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1
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There was a scene
2
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that guy shot,
which is all about super duper
3
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crazy slow motion and things
hitting and things.
4
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You know, James Herbert's literally doing
a masterpiece of, you know, it's like.
5
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It's like an editing masterclass.
6
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I looked at that thing, and the first time
I looked at it and I went,
7
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oh, right, okay,
that's all the story going on.
8
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There's all this stuff going on.
9
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And stylistically, it's
10
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it's very different from anything
11
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in this movie.
12
00:00:43,918 --> 00:00:45,586
so the two ways
13
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of solving it, either I can go and
14
00:00:49,382 --> 00:00:52,385
figure out every moment and
15
00:00:52,385 --> 00:00:55,388
do something with every moment I can find
16
00:00:57,181 --> 00:01:00,601
like a crazy simplistic through line.
17
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so so the tempo had to be right.
18
00:01:08,109 --> 00:01:10,069
And these guys had been working.
19
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You know, I think Guy will forgive me
for saying this.
20
00:01:12,363 --> 00:01:16,492
They'd been working in the cutting room
on this scene forever, and they could not
21
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they didn't want to go and
22
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ever look at that scene again.
23
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and so this is where
24
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the grid thing is interesting
because it changes the feel.
25
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So they were basically.
26
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Very maybe a little bored with the scene.
27
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Right.
28
00:01:35,094 --> 00:01:38,555
So, so I remember the first time
I showed it to go
29
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without saying anything,
just play it again
30
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and again.
31
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Play it again.
32
00:01:48,440 --> 00:01:50,943
I thought.
33
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What's he thinking?
34
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Because I'll tell him you're thinking he's
you know, he's either he's
35
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either hating it
or you start to come up with some.
36
00:01:58,492 --> 00:02:01,369
It was like he couldn't
look at the scene anymore, and suddenly
37
00:02:01,369 --> 00:02:04,372
he found it
completely compelling to look at again.
38
00:02:06,041 --> 00:02:09,961
so if I can find the sped, cut,
where was it?
39
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Real fine.
40
00:02:12,756 --> 00:02:15,091
We come from
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the actually, we come from something,
you know, which is on purpose.
42
00:02:17,844 --> 00:02:22,557
They action musically and very, straight.
43
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I don't.
44
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Wanna hold them like we need them to go.
45
00:02:34,235 --> 00:02:36,821
But what's wrong with this is nothing.
46
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Just let them talk. Oh.
47
00:02:43,828 --> 00:02:45,955
I can
48
00:02:45,955 --> 00:02:48,124
just it's
just swapping out the whole thing.
49
00:02:48,124 --> 00:02:51,127
It's just,
50
00:02:52,003 --> 00:02:54,922
I think it's funny
51
00:02:54,922 --> 00:02:57,925
to talk.
52
00:03:20,323 --> 00:03:23,659
So obviously there's
so many different tempos
53
00:03:23,659 --> 00:03:26,662
going on in the scene, in the cut, in the
in the way
54
00:03:26,996 --> 00:03:29,999
he treats every shot.
55
00:03:30,875 --> 00:03:33,878
So. So by just
56
00:03:34,253 --> 00:03:36,130
brutally
57
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imposing this grid on set,
it feels like sort of things can't end up
58
00:03:40,676 --> 00:03:45,180
good, you know, it's like like, like fate
just grabs you and,
59
00:03:46,765 --> 00:03:49,768
you know, imposes its own rhythm
on top of that.
60
00:03:49,977 --> 00:03:52,313
and I, on purpose of moving.
61
00:03:52,313 --> 00:03:55,107
Not if it's just like,
62
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boldly sticking to one note.
4572
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