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?
Pracoval som na filme s názvom "Apollo 13" a počas toho som objavil niečo o tom, ako pracuje náš mozog. A on pracuje tak, že keď sme akoby naočkovaní buď entuziazmom, úžasom, laskávosťou alebo čímkoľvek, mení to naše vnímanie veci. Mení to, čo vidíme. Mení to, čo si pamätáme. A ako experiment, pretože som si odstrašujúco ušil na seba búdu snahou o reprodukciu štartu Saturnu V v tomto konkrétnom filme. Keďže som ho tam zahrnul, a bol som z toho trochu nervózny, takže som potreboval spraviť experiment, priviesť skupinu ľudí, ako ste vy, do projekčnej miestnosti a pustiť im surovú nahrávku.Keď som im pustil túto surovú nahrávku, chcel som jednoducho zistiť, čo si ľudia pamätali, čo bolo na tom nezabudnuteľné. Čo by som sa vlastne mal pokúšať zopakovať? Čo by som mal pokúsiť do istého stupňa napodobniť?
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.
Toto je tá nahrávka, ktorú som každému púšťal. A zistil som, že vďaka povahe nahrávky a faktu, že robíme takýto film, v ňom bola zabudovaná akási emócia a naše spoločné spomienky toho, čo pre nás tento štart znamenal a všetky tieto rôzne veci. Keď som im ju ukázal, a hneď po premietnutí som sa ich spýtal, čo si o nej mysleli, ktoré zábery boli ich nezabudnuteľné, zmenili ju. Boli to... bol v nich pohyb kamery. Obsahovali všetko možné. Zábery boli kombinované a bol som proste skutočne zvedavý, na čo do čerta ste sa pozerali pred pár minútami a ako je možné, že ste prišli s týmto opisom? A zistil som, že by som vlastne nemal zreprodukovať to, čo videli, ale čo si pamätali.
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."
Takže toto sú naše zábery zo štartu, založené v podstate na poznámkach, na otázkach ľuďom, čo si mysleli a potom na kombinácii všetkých možných záberov a všetkých možných vecí, ktoré spolu vytvorili akoby istý druh kolektívneho vedomia, čo si z toho pamätali, ako to vyzeralo, ale nie ako to vyzeralo naozaj. Takže toto sme vytvorili pre "Apollo 13".
(Launch noises)
(Hluk pri štarte)
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.
Teraz vyslovene vidíte zhluk skupiny rôznych ľudí, skupiny rôznych spomienok, vrátane mojej, ako nám to dovolila podstata námetu. V podstate som všetko natočil krátkymi šošovkami, čo znamená, že ste veľmi blízko k dianiu, ale zostavil som to veľmi podobne, ako s dlhými šošovkami, čo vám dáva pocit vzdialenosti, takže som v podstate chystal niečo, čo by vám pripomenulo niečo, čo ste ešte nikdy celkom nevideli. (Hudba) A potom vám ukážem, čo presne je to, na čo ste reagovali, keď ste reagovali.
(Music)
(Hudba)
Tom Hanks: Hello, Houston, this is Odyssey. It's good to see you again. (Cheers) (Music)
Tom Hanks: Ahoj, Houston, tu je Odysea. Je fajn vás znova vidieť. (Radosť) (Hudba)
Rob Legato: I pretend they're clapping for me.
Rob Legato: Robím si nárok na ten potlesk.
(Laughter)
(Smiech)
So now I'm in a parking lot. Basically it's a tin can, 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.
Takže teraz som na parkovisku. V podstate je to plechovka a snažím sa zopakovať štart s hasiacim prístrojom, ohňom, voskom, ktorý som hodil pred šošovku, aby to vyzeralo ako ľad. A teda v zásade, ak ste verili hocičomu z toho, čo som vám ukázal, reagovali ste a vytvárali ste si emócie na niečo, čo je úplný klam a to sa mi zdalo skutočne fascinujúce.
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.
A tento konkrétny prípad je vyvrcholením filmu a, viete, na jeho dosiahnutie sme museli len vziať model, vyhodiť ho z vrtuľníka a nakrútiť ho. A to je skrátka to, čo som urobil. To som ja, ako natáčam a som celkom priemerný kameraman, takže som získal ten cit pre reálnosť a niečo ako, viete, keď sledujete raketu počas celého pádu a dáte tomu akýsi nádych. Zúfalo som sa snažil udržať ju v zábere. Takže potom som prešiel na ďalšiu vec. Mali sme konzultanta z NASA, ktorý bol aj v skutočnosti astronaut, bol aj v niektorých misiách, v misii Apolla 15, a bol tam, aby v podstate kontroloval moje vedomosti. A predpokladám, že ktosi si myslel, že to musia urobiť.
(Laughter)
(Smiech)
I don't know why, but they thought they did.
Neviem prečo, ale mysleli si to.
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.
Bol to hrdina, astronaut a všetci sme boli nadšení a, viete, dovolil som si povedať, že niektoré zábery, čo som spravil, neboli fakt až také zlé. A preto sme sa s tým možno cítili tak trochu spokojní, takže som ho tam priviedol a on chcel naozaj skontrolovať a vidieť, čo sme robili a v podstate dať nám naše A+ na vysvedčení. Ukázal som mu teda niektoré zábery, na ktorých sme pracovali, a čakali sme na reakciu, v ktorú sme dúfali, a tú sme aj dostali. (Hudba) (Hluk pri štarte) Ukázal som mu tieto dva zábery, a potom mi povedal, čo si o o tom myslí.
("That's wrong") (Laughter)
("Je to zle.") (Smiech)
Okay. (Laughter) It's what you dream about.
Fajn. (Smiech) O tom len snívate.
(Laughter)
(Smiech)
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.
Jeho reakcia bola taká, že sa na mňa otočil a povedal: "Nikdy v živote by ste nenavrhli takú raketu. Raketa by nikdy neodštartovala, kým by sa portálové ramená vysúvali. Viete si predstaviť tú tragédiu, ktorá by sa takto mohla stať? Nikdy v živote by ste nenavrhli takú raketu." A pozeral sa na mňa. A ja som si hovoril: "Hej, neviem, či ste si všimli, ale ja som ten chlap na parkovisku, ktorý rekonštruuje jeden z najlepších momentov Ameriky pomocou hasiacich prístrojov.
(Laughter)
(Smiech)
And I'm not going to argue with you. You're an astronaut, a hero, and I'm from New Jersey, so --
Nebudem sa s vami hádať. Ste astronaut, hrdina a ja som z New Jersey, takže...
(Laughter)
(Smiech)
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.
Teraz vám ukážem nejaké zábery. Ukážem vám ich a poviete mi, čo si myslíte." A potom som kvázi dostal tú reakciu, v ktorú som dúfal.
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.
Takže som mu ukázal toto, čo sú to skutočné zábery, na ktorých bol on. Toto je Apollo 15. Toto bola jeho misia. Takže som mu to ukázal a jeho reakcia bola zaujímavá.
("That's wrong too.") (Laughter)
("Aj to je zle.") (Smiech)
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.
Takže sa stalo to, čo som očakával, že si to pamätal rozdielne. Pamätal si, že to bol perfektne bezpečný portálový systém, perfektne bezpečný štart, pretože on sedel v rakete, ktorá má vyše 45 ton ťahu, postavenú na základe najnižšej ponuky. Dúfal, že to bude fungovať správne.
(Laughter) (Applause)
(Smiech) (Potlesk)
So he twisted his memory around.
Takže si to v spomienkach pozmenil.
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 stretol Buzza Aldrina, ktorý nebol vo filme, takže netušil, že ktorýkoľvek z tých záberov je nafingovaný a on reagoval tak, ako reagoval. Ja vám to pustím.
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: Prišiel za mnou Buzz Aldrin a povedal: "Hej, ten záznam štartu, videl som pár záberov, ktoré som predtým nevidel. Kde ste, ľudkovia, v akom archíve ste našli tie materiály?" A ja som povedal: "Nuž, žiadny archív, Buzz, všetko sme vytvorili od nuly."
And he said, "Huh, that's pretty good. Can we use it?"
A on: "Fíha, to je celkom dobré. Môžme to použiť?"
(Explosion) ("Sure") (Laughter)
(Výbuch) ("Iste") (Smiech)
RL: I think he's a great American.
RL: Myslím, že je to skvelý Američan.
(Laughter)
(Smiech)
So, "Titanic" was, if you don't know the story, doesn't end well.
Takže "Titanic", ak nepoznáte príbeh, neskončil dobre.
(Laughter)
(Smiech)
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 v skutočnosti natočil skutočný Titanic. Takže v podstate začal, respektíve v zásade rozbil napätie nedôvery, pretože to, čo natočil, bolo skutočné. Ponorka Mir sa potápata, alebo vlastne dve ponorky Mir sa potápajú ku skutočnému vraku a tak vytvoril tieto strašidelné zábery. Je to skutočne krásne a vykúzli to všemožné rôzne emócie, ale nemohol nafotiť všetko. Aby som vyrozprával príbeh, musel som zaplniť medzery, čo je zrazu dosť odstrašujúce, pretože teraz musím postupne zrekonštruovať, čo sa naozaj stalo a som jediný, kto to môže v tomto momente pokaziť.
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.
Takže toto sú zábery, ktoré natočil a bolo to poriadne dojemné a úplne úžasné. Takže to iba nechám pustené, aby ste absorbovali všetky tieto veci a ja vám opíšem moje reakcie, keď som sa na to pozeral po prvý krát. Mal som pocit, že môj mozog chcel v podstate vidieť, ako to znova ožije. Chcel som automaticky vidieť túto loď, túto veľkolepú loď, jadnoducho v jej plnej sláve a obrátene, nechcel som ju vidieť v jej sláve, chcel som ísť späť k tomu, ako vyzerá.
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.
Takže som vykúzlil efekt, neskôr vám ukážem, o čo som sa pokúšal, ktorý je akýmsi srdcom filmu i pre mňa. Preto som chcel urobiť ten film, preto som chcel vytvoriť všetko to, čo som vytvoril.
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.
A ukážem vám ďalšiu vec, ktorá sa mi zdala zaujímavá, a to aké emócie sme chceli skutočne navodiť, keď sa na to pozriete. Tu máme zábery zo zákulisia, zopár malých záberov. Keď ste sledovali moje zábery, videli ste toto: v zásade skupinku ľudí, ktorí otáčali loď hore nohami, malé ponorky Mir majú v skutočnosti veľkosť malých lôpt, a natáčali sa v dyme. Jim šiel 5 kilometrov do hĺbky a ja som šiel asi 5 kilometrov ďaleko od štúdia a natočil som to v garáži.
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.
Ale vaše pocity sú rovnaké, respektíve to, na čo sa pozeráte, vnímate rovnakým pocitom, má rovnakú strašidelnú kvalitu, ktorú mali Jimove zábery, takže sa mi zdalo fascinujúce, ako fungujú naše mozgy. Keď raz uveríte, že niečo je skutočné, prepájate všetko, čo k tomu cítite, túto povahu, ktorú vnímate a všetko je to úplne umelé. Je to vyrobené úplne vierohodne, hoci pre vás už nie, a zistil som, že to bolo veľmi zaujímavé na skúmanie a použitie, čo spôsobilo, že som vytvoril efekt, ktorý vám ukážem. Je to akýsi magický prechod a pokúšal som sa, aby si diváci ten efekt zapamätali, čím na nich pôsobil ako jednoliaty zážitok, ktorým som vám neukazoval moju interpretáciu, ale ukazoval som vám to, čo ste chceli vidieť. A ďalší záber, hneď za týmto... Môžete vidieť, čo som robil.
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.
Skrátka, ak sú v rovnakom zábere dve ponorky, tak to som natočil ja, lebo kam by som dal druhú kameru? A keď to točil Jim, bola tam len jedna ponorka, pretože on točil z tej druhej a tento záber neviem, či som natočil ja alebo Jim. Dám to Jimovi, pretože mu dobre padne potľapkanie po pleci.
(Laughter)
(Smiech)
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)
Dobre. Takže teraz ten prechod v Titanicu. Na toto som v podstate narážal. Chcel som sa zázračne presunúť z jedného stavu Titanicu do druhého. Takže pustím ten záber jeden krát. (Hudba)
(Music)
(Hudba)
And what I was hoping for is that it just melts in front of you.
A dúfal som, že sa pred vami priam rozpustí.
Gloria Stuart: That was the last time Titanic ever saw daylight.
Gloria Stuart: To bolo poslednýkrát, čo Titanic videl denné svetlo.
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: Spravil som to, že som využil ďalšie skúsenosti z premietacej miestnosti, kde som sledoval, kam som sa pozeral, respektíve kam sme sa pozerali a, samozrejme, dívate sa na dvoch ľudí na prednej časti lode. Potom v istom bode mením perifériu záberu. Mením ju, stáva sa zhrdzaveným vrakom Púšťal som si to každý deň a potom som našiel ten konkrétny moment, kedy som sa na nich prestal pozerať a začal som si všímať zvyšok lode a ten moment, kedy sa moje oko pozrelo inde, sme zaznačili do obrázku. V momente, keď sa moje oko pozrelo inde, som ich hneď začal meniť, takže teraz vám akosi ušlo, kde sa to začalo a kde skončilo. Takže vám to ukážem ešte raz. (Hudba) A deje sa to doslova vďaka tomu, čo náš mozog pre nás prirodzene robí, a to je, že akonáhle presuniete pozornosť, niečo sa zmení, a vtom nechám ten malý šál viať, pretože to mala byť "snímka duchov", ktorá chcela vytvárať pocit, že oni sú v podstate stále na vraku. Tam, kde boli navždy pochovaní.
Or something like that. I just made that up.
Alebo niečo také. Práve som si to vymyslel.
(Laughter)
(Smiech)
It was, incidentally, the last time I ever saw daylight. It was a long film to work on. (Laughter)
Mimochodom, to bolo naposledy, čo som videl denné svetlo. Na tom filme bolo treba dlho pracovať. (Smiech)
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.
Ďalej, "Hugo" bol ďalší zaujímavý film, pretože film samotný je o filmových ilúziách. Je to o tom, ako sa náš mozog klame, aby videl neústupnosť vízie, ktorá vytvára film a jedna z vecí, čo som musel urobiť je, že... Sasha Baron Cohen je veľmi šikovný, bystrý chlapík, komik a chcel vzdať akúsi poctu komédiám Bustera Keatona a chcel, aby sa mu noha zachytila v pohybujúcom sa vlaku. Veľmi nebezpečné, nemožné uskutočniť a špeciálne na našej scéne, pretože doslova neexistuje, aby sme pohli týmto vlakom, hoci tak priliehavo pasuje do našej scény.
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.
Takže vám ukážem tú scénu, v ktorej som potom v podstate použil trik, ktorý vytvoril Sergej Eisenstein, a to, že ak máte kameru, ktorá sa pohybuje spolu s objektom, tak to, čo sa nehýbe, sa javí ako v pohybe a to, čo sa hýbe, vyzerá, že stojí. Čiže to, čo teraz vlastne vidíte je, že vlak sa vôbec nehýbe, ale v skutočnosti sa hýbe podlaha.
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."
Takže toto je ten záber. To je krátky záber toho, na čo sa tam pozeráte, čo je náš malý test. Toto vlastne vidíte, čo sa mi zdalo ako zaujímavá vec, pretože to bola sčasti pocta filmu samotnému, ktorý prichádza s týmto geniálnym trikom, ktorého vytvorením sa nemôžem pochváliť. Rád by som, ale nemôžem, pretože bol vymyslený zhruba v roku 1910. Povedal som o tom Martymu a je to jedna z tých záležitostí mysle, ktoré je naozaj ťažké pochopiť, kým nevidíte, ako fungujú. Povedal som mu, čo idem robiť a on na to: "Takže, pozrime sa, či to správne chápem. Tá vec s kolesami? Tá sa nehýbe."
(Laughter) (Applause)
(Smiech)(Potlesk)
"And the thing without the wheels, that moves."
A tá vec bez kolies, tá sa hýbe."
Precisely. (Laughter)
Presne. (Smiech)
Brings me to the next, and final --
Čo ma privádza k ďalšiemu a poslednému...
Marty's not going to see this, is he? (Laughter) This isn't viewed outside of -- (Laughter)
Marty toto neuvidí, že? (Smiech) Nedá sa to pozerať odinakiaľ... (Smiech)
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.
Ďalším príkladom je niečo ako teória jedného záberu. Je to elegantný spôsob ako povedať príbeh, hlavne ak sledujete niekoho cestu a tá cesta skrátka hovorí niečo o jeho osobnosti veľmi stručným spôsobom. Chceli sme na základe záberu z "Goodfellas", ktorý je jedným z najlepších záberov z filmu Martina Scorseseho, jednoducho sledovať Henryho Hilla pomocou niečoho, čo vyzerá ako chôdza gangstra po Copacabane, ku ktorému sa správajú neobyčajným spôsobom. Bol pánom vesmíru a chceli sme, aby z Huga šiel rovnaký pocit, takže sme vytvorili tento záber.
(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.
(Hudba) To je Hugo. (Hudba) Mali sme pocit, že ak by sme mohli chodiť s kamerou spolu s ním, cítili by sme sa, akoby sme boli týmto chlapcom, ktorý je pánom vesmíru a jeho vesmírom je zákulisie, vnútrajšok tejto konkrétnej vlakovej stanice, v ktorom sa dokáže orientovať iba on. Aby sme to dosiahli, museli sme docieliť, aby to vyznelo ako normálny, každodenný život, takže ten nápad s jedinou klapkou bol veľmi dôležitý a samozrejme, natáčali sme v 3D, čo je v podstate obrovská kamera, ktorá visí na veľkej tyči, čiže sme mali za úlohu vytvoriť záber ako zo statickej kamery, ktorý by vo vás vyvolal reakciu, ako keby ste videli záber z "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.
Teraz uvidíte, ako sme to vlastne spravili. V skutočnosti je to päť scén natočených v piatych rôznych chvíľach s dvoma rôznymi chlapcami. Naľavo je záber, ktorý končí a záber napravo je ten, ktorý sa prelína. Teraz vymeníme chlapcov, takže sme prešli od Asu Butterfielda, ktorý je hviezdou filmu, k jeho náhradníkovi. (Hudba) Nenazval by som ho dablérom. Tu je šialená veža, ktorú sme kvôli tomu vyrobili. (Hudba) To by sme mali a teraz je tu tretia scéna, do ktorej sa presúvame, a potom ďalej do... Celkom posledným momentom záberu je vlastne záber statickej kamery. Všetko ostatné sa natáčalo na žeriavoch a podobných zariadeniach a doslova sa to natáčalo na piatich rôznych scénach, s dvoma rôznymi chlapcami, v rôznych chvíľach a celé to muselo vytvárať pocit, že je to jeden záber. Pre mňa bolo úžasné práve to, že to bol asi najlepšie hodnotený záber, na akom som kedy pracoval a bol som na to aj trochu hrdý, keď to bolo hotové. Myslím si, že by ste nikdy nemali byť hrdí na veci.
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?"
Čiže som bol na to viac-menej hrdý, šiel som za priateľom a povedal som mu: "Vieš, toto je asi najlepšie hodnotený záber, na akom som kedy pracoval. Čo je podľa teba dôvodom?"
And he said, "Because no one knows you had anything to do with it."
A on odpovedal: "Lebo nikto nevie, že s tým máš niečo dočinenia."
(Laughter)
(Smiech)
So, all I can say is, thank you, and that's my presentation for you. (Applause)
nuž, môžem vám už len poďakovať a to bola moja prezentácia pre vás. (Potlesk)
(Applause)
(Potlesk)