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Trek,
these two characters
who meet up in this way.
-Right.
-We shot this at a real hangar.
It used to be a blimp hangar.
And two of those shuttles are real.
Almost all the ones
you're seeing right now are not.
It was a huge shot,
'cause the shot is a long shot.
-Yeah.
-And ILM did an amazing job on this.
It's throughout the movie,
so I should mention it now.
J.J. and Dan Mindel had this crazy idea
to have flares non-stop
throughout the movie.
I don't know what you're talking about.
And you may notice all these flares.
And Dan was shining a flashlight
directly into the lens in a lot of cases.
-Right there is an example.
-Is that like piece of flair,
like in Office Space?
I was gonna say, at least for me,
not only does it keep everything alive
and there's this perpetual idea
that there's something off-screen,
what also was kind of great
about the flares
is later, when ILM
was doing their visual effects,
you'll notice that most
of the visual effects have flares, as well,
where you can actually see the lens
and you can see the dirt on the lens,
which is all, of course, fake.
Yet it's all giving the illusion
that there's really a cameraman there,
with a camera, actually filming in space.
And I think it all stems from this idea
of making everything real and palpable.
Yeah, the flare thing,
the idea was sort of that,
the future is so bright
it can't be contained in the frame.
And I know there's a lot of it,
and there are a few shots
where it's preposterous.
But I just thought
it was a fun piece of business to do.
I think where it went over, though, is
when we went out to dinner
the other night,
and Dan Mindel was shining a light
in my eyes over your shoulder.
-I think the live flare...
-Going too far.
In life, it's called squinting.
So, here is sort of
the longest running gag in the movie,
which is the sort of hypospray.
Which is, you know, the idea that...
I've sort of gone back
and looked at the other Trek movies
and some of the original series,
and it only hurts in this movie.
You know, the whole point of them
developing hypospray
-is that it's supposed to be painless.
-Yeah.
But I guess when you get it in the neck...
I'm not sure
that it was the injection itself,
as much as it was
the chemical he was reacting to.
This is Alex Nevil, by the way,
who I went to high school with,
who plays... He's a terrific actor.
Speaking of terrific acting,
-I love Chris here.
-Come on, look at Pine.
-Look what's he doing. It's ridiculous.
-Yeah, he's amazing.
So here's the music that's
from the opening of the movie, again.
This is one of my favourite shots
in the whole movie right there.
-On the left is the Tagruato...
-Unbelievable. Just so good.
-...the Slusho company.
-And this one, too.
-I love this, you know.
-This transition is amazing.
I mean, it's just like...
But what Bryan's saying, you know,
using flares in the CG shots
kind of made it seamless.
I remember I was on set this day
when you guys shot this.
And, you know, they were actually
on a gimbal rig, right?
-They were not, but the camera was.
-The camera was.
I think James Clyne designed that.
But this was a shot
where we actually went by
the little piece of shuttle we'd built.
And of course the rest of this.
And this sequence,
I wanted it to feel like
what I experienced when I saw
the original Robert Wise film,
The Motion Picture, because
there was a five-minute sequence...
-Of just introducing the Enterprise.
-Yeah.
Of just Kirk taking his shuttle
to the Enterprise. And it felt real.
And I saw the panels
on the skin of the ship,
-and it just felt tangible.
-The guys flying outside the ship,
-and operating. It was amazing.
-The whole thing.
And all the floodlights and everything.
So I really wanted this to be,
as much as possible,
you know, an homage
to that amazing original sequence.
-And this is all Budweiser.
-
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