storytelling in Star Wars.
But that is sort of the great myth
of our childhood,
in the sort of Joseph Campbell tradition.
We always talked about
rebooting Trek in terms of saying,
"Where's our moment
where Luke is looking at the twin suns?"
-And, you know, that was it.
-Yeah.
I gotta see that movie.
Star Wars? Very good.
This was shot at...
Start with The Phantom Menace,
so it'll make sense.
This is one of my favourite things,
when the bike comes in
and there's no spokes on the wheel.
Yeah, it's...
-Did ILM take those out?
-They did.
This was actually at a power plant
outside of Los Angeles,
and we just dressed it
and brought in these shuttles.
-It was my favourite thing about the...
-Who flew the shuttles in?
Bryan did.
This was one of those things where...
This is at Paramount, shot about
a month and a half before the location.
Did you guys
come up with that on the day?
That gag right there
where he bangs his head?
-Yes. Yeah.
-Love it.
What I like about it is later in the movie,
in a very similar shot,
when he's saying goodbye to Spock,
he doesn't hit his head,
and it still says low clearance.
But anyway, one of my favourite things
about the production design
is the sort of tangible quality of it.
And so trying to use
as many locations as possible.
So, you know,
we use a bunch of power plants.
You'll see later the Budweiser plant.
I also love this, that, like,
now he's joined and there she is.
And it kind of makes you feel like,
"There's gonna be some kind of
fun flirtation and romance going on."
Of course, now Karl Urban,
a man from New Zealand who came in,
having been the stud
in Lord of the Rings
and the bad guy in Bourne,
and suddenly was
the funniest Kentucky doctor,
and just blew my mind
and channelled Bones.
This is one of those scenes
that you guys wrote that did not change.
It was this way in the first draft,
and it sort of stayed the same.
As Bones' introduction, this sort of idea
that he actually
was a spaceophobe, or...
I don't know what the technical term
for the fear of space is.
-And divorced.
-And by the way, this line about,
"All I got left are my bones,"
was Karl Urban's line.
And that was something
he came up with on the day.
-So good. Yeah.
-And I gotta tell you, it's amazing.
-It just defines everything.
-Everything. Yeah.
And his character, and it just explains it.
It explains a conversation
that never happens.
The audience gets to fill the blanks in.
I just love that.
-He's terrific in the movie.
-He's amazing.
You know, we worked with him
on Hercules and Xena.
That's right.
And by the way, this music,
this used to be the music
at the beginning of the movie,
-from Star Trek.
-For the credits, right?
-For the Star Trek logo.
-That's right.
I moved it here 'cause it felt more like,
the first time you hear
the echoing
of the Alexander Courage theme,
right there, felt like it was finally earned.
Like, it's finally, Kirk's on his way
to the Star Trek that we know.
Like, it's finally, Kirk's on his way
to the Star Trek that we know.
Let's talk a little bit about...
Or I guess this will be covered
in the deleted scenes,
but we do want to talk a little bit about...
-The prison?
-...how we ended up
coming to this as our Nero midpoint?
There used to be a sequence, that is
on the DVD, showing Nero in prison,
which was a cool sequence,
and confounding to anyone
who watched it in context.
This shot, by the way,
-was used in that earlier sequence.
-The prison sequence.
But I felt you needed to see Nero again
and just hold on him,
and let it burn into your brain.
So I took this shot,
which used to be him being tortured,
lying on the table, and I moved it here,
and I put a sound of a guy off-camera
saying, "He's ready for you,"
just so you actually could
think about Nero for a second.
And then you go into