shot, J.J. I remember, right as we were about to wrap, going to the Paramount lot and you were shooting in the... -The shuttle? -No, you were shooting the three actors basically -being pushed around on dollies. -The sky... Well, yeah, but what was crazy when we were doing this sequence was trying to find a way to get the shots of them as they were diving. 'Cause they had a lot of dialogue, and when you hang the actors upside down, you know, their blood is just rushing to their head, they're getting headaches. It's really uncomfortable. It just never worked. And so this is one of the two places where I wanted the silence. And there's that, you know, ring out of sound. When we'd go to the theatre, we went around and watched real live audiences watching the movie after we'd seen it a thousand times, in that silence, you can always hear them kind of, you know, whispering to each other. It was always cool. -Like, "Wow." -"Are the speakers broken?" But what's cool about this is, like, when they go through the atmosphere... So these shots are on their faces that are coming up now, like for a shot like this or this one what we ended up doing was, we couldn't get them, and so we ended up taking these big pieces of mylar and putting them down in the parking lot, just like 6-by-6 foot square, and having the actors stand on them, and we put the camera above them looking down. And so you had sky behind them. They're actually standing up, and we're just shaking the camera like crazy. -That's great. -It's so funny. Like Pine, here, he's just standing. J.J. keeps referring to shaking the camera, and if you go through some of the making of, you'll see what he... He really stands on top and holds the magazine where the film is and really shakes it back and forth. All these shots really are given -a sense of life because it feels... -Kinetic energy, yeah. Well, Lost was the first time I really started doing that, when we were doing the aeroplane crash. And it just gave it that sense of movement that the cameraman can't do himself, 'cause it's just impossible to get that kind of high-frequency vibration and hold the camera. You want to talk a little bit about how we ended up coming to the blocking of this sequence on the drill? Well, first of all, all this stuff here was done at the parking lot at Dodger Stadium. We built essentially a third of the drill, and, you know, we shot it outside, mostly because, you know, I knew that even if the light wasn't great, when you had real sunlight, you would know you were not inside on a stage. And I think it helped enormously giving the thing a sense of realism. What did you want to talk about, Alex? The blocking? We just didn't know how we were gonna play out this sequence on the drill. I mean, we knew what it was, but we didn't, the moves of it and, tonally, how much fun we wanted to have with it versus, you know, how much gaggery could we put in there? And we said to ourselves, we really want it to be like when Indiana Jones in Raiders of the Lost Ark is basically... It's the spinning plane sequence, where Marion is basically inside the plane, and then, you know, every time he does something that is successful, it creates a new obstacle that makes the situation more life threatening. The best thing about that sequence, by the way, in Indiana Jones, or in Raiders, is that the Ark is not even on that plane. -That's right. -That whole sequence happens, you're like, "It wasn't even on the plane." I think one of the things that that movie taught us, among all those kinds of movies, is that the way these action sequences work best is you set up a problem, you relieve the tension, and then another problem is created. And it just happens over and over and over again, so the audience never gets a sense that it's gonna rest. And I remember we were kind of ------------------------------ Читайте также: - текст Полицейский из Беверли Хиллз 2 на английском - текст Степфордские жены на английском - текст Терминатор на английском - текст Женщина из Токио на английском - текст Гранд Отель на английском |