Sarek loved Amanda."
And he said, "Well,
I always assumed it was just logical,
"as a result of him being ambassador."
So the idea of having the loss actually
accelerate both of their emotion
to the point where,
in the original movies it had to,
he had to go through a whole lifetime
to admit that he loved her,
and now here we have it in one movie.
The movie is sort of secretly
about Spock,
-because the idea that...
-Yep.
The idea that, you know,
that's a scene where,
basically, how do you reconcile being
half Vulcan and being half human?
And the idea that, in that moment,
his father is saying, "Even I feel still.
"And it's okay." And that's the thing
that allows him to sort of give in
-to that feeling.
-Reconcile.
And, by the way, I've always felt,
though I've never discussed this
with you guys,
but my feeling is always,
his partnering up with Kirk
is what allows him
to embrace fully his Vulcan,
because he knows that
having that human,
emotionally driven person at his side
allows him to more completely embrace
being Vulcan,
and not deny that emotion,
that humanity. I don't know.
And the same with Kirk.
By holding hands in the centre...
-I love that, when she steps right in.
-Yeah.
"My man, my man."
Whoever's idea it was to put that scene
in the transporter room
-where Spock lost Amanda...
-Yeah.
...again, great.
What were you saying, Bob?
Same with Kirk?
That's it's the ying and yang.
By clasping arms in the centre,
they can each lean more
towards their true nature,
knowing that the other one
is providing balance.
By the way, one of my favourite shots
in the movie is coming up,
basically seeing those two guys
in profile for the first time.
'Cause you're using overs here,
but then, just cinematically,
you're about to show, okay,
Spock and Kirk just became partners.
And then that moment is, here it is.
I just love this shot.
-This says everything...
-I love Zachary's look at the end.
-Yeah.
-So good.
And I said, hit him twice as hard as
you would normally slap someone
on the shoulder.
you would normally slap someone
on the shoulder.
That scene, by the way,
for whatever reason,
they were all together.
The actors were literally goofing off.
-It was the only time the entire shoot.
-Was this the day
where you walked off set?
And literally,
they were just kind of all laughing.
We're at the end, we had no time.
And I just said to them, I'm like,
"You tell me when you're ready,"
and I walked off.
-Wow.
-And I walked out and I thought, as I...
Did you ever think you'd be the teacher?
Well, as I was walking out,
I thought, "Oh, my God,
"I just walked off the...
Like, what have I..."
And then, you know,
literally eight seconds later
they're like, "We're ready to go."
But they're the greatest group.
They really are.
This was one of my... It says...
There was an impact load
on the screen for a flash.
This is my favourite thing,
this thing of the Enterprise
when it rises through the clouds.
-Love it.
-Oh, my God. And the music here.
Well, what I love is that there's
a hidden Starfleet logo in this shot.
I also love that, you know,
you see these guys
pushing these little buttons,
and then you cut to these shots.
And just, the connection
between the humanity
-and this crazy epic scale.
-Yep.
So, if you watch in the negative space
between the rings and the planet,
you see a sideways version of
the Starfleet logo.
-No, I don't.
-Right there. See?
Right there. See? Over there.
It's the old FedEx trick.
-It is. The FedEx trick.
-Nice.
Now, this is one shot which we cut
from here to there.
That's one shot.
But we actually lost a little bit of it.
And now Scotty is where
we always imagined him.
This is my favourite scene,
by the way, I think.
Just the idea that in the background
they're, like, basically,
-"I love you. I love you." Kissy, kissy.
-Well, I think the fact that you blocked it
as something that you