it is to...
-Yeah, tell me about it.
-Have fun with that.
-And by the way...
It should look like the Poltergeist house.
The sound there, that was
another great move done, I think,
by Mark and Ben and Andy Nelson,
the sound mixers, Anna.
But by having the planet get absorbed
and kind of like muffled
and kind of get sucked in, and then have
the whoosh of the ship go by.
They just did an amazing job
with the sound.
By the way,
just to kiss up to you again, J.J.,
I feel like, in these kind of movies,
it's so easy
to use slow motion
over and over and over and over again.
And I think that, if memory serves,
this is the only time in the entire movie
-that you shot slow-mo.
-There's one other time.
-Where?
-When Spock is
dismissed from the Bridge.
-Oh, right. Yes.
-And he walks down the hallway.
But it's so effective,
when you use it there,
just in terms of the emotion about
saying, "We're slowing the movie down."
-Thanks, man.
-And here basically...
That was a nice little cut, by the way,
when he stood up.
There was a cut from one shot
to another wider.
I remember, basically Bob and Alex
and I and Mr Leonard Nimoy
took the movie to Austin
to show it to sort of the Star Trek geeks,
-for lack of a better word.
-And they had no idea
-they were gonna see it.
-And we sprung it on them.
But basically they were really
reacting to the movie positively,
up until this moment.
And we were all basically like,
"All right, this is where we basically,
completely could lose them."
Because this is, I think,
the most intensive departure
from canon in the movie,
and I know J.J. wants to talk
about their performances here,
but I just feel like this was
the gutsiest thing that we did.
Blowing up Vulcan was nothing
compared to saying,
"Spock and Uhura are in love
with each other
"and are having
this incredibly intimate relationship."
Whenever I watch this scene,
I'm watching it, you know,
I've seen it a gazillion times, and I think,
"Okay, I'm not really emotional
while watching.
"I'm not emotional, I'm not emotional."
And then she does this thing
when she says, "Okay."
This, yeah. Yeah.
And literally, even now, watching that,
she is so great in that moment.
I just cannot... And it was interesting
talking to her about it.
We were in Mexico
for the release of the film there,
and she was telling me
what she was processing
when she was doing that scene.
And it was actually kind of amazing
to hear.
-What'd she say?
-Well, she was going through
this whole thing, like, thinking
that his mother, his mommy, died,
you know, the woman who gave birth
to him and breastfed him,
and she had this whole story
in her mind of his loss
and how emotional she was.
And literally she thought of a story
that was a very personal story
about her family,
what she and her family went through.
It was a fascinating thing,
actually, to hear
the depth to which she had considered
what Uhura would go through,
and then how to find strength
and not just pure vulnerability.
But you see in that fraction
of a moment when she says, "Okay,"
you see that vulnerability come through,
and I just love it
that she was so restrained.
-Do Vulcans breastfeed?
-She's not a Vulcan.
-You mean, do Vulcan babies?
-No, I'm just saying, he was.
No, the point was she was just trying
to, you know...
-No, no, I'm just trying to make a joke.
-The answer is yes.
It was funny.
It brings a whole new level to it.
Once again, I think, Eric Bana,
this is really his scene, you know,
and it's the scene that, especially now
with the prison sequence gone,
it's the first time you really get to,
you know, empathise.
There's a comic book that explains all
of this incredibly well, with great detail,
-that's actually quite good.
-It is.
This shot goes on too long.
That's all I'm gonna say.
It's funny, 'cause he makes it look easy,
but Eric Bana had to be a bad guy
in a space