Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:00,000 --> 00:00:00,000
[MUSIC PLAYING]
2
00:00:13,480 --> 00:00:17,080
The moment in aliens
when Ripley's running
3
00:00:17,080 --> 00:00:19,570
through the station and
everything's blowing up
4
00:00:19,570 --> 00:00:23,410
and it's on fire and she runs
through a kind of wall of steam
5
00:00:23,410 --> 00:00:27,400
and she finds herself in a
room, a big chamber surrounded
6
00:00:27,400 --> 00:00:32,229
by alien eggs and looking at
the egg laying creature itself,
7
00:00:32,229 --> 00:00:36,370
seeing its giant egg sack,
seeing the creature itself,
8
00:00:36,370 --> 00:00:39,860
and everything goes very quiet.
9
00:00:39,860 --> 00:00:44,030
And you're in this kind of
a dream within the greater
10
00:00:44,030 --> 00:00:48,110
dream of the movie, this kind
of very dream-like out of body
11
00:00:48,110 --> 00:00:50,962
kind of moment where
everything's in slow motion,
12
00:00:50,962 --> 00:00:51,920
and it gets very quiet.
13
00:00:51,920 --> 00:00:53,962
Even though you know the
explosions are going off
14
00:00:53,962 --> 00:00:55,910
and all sorts of
stuff, you're suddenly
15
00:00:55,910 --> 00:00:58,190
in this subjective reality.
16
00:00:58,190 --> 00:01:01,070
That came from a dream where
I went into a dark room,
17
00:01:01,070 --> 00:01:04,129
I walked to the center of the
room, and I looked around.
18
00:01:04,129 --> 00:01:05,870
And as my eyes adjusted
to the darkness,
19
00:01:05,870 --> 00:01:07,850
I realized that
every square inch
20
00:01:07,850 --> 00:01:14,260
of the walls and the ceiling
were covered by wasps,
21
00:01:14,260 --> 00:01:17,900
and I knew I couldn't make it to
the door before they got to me.
22
00:01:17,900 --> 00:01:19,848
So I just froze.
23
00:01:19,848 --> 00:01:22,140
And I don't remember what
happened next doesn't matter,
24
00:01:22,140 --> 00:01:25,760
but the point is that
idea of suddenly realizing
25
00:01:25,760 --> 00:01:29,070
you're in an extremely
threatening space
26
00:01:29,070 --> 00:01:31,670
and the only thing you can do
is freeze and think your way out
27
00:01:31,670 --> 00:01:35,900
of it was the nucleus of an idea
that then got turned into what
28
00:01:35,900 --> 00:01:40,130
ultimately became the first
encounter with the alien queen
29
00:01:40,130 --> 00:01:42,673
in the egg chamber,
which stylistically
30
00:01:42,673 --> 00:01:44,090
is an interesting
scene, because I
31
00:01:44,090 --> 00:01:45,995
wanted to capture that feeling.
32
00:01:48,820 --> 00:01:50,980
Know what it is
that you're feeling,
33
00:01:50,980 --> 00:01:53,118
that you want the
audience to feel, and then
34
00:01:53,118 --> 00:01:54,910
start talking to people
and figuring it out
35
00:01:54,910 --> 00:01:56,618
and experimenting
around and figuring out
36
00:01:56,618 --> 00:02:00,538
how to convey that
feeling to your audience.
37
00:02:00,538 --> 00:02:02,830
All right so we're jumping
way forward in the film now.
38
00:02:02,830 --> 00:02:04,622
There at the atmosphere
processing station.
39
00:02:04,622 --> 00:02:06,670
Everything's blowing up.
40
00:02:06,670 --> 00:02:07,669
So it's very loud.
41
00:02:07,669 --> 00:02:08,169
I
42
00:02:08,169 --> 00:02:09,970
Mean, we're literally
spinning the needle
43
00:02:09,970 --> 00:02:11,480
in the sound design in the mix.
44
00:02:11,480 --> 00:02:12,760
We're in the red.
45
00:02:12,760 --> 00:02:15,670
Explosions are happening,
and she's running.
46
00:02:15,670 --> 00:02:19,960
We're mixing very subjective
handheld moving shots
47
00:02:19,960 --> 00:02:23,050
with fire, with explosions.
48
00:02:23,050 --> 00:02:26,200
Were blowing cork
chunks from air mortars,
49
00:02:26,200 --> 00:02:29,980
and we're blasting
her with shots
50
00:02:29,980 --> 00:02:32,290
from CO2 fire extinguishers.
51
00:02:32,290 --> 00:02:35,830
And we've got fire
gel burning, and we're
52
00:02:35,830 --> 00:02:37,870
shaking the camera
to suggest that it's
53
00:02:37,870 --> 00:02:43,390
a kinetic, very frenzied
kind of sequence.
54
00:02:43,390 --> 00:02:44,860
We're on a fairly
long lens here.
55
00:02:44,860 --> 00:02:47,395
It's hand-held,
fairly long lens.
56
00:02:47,395 --> 00:02:48,520
I can't tell you right now.
57
00:02:48,520 --> 00:02:49,360
I don't remember.
58
00:02:49,360 --> 00:02:51,580
It might be a 50 or 60 mil.
59
00:02:51,580 --> 00:02:54,190
We're handholding it, and we're
walking backwards with her.
60
00:02:54,190 --> 00:02:55,390
So it's very shaky.
61
00:02:55,390 --> 00:02:57,970
We feel that sense of the
energy of the whole place coming
62
00:02:57,970 --> 00:02:58,750
apart.
63
00:02:58,750 --> 00:03:02,530
Sound design has been
very loud and concussive
64
00:03:02,530 --> 00:03:03,820
and lots of camera shake.
65
00:03:08,330 --> 00:03:11,480
And it all fades away, and
the only thing that's left
66
00:03:11,480 --> 00:03:16,580
is this kind of droning
sound and the breath.
67
00:03:16,580 --> 00:03:18,770
Now the whole place is still
shaking and blowing up,
68
00:03:18,770 --> 00:03:21,890
but we've just gone into an
altered state of awareness.
69
00:03:21,890 --> 00:03:22,967
And the speed ramp--
70
00:03:22,967 --> 00:03:24,300
we used to call it a speed trap.
71
00:03:24,300 --> 00:03:28,750
Now you do it as a digital post
effect to change the speed.
72
00:03:28,750 --> 00:03:32,130
So we've gone from 24
to 48 frames a second.
73
00:03:32,130 --> 00:03:33,440
So we're in slow motion.
74
00:03:33,440 --> 00:03:35,720
We're in an extreme
close-up on Sigourney
75
00:03:35,720 --> 00:03:40,510
that she's walked
into, and she's looking
76
00:03:40,510 --> 00:03:42,040
around seeing something.
77
00:03:42,040 --> 00:03:43,330
She's seeing it before.
78
00:03:43,330 --> 00:03:44,530
We're seeing it.
79
00:03:44,530 --> 00:03:47,580
So it's the same thing in
the audience's interest.
80
00:03:47,580 --> 00:03:48,580
They're leaning forward.
81
00:03:48,580 --> 00:03:49,990
What is it that she's seeing.
82
00:03:49,990 --> 00:03:51,740
What has stopped her?
83
00:03:51,740 --> 00:03:53,710
She's been running
as fast as you can.
84
00:03:53,710 --> 00:03:55,793
If you're running with the
little girl to get out,
85
00:03:55,793 --> 00:03:57,010
we know that seconds count.
86
00:03:57,010 --> 00:03:59,650
We know the whole place
is going to blow up.
87
00:03:59,650 --> 00:04:03,420
What she's doing doesn't
seem to make any sense.
88
00:04:03,420 --> 00:04:05,870
So there's a strange
nightmarish quality to it.
89
00:04:05,870 --> 00:04:07,460
It's that same
nightmarish quality as
90
00:04:07,460 --> 00:04:10,340
in the nightclub in terminator.
91
00:04:10,340 --> 00:04:14,240
The slow motion is
telling you something,
92
00:04:14,240 --> 00:04:16,825
and it puts you into an
altered state of awareness.
93
00:04:16,825 --> 00:04:18,700
And the sound design is
doing the same thing.
94
00:04:18,700 --> 00:04:20,350
All the explosions
have gone away.
95
00:04:20,350 --> 00:04:25,270
All the steam blasts and fire
effects and deep subwoofer
96
00:04:25,270 --> 00:04:26,770
shape, it's all
gone away, and it's
97
00:04:26,770 --> 00:04:28,510
gone very clear and very thin.
98
00:04:28,510 --> 00:04:30,650
And the only thing you
hear is your breathing.
99
00:04:30,650 --> 00:04:33,100
So something is going on.
100
00:04:33,100 --> 00:04:36,320
What has she seen?
101
00:04:36,320 --> 00:04:39,250
Shit balls.
102
00:04:39,250 --> 00:04:41,230
100 alien eggs and
she's standing right
103
00:04:41,230 --> 00:04:42,460
in the middle of them.
104
00:04:42,460 --> 00:04:44,645
So it's a nightmarish--
105
00:04:44,645 --> 00:04:45,820
it's a nightmarish image.
106
00:04:45,820 --> 00:04:49,750
It's, kind of, her
worst nightmare.
107
00:04:49,750 --> 00:04:53,140
So now so we have the
wide shot, the wide reveal
108
00:04:53,140 --> 00:04:54,140
shot with all the eggs.
109
00:04:54,140 --> 00:04:57,430
And this is like all the eggs
we could afford to build.
110
00:04:57,430 --> 00:04:59,885
If we could do it now
digitally same scene,
111
00:04:59,885 --> 00:05:00,760
it would go on there.
112
00:05:00,760 --> 00:05:01,635
There'd be more eggs.
113
00:05:01,635 --> 00:05:03,020
We'd do a digital extension.
114
00:05:03,020 --> 00:05:05,590
We'd build 10 eggs,
and we'd digitally
115
00:05:05,590 --> 00:05:07,930
extend it with another
couple of hundred
116
00:05:07,930 --> 00:05:10,490
to really hammer the point.
117
00:05:10,490 --> 00:05:16,130
But it plays, and I think
that's a good lesson.
118
00:05:16,130 --> 00:05:19,610
If you can't afford to do a
digital extension of 100 eggs,
119
00:05:19,610 --> 00:05:23,540
make as many as you can,
and it'll still work.
120
00:05:23,540 --> 00:05:26,340
The concept will still work.
121
00:05:26,340 --> 00:05:28,880
So now we just hear
this very echoey kind
122
00:05:28,880 --> 00:05:32,390
of drone and her breathing as
her eyes slowly track around,
123
00:05:32,390 --> 00:05:34,550
and again we're
still in slow motion.
124
00:05:34,550 --> 00:05:38,180
I want you to feel the
anticipatory whatever it is.
125
00:05:38,180 --> 00:05:42,660
It's a joyful experience to
feel strange, anxious emotions
126
00:05:42,660 --> 00:05:43,160
in a movie.
127
00:05:43,160 --> 00:05:44,210
That's what you paid for.
128
00:05:44,210 --> 00:05:45,780
That's what you came here for.
129
00:05:45,780 --> 00:05:49,940
So if you're giving the
audience what they came for,
130
00:05:49,940 --> 00:05:51,140
you extend it.
131
00:05:51,140 --> 00:05:53,040
You stay in that state.
132
00:05:53,040 --> 00:05:54,208
So she doesn't see it yet.
133
00:05:54,208 --> 00:05:55,250
She still hasn't seen it.
134
00:05:55,250 --> 00:05:56,270
Now we're really milking it.
135
00:05:56,270 --> 00:05:56,900
She's turning.
136
00:05:56,900 --> 00:05:58,290
We're still in slow motion.
137
00:05:58,290 --> 00:06:00,250
What are we hearing?
138
00:06:00,250 --> 00:06:05,680
The little pilot light
of her flamethrower,
139
00:06:05,680 --> 00:06:09,010
and that strange machine like
droning that tells you she's
140
00:06:09,010 --> 00:06:10,720
deep in the heart
of the station,
141
00:06:10,720 --> 00:06:12,430
but it sort of
reminds us that we're
142
00:06:12,430 --> 00:06:15,320
deep in the heart
of this insect hive.
143
00:06:15,320 --> 00:06:18,890
She still hasn't seen it, but
she knows it's behind her.
144
00:06:18,890 --> 00:06:22,130
And it's that feeling in a
dream in a nightmare where
145
00:06:22,130 --> 00:06:24,410
you don't want to turn
and you don't want to turn
146
00:06:24,410 --> 00:06:27,830
and you don't want to turn, but
you know you're going to turn.
147
00:06:27,830 --> 00:06:29,690
And the audience plays
the game, and they
148
00:06:29,690 --> 00:06:31,520
know the language of this.
149
00:06:31,520 --> 00:06:32,900
They know it's there.
150
00:06:32,900 --> 00:06:35,960
They know it's there behind her.
151
00:06:35,960 --> 00:06:37,640
So we're even milking
the turn farther.
152
00:06:37,640 --> 00:06:42,020
Now I've punched in, and the
moment where I see her eye
153
00:06:42,020 --> 00:06:45,530
see it is going
to be the payoff,
154
00:06:45,530 --> 00:06:50,840
but we've built to it with,
I think, six shots already.
155
00:06:50,840 --> 00:06:54,800
So I'm focused on her far eye.
156
00:06:54,800 --> 00:06:56,300
When you're on a
lens this long, you
157
00:06:56,300 --> 00:06:58,980
have to pick which
eye's in focus.
158
00:06:58,980 --> 00:07:02,370
And sometimes it's a question
of some debate with the camera
159
00:07:02,370 --> 00:07:02,910
operator.
160
00:07:02,910 --> 00:07:04,860
You got to pick an eye.
161
00:07:04,860 --> 00:07:07,320
Well, we picked that eye,
because we could see it better.
162
00:07:07,320 --> 00:07:09,250
This one's hidden in darkness.
163
00:07:09,250 --> 00:07:10,977
We're not interested
in Newt here.
164
00:07:10,977 --> 00:07:12,060
We're following Sigourney.
165
00:07:12,060 --> 00:07:14,143
So Newt even though she's
right there in the shot,
166
00:07:14,143 --> 00:07:15,300
she's out of focus.
167
00:07:15,300 --> 00:07:17,010
We're following Ripley.
168
00:07:17,010 --> 00:07:20,320
Ripley is about to
meet her nightmare.
169
00:07:20,320 --> 00:07:24,008
So the shot ends when
she has seen something.
170
00:07:24,008 --> 00:07:25,050
We're going to cut to it.
171
00:07:25,050 --> 00:07:28,740
Now we may expect to cut to
something that we recognize,
172
00:07:28,740 --> 00:07:32,130
an alien, but that's not
what we're giving you.
173
00:07:32,130 --> 00:07:34,470
What we're giving you
is something mysterious.
174
00:07:34,470 --> 00:07:37,500
It's the thing that's laying the
eggs, so now that's progress.
175
00:07:37,500 --> 00:07:39,540
Now we're seeing where
the eggs come from.
176
00:07:39,540 --> 00:07:44,010
Her eyes go up,
follow it around.
177
00:07:44,010 --> 00:07:45,445
We see the eggs inside it.
178
00:07:45,445 --> 00:07:46,320
We see it glistening.
179
00:07:46,320 --> 00:07:47,028
We see it moving.
180
00:07:47,028 --> 00:07:48,130
It's a biological thing.
181
00:07:48,130 --> 00:07:50,460
It's not like anything
we've seen before.
182
00:07:50,460 --> 00:07:51,780
We're curious.
183
00:07:51,780 --> 00:07:53,660
We're afraid.
184
00:07:53,660 --> 00:07:55,520
It's still got a
nightmarish quality,
185
00:07:55,520 --> 00:07:57,140
but we're getting there.
186
00:07:57,140 --> 00:07:59,720
We're coming toward
the answer, and we're
187
00:07:59,720 --> 00:08:02,990
several shots into the
sequence of this reveal now.
188
00:08:02,990 --> 00:08:04,970
We're about to reveal
the thing itself.
189
00:08:04,970 --> 00:08:06,050
She keeps looking.
190
00:08:10,780 --> 00:08:11,750
It's mysterious.
191
00:08:11,750 --> 00:08:12,250
It's alien.
192
00:08:12,250 --> 00:08:14,140
It's enigmatic, and it's big.
193
00:08:14,140 --> 00:08:16,750
What this shot tells you,
because we jump back over
194
00:08:16,750 --> 00:08:18,700
her is it's big.
195
00:08:18,700 --> 00:08:20,877
Whatever it is it's big,
and it's mysterious.
196
00:08:20,877 --> 00:08:22,460
I can't even tell
what I'm looking at.
197
00:08:22,460 --> 00:08:23,260
Maybe it's bones.
198
00:08:23,260 --> 00:08:24,160
Maybe it's an insect.
199
00:08:27,790 --> 00:08:30,610
Probably alive, and
yes it's moving.
200
00:08:30,610 --> 00:08:34,299
So now it's going to reveal
itself not only to her
201
00:08:34,299 --> 00:08:35,500
but obviously to us.
202
00:08:41,380 --> 00:08:45,130
And the teeth extend, and
yes it's definitely an alien,
203
00:08:45,130 --> 00:08:49,150
but it's not like anything
we've seen before.
204
00:08:49,150 --> 00:08:51,800
And we immediately go from
that reveal to the reveal
205
00:08:51,800 --> 00:08:56,080
that there's not just one, but
there's a whole army of them.
206
00:08:56,080 --> 00:08:58,930
Ripley immediately knows
that for Newt to survive,
207
00:08:58,930 --> 00:08:59,780
she has to survive.
208
00:08:59,780 --> 00:09:01,570
She has to get out
of here somehow.
209
00:09:01,570 --> 00:09:03,788
And she's surrounded
by alien warriors,
210
00:09:03,788 --> 00:09:05,080
and they're faster than she is.
211
00:09:05,080 --> 00:09:07,720
And they're far more
powerful than she is.
212
00:09:07,720 --> 00:09:10,350
So she's not going to
fight the warriors.
213
00:09:10,350 --> 00:09:13,020
She's going to negotiate
with the alien queen,
214
00:09:13,020 --> 00:09:15,060
and that's exactly
what she does.
215
00:09:15,060 --> 00:09:16,770
So she sees the threat.
216
00:09:16,770 --> 00:09:20,640
She's surrounded by the type
of alien we've seen before.
217
00:09:20,640 --> 00:09:25,710
The setting down of Newt is the
gunslinger pushing their cloak
218
00:09:25,710 --> 00:09:27,180
open to reveal their sixth gun.
219
00:09:27,180 --> 00:09:29,470
She's going to fight.
220
00:09:29,470 --> 00:09:30,970
Or is she?
221
00:09:30,970 --> 00:09:32,830
Now we're in the
queen's perspective.
222
00:09:32,830 --> 00:09:36,520
Now we're seeing the little
human in the egg chamber
223
00:09:36,520 --> 00:09:38,903
from the Queen's
perspective, and she
224
00:09:38,903 --> 00:09:40,195
does something we don't expect.
225
00:09:44,320 --> 00:09:46,750
She opens fire on the eggs,
and the queen's response
226
00:09:46,750 --> 00:09:47,620
is instantaneous.
227
00:09:47,620 --> 00:09:49,900
And the audience
understands what it means.
228
00:09:49,900 --> 00:09:51,550
Ripley's going to burn the eggs.
229
00:09:51,550 --> 00:09:53,800
She hasn't done it
yet, but she can.
230
00:09:56,285 --> 00:09:57,660
She's found the
queen's weakness,
231
00:09:57,660 --> 00:10:00,570
and she points the
gun at the eggs.
232
00:10:00,570 --> 00:10:04,650
There's not a line of
dialogue in the whole scene,
233
00:10:04,650 --> 00:10:07,008
and you see by the gesture
that the puppeteers were
234
00:10:07,008 --> 00:10:09,550
able to create-- now remember,
this is all practical effects.
235
00:10:09,550 --> 00:10:10,410
This is not CG.
236
00:10:10,410 --> 00:10:11,910
You could do it
with CG, and there's
237
00:10:11,910 --> 00:10:15,090
no reason not to or you can
do it with practical effects
238
00:10:15,090 --> 00:10:15,930
like we did here.
239
00:10:15,930 --> 00:10:17,160
And there's a place for--
240
00:10:17,160 --> 00:10:18,630
place for both.
241
00:10:18,630 --> 00:10:22,590
The way the alien queen
lowers its head tells you
242
00:10:22,590 --> 00:10:26,580
that it's intelligent enough to
understand, and she's resolute.
243
00:10:26,580 --> 00:10:29,898
The way Sigourney played
it was that's right.
244
00:10:29,898 --> 00:10:30,440
That's right.
245
00:10:30,440 --> 00:10:32,210
I mean business.
246
00:10:32,210 --> 00:10:34,520
Do we have a deal?
247
00:10:34,520 --> 00:10:36,260
An the alien queen
looks one way,
248
00:10:36,260 --> 00:10:40,330
and Ripley follows and
that warrior backs off.
249
00:10:40,330 --> 00:10:42,930
She looks the other
way and hisses.
250
00:10:42,930 --> 00:10:44,870
She tells the other
warrior to back off.
251
00:10:44,870 --> 00:10:46,990
It's all in gesture.
252
00:10:46,990 --> 00:10:50,650
And Ripley says, OK, I'm
going to take this equipoise,
253
00:10:50,650 --> 00:10:51,650
and I'm going to use it.
254
00:10:51,650 --> 00:10:53,400
And I'm going to get
the hell out of here.
255
00:10:55,620 --> 00:10:57,690
And again, we milk it.
256
00:10:57,690 --> 00:10:58,920
We fetishize the moment.
257
00:10:58,920 --> 00:11:02,910
We make it palpable by doing
an insert of the feet walking
258
00:11:02,910 --> 00:11:06,210
through the slimy roots of
the egg, so that we feel it.
259
00:11:06,210 --> 00:11:07,500
We feel what she's feeling.
260
00:11:07,500 --> 00:11:09,360
We're with her.
261
00:11:09,360 --> 00:11:10,980
We hear what she hears.
262
00:11:10,980 --> 00:11:12,120
We see what she sees.
263
00:11:12,120 --> 00:11:15,480
We feel what she feels,
so we're there with her.
264
00:11:15,480 --> 00:11:21,140
Our hearts are pounding, and
she knows that this truth
265
00:11:21,140 --> 00:11:22,190
isn't going to last.
266
00:11:25,620 --> 00:11:28,110
And then an egg opens.
267
00:11:28,110 --> 00:11:31,350
Now does the queen control
the eggs and when they hatch.
268
00:11:31,350 --> 00:11:36,540
Is to queen is about to
unleash 100 face huggers?
269
00:11:36,540 --> 00:11:40,950
She doesn't trust that the
truce is going to last,
270
00:11:40,950 --> 00:11:42,120
so she says fuck it.
271
00:11:48,420 --> 00:11:51,220
And then it's on.
272
00:11:51,220 --> 00:11:53,950
So from this moment,
because in the queen's mind
273
00:11:53,950 --> 00:11:58,710
Ripley broke the truce it
becomes a revenge story.
274
00:11:58,710 --> 00:12:00,930
It's revenge for her burning--
275
00:12:00,930 --> 00:12:03,120
for Ripley burning her babies.
276
00:12:03,120 --> 00:12:05,670
And what's the
principle at work here?
277
00:12:05,670 --> 00:12:12,330
It's not to two men going at
it to see who is most macho.
278
00:12:12,330 --> 00:12:15,450
It's two women
protecting their children
279
00:12:15,450 --> 00:12:18,810
with the fury of the
protective mother,
280
00:12:18,810 --> 00:12:22,740
and so the conceit here was
it's a different motivation.
281
00:12:22,740 --> 00:12:26,460
It's a different motivation
for a heroic action character
282
00:12:26,460 --> 00:12:28,470
and in this case
Sigourney's character.
283
00:12:28,470 --> 00:12:32,310
It's a different
motivation for a monster
284
00:12:32,310 --> 00:12:36,020
than you've seen before, because
I don't believe in villains.
285
00:12:36,020 --> 00:12:38,630
I believe everybody's got a
reason for doing what they do.
286
00:12:38,630 --> 00:12:41,430
So what was the alien queen's
reason for relentlessly
287
00:12:41,430 --> 00:12:42,840
hunting her down?
288
00:12:42,840 --> 00:12:45,740
This was-- this became a
personal story at this point,
289
00:12:45,740 --> 00:12:49,710
and I think a lot of the
power of it came from that.
290
00:12:49,710 --> 00:12:52,700
So you have to
understand it's not
291
00:12:52,700 --> 00:12:55,910
like I knew going in
exactly every beat of how
292
00:12:55,910 --> 00:12:56,600
this came out.
293
00:12:56,600 --> 00:12:57,870
It was an exploration.
294
00:12:57,870 --> 00:12:59,420
I did a lot of coverage on this.
295
00:12:59,420 --> 00:13:00,765
I tried some things.
296
00:13:00,765 --> 00:13:03,140
I didn't know it was going to
work, trying to speed ramp,
297
00:13:03,140 --> 00:13:04,390
trying this slow motion thing.
298
00:13:04,390 --> 00:13:06,150
I wanted to do something.
299
00:13:06,150 --> 00:13:08,450
I had a goal,
which was to create
300
00:13:08,450 --> 00:13:12,270
that subjective kind of out
of body dreamlike nightmarish
301
00:13:12,270 --> 00:13:12,770
experience.
302
00:13:12,770 --> 00:13:14,478
I didn't exactly know
how to go about it.
303
00:13:14,478 --> 00:13:16,520
I experimented,
talked to the DP.
304
00:13:16,520 --> 00:13:19,520
We figured some stuff
out, and it evolved.
305
00:13:19,520 --> 00:13:21,680
And where it really kicked
up to the next level
306
00:13:21,680 --> 00:13:24,320
was in the sound
design in the mix,
307
00:13:24,320 --> 00:13:25,787
and I remember
right now it was one
308
00:13:25,787 --> 00:13:27,620
of the most satisfying
experiences I've ever
309
00:13:27,620 --> 00:13:30,332
had on a mixing stage
was mixing this scene.
310
00:13:30,332 --> 00:13:32,540
And when we finished it, we
all looked at each other,
311
00:13:32,540 --> 00:13:34,460
and we knew it we'd
done something,
312
00:13:34,460 --> 00:13:38,870
because we had fulfilled the
promise of that nightmare.
313
00:13:38,870 --> 00:13:41,620
[CREEPY MUSIC]
24236
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.