boob gag works
because you didn't have a close-up of it.
As many directors I believe would have,
you didn't do that.
Yeah, I debated. There are the father
and father-in-law right there.
By the way, question.
Are there really still glass bottles
this far in the future?
-Have we come...
-By the way, it's not glass.
-It isn't?
-It's titanium crystal.
-Of course. See?
-There you go.
I can't say enough good things
about Bruce Greenwood.
-I can't say enough bad things.
-But I'm not gonna try.
Here's one of my favourite lines
in the movie.
And Chris totally just rocked it.
There's a great ADR line, by the way,
where someone goes,
"I just got a drink."
He really grounds and gives credibility
to the whole idea of Starfleet.
-And that head tilt is amazing.
-There's something about him
that makes you
take everything seriously.
By the way, that shot that just passed,
what was cool is
that there were already
all these little old planes hanging
-and we added a starship...
-Cool.
...in the foreground,
just to kind of add to it.
Tony Guma is an actor, and he plays
the bartender who's in all this.
But you never see him onscreen,
but he did a great job.
-Wait, wasn't Tony in M:i:III? Yeah.
-He was.
-He was the guy at the mailbox.
-He was the guy in the bathroom,
-right? Oh, right, right, right, right.
-No, at the mailbox place.
So, here's... Go ahead.
Just from a story point,
this is one those scenes
where basically everything
that you need to know
about a character's motivation to do
everything they're doing in the movie
happens in a single scene.
And I think that's a testament
to Alex and Bob's writing,
but also Greenwood's performance
and Chris's performance,
'cause it's so understated,
but the power of the scene...
It's basically like
you hear all this dialogue
in all the trailers
leading up to the movie.
Our trailer guys basically just won
a couple of awards.
It sells the movie.
This was a hard scene to write.
Well, it's interesting. We shot it
with two cameras simultaneously.
I wanted the actors
to feel as comfortable as possible
to give them the chance
to sort of overlap
-and I cleared out the set.
-That's cool.
So it was just really the two of them,
two cameras, really quiet.
It really helped, you know, give them...
And also that background.
Scott Chambliss,
our production designer,
-did an additional amazing thing...
-Fantastic.
...which is, like, he took that old bar,
which is, again, a real
American Legion bar in Hollywood,
and that background, those lights...
I just wanted it to feel...
I wanted it to have that
kind of Blade Runner-y future feel
where it's like,
were those advertisements?
Was it information?
Was it entertainment?
Was it just a light show?
It doesn't matter.
But just that idea that in that bar,
there's that weird background.
I dare you to do better.
By the way, that was an adjustment
of a line from Maryann Brandon,
the editor of this sequence.
She edited this scene,
didn't she, Bryan?
-This one?
-Yes.
And it was just that addition of,
"He saved all those lives."
-What were you gonna say?
-Salt shaker, by the way.
Dan Mindel, our genius DP, said
something very interesting about that.
I had them put the salt in, by the way.
Sorry.
-Oh, really? How funny.
-Isn't that funny?
What'd that cost us?
-$600,000?
-Yeah, about $100,000.
About not being afraid
to have something moving.
I'm so sorry. That shot right there,
that's the same angle, just flopped.
I had him drive toward us
and away from us.
How funny.
And then that shot we stole real quick.
We were driving by the field
and I was like,
"Pull over quick.
Get the camera on the truck."
And here's our Tatooine moment,
before Alex continues
to talk about something that happened
nine minutes ago.
-Continues?
-Where basically...
We did talk about...
A lot of fun-poking has happened
in terms of how we sort of echoed
the