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Promise me
that you will return

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What if I can't?

3
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She definitely is
the greatest film

4
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that i have ever done
as to her ambition.

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The scale of all the scenery,

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and the number of people
involved, is huge.

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A great director
like Christopher Nolan

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can combine greatness
and the action, but also the heart,

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humanity and 
the authenticity.

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Here it is
at his best

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full throttle,
so to speak

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"We will shoot the biggest and most
impressive film of all time."

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Subtitles: CRETA STAR

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Let's go home.

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The "Odyssey"
it's a huge story.

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And that's it
part of its charm,

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because actually
it is not just one story.

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It manages to include
many different species.

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For me, the idea to take over 
this greatest story

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with a stellar cast,
using all techniques

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and the resources of a vast
hollywood production,

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whether we are talking about visual effects

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either for real stunts,
natural locations or scenery;

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we needed to use
everything about "Odyssey",

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every possible means.

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This has never happened before,

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and it really is
exciting challenge.

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You are a man who wants 
to control his destiny.

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But you can't do that
to check it.

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And three, two, one, let's go!

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It's about
such an ambitious film.

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It's like seven different ones 
ambitious films

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to have been united into one.

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We needed the right people
to meet this challenge.

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Chris collects
the best craftsmen

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in the world in what they do,
and then asks everyone

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to exceed their limits.

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That's what it does
these movies exciting,

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because you feel everyone
to try

40
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to do something better
than they have ever done

41
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to respond
to what is asked of them.

42
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Chris looked at me and said,

43
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“She will be
a difficult film.”

44
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And I told him,
"Yes, I know."

45
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And he tells me, “No, it will be
really, really hard."

46
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And I replied,
"It's done, I get it."

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Part of what I do on 
my movies over the years,

48
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whether we are talking about "The Dark Knight",
either for "Interstellar"

49
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or 'Inception', is to take
sometimes fantastic ideas,

50
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but to try
to establish them

51
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to something really
familiar to the public.

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And I wanted that approach 
of Greek mythology.

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This is a huge project
for each head of department,

54
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to find the feeling to create
a whole world

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that you can bring to life
in front of the camera

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and then transfer
the public within him.

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We all have the same goal,

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to find the best ones
possible solutions,

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essentially means
in the camera itself.

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My role is
to constantly wring my mind

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about how we're going to do this,

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something that might include
the special effects,

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the scenery department
or anyone else.

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I reminded myself
and I was learning firsthand

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every day chris's motto:

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"If it were easy,
everyone would."

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No one could stand 
between me and my house.

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Not even the gods.

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I feel like we're back
six or seven films,

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and in a sense,
that's exactly what we did.

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Each chapter
of this adventure

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was filmed
in a different location,

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which he presented
a different challenge.

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You know how the locations,

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when you narrate
such a story

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it is as if they constitute
separate characters,

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so it must be
really special.

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And so we found ourselves in some
really amazing places.

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There are parts of the world
which I do not believe that

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would I have ever seen or even met,

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if I didn't live this experience.

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There is a level
understanding

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that you get
when something is true.

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So when you are
in these places, you feel it,

85
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and that adds up
another dimension

86
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in what you are trying to express.

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Let's go!

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One of the things I like
shooting in natural locations

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is that we are changing countries
every two weeks or so.

90
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And that gives you
an incredible dynamic.

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The difficulty in this film
is that we are turning

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in amazing locations

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which were difficult to reach
and difficult to shoot.

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You know, usually
in a Hollywood movie,

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the production base is only ten away 
seconds from the set.

96
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But when you turn around
chris nolan movie,

97
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it's like you have to do 
hiking in sandals.

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We are in a location
which is called Santa Catarina Castle.

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It is on top of a hill.

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All equipment
is transferred here.

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Guys, you have to
pull that one too.

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Uploading the equipment
it will be crazy.

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Let's upload the equipment
of the camera

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and support equipment,
all here on the hill.

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We have, essentially,
the path,

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a transportation cable car
for the equipment,

107
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and some helicopters
to carry

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equipment and workshop
whenever needed.

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We all feel it
so lucky

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As hard as it is
let's work like this up here...

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It's worth it.

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Being
on top of a mountain

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and be able to turn around
360 degrees,

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without worrying
for blue backgrounds

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or for visual effects lights,

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and all this
gives us immense freedom,

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as actors,
let's let ourselves in the moment

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where it just suffices
be human

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and react
in the beautiful sunset

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on top of the mountain.

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Honestly, in every location
where were we going

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I was getting there
and I started to laugh.

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I was thinking: “Who decided
shoot a movie here?'

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You know, we're going back to the Cave 
of Nestor, in Greece.

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

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and it's an incredible place,
but no one ever had

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try to turn around
film up there.

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And when you get up there
with the whole crew

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and you see the constructions
which they essentially set up

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to turn it into one 
natural film set...

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I don't know anyone else
director who would attempt it.

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It didn't exist
not a single location

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easy. But they all served
the story.

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The movie wouldn't be
who she is

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if we didn't go there
and we didn't really.

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Tell me what you remember.

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We won the war.

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And then?

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Chris can't get enough
to what has already been done.

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He wants to do things
that have never happened before

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and indeed on a scale
which has never existed.

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And anything he can do
to improve the experience

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of cinema viewing
and entertainment,

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that is his goal.

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My first day
in Morocco,

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they were filming the scene
on the beach

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where they take out
the horse from the sea.

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I asked:
"Can I visit the set?"

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So I walked
over a sand dune.

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And I must have walked
twenty minutes

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between extras,
boats, fires and scenery,

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before I see the first member
of the workshop.

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I was thinking:
"Where's the workshop?"

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I mean, where is everyone?

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That was the moment
that I really realized

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how lucky i was
that I participated in something

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so different
and separate.

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Because I had never seen before
something of that scale.

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When we talk about cinema
large scale,

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every part of the film must 
to be impressive.

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He must convey
the audience somewhere

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which has not been found again.

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Troy, for example,
and the fall of Troy,

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they had to be rendered
on a truly colossal scale.

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I knew from the beginning it wouldn't 
there were set extensions,

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no CGI either.

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We wanted to build
as many as possible.

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The discovery of this scalar 
city, of Ait Benhadou,

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with the different levels
helped us a lot,

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and then we designed 
everything about her.

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That's really it
huge.

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It really gives the feeling
of a giant city.

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Let's just say we did
many steps every day.

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And we wanted the horse to compete 
in size the temple.

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Have you ever heard
the story of the horse?

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It is approx
10.5 meters and weighs

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8,000 to 9,000 lbs.
We transported it in nine boxes.

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The public knows
very good this trick.

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Everyone knows
what is a trojan horse

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It couldn't be similar
with a huge cart...

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He couldn't
to be on wheels.

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This is how I came up with the idea:
and if it had been left there,

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as if intended
to be carried away by the waves,

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as an offering to Neptune?

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Chris and me
we specifically wanted

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a horse
with a more sophisticated look.

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They were great craftsmen
and people of the sea.

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That's how we got inspired
from the investment of the ships

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and we applied
this drawing on the horse,

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creating a Trojan Horse 
that you have never seen before.

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The goal was to be able to 
moved by human power,

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because in the script
he is pulled by 100 men.

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So we worked very hard

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so that it is
the more durable,

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light and sturdy it was becoming.

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When they say it's needed 
a village, they mean it.

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The special effects department
built the basic skeleton.

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We made it
all the individual pieces.

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Originally, the whole horse was 
carved from foam.

200
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And from there we created 
the moulds.

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And then we built 
the fiberglass panels

202
00:09:25,600 --> 00:09:27,700
and we added
the entire internal skeleton.

203
00:09:30,200 --> 00:09:31,600
This was incredible.

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00:09:31,800 --> 00:09:34,700
And indeed they did
from the coast to the city,

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00:09:34,900 --> 00:09:37,300
and they set it up in front
in the Temple of Athena.

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00:09:37,500 --> 00:09:38,700
It's really like
this whole movie;

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there is a whole
path behind everything.

208
00:09:40,400 --> 00:09:42,000
Everyone works together
to make it come true.

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00:09:42,200 --> 00:09:44,800
When you see it all together,
with the costumes

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00:09:45,100 --> 00:09:46,800
and all people,
it's truly epic.

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00:09:47,100 --> 00:09:50,300
Honestly, it's shocking
to see it completed.

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00:09:50,500 --> 00:09:52,500
All these comps.

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00:09:52,600 --> 00:09:56,100
I remember going on stage 
of comrades in Ouarzazate,

214
00:09:56,300 --> 00:09:59,100
and to say, "Oh my God..."

215
00:09:59,300 --> 00:10:01,700
It really was
something amazing.

216
00:10:01,900 --> 00:10:04,800
I don't even know how
we made it.

217
00:10:05,000 --> 00:10:09,000
Which was always very important 
in design it was texture.

218
00:10:09,300 --> 00:10:12,600
The textures were
absolutely necessary

219
00:10:12,800 --> 00:10:14,600
for each one
from the characters.

220
00:10:14,800 --> 00:10:16,000
Nothing was flat.

221
00:10:16,200 --> 00:10:18,400
Everything worked
3D feel,

222
00:10:18,600 --> 00:10:20,600
and you really could
to feel it.

223
00:10:20,700 --> 00:10:22,000
There is so much detail
and thought

224
00:10:22,200 --> 00:10:25,200
in every suit
and every setting.

225
00:10:25,400 --> 00:10:28,600
The sets are so huge,
and everyone is working

226
00:10:28,800 --> 00:10:32,400
at such a high level, you feel
how are you in the world

227
00:10:32,600 --> 00:10:35,500
Like I really entered
in this world.

228
00:10:37,800 --> 00:10:39,500
The king of Ithaca
is coming back

229
00:10:39,700 --> 00:10:40,900
No, he's not coming back.

230
00:10:43,200 --> 00:10:46,100
For Odysseus's Ithaca,
with the palace,

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00:10:46,300 --> 00:10:49,900
we used existing ones 
ruins and built upon them.

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00:10:50,100 --> 00:10:53,800
We had to convince the audience why 
he wants to return home.

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00:10:54,000 --> 00:10:55,800
When I first arrived
in Faviniana,

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00:10:56,000 --> 00:10:59,500
I didn't even realize that the 
half the scenery was construction.

235
00:10:59,700 --> 00:11:02,900
I remember leaning
on the wall,

236
00:11:03,100 --> 00:11:04,600
and he was soft.

237
00:11:04,700 --> 00:11:06,800
And yet he was united
absolutely with the real ruins.

238
00:11:07,100 --> 00:11:08,600
It was really incredible.

239
00:11:08,600 --> 00:11:10,800
Ruth approaches everything with 
reality based

240
00:11:11,000 --> 00:11:13,000
going to a location
and building there,

241
00:11:13,200 --> 00:11:14,500
transforming her
to what is needed,

242
00:11:14,700 --> 00:11:16,100
based on what
it's already there.

243
00:11:16,400 --> 00:11:18,100
We made all this.
We added them.

244
00:11:19,600 --> 00:11:20,900
And then you turn around
towards here

245
00:11:21,100 --> 00:11:24,200
and you face all this,
which is truly epic.

246
00:11:24,500 --> 00:11:26,200
This will connect
with our palace,

247
00:11:26,500 --> 00:11:28,500
which was built in a studio
in Los Angeles.

248
00:11:28,600 --> 00:11:31,800
Chris knew he wanted this
to be a very large stage.

249
00:11:32,000 --> 00:11:34,900
In fact, she is the only one
great construction of the entire film.

250
00:11:35,200 --> 00:11:39,100
Everything else was built 
on site, in the natural environment.

251
00:11:39,300 --> 00:11:43,300
Ruth and her team made this
the absolutely stunning scenery,

252
00:11:43,500 --> 00:11:47,700
which was really huge
and incredibly detailed.

253
00:11:48,000 --> 00:11:50,100
And when you entered, you didn't feel 
that you were on stage.

254
00:11:50,300 --> 00:11:53,900
You felt it was
a whole world.

255
00:12:04,600 --> 00:12:07,400
Alright, guys.

256
00:12:07,600 --> 00:12:09,600
A quick save
and continue.

257
00:12:09,800 --> 00:12:12,000
Rejection, you go on,
forward and you fall down.

258
00:12:12,200 --> 00:12:14,700
When you take over
something so epic

259
00:12:14,900 --> 00:12:17,000
and grand like this,

260
00:12:17,200 --> 00:12:20,100
by storming the gates
of Troy, the Trojan Horse,

261
00:12:20,300 --> 00:12:23,400
bows, arrows
and the swords,

262
00:12:23,600 --> 00:12:25,000
you think, how are we going to do it?
to the next level?

263
00:12:25,300 --> 00:12:27,300
Pass this point again,

264
00:12:27,500 --> 00:12:29,300
when you catch
these two peleces.

265
00:12:29,300 --> 00:12:31,800
I told George Cottle,
the movie battles,

266
00:12:32,000 --> 00:12:35,600
the action of the film, must 
is impressive and convincing,

267
00:12:35,800 --> 00:12:36,700
and they must perform it
the actors themselves.

268
00:12:39,700 --> 00:12:41,500
Matt and the whole cast

269
00:12:41,700 --> 00:12:43,900
it was in excellent
physical condition,

270
00:12:44,100 --> 00:12:47,300
and everyone worked very hard
to achieve it.

271
00:12:49,500 --> 00:12:52,000
The cinematic battles
they are more like a dance,

272
00:12:52,200 --> 00:12:53,600
because they require
both opponents

273
00:12:53,800 --> 00:12:55,200
to be in the correct position.

274
00:12:55,400 --> 00:12:58,100
The people he put
George next to me

275
00:12:58,300 --> 00:13:01,600
they were extremely experienced, so 
I was going through the specialist

276
00:13:01,800 --> 00:13:04,000
"dance partner" to the next.

277
00:13:04,200 --> 00:13:06,900
Actors should be equally 
good with stuntmen,

278
00:13:07,100 --> 00:13:10,700
but at the same time to convey
and the acting dimension.

279
00:13:10,800 --> 00:13:13,800
That's why we try
the choreography

280
00:13:14,000 --> 00:13:15,500
become second nature to them,

281
00:13:15,700 --> 00:13:17,900
so that they can be gathered
really in their character.

282
00:13:18,100 --> 00:13:19,800
You know, a lot of directors
they would see the action

283
00:13:20,100 --> 00:13:22,100
and they would say, “It looks awesome.
Pull it.”

284
00:13:22,300 --> 00:13:24,700
But Chris wonders:
"Why is it so good?"

285
00:13:24,900 --> 00:13:27,000
and what is it that moves
these characters?

286
00:13:27,200 --> 00:13:30,200
That he finds these small
narrative moments

287
00:13:30,400 --> 00:13:32,600
in the great action is this 
that makes Chris so special.

288
00:13:32,800 --> 00:13:34,200
Okay, let's go.

289
00:13:34,400 --> 00:13:35,700
Let's go!

290
00:13:41,800 --> 00:13:43,800
Stay the course!

291
00:13:47,500 --> 00:13:49,400
Rowers: Pull!

292
00:13:49,600 --> 00:13:51,700
And pull!

293
00:13:51,900 --> 00:13:53,700
When I was editing the script,

294
00:13:53,900 --> 00:13:55,800
I secretly hoped I could
to limit

295
00:13:56,000 --> 00:13:57,800
as much time as possible 
on the ship.

296
00:13:58,000 --> 00:13:59,400
But it is the "Odyssey".

297
00:13:59,600 --> 00:14:00,800
Of course we would pass
months on this ship,

298
00:14:01,100 --> 00:14:02,200
as it happened.

299
00:14:02,400 --> 00:14:04,100
Last notification.

300
00:14:04,100 --> 00:14:05,400
Who does not need in it 
the ship, let it disembark now.

301
00:14:05,600 --> 00:14:06,800
The ship departs.

302
00:14:06,800 --> 00:14:08,000
One of the main ones
challenges here were

303
00:14:08,000 --> 00:14:10,800
that we used
period wooden ships.

304
00:14:11,000 --> 00:14:12,900
We did everything we could to 
hide engines in them,

305
00:14:13,200 --> 00:14:14,400
but these engines
they just served

306
00:14:14,600 --> 00:14:16,700
to keep
the ship on its course.

307
00:14:16,800 --> 00:14:18,000
In the end though, the ships had to 
to handle them

308
00:14:18,200 --> 00:14:20,300
half stuntmen
and half actors.

309
00:14:20,500 --> 00:14:23,600
There is a reason that today
we are not rowing

310
00:14:23,800 --> 00:14:25,800
huge open boats
in the ocean.

311
00:14:26,000 --> 00:14:29,300
But to get this 
feeling, you have to do it for real.

312
00:14:29,500 --> 00:14:30,900
We rowed this ship.

313
00:14:31,100 --> 00:14:32,700
And when I say "we", I mean them
the poor people out there.

314
00:14:34,700 --> 00:14:38,800
There was a camp
rowing training,

315
00:14:39,000 --> 00:14:42,500
because all men
of Odysseus they had to learn

316
00:14:42,500 --> 00:14:44,400
to row this giant
100 ton ship.

317
00:14:44,400 --> 00:14:46,800
When the ship moves,
if you lose your oar,

318
00:14:47,000 --> 00:14:48,300
he can hit you
in the chest,

319
00:14:48,500 --> 00:14:49,800
and may even
to lift you up

320
00:14:50,000 --> 00:14:51,400
and throw you away
outside the ship.

321
00:14:51,400 --> 00:14:53,400
It needs constant attention

322
00:14:53,600 --> 00:14:54,800
to be safe.

323
00:14:55,000 --> 00:14:57,100
At first they didn't get along,

324
00:14:57,300 --> 00:14:59,900
but within a few days
were synchronized

325
00:15:00,100 --> 00:15:04,600
and the oars came in,
they were coming out, ready to row.

326
00:15:04,800 --> 00:15:06,600
Row up!

327
00:15:06,800 --> 00:15:08,600
And row!

328
00:15:08,800 --> 00:15:11,500
They learned how to lift
the ship's sail.

329
00:15:11,700 --> 00:15:13,300
They learned to row.

330
00:15:13,500 --> 00:15:14,900
We were out there
and we did it all really,

331
00:15:15,100 --> 00:15:17,700
and this is exhausting
people incredibly.

332
00:15:17,900 --> 00:15:20,200
It was great,
extremely difficult.

333
00:15:20,400 --> 00:15:22,200
That we were
all together on board,

334
00:15:22,400 --> 00:15:25,100
and no one could leave 
or go sit somewhere,

335
00:15:25,400 --> 00:15:27,400
nor to go
in his caravan...

336
00:15:27,700 --> 00:15:30,500
We were all together
in the middle of the ocean.

337
00:15:30,700 --> 00:15:33,300
And then it was:
"What's next?"

338
00:15:33,500 --> 00:15:35,100
We do close.

339
00:15:35,100 --> 00:15:38,100
Matt looks in the direction
where the ship is traveling

340
00:15:38,400 --> 00:15:41,300
and a dolphin just jumps
through the frame.

341
00:15:41,500 --> 00:15:43,600
I mean, come on now.

342
00:15:43,800 --> 00:15:46,200
I know where it wouldn't happen though 
this: in a shooting tank.

343
00:15:46,500 --> 00:15:47,800
Luckily we had her with us 
the great IMAX camera,

344
00:15:48,000 --> 00:15:49,000
and we recorded it.

345
00:15:54,300 --> 00:15:56,400
for me,
it was a lifelong dream,

346
00:15:56,600 --> 00:15:58,500
really since then
when I was about 16 years old,

347
00:15:58,700 --> 00:16:01,700
to make a whole movie
in IMAX.

348
00:16:01,900 --> 00:16:04,300
The thing that always stood in our way
was the sound.

349
00:16:06,500 --> 00:16:08,500
IMAX features
an incredible team of engineers,

350
00:16:08,700 --> 00:16:13,200
which he found a way to enclose 
the camera inside this housing,

351
00:16:13,400 --> 00:16:15,400
so we can turn around
the most personal scenes.

352
00:16:15,700 --> 00:16:17,500
We could have the camera
just a few inches away

353
00:16:17,800 --> 00:16:20,300
and despite all that
to record the dialogues.

354
00:16:20,500 --> 00:16:22,000
So, for the first time,

355
00:16:22,200 --> 00:16:23,600
we managed to get back
the whole movie

356
00:16:23,800 --> 00:16:26,100
to the amazing
IMAX film format.

357
00:16:26,300 --> 00:16:29,500
It's a dream I've had for years
and it finally came true.

358
00:16:29,700 --> 00:16:32,400
We, as creators,
we should not feel comfortable.

359
00:16:32,600 --> 00:16:34,800
We have to offer
to the audience

360
00:16:34,900 --> 00:16:36,800
the best possible
cinematic experience.

361
00:16:37,000 --> 00:16:39,900
That's why all our effort
had a purpose:

362
00:16:40,200 --> 00:16:43,600
to put the audience
in our place,

363
00:16:43,800 --> 00:16:46,400
and to live
something really special.

364
00:16:46,600 --> 00:16:48,900
I think IMAX
will actually allow

365
00:16:49,100 --> 00:16:51,000
for the audience to feel
that it is part of

366
00:16:51,300 --> 00:16:52,800
of this journey with us.

367
00:16:53,000 --> 00:16:56,700
You will really immerse yourself
within this world.

368
00:16:56,900 --> 00:16:59,400
I think Chris
it has a way

369
00:16:59,600 --> 00:17:01,000
to seduce you when you see 
his movies.

370
00:17:01,200 --> 00:17:02,800
So of course,

371
00:17:03,000 --> 00:17:05,500
the same happens
and with music.

372
00:17:05,700 --> 00:17:07,800
One of the first things
what one expects

373
00:17:08,000 --> 00:17:10,000
when he goes to see
such a great movie

374
00:17:10,200 --> 00:17:12,500
in the cinema,
is to listen

375
00:17:12,700 --> 00:17:14,800
a big,
film orchestra.

376
00:17:15,000 --> 00:17:15,900
But you've seen this before.

377
00:17:16,100 --> 00:17:17,600
You've heard it before.

378
00:17:17,600 --> 00:17:19,900
For this movie,
Chris wanted something different.

379
00:17:22,700 --> 00:17:25,400
We wanted the film to look like that
with a familiar world,

380
00:17:25,600 --> 00:17:28,800
although it takes place
in Ancient Greece.

381
00:17:29,000 --> 00:17:30,500
We didn't want it to look like that

382
00:17:30,700 --> 00:17:33,300
with the previous films
that they dealt with

383
00:17:33,500 --> 00:17:35,100
with this classical world.

384
00:17:35,400 --> 00:17:37,500
What can we do?
which is more timeless?

385
00:17:37,700 --> 00:17:40,300
I knew that,
to create

386
00:17:40,500 --> 00:17:42,800
this one completely
original world,

387
00:17:43,000 --> 00:17:46,000
I had to get out too 
my comfort zone

388
00:17:46,200 --> 00:17:50,500
and discover sounds with them 
which I had never worked with before.

389
00:17:50,700 --> 00:17:53,000
Ludwig did
very deep research

390
00:17:53,000 --> 00:17:54,700
for musical instruments

391
00:17:54,700 --> 00:17:56,200
which they probably used
at that time.

392
00:17:56,400 --> 00:17:58,000
Chris had mentioned
from early on

393
00:17:58,200 --> 00:17:59,900
that he was interested in the flute.

394
00:18:03,200 --> 00:18:05,900
He was also interested in the lyre.

395
00:18:06,100 --> 00:18:08,300
Avlos is an ancient Greek
musical instrument.

396
00:18:08,500 --> 00:18:12,200
It was the most popular instrument
for about 1,000 years.

397
00:18:12,400 --> 00:18:15,400
This here is a copy
of a lumen.

398
00:18:15,700 --> 00:18:18,000
The original is dated
between the 6th

399
00:18:18,300 --> 00:18:20,000
and the 5th century BC

400
00:18:20,200 --> 00:18:23,100
No reeds have been saved.

401
00:18:23,300 --> 00:18:26,200
That's how I collaborated
with two other people,

402
00:18:26,400 --> 00:18:29,100
and we spent a lot of time
trying to understand

403
00:18:29,300 --> 00:18:30,800
how it worked
this upper part.

404
00:18:31,000 --> 00:18:32,800
We had to study
many ancient sources

405
00:18:33,100 --> 00:18:35,700
and to understand
how they made it.

406
00:18:40,400 --> 00:18:43,600
This is reconstruction
of an ancient Greek lyre.

407
00:18:43,800 --> 00:18:46,900
So that we can her
play with philological precision,

408
00:18:47,100 --> 00:18:49,800
we have to combine
iconography research,

409
00:18:50,000 --> 00:18:53,500
in the philological sources
and personal experience

410
00:18:53,700 --> 00:18:54,900
as musicians.

411
00:19:00,900 --> 00:19:02,600
Nice.

412
00:19:02,800 --> 00:19:04,700
You nailed it perfectly.

413
00:19:04,900 --> 00:19:06,100
One more thing
mentioned by chris,

414
00:19:06,300 --> 00:19:07,300
from very early on
in our discussions,

415
00:19:07,500 --> 00:19:08,600
was to use
bronze.

416
00:19:08,600 --> 00:19:10,900
you know,
it is the Bronze Age.

417
00:19:11,100 --> 00:19:13,700
For example,
bronze gong.

418
00:19:13,900 --> 00:19:15,300
You can do
these instruments

419
00:19:15,300 --> 00:19:17,400
to be heard in a manner
which you have never heard before.

420
00:19:19,200 --> 00:19:21,100
We started experimenting
with many other things,

421
00:19:21,200 --> 00:19:23,100
hitting walls,
railings,

422
00:19:23,200 --> 00:19:26,200
anything we could
to find out

423
00:19:26,500 --> 00:19:28,900
such as scrap metal
or air conditioning units.

424
00:19:33,600 --> 00:19:36,000
The use of phonetics
it ended up being

425
00:19:36,200 --> 00:19:39,200
a way to add
and in the most

426
00:19:39,400 --> 00:19:42,400
emotional moments
of music.

427
00:19:44,700 --> 00:19:49,400
There is real intimacy
and humanity in the soundtrack.

428
00:19:49,600 --> 00:19:51,700
And I like that,
because in a way

429
00:19:51,900 --> 00:19:54,400
overturns them all
your expectations.

430
00:19:57,700 --> 00:20:00,400
My father is coming back
at home.

431
00:20:00,600 --> 00:20:01,800
Bringing revenge.

432
00:20:04,700 --> 00:20:07,300
He brings everything with him.

433
00:20:07,500 --> 00:20:09,200
I'm a big fan
of film history,

434
00:20:09,300 --> 00:20:10,600
especially of the silent era.

435
00:20:10,800 --> 00:20:13,100
The sight being recorded
in front of the camera was everything.

436
00:20:13,300 --> 00:20:15,500
thousands of comrades,
impressive scenery,

437
00:20:15,700 --> 00:20:17,600
amazing locations.

438
00:20:17,900 --> 00:20:20,200
Over the years, with evolution
of visual effects,

439
00:20:20,400 --> 00:20:22,000
many of them were lost by

440
00:20:22,200 --> 00:20:24,000
Hollywood productions.

441
00:20:24,200 --> 00:20:26,600
We can
let's do both.

442
00:20:26,800 --> 00:20:29,500
We can go back
in an earlier era

443
00:20:29,700 --> 00:20:31,600
filmmaking,
but also to add

444
00:20:31,800 --> 00:20:33,200
an entire level
imagination and phantasmagoria

445
00:20:33,400 --> 00:20:35,100
thanks to the power of visual effects.

446
00:20:35,100 --> 00:20:38,300
We try to do it all.
This is The Odyssey

447
00:20:41,100 --> 00:20:43,700
and that should
to be on the screen.

448
00:20:43,900 --> 00:20:46,900
Chris is filming
on a truly massive scale,

449
00:20:47,100 --> 00:20:48,300
in this gigantic format.

450
00:20:48,500 --> 00:20:50,300
But in essence
makes independent films.

451
00:20:50,500 --> 00:20:55,100
And that creates
a feeling of constant tension.

452
00:20:55,300 --> 00:20:58,400
He always goes the extra mile 
to feel that everything is real

453
00:20:58,600 --> 00:21:00,000
on set, and that's how they happen

454
00:21:00,200 --> 00:21:02,400
more truly and for
the audience in the hall.

455
00:21:05,200 --> 00:21:07,200
People know the story,

456
00:21:07,400 --> 00:21:09,600
but she doesn't have it
never seen like this.

457
00:21:09,800 --> 00:21:13,000
And it deserves to be presented 
on such a large scale.

458
00:21:13,200 --> 00:21:15,600
As a fan,
I can't wait to see this movie.

459
00:21:15,800 --> 00:21:17,400
Let's go!

460
00:21:17,400 --> 00:21:19,700
I can't wait to sit down
in an IMAX theater

461
00:21:19,900 --> 00:21:23,500
and lose myself completely in him 
the world he created.

462
00:21:23,800 --> 00:21:25,900
If there is only one movie

463
00:21:26,100 --> 00:21:29,300
which you absolutely must
to see at the cinema

464
00:21:29,500 --> 00:21:32,500
it is she, because he
is the cinema

465
00:21:32,700 --> 00:21:34,100
in its purest form.

466
00:21:35,700 --> 00:21:55,100
Subtitles: CRETA STAR