a number of people
if that was CG.
But they're just real latex giant hands.
And that was certainly a conversation,
in terms of script, basically saying,
-"Okay, is the swollen hands too broad?"
-Just tone. Yeah.
-But I think it plays great.
-Yeah.
And I love Zoe's reaction when
she sees the hands for the first time.
Yeah, that was another
two-cameras-at-the-same-time thing,
which we only did because of time.
We were running out of time.
This set now, what you just saw,
was at Paramount.
This is now at the Budweiser plant.
That's beer in those big
aluminium containers.
-It was cold there. It was freezing.
-And it's freezing and loud.
But this is one of those things
we were running out of time,
so we shot this with two cameras,
as well.
By the way, I think that it's inspired
that Uhura is basically sort of a peon
-amongst thousands of peons...
-Yeah. That's right.
...in the bowels of the Enterprise.
And basically it's Kirk, you know,
-basically drafts her into the mission.
-Need of her.
And the fact that she speaks these
dialects of Romulan,
and the guy who is currently,
played by Osgood Perkins,
and the guy who is currently,
played by Osgood Perkins,
you'll see him in a minute on the Bridge,
doesn't understand Romulan,
that's what basically gets her
her promotion.
And that's the key, is figuring out
ways to get your characters...
That's what the audience is waiting for,
is watching them take their place
on the Bridge,
-getting them there.
-We moved this, too, by the way.
You know, I think coming to it here
as opposed to earlier,
-before Chekov starts his...
-Yeah, this used to happen
immediately after the Council meeting,
before the hangar scene,
and we moved it later.
We were just talking about
something else.
-I was gonna say something.
-What's a prod, by the way?
-Praetor.
-Isn't it supposed to be Praetor Nero?
-Praetor Nero.
-But it sounds like he says Prod Nero.
Scenes like this were fun to do
because they had nothing to do
with visual effects, and this is a movie
that has so much of that.
So these are the kind of scenes,
this one,
the one later when they're trying
to debate what action to take
was another one, where it was just, like,
the fun of having the actors
rehearse it, just run through it,
sort of see what they would do,
and then, you know, doing it
like a regular scene.
It was just kind of a relief to get to do,
you know,
like we were saying,
like the drawing room scenes, almost.
Now this scene is classic Trek.
You know, this scene,
and then the scene where basically
Kirk and Spock, you know, are delivering
the massive exposition of, you know,
an angry future Romulan,
I think the idea that you're getting
exposition out in the context of conflict.
And, again, a big, big shout-out
to Bob and Alex,
because this is not easy stuff to write.
And Kirk here used to say "fact,"
used to say "fact" before every fact.
And we just lost all the "facts"
and just made it one, you know,
smoother line. It was funny.
And I love that Uhura
gets his back there,
because here's the triangle in play,
literally the way that you've blocked it.
You know, here is...
And I love the fact that he's in blue
and Kirk is in black and...
Well, the key also, you know, for Uhura
and for all the main characters,
there's Osgood,
was that each of these characters
needed to have a critical role
in the story.
That without each of these characters,
they wouldn't end up where they end up.
And that was important.
Osgood actually,
he was in Six Degrees of Separation
that I was in.
-That's when I met him.
-Yeah. We went to college with him.
-So funny.
-I went to college with him.
-Yeah. We were both at NYU.
-NYU. Yeah.
-We didn't know each other at college.
-That's right.
-We were there the same year.
-We don't know each other now.
One of the moments, by the way,
just to go back 30 seconds,
is I love that