bouncing around,
just the fact that these are here
and you can hold on to them
is something that you would assume
would be on all spaceships.
And I can't remember seeing it
in another film.
There they are.
I love the way that Robau there says,
"You're the captain now, Mr Kirk."
Because if you've never seen
Star Trek before, or if you have,
in that moment, watching this movie,
you're like,
"That's Kirk.
I've just been introduced to Kirk."
Because you've never seen
Chris Pine before.
And the actor that we cast looks enough
-like Chris Pine that you're like...
-My sister thought it was Chris Pine.
She said to me, "Why did you cast
the same actor as the father and Kirk?"
-Right.
-It's like, "I didn't."
The thing is
this is one of my favourite sequences
because this was shot, literally all
of this if you include the CG stuff,
months if not over a year apart.
So, you know,
Robau going from the Bridge,
which we shot at Paramount,
to going down the turbo lift,
which was shot at a power plant
in Long Beach,
to his walking down the corridor
and into the shuttle,
which we shot in two different locations
back at Paramount.
You know, all these sequences
have dozens if not hundreds of pieces
that are shot so far apart.
It's just the fun of filmmaking
seeing them all come together.
And so how much in prep
did you end up...
I mean, what of it was improvised
and what of it was prep?
-Was all of it prep?
-Well, in general,
what I tried to do is prep as little
specifics as possible in terms of shots.
So, I wanted to be able to go to the set
and make things up as I went along,
and sort of, you know, wing it.
But then there are certain sequences,
like the space jump that come later
and some of the Kelvin attack,
that we needed to know
what we needed to build.
So, within the parameters
of what we had, you know,
I tried to storyboard nothing
so that the thing would have an energy
and would feel vital, and we get
to make it up as we went along.
And yet, certain things we needed
to know how we were physically
ever gonna do them.
I remember the first time
they saw the space jump,
they were like, "What?"
-Right.
-"Forget it. We can't shoot this."
I love Bana here.
It's awesome
that he doesn't say a single word.
Yeah, he's terrific.
I mean, I remember the first day
that I shot on this set,
I literally just broke out in a sweat
because I was surrounded
by all these bald dudes with face tattoos
and pointy ears and the wardrobe.
And I was so afraid
that it was gonna look insanely stupid.
-I really was.
-My favourite cut
is coming up right here.
Now that's all one shot.
We actually cut it.
Right here. The fact that you cut out
-before he finishes his sentence.
-That's right.
That is so great. That is my favourite.
-I actually debated that.
-Can you talk about that?
Because, literally, it is the most brilliant
editing choice ever.
It was because he said it,
and then it cut, and I just thought,
"You know what? Let's..." It just felt
like the energy of the moment
-wanted to move ahead.
-Yeah. Yes.
-It just was like...
-Because, you know,
-it's just genius.
-Yeah, it's funny. I didn't know
-you realised. That's hysterical.
-Are you kidding?
It's funny because, you know, editorially,
Mary Jo and Maryann,
it was this way on the Lost pilot, too.
You basically spend 75% of your time
editing a couple sequences
in one of these things,
-and the other 30% on everything else.
-Yeah.
And in this movie,
it felt like every time I came
and visited the editing room,
-you guys were working on the Kelvin.
-Yeah.
And this was actually
Bryan's genius suggestion, as I recall...
-Yeah,
-...which was we,
in the script
and in several cuts before this,
introduced Kirk's mom
many, many scenes prior to this.
And the idea to basically say,
we're gonna intra her here,
the idea that she's pregnant,
I thought, was genius.
I