makes me want to cry.
I'm gonna cry.
That's an emu.
It's a Chinese two-stringed instrument
being played
by this amazing woman who...
Look at Pine's nose here. Look at it.
Just, it's amazing.
I don't understand. What just happened?
Did you steal my wallet? What was that?
-And this is our...
-I didn't know you were an organ donor.
The headline is gonna be, you know,
-"Lindelof has crush on Pine's olfactory."
-Pine's nose.
Now I can't take my eyes off it, though.
-Look at it. Look at it.
-I just stole your wallet.
Just look at the left nostril.
Especially here.
See, he just missed
the low clearance bar in the shuttle.
Okay, get ready
for the greatest moment ever.
Here it comes. Music. Ready?
Here we go.
And cue.
-Come on, stirring. Stirring.
-What's better than that? Nothing.
-Nothing is better than that.
-And look at that look.
-Chris Pine.
-God, look at the nose.
-Come on.
-By the way, the hack in me
always wants to put that light that's
behind him in between the fingers,
and I'm so glad you didn't.
That's why you're good at directing,
and I'm not.
-By the way, that sound, that actually...
-So good!
-By the way, that sound, that actually...
-So good!
That was the sound he actually made
when we shot it.
-Really?
-Yeah.
This was another Digital Domain
sequence with Scotty in the pipes.
So here's a sequence, basically,
you know, Mark Evans,
who is basically one of
the huge champions of the movie,
along with Brad Weston
and others at Paramount,
basically, we got into
these conversations about,
how do we get the budget down?
How do we afford to make Trek?
And this scene sort of kept coming up.
Do we need Scotty in the pipes?
And I'm just glad that everybody
came together to...
Everyone kept saying, "Yes, we need it."
'Cause it's such a great reversal.
You're basically saying,
if you're gonna beam these guys,
if you're gonna transwarp beam,
which has never been done
on Trek before,
-there needs to be some side...
-Danger.
Some side effect.
It can't go off without a hitch.
Well, it's one of those things
for me where it's like,
I don't think, honestly,
the average moviegoer understands
the difference between warping
and warping when a ship is in...
-The fans do.
-Of course.
But I think that
for the average moviegoer,
it's just a fun piece of business
to have in the movie.
And, yes, you're right.
It serves a story purpose, as well,
which I love.
By the way,
why is that emergency hatch there
right before the spinning blades?
Just in case somebody
gets caught inside.
-For this very reason.
-Yeah, exactly.
Thank God it's there.
There was a cut right there
when you went behind that pipe.
It was a stuntman
that actually did the drop,
and then we threw Simon in.
I like Sarek just hanging out
on the Bridge.
He's like,
"And this button, what does that do?"
This is one of my favourite shots.
-Yeah, this was a...
-Yeah, this is an amazing shot.
-So where did you...
-This is all at Budweiser.
-Yeah.
-And it's all real,
except for the markings
on the side of those big barrels.
But that was all done on a Skycam,
-on a computer-controlled camera.
-Right.
So there's no one up there
with the camera.
-It's just on an arm.
-No, that was all just...
Actually it was on three wires.
-The longest callback ever.
-"Cupcake."
-"Cupcake."
-Yeah.
That's from another movie.
That's how long that is.
And I love, love, love Simon here.
Because, again, the idea
of who is the audience in this scene?
And there's Scotty.
You taking your clothes off?
What are you doing?
Bryan, what's going on in New York?
-Who's there with you?
-Are you eating another pineapple?
I was actually putting my...
-Just had to take off your cloak.
-Putting it back on.
-Who's there with you? Is it Chris Pine?
-Sorry.
-Can I get a towel, please?
-Just putting my clothes back on.
Oh, that's good.
This was all, you know, shot long before