Original subtitles

Okay, so Alper, those are like big pelmets of wood and sort of thing covering over the

top to change the architecture. Also to change the architecture, the top of the cap the capitals

on the tops of the columns will need to be made into two sections for Constantinople

and then undone and then a new capital section put on the top and you can see at the base

there's this sort of bulbous shape and that will literally fit over the existing base

of the columns from the previous. Okay, I have two questions. I have two questions. Now first

of all, the design language is like this because this is repurposed from the Eastern Roman throne

room, right? Correct. But how flexible can we be? Because we need one thing. The columns and all

that stuff, they will have to be a darkly, you know, walnut colored, maybe even darker wood.

Yes. But also the arches, they still look very western. Like is there a way to make the arches?

Yes, I'm going to show you. I'm going to show you that too. Yes. Okay, go ahead. You're very clever

how you've picked up on the main things. Well done. Thank you, thank you. Paying attention.

Yeah, yeah, yeah. So this is a slide. Tom is just showing you that we've put various slides

together to give you help you, you know, to tell the story for the person constructing it,

so they understand that it's, you know, stone and wood predominantly of this building. So if we

and Sonia and the columns, we, you know, and the columns have these nice kind of.

Yeah, so can you see where that man is? Yes, yes, yes, yes. We're making it more

eastern central, right? Yes. And Alper, what we've done is in places we've put these, you can see

that's actually an attachment. It's quite simple. It's on a piece of canvas and you can age it down

and it's just literally a strip that has got some writing, you know, got some, some symbols on it.

So it's not complicated. We've tried to keep it as simple as possible so they're not all going,

ooh. In order to change those arches, you can see when you go, if we go back to, you can see

these are some reference pictures and I explained to you how they work. So if you go back to arches,

so we did an infill in those arches, you can see at the top because we want to do it for the arches

and we've put grills and those sorts of things. What we also, which is not shown on this drawing

is that Tom, there's a very lovely reference of some, they look like Roman blinds is how I would

describe it to you. And it's like, it's like, imagine like that arch at the top where the

green line is. Imagine at the top there you have a very, you have a big thick pole, like a really

thick pole. Can we, can we have, can we have what that looks like even if it's like a slight sketch

that could be. Yes, I'm sure Tom would you do one. So if, if you imagine at the very top of

that where the green, you can see where the arch breaks at the top, a very thick pole running

across like separate poles, like if, like big, imagine like a big Roman blind made of canvas

or it could be silk or whatever they can buy. Go back. So you see this one here, how it's rolled

up in the center. So you can, things like that can are very simple to do. And that's quite cool

because they would have done that for warmth and stuff to stop kind of drafts and that.

Will that semicircle arch be visible or covered by this?

No. So can you see above his head, we haven't put it on this drawing because it was too confusing to

do at it. But please, but please do because yeah, that's, that's fine. Three quick things before I

forget. One above the arch where the green screen, you put some green screen, you need a small opening,

a similar tiny arch on top of it, like the dot of an eye where the exotic bird of

East Timmy will be snooping the situation. So it needs to open to the outside. That is the most

prevalent green screen section that will be needed.

Okay. So can I ask you a question? Do you want, because we've put the, we've put slits somewhere

else for the bird, but do you want them on that lot? Let me, let me see. Yeah, sure. Let me see.

So can you see there are slits either side of, do you remember when we went to that funny building

that had all those huge columns? The arch here, the arch here that becomes rectangular?

Yes. Yeah, just, just copy paste that everywhere if necessary. Okay. So can you see just for visual,

just for visual simplicity for the constructors? I'm sure that Tom, you'd be able to do that before

you send it, wouldn't you? Just put a Roman blind on. As long as they understand the set

constructors understand how to repurpose the Roman arch into the Asian arch.

Yeah. I think it'd be pretty like a layer or a simplified thing because Tom's thing is excellent.

This is just almost like a computer game environmental design, but the slits, like can I see them?

Yeah. So go back Tom to behind the throne. So we did a sequence of slits behind the throne

to the left and to the right because originally when I went with you in that one location, you

were like, oh, that's great. The bird can go through those slits up there. So I sort of,

this isn't, this hasn't got, this picture you're looking at hasn't got the throne in it, but

you can see there, Tom's waving, that's a slit, that's a slit. It might, well, sure, it's good.

It might have to be a little bit higher. So do you remember that place that your friend,

Ninja, Favesi Bay found? Yes. The stone place. Do you want to go up on this side where this?

Yeah, like where the green, where the green is. You want to go where the green is and put a slit?

Yeah, and instead of a slit, you could have any triangular or semicircle arch,

like air vents for the stone building because the Asian construct, construction style

should be a little bit less stony, obviously, well, much less stony than the Roman ones.

And for reference for the ceiling height or how, like, how imposing it should look, how dark it

should look, just watch the pilot from Marco Polo's Kublai Khan's throne room. They just,

let shadows do the work the higher you go. So a section there, maybe five, six, seven meters up

where the bird could perch and peer in. And it doesn't have to be a constant slit everywhere.

It could be just like a couple on each side of the room. It just needs to be noticed. It just

needs to be air vents. Well, not an event. Can I just ask you, so if we put it on, like, where

you can see this drawing here, because obviously that's a lot more construction if it goes all

the way along. It doesn't have to be. The bird is as large as that. The section and then you green

screen the rest of it. It could be much smaller. It could be a total of 50 to 75 centimeters

high to max. It doesn't it doesn't need to be human sized. Yes, like it could just make a

semicircle or a slightly pointy semicircle, more eastern style that is maximum of 75 centimeters

high. And however, it should be higher than is wider. The perching window because it's to let air

out, but the bird peers in. It's spotted and then it escapes. It doesn't even need to be visible

when the main scene is shot. It could even be like a, what's the word in English? It could even

be an intercuts, you know? It doesn't, yeah. So it's just, even one is fine. Okay. And can I just

say would you, I mean, obviously if you decide where, I mean, Tamil place it like here, for example,

but then maybe it could even be an imperfection. It could even be a cloven or a broken part of

that building that like slightly peers in. It's fine. Okay. So you could, I mean, if Tom just

puts it here, then maybe on the day if you decide, oh, that's not quite the right place, you can tell

that section and put it anywhere. It's what I'm saying. Yeah, exactly. One third.

You can fit it wherever you want. Yeah. One third this size would even be applicable as high as high

as the green screens width so that we don't go overboard with anything. It could be smaller,

much smaller. Okay. Okay. That's great. Yeah, something like that. Excellent. Yeah. And then

it doesn't need to be like 20 of them. Just two of them on each side of the wall is enough, more

than enough. Okay. And do you like it above the column in that position there? Does that work?

Yeah, exactly. In between the arches, two of them is fine. So two there, one there and one there.

Something inconspicuous. Okay, good. Architecturally, I think that would look nice, Tom. Yeah. I'll leave

that to you. That was my one thing. The second thing is we need some darkness and some depth

behind the throne so that his bodyguards have room to fill the field behind his stage per se.

Yeah. So if we go to the ground plan, Tom, so that's what that whole that area is around the back.

Do you want, so we... Okay. So what is the, is the throne the, where's the throne?

Where's the threatened area? No, I know, but where is, where is the throne specifically ideally?

Right there. Yeah. If it's possible, let's just make it flush with the second minor stairs.

So do you want to move it forward? Forward, like, like he just steps up.

Let's just, let's just, let's just take the entire throne area and move it as close to the main big

stairs. So immediately steps onto the smaller stairs. I get it. So those small stairs where it

says plus 800, Tom, they just need to be moved to where, so literally walk up. Do you see how

great of a frequency we have, Sonia? Yeah. It's a shame. It's a shame. It's a shame. I wasn't a,

I wasn't the son of an amazing Californian producer that I could constantly work on

fucking large budget projects. Okay, what else? No, you were the son of a man who made space

material for fuck's sake. Well, yes, but academician, academician. I mean, I don't mean to sound weird

or anything, but that's pretty. Yeah, but I should have been, I should have been in fucking

Bel Air having big budget meetings every day, whatever. All right, go ahead.

Okay. So yeah, just flush with the lower stairs, even more, even more, Tom, like

actual connection with the big ones and then, yeah, and then just destroy the bottom half of the

text rectangle where, so you only have the three stairs, the three little stairs that go onto the

die of the throne area box where the text is. Yeah. Just cut the bottom part of it. So there's,

we have some darkness behind him where we can. Yeah, so Tom, you just need to move that entire

throne box area, so it's right like it's falling off the edge of that platform. Yeah, okay. Yeah.

So our aim, Tom, is to create a negative space behind him where we... He wants a bigger space

behind him. Yeah, shadows where it's implied that his, and still, even before people enter that

throne room through a secret area, there will be almost 20 archers behind him, like bodyguards.

Yeah. So just so you know, I mean, 20 men standing in a single rank and file, we may

need to slightly widen the semicircle area behind him, but obviously, is that like that?

That's from before. That's actually the entrance from your previous, so that's already, we've

established. Okay, okay, okay. Yeah, I mean, it's solvable, it's solvable, but you know what I mean.

I think you can make it work. There'll be plenty of space if that gets all shunted forward, you'll

have quite a chunky space behind. Like in fact, here's my idea. So there's this little section

that says throne area, like a cross, right, with three little steps, right? Yeah. So if we move the

entire thing forward and cut the bottom half of the throne area rectangle, so it's a much narrower

rectangle, and put the throne right after the final step of the little stairs,

then it should be half the size. And then once it's moved forward, we have like almost triple the

negative space behind. Like that? Like that? Yes, exactly, exactly. Wonderful. Okay, so that's the

new footprint. You can crowd, you can crowd his, you can crowd that part because his throne is very

spartan and wooden and nothing fancy. So it'll open even more space behind him because there's

nothing else, no decorations. So I'll just show this elevation here. Roger, okay.

So, oh, this is the other side. So these are doorways that we've put in to go and grills to

change it. Before there were these arched doorways, so you can just see a dotted line there. So that

was the opening. Excellent, excellent. If we can have one reference of yours simplified via your

hand style, and just we have it superimposed on each cylindrical column to imply, even on the

technical drawing, how we've asianed it up, you know, central asianed it up. You'll see that,

you can see that, but there's dotted, Tom's put left dotted lines like a shadow showing you where

the previous was and what the, can you see there? No, not those columns, the big fat ones with the

circular ones. Yeah, something, in fact, just put the new column style in each drawing ones and let's

also integrate the column design thing for the construction team. Just not leave anything to

chance, because the reference drawing, something like the reference drawing, something northwest

asian, something central asian, I think that should be in these plans. So yeah.

Okay, did you understand that, Tom? Just one, just two scale repurposing, morphing of the

cylindrical romanesque column, the big fat columns. Oh, I see, so if you just put, if you just put a

dotted line, if you indicate Tom on one of them, you need to show a shadow, show what they were.

Yeah, not even a shadow, like a total literal column design. Oh, right, you want to plonk that on

completely. Yeah, yeah, yeah. So, and then just say, yeah, okay, I understand, but as long as they

know that's not what they're making. Well, not for the initial thing, but they will have to

cover it as a dressed up. Yes, yes. Yeah, okay. Yeah, maybe I understand. Is it possible to,

is it possible to fill other sections, Tom, with another color like the green, maybe you could

get an orange or a red orange color for the repurposed sections so the people understand. So

I can tell them. Yeah, I think what could be good maybe is it might get a bit complicated,

so maybe it's, maybe it's not, I don't know, we'll see, but it could be a third drawing where

we've got a drawing of the first setup, a drawing of the second setup, and a drawing of both setups

like merged together. Oh, wonderful. Yeah, yeah. I think otherwise it might be quite,

it might be quite complicated drawing for the construction side of it, if it's got too much

information. That's fine. That's fine. That's perfectly fine. As long as they have like an easy

user friendly way of understanding it. Yeah, I could do a drawing which is really diagrammatic

saying what's changing. Okay, okay, sure, wonderful. Great. Okay, the space behind, and what was the

third, oh yeah, the stone place that Ninja found, so yeah. If we repurposed the Roman thing, we're

not going to need that place that much. Are you talking about the location? Yeah, like this one,

this one with the timber and stone thing, like that is, that looks excellent, especially the

bottom right hand little drawing. Yeah, yeah. That was what we were kind of trying to. We're

trying to do that. Yeah, as long as we weird up the columns, because they're not going to be

calligraphic people, they're going to be, they're going to be a fusion, it's a lost culture,

where they could have some sort of Chinese geometric elements, but never calligraphy,

because they don't give a shit about that they're not, they're not, but so we have to find a way

to morph the columns in such a way in three dimensions that it looks, it looks nomadic enough.

And I say this with the context thrown out barbaric enough. So it has, it has, it has that sort of,

okay, these guys mean business, but they're still not really as settled civilized as the Chinese

or the Romans. So the column will actually be the most important element, how we evolve it into

the different thing, because lighting, when we light this room, columns will be where the light

reflects off of. So that's why, that's why, that's why our like, that's why Tom, when you do that

layer, or maybe that, you know, opaque layer showing one of the columns perfectly repurposed

into a new cultural thing, the column will be the main element that changes the identity of the room.

So that's, that's what I mean by saying, we should have it like clear cuts for anybody

other than us who sees it. And then that's about it. I don't have any other feedback. It looks great.

Yeah, the old finishes are good. Yeah, those are good.

In fact, I was thinking like, as we shoot the scene, if we have a lot of places where it is

lit darkly, and only torchlight through the wall or his, his brazier or something

is the thing that lights it up instead of like the Romans, where there's a lot of light coming in,

we could have a lot of dark corners where we use the other place as well,

as if there were other sections of the place in the same style. So

yeah, I'm perfectly fine with it. But we will have to shoot this second, right, Sonya?

Yes. Yeah, I'd like you need to do that because I think once they get the head around it, Alper

and Ilgim, I think you need to have a serious conversation about your scheduling because,

you know, I mean, if we were doing it here, obviously, I can tell you exactly how long I

think that would take. But, you know, I just think you need to give them the benefit of doubt

because they're taking on, it's quite a big thing. So it's not going to be a week. They need...

I'm gonna, I'm gonna, I'm gonna ask you something. So let's say we construct the Roman thing first,

then we shoot it, okay? Yeah. Then, then we decide to construct, well, you know, just dress this.

And something went wrong. I fucked up, let's say, or somebody else fucked up. And we had to get

or some actor got a COVID or something. How hard would it be to repurpose it back to the Roman one?

Specific sections of it.

Like, would it be possible? Like with the throne section, for instance? I'm like, only,

oh my god, we need, we need an extra shooting day of the Roman throne.

I think you could do it, but you've got to bear in mind what you're doing with the paint,

because the Constantinople one is going to take, would, is obviously going to take some time because

of what you have to do on the walls. I think, I don't think it's impossible. I don't think it's

impossible, but I think you would have to, you'd have to allow some weeks to do that.

You'd have to really simplify the, you maybe you'd have to simplify the turn around.

It's the first turn, you know, you have to simplify the people.

Just an emergency measure for one.

Yeah, no, I totally understand it, but I think, I think it is doable, but I think it would,

it just needs sensible people involved doing that.

So the throne room section and the Roman section, just, just so you keep in mind,

the, the central Asian, the, the, the, the step emperors throne room scenes

have a total duration of three times the Roman one.

So it's, it's story wise, it has, it's much more important.

I'm just saying this as, as, as a reference.

And, and the last thing is when we constructs, when, when crews are there and they understand

the technical drawings and the measurements of these things.

So yeah, how long do you think would, and, and let's assume hypothetically that's not

going to detail.

There are enough people, you know, raw materials, we have the space.

How long would it be?

16 weeks to build that set.

That's too much.

It'd be 16 weeks based on, I mean, I think you might be able to get it done in 12.

So 12 weeks.

But you would have to make them do, they, if it was 12 weeks, you would have to do

six and some six and seventh days, Elgum.

You wouldn't get away with just doing a five day week.

Oh, no, no, no, they'll work, they'll work six.

And you'd have to change the, you know, you could, I mean, if you got into desperate

situations, you could do two crews per day.

I mean, depends on how many people you can get really.

Is this 12 without the repurpose to get the setup, the setup that's drawn for

Constantinople is going to take you 12 weeks.

And then how long in the same rush?

And then I think you need to allow four weeks to flip it because you've got to get

the dressing out without smashing everything and being in a rush and

throwing in a skip.

You've got to get all the, everything out, clear it, and then they've got to take

the pieces off that they need to take off.

And they've, before they've done that, they need to prefab all these items,

obviously will already be ready to come in.

They can't be suddenly starting from scratch in those four weeks.

You have to have, while, you know, during that 12 weeks, because you're only

forming in Austin for a short time, they've got to also be building this.

So a lot of people doing a lot of stuff.

You need a big workshop.

What is, what is the total, total birds are a meter squared of this, these throne rooms

each, well, both are the same, I guess, Tom, just the construction space.

I mean, the set plus the necessary extra space, total.

What, including fire lanes, you mean?

Yeah, including places we will need to move behind.

By the way, green screen, because you need five meters away for the green screen.

Yeah, yeah.

Can you, so can you just give me a ballpark figure, please?

Well, this is, sorry, sorry, I'm just, this is the original one, which has got

where the green screen is utilized more.

Yeah.

And that's the overall, the set, sorry.

Overall, the set is about 60 meters long by, by about 40 meters.

So, Sonia, what do you think?

Yeah, that's what, yeah, that's the, that's the corporate thing.

So 2,400 meters squared, right?

Yes.

Okay, good, good, good.

Because we're gonna, we're gonna get 10,000 initially for three months.

This will fit in that space I went to.

Yeah, yeah, it will, it will.

But that's not the problem.

The problem is they're gonna have a little expo there for 10 days at the end of February.

So we would have November, December, January, and then one week in February.

So that's 13 weeks.

And then are they taking over that whole space for it?

Or are they doing like they said?

Yeah, like, but we're okay.

For 4,000 meters squared of secured place.

So this long-term thing could be there.

But it's, it's just, it's just the pain in the ass in terms of securing that.

But it's good.

So if it, if the, if both of them repurposed that original fits in the 3,000, it's good.

Okay, that's excellent.

Anything else you need feedback from me?

No, that was it.

Okay, good.

So, so this, after you make it a PDF, Tom, if you could, if you could,

it's okay if it's a big ass PDF, I can open it.

No, it will be, it'd be a principle one.

It would be what we would use if we were printing them a bit last time.

Yeah.

And then, and then what I would do, what I would do for the final, final stuff,

what I would do is I will, I will probably make each page of that big PDF into a TIFF

or something big and then mark, mark some explanations for the Turkish crew and start

the sort of idea exchange with them as well.

Because they're going to have to acquire all these green screen places, blah, blah.

So I want them to start as soon as possible in the first week of November to consolidate

and to buy the stuff they're going to need.

Um, so they get right to it and, but excellent job.

They both look great.

Good.

All right.

Okay.

All right.

Good, good, good.

They are good.

Anything else?

They are good.

Well, until the next time, that's it.

All right, guys, a pleasure.

And if you send these to me, oh, also is, is, so just, just to be clear,

the, uh, the large PDFs of the arena and the tavern.

Um, they're already there.

Yeah.

But like, where are they all going?

I, isn't it a drop box or they didn't probably know, but the tap.

I sent them to you.

I had we transfer last week, but if you didn't download them, I'll, I'll send them to you again.

Okay.

Just send them to me again.

So we consolidate all of those.

And, um, we, we start printing them in a big technical drawing, uh, plotter.

So there are hard copies of it.

Um, yeah.

Thank you guys.

Wonderful.

If you need anything else from me, I'm around always.

Okay.

All right.

Thank you.

Thank you.

All right, guys.

You be well.

Bye-bye.

Okay.

Bye.

Speak to you later.

Bye.

Bye-bye.