779 --> 00:20:17,694 extraordinary locations. 435 00:20:17,912 --> 00:20:20,262 Over time, with visual effects technology, a lot of that 436 00:20:20,480 --> 00:20:22,090 has got lost in Hollywood production. 437 00:20:22,264 --> 00:20:24,048 We're able to do both. 438 00:20:24,223 --> 00:20:26,660 We can go back to an older era of filmmaking, 439 00:20:26,877 --> 00:20:29,576 but also add on to that an entire level 440 00:20:29,793 --> 00:20:31,621 of fantasy and imagination through the power 441 00:20:31,839 --> 00:20:33,232 of visual effects. 442 00:20:33,449 --> 00:20:35,079 We're trying to do it all. 443 00:20:35,103 --> 00:20:38,324 That's what "The Odyssey" is and needs to be on screen. 444 00:20:41,196 --> 00:20:43,764 Action! 445 00:20:43,981 --> 00:20:46,941 Chris really shoots on this massive scale, 446 00:20:47,158 --> 00:20:48,377 on this massive format. 447 00:20:48,595 --> 00:20:50,379 But he basically shoots independent films. 448 00:20:50,597 --> 00:20:55,166 And there's a lot of urgency to that. 449 00:20:55,341 --> 00:20:58,431 He goes the extra distance to make it feel authentic for us 450 00:20:58,648 --> 00:21:00,084 on set, which then makes it feel 451 00:21:00,259 --> 00:21:02,478 more authentic for the audience in the theater. 452 00:21:05,264 --> 00:21:07,266 People know a lot of the story, 453 00:21:07,440 --> 00:21:09,659 but they've never seen it in this way. 454 00:21:09,877 --> 00:21:13,054 And it really deserves a huge canvas. 455 00:21:13,272 --> 00:21:15,622 As a fan, I'm so excited to see this film. 456 00:21:15,839 --> 00:21:17,382 Let's go! 457 00:21:17,406 --> 00:21:19,756 Like, I cannot wait to sit in that IMAX theater 458 00:21:19,974 --> 00:21:23,586 and completely be lost in this world that he's created. 459 00:21:23,804 --> 00:21:25,980 In your lifetime, if there is one movie 460 00:21:26,197 --> 00:21:29,375 that you go to the cinema, no matter what, 461 00:21:29,592 --> 00:21:33,509 this is the movie to do it, because this is pure cinema.