talking
about the logistics of this,
and we broke for lunch on
the Enterprise set,
and Steven came by, Spielberg,
and we all sat and had sandwiches,
literally on the Bridge,
and talked about this.
I got home that day, and my wife
was like, "How was your day?"
And I was like, "Pretty good. Not bad."
That was really among
the most surreal...
I remember, actually, Steven visited
when we were shooting
the Kobayashi Maru sequence,
and someone said to me
about five minutes before he got there,
"You know, today is his birthday."
-Oh, yeah, that's right.
-I'm like, "What?"
So I'm like, "Cake! Get a cake!"
-"Good God, get a cake!"
-So, before he left,
there was a cake for him.
Oh, my God.
Yeah, this sequence was obviously,
you know,
crazy challenging
'cause of all the moves in it
and the amount of time that we had.
But all the actors,
the stunt actors, you know,
obviously John and Chris,
they just all did an amazing job.
-And it was a lot of work.
-By the way, this is all Sulu.
I mean, Sulu basically kills both
these Romulans
-and saves Kirk's life.
-Yeah, Sulu is a massive hero in this.
Well, what's great about the gag setup
is that
-when you hear fencing...
-That's a weird cut.
No, that's good.
But when you hear fencing, you go,
"it's not... Fencing?"
And then it turns out that he's a ninja.
Well, I gotta say,
the swashbuckling vibe,
you cannot deny how much fun that is.
-Totally.
-I love the background.
That was CG done later,
and then this is all real.
Of course, then the CG on the left.
It's just an amazing thing to see
how ILM seamlessly intercuts,
or not intercuts,
but combines actual footage.
Here's another thing
where we were like,
"What? How do they disable the drill?
Should they have to open up a..."
Well, originally, in the script,
they went inside.
-Right. Yeah.
-And I was like,
-"Let's just shoot the thing."
-Yeah, exactly.
We need to cut $200,000
out of the sequence.
-How about they just shoot it?
-Just shoot it.
Yeah, you don't miss that scene.
Love that moment, too,
where he slips up.
Although I keep referencing
that moment as,
because of that screw-up,
it is the reason why Amanda dies.
There used to be a moment here,
by the way, where the guy said,
"The drill's been sabotaged,"
and Nero shot him.
-But it was so stupid.
-The design of this device is amazing.
-Incredible. Just so cool.
-It is pretty cool.
-The way it stabilises.
-Who did that?
Scott Chambliss oversaw the design,
but James Clyne did a lot of the design.
I'm not sure who did that pod.
This shot's... I like this kind of thing.
'Cause this is on a dolly going one
direction, and then on the whip here...
-Yep, love it. Love it.
-...we cut to a dolly
-going the other direction.
-Yeah. So good.
And then he turns around,
and there are more lens flares.
I love Anton's delivery here,
which is basically, this is the moment
where the audience realises,
"Wait a minute,
"are they actually gonna
destroy Vulcan?"
Just, you know, again, in one of those
very first story meetings that we all had,
we basically said,
-"If we're gonna change things..."
-"Let's do it."
-"...we've gotta change it in a big way."
-Watch Zoe's eyes right here.
There are two things in particular
that blow my mind about her
in this movie.
Right here.
That little thing she does right there,
-it just says so much to me.
-A lot, yeah.
-It says she loves him.
-Yep. There it is.
And you just see
there's a whole inner life going on.
I mean, she's amazing.
So, what I loved about this was
just the idea that, you know,
you think, "It's gonna be one of those
save the guy with a parachute."
And then the fact that, you know,
we go one step further
and have the parachute break.
Yeah.
Just was one of my favourite
story points.
Right, because of the audience
who has not been initiated to Trek...
-That's right.
-If you ask somebody,
"Hey, do you know anything