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. - ------------------------------ Читайте также: - текст Кошка, которая гуляла сама по себе на английском - текст Патруль времени на английском - текст Мы - не ангелы на английском - текст Сибирский цирюльник на английском - текст Д'Артаньян и три мушкетёра на английском |