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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
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