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?
Radio sam na filmu "Apolo 13" i radeći na njemu otkrio sam nešto o tome kako radi naš mozak. A on radi tako da, kad smo pod nekim uticajem bilo entuzijazma, strahopoštovanja, privrženosti ili bilo čega, to menja i prekraja našu percepciju stvari. Menja šta vidimo. Menja šta pamtimo. Radi jednog eksperimenta, jer neumorno kreiram svoj poduhvat, snimiti lansiranje Saturna V posebno za ovaj film, jer to sam stavio u njega, malo sam bio nervozan zbog toga, pa mi je trebao eksperiment, doveo sam ovakvu grupu ljudi u sobu za projekcije i pustio sam ovaj arhivski snimak. Tako sam želeo da otkrijem šta su ljudi zapamtili, šta je bilo nezaboravno? Šta bi u stvari trebalo da ponovim? Šta bi donekle trebalo da pokušam da simuliram?
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.
Ovo je snimak koji sam svima pokazivao. Ono što sam otkrio je da, zbog prirode snimka i činjenice da snimamo taj film, u njega smo gradili emocije i naše kolektivno pamćenje onoga šta nam to lansiranje znači i sve te razne stvari. Kada sam to prikazao i neposredno posle ih pitao šta misle o tome, šta je vaš nezaboravan snimak, oni su ih promenili. Bili su -- kamera se kretala po njima. Imali su razne stvari. Snimci su bili kombinovani, zaista me je zanimalo, šta ste zaboga gledali pre par minuta i kako ste došli do takvog objašnjenja? Otkrio sam da ono što u stvari treba da napravim, nije replika toga šta su videli, već šta su zapamtili.
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."
Ovo je naš snimak lansiranja, u osnovi baziran na beleškama, pitanjima šta misle, zatim kombinovanjem svih različitih snimaka i svih različitih stvari stavljenih zajedno. To je stvaralo neku vrstu zajedničke memorije onoga kako su zapamtili da je izgledalo, ali nije bilo u stvari tako. Dakle, ovo smo napravili za "Apolo 13".
(Launch noises)
(Buka lansiranja)
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.
Ono što doslovno sada vidite je da spoj gomile različitih ljudi, gomila raznih sećanja, uključujući i moje, uzimaju malo slobode u vezi sa tematikom. Uglavnom sam sve snimio sa kratkim sočivima, što znači da ste vrlo blizu akciji, ali upakovano slično snimku sa dugim sočivima što daje osećaj udaljenosti, pa sam u osnovi postavljao nešto što će vas podsećati na nešto što niste još zaista videli. (Muzika) Sada ću vam pokazati šta je tačno to na šta ste reagovali kad ste reagovali.
(Music)
(Muzika)
Tom Hanks: Hello, Houston, this is Odyssey. It's good to see you again. (Cheers) (Music)
Tom Henks: Zdravo, Hjuston, ovde Odisej. Drago mi je da te ponovo vidim. (Navijanje) (Muzika)
Rob Legato: I pretend they're clapping for me.
Rob Legato: Pretvaram se da meni aplaudiraju.
(Laughter)
(Smeh)
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.
Sada sam na parkingu. U osnovi, to je limenka i ponavljam lansiranje pomoću aparata za gašenje požara, vatre, imam vosak koji sam bacao ispred sočiva da bi ličilo na led, pa ako ste poverali u nešto od ovog što sam sad pokazao, ako ste na nešto reagovali i osećali, to je totalna laž i otkrio sam da je to na neki način fascinantno.
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.
U ovom posebnom slučaju, to je kulminacija filma, a postići je, jednostavno uzmi model, baci ga iz helikoptera i snimi. To je prosto ono što sam uradio. Ovo sam ja kako snimam, osrednji sam operater, imam lep osećaj za verodostojnost, kao praćenje rakete celim putem dole, tako dajem tu oštrinu, očajnički sam pokušavao da je zadržim u kadru. Posle sam otišao na sledeću stvar. Imali smo NASA konsultanta koji je u stvari astronaut, stvarno je bio u misijama Apola 15, bio je tu da temeljno proveri moju nauku. Pretpostavljam da je neko mislio da to treba.
(Laughter)
(Smeh)
I don't know why, but they thought they did.
Ne znam zašto, mislili su da treba.
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.
On je heroj, astronaut i svi smo bili nekako uzbuđeni, pa sam bio slobodan da kažem, da neki od mojih snimaka i nisu bili zaista tako loši. Zbog toga smo se osećali na neki način pomalo dobro u vezi toga. Doveo sam ga ovde, morao je da zaista proveri šta radimo i dao nam je najbolju ocenu, pa sam mu pokazao neke snimke na kojima smo radili i čekao reakciju kojoj se nadate, a to sam i dobio. (Muzika) (Buka lansiranja) Pokazao sam mu ova dva snimka, onda mi je rekao šta o tome misli:
("That's wrong") (Laughter)
"To je pogrešno." (Smeh)
Okay. (Laughter) It's what you dream about.
OK. (Smeh) To je ono o čemu sanjate.
(Laughter)
(Smeh)
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.
Okrenuo se prema meni i rekao: "Nikada, nikada ne bi tako dizajnirao raketu. Nema rakete koja ide gore dok se izvlače nogare postolja. Možete li zamisliti do koje tragedije može doći tako? Nikad, nikad ne biste dizajnirali raketu tako." Gledao me je. To je kao, ne znam, ako ste primetili, ali ja sam momak sa parkinga koji ponovo stvara jedan od najboljih momenata Amerike sa aparatima za gašenje požara.
(Laughter)
(Smeh)
And I'm not going to argue with you. You're an astronaut, a hero, and I'm from New Jersey, so --
Neću se svađati sa vama. Vi ste astronaut, heroj, ja sam iz Nju Džersija, pa --
(Laughter)
(Smeh)
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.
Pokazaću vam neki snimak. Recite mi šta mislite. Posle sam dobio reakciju kakvoj sam se nadao.
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.
Tako sam mu pokazao ovo, što je stvarni snimak na kom je on. Ovo je Apolo 15. Ovo je njegova misija. Pokazao sam mu ovo i rekacija koju sam dobio je bila zanimljiva:
("That's wrong too.") (Laughter)
"To je takođe pogrešno." (Smeh)
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.
Ono što se desilo, zaključio sam, on je drugačije zapamtio. Zapamtio je da je sistem postolja savršeno siguran, savršeno sigurno lansiranje rakete, jer on je sedeo u raketi čiji je pogon 50 t, koju je napravio najjeftiniji ponuđač. Nadao se da će to dobro raditi.
(Laughter) (Applause)
(Smeh) (Aplauz)
So he twisted his memory around.
Tako da je on drugačije zapamtio.
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 Hauard je naleteo na Baza Oldrina, koji nije bio u filmu, tako da on nije imao pojma da lažiramo bilo šta na snimku, pa je jednostavno odgovorio kao što ćete videti.
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 Houard: Baz Oldrin mi je prišao i rekao: "Hej, to lansiranje, video sam neke snimke koje nisam pre video. U kom sefu ste našli te snimke?" Rekao sam: "Ne u sefu, Baze, sve smo to napravili ni iz čega."
And he said, "Huh, that's pretty good. Can we use it?"
Rekao je: "Uh, to je prilično dobro. Možemo li da ga koristimo?"
(Explosion) ("Sure") (Laughter)
(Prasak) ("Svakako") (Smeh)
RL: I think he's a great American.
RL: Mislim da je on veliki Amerikanac.
(Laughter)
(Smeh)
So, "Titanic" was, if you don't know the story, doesn't end well.
"Titanik" se, ako ne znate priču, ne završava dobro.
(Laughter)
(Smeh)
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.
Džim Kameron je u stvari fotografisao stvarni Titanik. U osnovi je postavio ili razbio odgađanje neverice, jer ono što je fotografisao bilo je stvarno. Podmornica Mir plovi dole, u stvari dva Mira idu dole do olupine i on je kreirao ovaj avetinjski snimak. Zaista je prekrasan, izaziva sve vrste različitih emocija, ali nije mogao sve da fotografiše, a da bih ispričao priču, trebalo je da popunim praznine, sada prilično zastrašujuće jer moram da rekreiram sve unazad šta se desilo i samo ja zaista mogu sve upropastiti na tom mestu.
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.
Ovo je snimak koji je on napravio, prilično je dirljiv i izaziva strahopoštovanje. Pustiću ga da ide, da možete da upijete ovo i objasniću vam svoje reakcije koje sam imao kad sam to gledao prvi put. Osećao sam da je moj mozak želeo njegov povratak u život. Automatski sam želeo da vidim taj brod, taj prekrasan brod, uglavnom u svoj svojoj lepoti i obrnuto, da ga vidim kakav je u stvari.
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.
Tako da sam napravio jedan efekat, pokazaću vam kasnije šta sam pokušao da uradim, to je na neki način srce filma za mene. Zbog toga sam želeo da radim taj film i da napravim stvari koje sam napravio.
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.
Pokazaću vam još jednu stvar koja je zanimljiva, na nju zaista emotivno reagujemo kada je gledamo. Evo iza scene, par kratkih snimaka ovde. Kada ste videli moj snimak, videli ste ovo: gomilu momaka koji prevrću brod i malu podmornicu Mir, u stvari veličine malih fudbalskih kopti, i snimljeno je u dimu. Džim je otišao 5,5 km dole, a ja sam otišao oko 5,5 km dalje od studija i snimio ovo u garaži.
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.
Ono na šta reagujete ili to u šta gledate izaziva isto osećanje, isto strahopoštovanje koje je imao Džimov snimak, za mene je fascinirajuće da naši umovi, kad poveruju da je nešto stvarno, prenose osećanja koja prema tome imate, taj kvalitet koji imate i to je potpuno veštačko. To je potpuno pretvaranje, ali ne i za vas, ovo mi je bilo zanimljivo da istražim i iskoristim, zbog toga sam napravio efekat koji ću vam pokazati, koji je neka vrsta magične tranzicije, pokušao sam da ostavim publici da oseti početak efekta i da za njih to bude neosetno iskustvo, da ne pokazujem svoju interpretaciju, već ono što želite da vidite. Sledeći snimak, odmah posle ovog -- Možete da vidite šta sam uradio.
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.
Ako postoje dve podmornice u istom snimku, onda sam ja snimao, jer odakle kamera dolazi? Kad je Džim to snimio, bila je samo jedna podmornica, jer je on snimao iz druge, ne sećam se da li je ovo uradio Džim ili ja. Pripisaću Džimu, jer bi mu dobro došla pohvala.
(Laughter)
(Smeh)
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. A sada o tranziciji Titanika. Ovo je ono na šta sam mislio kada sam hteo da magično pređem sa jednog stanja Titanika na drugo. Pustiću snimak jednom. (Muzika)
(Music)
(Muzika)
And what I was hoping for is that it just melts in front of you.
Ono čemu se nadam je da to samo iščezne ispred vas.
Gloria Stuart: That was the last time Titanic ever saw daylight.
Glorija Stjuart: To je poslednji put da je Titanik video dan.
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: U stvari imao sam drugu sobu za snimanje, gde sam pratio u šta gledam ili gde smo gledali i naravno, gledali ste dvoje na pramcu broda i u jednom momentu menjam okolinu snimka, menjam, postaje zarđala olupina, zatim bih je puštao svaki dan i potom bih pronašao tačan momenat kada prestajem da gledam u njih i kad počinjem da opažam ostalo. Taj momenat kad su moje oči skrenule, samo smo obeležili na frejmu. Momenat kad su moje oči skrenule, momentalno sam počeo da ih menjam, tako da ste nekako ispustili gde je počelo, a gde se završilo. Sad ću vam samo još jednom pustiti. (Muzika) To je bukvalno urađeno koristeći ono što naš um prirodno radi, a to je, čim skrenete svoju pažnju, nešto se promeni. Tad sam ostavio mali šal da leti, jer zaista je htelo da bude snimak duhova, zaista je htelo da se oseti da su oni još uvek na olupini. To je mesto gde su zauvek sahranjeni.
Or something like that. I just made that up.
Ili tako nešto. Upravo sam to smislio.
(Laughter)
(Smeh)
It was, incidentally, the last time I ever saw daylight. It was a long film to work on. (Laughter)
Slučajno sam tada i ja poslednji put video dnevno svetlo. Dugo smo radili na filmu. (Smeh)
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" je još jedan zanimljiv film, jer to je film o iluzijama. Radi se o tome kako se mozak zavarava da vidi trajanje vizije koja stvara pokretne slike, jedna od stvari koju je trebalo da uradim je -- Saša Baron Koen je vrlo pametan momak, komičar, hteo je da napravi omaž lažnim udarcima Bastera Kitona. Hteo je da mu nogu zarobi voz u pokretu. Veoma opasno i nemoguće za izvesti, posebno na našoj sceni, jer bukvalno nije bilo načina da se pomeri ovaj voz, jer se dobro uklapa u naš set.
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.
Pokazaću vam scenu, tu sam u osnovi koristio trik koji je otkrio Sergej Ajzenštajn, a to je kad imate kameru koja se pomera sa objektom koji se pomera, ono što se ne pomera, deluje kao da se pomera, a ono što se pomera deluje da je zaustavljeno, tako da ono što u stvari vidite je voz koji se uopšte ne pomera, u stvari pod se pomera.
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."
Ovo je snimak. To je mali video, vidite naš mali test, to u stvari vidite, mislio sam da je to nekako zanimljivo, jer i jeste, deo omaža samom filmu je smišljanje ovog genijalnog trika, koji nije moj. Voleo bih da jeste, ali nije, jer je izmišljen 1910. ili slično, rekao sam Martiju, to je ona vrsta stvari koje naš um radi i koje je teško shvatiti, dok ih u stvari ne vidiš na delu. Rekao sam da ću to da uradim, a on je rekao: "Da li sam te dobro razumeo. Stvar sa točkovima? Koja se ne pomera."
(Laughter) (Applause)
(Smeh) (Aplauz)
"And the thing without the wheels, that moves."
"I stvar bez točkova, koja se pomera."
Precisely. (Laughter)
Upravo. (Smeh)
Brings me to the next, and final --
Dolazimo do sledećeg i konačnog --
Marty's not going to see this, is he? (Laughter) This isn't viewed outside of -- (Laughter)
Marti ovo neće videti, zar ne? (Smeh) Ovo se ne gleda van -- (Smeh)
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.
Sledeća ilustracija je nešto kao, teorija jednog snimka. To je vrlo elegantan način pričanja priče, posebno ako pratite nečije putovanje, a putovanje vam u osnovi kaže nešto o njihovoj ličnosti na vrlo precizan način, ono što smo hteli, kao u snimku u "Dobrim momcima", a to je jedan od najbolje napravljenih snimaka, film Martina Skorsezea. U njemu prati Henrija Hila kroz nešto što deluje kao gangsterski hod kroz Kopakabanu i to je posebno urađeno. Bio je gospodar svog sveta, hteli smo da Hugo isto tako deluje, pa smo napravili ovaj snimak.
(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.
(Muzika) To je Hugo. (Muzika) Osetili smo da kad bismo mogli pomerati kameru zajedno sa njim, osetili bi kako je biti taj dečak koji je gospodar svog sveta, a njegov svet je iza scene u utrobi ove posebne železničke stanice kroz koju se samo on može kretati i to ovako, morali smo to napraviti da se oseti da je ovo njegova normalna svakodnevica. Ideja da se to napravi sa samo jednim snimkom je vrlo važna i snimanje sa 3D, što je u osnovi ogromna kamera koja visi sa ogromnog štapa pa je stvaranje mirnog snimka bio zadatak, postići da izazove sličnu reakciju kao kad gledate snimak iz "Dobrih momaka".
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.
Ono što ćete sada videti je ono što smo u stvari uradili. To je pet odvojenih setova snimaka sa pet različitih vremena i dva različita dečaka. Ovaj levo je onaj gde je snimak gotov, a snimak desno je mesto gde preuzima i sada zamenjujemo dečake, tako da je snimak išao od Ase Baterfilda, zvezde filma, do njegove zamene. (Muzika) Ne bih rekao kaskadera. Evo ga ludi tobogan koji smo napravili za ovo. (Muzika) Ovo sad je set broj tri, i zatim idemo u poslednji momenat snimka, to je u stvari snimak mirnom kamerom. Sve ostalo je snimljeno na kranovima i raznim stvarima kao to, bukvalno je urađeno kroz pet raznih setova, dva dečaka, u različitim vremenima, a sve to na kraju deluje kao jedan snimak. Za mene je sjajno to što je taj snimak verovatno dobio najbolje kritike od kako snimam. Bio sam ponosan kad je bio gotov i nikad ne bi trebalo da ste ponosni na stvari.
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?"
Dakle, bio sam nekako ponosan na njega, otišao sam do prijatelja i rekao: "Znaš, ovo je snimak za koji sam dobio najbolje kritike. Šta misliš da je razlog?"
And he said, "Because no one knows you had anything to do with it."
On je rekao: "Jer niko ne zna da ti imaš bilo šta sa tim."
(Laughter)
(Smeh)
So, all I can say is, thank you, and that's my presentation for you. (Applause)
Sve što mogu reći je hvala vam, ovo je moja prezentacija za vas. (Aplauz)
(Applause)
(Aplauz)