I worked on a film called "Apollo 13," and when I worked on this film, I discovered something about how our brains work, and how our brains work is that, when we're sort of infused with either enthusiasm or awe or fondness or whatever, it changes and alters our perception of things. It changes what we see. It changes what we remember. And as an experiment, because I dauntingly create a task for myself of recreating a Saturn V launch for this particular movie, because I put it out there, I felt a little nervous about it, so I need to do an experiment and bring a group of people like this in a projection room and play this stock footage, and when I played this stock footage, I simply wanted to find out what people remembered, what was memorable about it? What should I actually try to replicate? What should I try to emulate to some degree?
Am lucrat la filmul „Apollo 13” şi am descoperit ceva legat de cum funcţionează creierul nostru. Funcţionează astfel: când suntem plini de entuziasm, uimire sau afecţiune, asta ne schimbă percepția asupra lucrurilor. Schimbă ce vedem şi ce ne amintim. Ca experiment, pentru că mi-am dat sarcina descurajatoare de a recrea lansarea rachetei Saturn V pentru acest film, pentru că am îndrăznit, am avut emoţii, aşa că aveam nevoie de un experiment, să pun un grup de oameni într-o cameră de proiecţii şi să rulez acest material de arhivă. Am vrut pur şi simplu să aflu ce îşi amintesc oamenii, ce a fost memorabil? Ce ar trebui să reproduc? Ce ar trebui să imit?
So this is the footage that I was showing everybody. And what I discovered is, because of the nature of the footage and the fact that we're doing this film, there was an emotion that was built into it and our collective memories of what this launch meant to us and all these various things. When I showed it, and I asked, immediately after the screening was over, what they thought of it, what was your memorable shots, they changed them. They were -- had camera moves on them. They had all kinds of things. Shots were combined, and I was just really curious, I mean, what the hell were you looking at just a few minutes ago and how come, how'd you come up with this sort of description? And what I discovered is, what I should do is not actually replicate what they saw, is replicate what they remembered.
Acesta e materialul pe care l-am arătat. Am descoperit că, din cauza naturii materialului şi a faptului că făceam acest film, totul era emoţionant, iar amintirile noastre legate de semnificaţia lansării pentru noi şi toate aceste lucruri... După vizionare, când i-am întrebat imediat după proiecţie ce credeau, care au fost scenele memorabile, au numit altele. Se gândeau la mişcările camerei. Au spus diferite lucruri. Cadrele erau combinate, iar eu eram curios, adică la ce naiba v-aţi uitat acum câteva minute şi de unde aţi scos descrierea asta? Am descoperit că nu ar trebui să copiez ce au văzut, ci ce îşi amintesc.
So this is our footage of the launch, based on, basically, taking notes, asking people what they thought, and then the combination of all the different shots and all the different things put together created their sort of collective consciousness of what they remembered it looked like, but not what it really looked like. So this is what we created for "Apollo 13."
Aceasta e filmarea cu lansarea, creată folosind înscrieri, întrebând oamenii ce cred. Combinaţia de cadre diferite şi toate acestea puse laolaltă au creat conştientul lor colectiv, cum îşi amintesc că arăta, nu cum arăta de fapt. Asta am creat pentru „Apollo 13”.
(Launch noises)
(Zgomote de lansare)
So literally what you're seeing now is the confluence of a bunch of different people, a bunch of different memories, including my own, of taking a little bit of liberty with the subject matter. I basically shot everything with short lenses, which means that you're very close to the action, but framed it very similarly to the long lens shots which gives you a sense of distance, so I was basically was setting up something that would remind you of something you haven't really quite seen before. (Music) And then I'm going to show you exactly what it is that you were reacting to when you were reacting to it.
Ce vedeţi acum e combinația dintre diferiți oameni, amintiri, inclusiv a mea, şi o tratare mai liberă a subiectului. Am filmat tot cu obiective scurte, ca să pară că eşti aproape de acţiune, dar cadrele sunt similare celor filmate cu obiective lungi, care îţi dau senzația de distanţă, aşa că practic făceam ceva care să-ţi amintească de ceva ce nu mai văzusei înainte. (Muzică) Vă voi arăta apoi la ce anume aţi reacţionat de fapt.
(Music)
(Muzică)
Tom Hanks: Hello, Houston, this is Odyssey. It's good to see you again. (Cheers) (Music)
Tom Hanks: Salut, Houston, aici Odyssey. Ne bucurăm să vă vedem din nou.
Rob Legato: I pretend they're clapping for me.
(Aclamaţii) (Muzică)
(Laughter)
Rob Legato: Îmi imaginez că mă aplaudă pe mine.
So now I'm in a parking lot. Basically it's a tin can,
(Râsete)
and I'm basically recreating the launch with fire extinguishers, fire, I have wax that I threw in front of the lens to look like ice, and so basically if you believed any of the stuff that I just showed you, what you were reacting to, what you're emoting to, is something that's a total falsehood, and I found that really kind of fascinating.
Acum sunt într-o parcare. E un spaţiu mic, iar eu recreez lansarea cu extinctoare, foc, am ceară pe care o arunc în faţa obiectivului pentru a arăta ca gheaţa. Dacă ai crezut chestiile pe care ţi le-am arătat, toate la care ai reacţionat, care te-au emoţionat sunt complet false. Găsesc asta fascinant.
And in this particular case, this is the climax of the movie, and, you know, the weight of achieving it was simply take a model, throw it out of a helicopter, and shoot it. And that's simply what I did. That's me shooting, and I'm a fairly mediocre operator, so I got that nice sense of verisimilitude, of a kind of, you know, following the rocket all the way down, and giving that little sort of edge, I was desperately trying to keep it in frame. So then I come up to the next thing. We had a NASA consultant who was actually an astronaut, who was actually on some of the missions, of Apollo 15, and he was there to basically double check my science. And, I guess somebody thought they needed to do that.
În cazul ăsta, aici e punctul culminant al filmului. şi greutatea a constat în luarea modelului aruncarea lui din elicopter şi filmarea lui. Asta-i tot ce am făcut. Aici sunt eu filmând, sunt un operator mediocru, am obţinut impresia de verosimil urmărind racheta până jos şi dând impresia de limită, încercam cu disperare să ţin totul în cadru. Apoi am ajuns la următorul lucru. Am avut un consultant NASA care era astronaut, fusese în câteva misiuni Apollo 15. Era acolo pentru a verifica aspectele tehnice. Cineva s-a gândit că e nevoie de asta.
(Laughter)
(Râsete)
I don't know why, but they thought they did.
Nu ştiu de ce, dar s-au gândit.
So we were, he's a hero, he's an astronaut, and we're all sort of excited, and, you know, I gave myself the liberty of saying, you know, some of the shots I did didn't really suck that bad. And so maybe, you know, we were feeling kind of a little good about it, so I brought him in here, and he needed to really check and see what we were doing, and basically give us our A plus report card, and so I showed him some shots we were working on, and waiting for the reaction that you hope for, which is what I got. (Music) (Launch noises) So I showed him these two shots, and then he basically told me what he thought.
El, erou, astronaut, noi toţi entuziasmaţi, iar eu mi-am permis să spun că unele dintre cadre nu sunt chiar atât de proaste. Ne simţeam destul de bine în legătură cu asta, aşa că l-am adus acolo, el trebuia să verifice ce facem şi să ne dea nota zece. I-am arătat câteva cadre la care lucram şi am aşteptat reacţia la care speram. Asta am primit. (Muzică) (Zgomote de lansare) I-am arătat aceste două cadre, apoi el mi-a spus cum i s-a părut.
("That's wrong") (Laughter)
(„E greşit.”) (Râsete)
Okay. (Laughter) It's what you dream about.
OK. (Râsete) La asta visezi.
(Laughter)
(Râsete)
So what I got from him is, he turned to me and said, "You would never, ever design a rocket like that. You would never have a rocket go up while the gantry arms are going out. Can you imagine the tragedy that could possibly happen with that? You would never, ever design a rocket like that." And he was looking at me. It's like, Yeah, I don't know if you noticed, but I'm the guy out in the parking lot recreating one of America's finest moments with fire extinguishers.
S-a întors spre mine şi mi-a zis „O rachetă nu ar fi concepută niciodată aşa. Nu ar putea sa urce în timp ce braţele de susţinere cad. Îţi imaginezi ce tragedie s-ar putea întâmpla? Nu se proiectează o racheta aşa.” Se uita la mine. Nu ştiu dacă ai observat, dar eu sunt tipul din parcare ce recreează unul dintre cele mai impresionante momente cu extinctoare.
(Laughter)
(Râsete)
And I'm not going to argue with you. You're an astronaut, a hero, and I'm from New Jersey, so --
Nu o să mă cert cu tine. Eşti astronaut, un erou, iar eu sunt din New Jersey, aşa că...
(Laughter)
(Râsete)
I'm just going to show you some footage. I'm just going to show you some footage, and tell me what you think. And then I did kind of get the reaction I was hoping for.
O să-ţi arăt o filmare. O să-ţi arăt o filmare iar tu să-mi spui ce crezi. Atunci am obţinut reacţia pe care o doream.
So I showed him this, and this is actual footage that he was on. This is Apollo 15. This was his mission. So I showed him this, and the reaction I got was interesting.
I-am arătat asta. Este materialul original în care apărea el. Acesta e Apollo 15. Asta era misiunea lui. I-am arătat asta şi reacţia lui a fost interesantă.
("That's wrong too.") (Laughter)
(„Şi asta e greşită.”) (Râsete)
So, and what happened was, I mean, what I sort of intuned in that is that he remembered it differently. He remembered that was a perfectly safe sort of gantry system, perfectly safe rocket launch, because he's sitting in a rocket that has, like, a hundred thousand pounds of thrust, built by the lowest bidder. He was hoping it was going to work out okay.
Ceea ce am intuit din asta e că el îşi amintea totul diferit. Îşi amintea de un sistem de schele perfect sigur, de o lansare în perfectă siguranţă, deoarece el stătea într-o rachetă care avea o tracţiune de 45.000 de kg, construită de cel care a oferit cel mai puţin. Spera să funcţioneze.
(Laughter) (Applause)
(Râsete) (Aplauze)
So he twisted his memory around.
Îşi amintea pe dos.
Now, Ron Howard ran into Buzz Aldrin, who was not on the movie, so he had no idea that we were faking any of this footage, and he just responded as he would respond, and I'll run this.
Ron Howard s-a întâlnit cu Buzz Aldrin, care nu era la filmări, aşa că nu ştia că noi trucaserăm materialul filmat, aşa că a răspuns cum mă aşteptam. O să pun materialul.
Ron Howard: Buzz Aldrin came up to me and said, "Hey, that launch footage, I saw some shots I'd never seen before. Did you guys, what vault did you find that stuff in?" And I said, "Well, no vault, Buzz, we generated all that from scratch."
Ron Howard: Buzz Aldrin a venit la mine şi mi-a zis: „Hei, am văzut nişte cadre din filmarea lansării pentru prima dată. În ce pivniţă le-aţi găsit? I-am zis: Nicio pivniţă, Buzz, am generat totul din nimic.
And he said, "Huh, that's pretty good. Can we use it?"
A zis: E bun. Îl putem folosi?
(Explosion) ("Sure") (Laughter)
(Explozie) (Sigur!) (Râsete)
RL: I think he's a great American.
RL: Cred că e un mare american.
(Laughter)
(Râsete)
So, "Titanic" was, if you don't know the story, doesn't end well.
„Titanicul”, dacă nu ştiaţi povestea, nu se sfârşeşte bine.
(Laughter)
(Râsete)
Jim Cameron actually photographed the real Titanic. So he basically set up, or basically shattered the suspension of disbelief, because what he photographed was the real thing, a Mir sub going down, or actually two Mir subs going down to the real wreck, and he created this very haunting footage. It's really beautiful, and it conjures up all these various different emotions, but he couldn't photograph everything, and to tell the story, I had to fill in the gaps, which is now rather daunting, because now I have to recreate back to back what really happened and I had, I'm the only one who could really blow it at that point.
Jim Cameron a fotografiat adevăratul Titanic. Practic a anulat suspendarea neîncrederii, deoarece a fotografiat obiectul real cu un submersibil Mir, de fapt, două, care s-au scufundat pînă la epava reală, iar el a creat acest material filmat foarte tulburător. Este frumos şi stârneşte atâtea emoţii, însă n-a putut fotografia tot. Pentru a spune povestea, a trebuit să umplu golurile, ceea ce e cam înfricoşător, pentru că trebuia să recreez unul după altul evenimentele de atunci şi eram singurul care putea să rateze totul în acel moment.
So this is the footage he photographed, and it was pretty moving and pretty awe-inspiring. So I'm going to just let it run, so you kind of absorb this sort of thing, and I'll describe my sort of reactions when I was looking at it for the very first time. I got the feeling that my brain wanted to basically see it come back to life. I automatically wanted to see this ship, this magnificent ship, basically in all its glory, and conversely, I wanted to see it not in all its glory, basically go back to what it looks like.
Ăsta e materialul fotografiat de Cameron, emoţionant şi uluitor. O să-l las să ruleze ca să puteţi absorbi detaliile şi vă voi descrie reacţiile mele când l-am văzut prima dată. Am simţit cum creierul meu vroia să vadă totul revenit la viaţă. Am vrut automat să văd acest vas magnific în culmea gloriei şi invers am vrut să nu-l văd în culmea gloriei, adică să mă întorc la cum arată.
So I conjured up an effect that I'm later going to show you what I tried to do, which is kind of the heart of the movie, for me, and so that's why I wanted to do the movie, that's why I wanted to create the sort of things I created.
Am inventat un efect pe care o să vi-l arăt, pe care l-am încercat şi care-i inima filmului pentru mine. De asta am vrut să fac filmul, să creez lucrurile pe care le-am creat.
And I'll show you, you know, another thing that I found interesting is what we really were emoting to when you take a look at it. So here's the behind the scenes, a couple of little shots here. So, when you saw my footage, you were seeing this: basically, a bunch of guys flipping a ship upside down, and the little Mir subs are actually about the size of small footballs, and shot in smoke. Jim went three miles went down, and I went about three miles away from the studio and photographed this in a garage.
O să vă arăt. Un alt lucru interesant este ce emoţii exprimă când te uiţi la el. Iată scene neprelucrate, câteva cadre. Când aţi văzut materialul, aşi văzut de fapt asta: nişte tipi care răsturnau un vas şi micuţele submersibile Mir care sunt de mărimea unor mingi de fotbal erau filmate în semi-obscuritate. Jim a coborât trei mile, iar eu m-am depărtat cu vreo trei mile de studioul de filmare şi am fotografiat asta într-un garaj.
And so, but what you're emoting to, or what you're looking at, had the same feeling, the same haunting quality, that Jim's footage had, so I found it so fascinating that our brains sort of, once you believe something's real, you transfer everything that you feel about it, this quality you have, and it's totally artificial. It's totally make-believe, yet it's not to you, and I found that that was a very interesting thing to explore and use, and it caused me to create the next effect that I'll show you, which is this sort of magic transition, and all I was really attempting to do is basically have the audience cue the effect, so it became a seamless experience for them, that I wasn't showing you my sort of interpretation, I was showing you what you wanted to see. And the very next shot, right after this -- So you can see what I was doing.
Emoţiile pe care le exprimi şi lucrurile la care te uiţi aveau aceeaşi încărcătură, aceeaşi esenţă obsedantă pe care o are materialul filmat de Jim şi mi s-a părut atât de fascinant cum creierele noastre, odată ce credem că ceva e real, transferă tot ce simţim despre asta, această însuşire, şi este total artificial. Este un truc, deşi pentru tine nu pare. Am descoperit că asta e un lucru interesant de explorat şi folosit şi m-a dus la următorul efect pe care o să vi-l arăt, un fel de tranziţie magică, încercam practic să fac audienţa să lege efectul, aşa că pentru ei a devenit o experienţă fluidă, nu arătam interpretarea mea, ci vă arătam ce vroiaţi să vedeţi. Următorul cadru, după ăsta - Vedeţi ce am făcut.
So basically, if there's two subs in the same shot, I shot it, because where's the camera coming from? And when Jim shot it, it was only one sub, because he was photographing from the other, and I don't remember if I did this or Jim did this. I'll give it to Jim, because he could use the pat on the back.
Dacă sunt două submersibile în acelaşi cadru, le-am filmat, căci altfel de unde ar veni camera? Când a filmat Jim, era doar un submarin, deoarece el fotografia din celălalt. Nu-mi mai amintesc dacă eu sau Jim am făcut asta. O să zic că Jim, pentru că are nevoie de încurajări.
(Laughter)
(Râsete)
Okay. So now the Titanic transition. So this is what I was referring to where I wanted to basically magically transplant from one state of the Titanic to the other. So I'll just play the shot once. (Music)
OK. Acum tranziţia pentru Titanic. La asta mă refeream când am vrut să trec Titanicul, ca prin magie, dintr-o stare în alta. O să rulez scena o dată.
(Music)
(Muzică)
And what I was hoping for is that it just melts in front of you.
Am vrut să se topească practic în faţa voastră.
Gloria Stuart: That was the last time Titanic ever saw daylight.
Gloria Stuart: A fost ultima dată când Titanicul a văzut lumina zilei.
RL: So, what I did is basically I had another screening room experience where I was basically tracking where I was looking, or where we were looking, and of course you're looking at the two people on the bow of the ship, and then at some point, I'm changing the periphery of the shot, I'm changing, it's becoming the rusted wreck, and then I would run it every day, and then I would find exactly the moment that I stopped looking at them and start noticing the rest of it, and the moment my eye shifted, we just marked it to the frame. The moment my eye shifted, I immediately started to change them, so now somehow you missed where it started and where it stopped. And so I'll just show it one more time. (Music) And it's literally done by using what our brains naturally do for us, which is, as soon as you shift your attention, something changes, and then I left the little scarf going, because it really wanted to be a ghostly shot, really wanted to feel like they were still on the wreck, essentially. That's where they were buried forever.
RL: Am avut, de fapt, un test în sala de proiecţii unde am urmărit locul unde mă uitam sau unde ne uitam şi bineînţeles privim cei doi oameni de pe etravă şi la un moment dat schimb periferia cadrului şi devine o navă ruginită. Am rulat asta în fiecare zi şi am descoperit momentul precis în care încetez să-i privesc şi încep să observ restul şi momentul în care privirea s-a mutat a fost marcat în cadru. În momentul mutării privirii, am început imediat să-i modific, aşa că acum nu-ţi dai seama când începe şi când se termină. Vă mai arăt o dată. (Muzică) Practic asta se face cu ajutorul a ceea ce creierul face pentru noi în mod natural, imediat ce muţi centrul atenţiei, ceva se schimbă. Am lăsat eşarfa, pentru că trebuia să fie un cadru fantomatic, de parcă erau încă pe epavă. Acolo au fost îngropaţi pentru totdeauna.
Or something like that. I just made that up.
Sau ceva de genul ăsta. Am inventat asta.
(Laughter)
(Râsete)
It was, incidentally, the last time I ever saw daylight. It was a long film to work on. (Laughter)
Întâmplător, a fost ultima dată când am văzut lumina zilei. A fost mult de lucru la film. (Râsete)
Now, "Hugo" was another interesting movie, because the movie itself is about film illusions. It's about how our brain is tricked into seeing a persistence of vision that creates a motion picture, and one of the things I had to do is, we — Sasha Baron Cohen is a very clever, very smart guy, comedian, wanted to basically do an homage to the kind of the Buster Keaton sort of slapstick things, and he wanted his leg brace to get caught on a moving train. Very dangerous, very impossible to do, and particularly on our stage, because there literally is no way to actually move this train, because it fits so snugly into our set.
„Hugo” e un alt film interesant, deoarece filmul în sine e despre iluzii. E modul în care creierul e păcălit să vadă o persistenţă de imagine care creează un film. Ceea ce am făcut -- Sasha Baron Cohen este un actor comic foarte inteligent. El a vrut să aducă un omagiu farselor de tipul Buster Keaton şi a vrut ca proteza piciorului să-i rămână prinsă de un tren în mişcare. Foarte periculos, imposibil de făcut, mai ales în studio, pentru că nu aveam cum să mişcăm trenul care abia încăpea pe platou.
So let me show you the scene, and then I basically used the trick that was identified by Sergei Eisenstein, which is, if you have a camera that's moving with a moving object, what is not moving appears to be moving, and what is moving appears to be stopped, so what you're actually seeing now is the train is not moving at all, and what is actually moving is the floor.
Să vă arăt scena. Am folosit trucul lui Serghei Eisenstein. Dacă ai o cameră ce se mişcă odată cu un obiect în mişcare, ce nu se mişcă apare ca şi cum s-ar mişca şi ceea ce se mişcă apare ca stând pe loc, aşa că acum vedeţi trenul care nu se mişcă deloc, doar podeaua se mişcă.
So this is the shot. That's a little video of what you're looking at there, which is our little test, so that's actually what you're seeing, and I thought it was sort of an interesting thing, because it was, part of the homage of the movie itself is coming up with this sort of genius trick which I can't take credit for. I'd love to but I can't, because it was invented like in 1910 or something like that, is I told Marty, and it's kind of one of those mind things that it's really hard to really get until you actually see it work, and I said, you know, what I was going to do, and he said, "So, let me see if I can get this straight. The thing with the wheels? That doesn't move."
Ăsta e cadrul. Şi un mic clip cu ce vedeţi aici, e testul nostru, deci asta se vede de fapt. M-am gândit că e interesant, pentru că parţial omagiul adus de film este inventarea acestui truc genial care nu îmi aparţine. Mi-ar plăcea, însă el a fost inventat în 1910 sau aşa ceva. I-am spus lui Marty - e unul dintre lucrurile greu de înţeles până nu le vezi funcţionând - i-am spus ce vroiam să fac şi el a zis „Să văd dacă am înţeles. Chestia cu roţi? Aia nu se mişcă.”
(Laughter) (Applause)
(Râsete) (Aplauze)
"And the thing without the wheels, that moves."
„Şi chestia fără roţi, aia se mişcă.”
Precisely. (Laughter)
Exact. (Râsete)
Brings me to the next, and final --
Ceea ce mă aduce la următoarea şi ultima--
Marty's not going to see this, is he? (Laughter) This isn't viewed outside of -- (Laughter)
Marty nu o să vadă asta, nu? (Râsete) Nu se transmite în afară -- (Râsete)
The next illustration is something that, there's like all one shot theory. It's a very elegant way of telling a story, especially if you're following somebody on a journey, and that journey basically tells something about their personality in a very concise way, and what we wanted to do based on the shot in "Goodfellas," which is one of the great shots ever, a Martin Scorsese film, of basically following Henry Hill through what it feels like to be a gangster walk going through the Copacabana and being treated in a special way. He was the master of his universe, and we wanted Hugo to feel the same way, so we created this shot.
Următorul exemplu e ceva care exemplifică teoria cadrului unic. Este un mod elegant de a povesti, mai ales dacă urmezi pe cineva într-o călătorie şi călătoria spune ceva despre personalitatea sa într-un mod concis. Am vrut să facem ceva bazat pe cadrul din „Goodfellas”, care e unul dintre cele mai bune, un film de Martin Scorsese, când camera îl urmăreşte pe Henry Hill pe parcursul unei plimbări de gangster prin Copacabana, având parte de un tratament special. Era stăpânul universului şi am vrut să-l facem pe Hugo să se simtă la fel, aşa că am creat acest cadru.
(Music) That's Hugo. (Music) And we felt that if we could basically move the camera with him, we would feel what it feels like to be this boy who is basically the master of his universe, and his universe is, you know, behind the scenes in the bowels of this particular train station that only he can actually navigate through and do it this way, and we had to make it feel that this is his normal, everyday sort of life, so the idea of doing it as one shot was very important, and of course, in shooting in 3D, which is basically it's a huge camera that's hanging off of a giant stick, so to recreate a steadycam shot was the task, and make it feel kind of like what the reaction you got when you saw the "Goodfellas" shot.
(Muzică) Acesta e Hugo. Ne-am gândit că dacă mişcăm camera odată cu el, am simţi ce înseamnă să fii acest băiat care e stăpânul universului său şi universul lui e în culise, în măruntaiele acestei gări prin care doar el se poate deplasa şi a trebuit să transmitem sentimentul că ăsta e firescul lui, viaţa lui de zi cu zi, aşa că ideea de a trage totul într-o singură scenă a fost foarte importantă. Am filmat în 3D, o cameră imensă care atârnă de un stâlp imens, aşa că scopul era recrearea unui cadru filmat cu amortizarea şocurilor şi să obţinem reacţia pe care o avem când privim cadrul din „Goodfellas”.
So what you're now going to see is how we actually did it. It's actually five separate sets shot at five different times with two different boys. The one on the left is where the shot ends, and the shot on the right is where it takes over, and now we switch boys, so it went from Asa Butterfield, who's the star of the show, to his stand-in. (Music) I wouldn't say his stunt double. There's a crazy rig that we built for this. (Music) And so this is, and now this is set number three we're into, and then we're going to go into, basically the very last moment of the shot is actually the steadycam shot. Everything else was shot on cranes and various things like that, and it literally was done over five different sets, two different boys, different times, and it all had to feel like it was all one shot, and what was sort of great for me was it was probably the best-reviewed shot I've ever worked on, and, you know, I was kind of proud of it when I was done, which is, you should never really be proud of stuff, I guess.
Acum veţi vedea cum am obţinut asta. Sunt cinci decoruri separate filmate la cinci intervale diferite cu doi băieţi diferiţi. Cel din stânga e unde se termină cadrul, cel din dreapta arată de unde se preia. Am schimbat băieţii. Am trecut de la Asa Butterfield, care e starul filmului, la dublura sa. (Muzică) N-aş spune cascador. Iată o instalaţie nebunească construită pentru asta. (Muzică) Acesta este al treilea decor şi apoi întrăm în altul. Ultimul moment al scenei e filmat cu amortizor. Restul a fost filmat de pe macarale şi chestii asemănătoare, pe parcursul a cinci decoruri diferite, cu doi băieţi diferiţi, temporizări diferite şi totul trebuia să pară ca făcând parte dintr-un singur cadru. Pentru mine a fost minunat, fiind cel mai apreciat cadru la care am lucrat. Am fost mândru când am terminat. Presupun că n-ar trebui să ne mândrim cu lucruri.
So I was kind of proud of it, and I went to a friend of mine, and said, "You know, this is, you know, kind of the best-reviewed shot I've ever worked on. What do you think was the reason?"
Am fost destul de mândru. M-am dus la un prieten şi i-am spus: Ştii, ăsta e cadrul cel mai apreciat dintre toate. Care crezi că a fost motivul?
And he said, "Because no one knows you had anything to do with it."
El a zis: Pentru că nimeni nu ştie că ai avut vreo legătură cu el.
(Laughter)
(Râsete)
So, all I can say is, thank you, and that's my presentation for you. (Applause)
Tot ce pot spune e că vă mulţumesc şi asta a fost prezentarea mea pentru voi. (Aplauze)
(Applause)
(Aplauze)