it all.
-We actually, when we did this shot...
-I love this shot.
-Yeah, amazing.
-We actually had
this crazy rig.
It was really hard 'cause the roof
or the ceiling of the stage
wasn't as high as I wish it had been.
But anyway, we did this whole thing
with this crazy crane,
and, of course, ILM did the rest.
But it was cool to get.
-You didn't shoot it in space?
-We did shoot...
That was the one shot we actually
built everything.
-This to me is a... Look at that.
-We shot it in space, too.
So much of that background was CG.
It's amazing.
Like, we built a piece of the ramp.
Everything else was CG.
But this was one of those sequences
that, you know, I'm not quite sure
what is landing for the audience, but
we were showing them that this guy is
going in and doing something
somewhere.
And I don't think you're supposed to
understand it quite yet.
But hopefully, as time goes on,
you realise,
-"This is Spock's ship." Yeah.
-That they're in the squid.
We made a lot of choices
like that that I think make it so
that when you see the movie over
and over, there's more cool stuff.
-Yeah.
-I like not patronising the audience.
I like patronising the audience.
-I know, Alex is totally about patronising.
-Totally.
I want the audience
to patronise the movie,
-but I don't want to patronise them.
-Patronise the audience.
We had to stabilise this shot later.
Not that it matters.
I was there the day that we shot this,
as well, and this was at Budweiser.
And this is the first time that I...
That was the day that you decided to
-swear off beer, isn't it?
-Yeah, it is.
I was sitting next to Bruce Greenwood,
and for some reason,
I just always get star struck around
that guy. You know, he just...
-'Cause he's awesome.
-It's coming off him in waves.
One of the things that I love
when they enter the shuttle,
-is the radio check, all that filter stuff.
-Yeah.
There's something about it.
It creates an amazing energy,
along with the music change
that happens there.
-It's fun.
-Well, that... The music change...
It's funny, 'cause this sequence
is another one of those things
we made these changes
where we ended up changing the score
in the last, you know, days of the cut.
I love that look right there between
the two of those guys.
'Cause it just, you know,
the fact that they're still unresolved
and, you know, at odds, I think is...
I think there's this great moment
in the writing, you know,
and also in the way
that you blocked it, J.J.,
in that it harkens back to the Kelvin,
where basically Robau
says to George Kirk,
"You're the captain now."
Well, you literally just played
the same scene again
-as the guys are getting in the elevator.
-That's right.
Which means you know bad things
are gonna happen.
Exactly. The handoff has occurred.
And just back to Greenwood again,
tying this back to the '60s
and how Kirk and the Captain Pike
were kind of models
and how Kirk and the Captain Pike
were kind of models
of a Kennedyesque kind of a figure,
Greenwood really just brings that,
not just because he played
Kennedy in Thirteen Days,
but he played that role great
'cause he has that genuine centre.
I love that we just embraced the fact
that this guy is dead.
He's dead with a capital "D."
-Red shirt number one.
-What were you gonna say, Bryan?
Well, the drill sequence
-wasn't in the original script.
-That was our last-minute add.
-Space jump.
-Quite a thing to add at the last minute.
-Yeah.
-The sequence was here,
-but it just didn't involve the drill jump.
-Right.
-The space jump.
-There was still everything else.
Production was thrilled that we...
To think about the movie
without the space jump...
"Can we have $6 million more, please?"
Yeah, exactly. But it was worth it.
I mean, you know...
Well, this sequence is sort of
the centrepiece of the movie in a way,
-you know, this whole thing.
-And this is one of the last things
you