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we shot any of the stuff at Budweiser.
It's just very funny.
When we actually shot the Bridge,
there were a bunch of things
we didn't know exactly.
For example, we weren't sure
how the water pipe sequence would go.
When Kirk and Spock
walk back on to the Bridge
after beaming back from the Narada,
and they talk to Nero,
originally Nero and Kirk never met.
And when we shot that sequence,
they would not have met,
and so when Kirk introduces himself,
he was being literal.
But as it plays in the movie now,
they've already met,
and it sounds like it's a point of pride.
So it's interesting shooting things so
out of sequence sometimes, you know.
I love the ferocity of...
Yeah,
I love the fight choreography here.
And the sound effect of the glass
breaking right there when he landed.
It was fantastic. And what's cool is,
who would win in a fight
between Kirk and Spock?
The answer is Spock.
Vulcans are strong.
People don't know that. Right, Bob?
And they know the pinch.
We actually, visually,
we put these red marks on Chris' neck.
-Yeah, that's pretty cool.
-'Cause we did not do it in makeup,
and it felt like there would be marks left,
so we actually put those little marks
right there on his neck.
Cost? $700,000.
-$4 million.
-Yeah.
I love how long you sustain that
beyond Sarek saying, "Spock."
-That it's like...
-Yeah.
-And in any other movie...
-And what Zachary did right there,
with his eyes,
like coming out of a stupor. Yeah.
We actually extended
some of these shots.
Like, this one was a new shot
we put back,
and we added head to this shot, too.
We extended this one, too,
in those last days.
I love that in the Trek universe,
and this is another decision that
and I think was so true
to the original spirit of,
you know, the Roddenberry Trek
is the idea that
the best way to commit mutiny
is to hurt somebody's feelings.
That's right. Or, in this case,
make them reveal that they have them.
-How great was Zach in that scene?
-Zachary is wonderful.
-There's the empty chair.
-And now, here comes a great line.
Just a home run.
And what's great is
McCoy is sort of with Spock there.
Yeah, everyone is.
This shot was sort of tricky,
'cause we had this crazy arm
on the camera going over the console,
and for some reason,
it took a long time to get it.
Can I ask you a weird question?
What made you decide to use...
-Jewish.
-Use the crazy arm?
-For that shot?
-Yeah, yeah.
'Cause I wanted to go over the console,
and there was no other way to do it.
Yeah, here's the other slow-mo.
I like that it's,
"Advanced me to acting captain,"
-as opposed to promoted me, because...
-That's right.
I also love how those guys
coming down the ladder there.
It gives the sense that
there's something above and below.
So this is basically Kirk's first moment.
I cannot believe, by the way,
I didn't have him look over and...
I guess it was beside the point,
but I wanted to have him excuse
the security guy. Didn't matter.
Here's another day that I'll always
remember when I was on set.
And you were directing the scene, J.J.
And it's an incredibly challenging scene,
both to play for the actors,
but also to direct,
because they're Vulcans.
And they're talking about
this incredibly emotional thing,
and they're talking about
how to express emotion.
And I remember you got
a lot of different takes from Ben here,
as to, you know,
how is he gonna answer this question?
How's he gonna play this line
about loving Amanda?
Well, that was always the scene that,
in the script, when I read it,
I got an emotional reading,
when Sarek would say, "I loved her."
Like, for some reason, that was like
a massive revelation for me.
I don't know. I just loved that idea.
That actually came out of a conversation
we had with Nimoy where,
I think the first time we all met him,
and we pitched him roughly the idea,
and asked him, "We always
imagined that
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