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One of the things that we
talked about for a while...
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"How do you start this show?"
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It was an enormous
undertaking for everyone.
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I wouldn't want it
to deliver CG pew-pew,
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but to deliver... reality.
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Two, one, action!
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Negative degree temperatures,
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with the wind machine going like this...
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Yeah, so that was hard.
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And fun. It was so fun.
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The amount of detail is incredible.
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The color schemes, the textures,
how things would flourish.
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There's everything on this show.
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From big scopes of airplanes
to smaller tendrils.
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You're immediately just so immersed in
16
00:01:02,645 --> 00:01:04,189
The Last of Us world.
17
00:01:05,273 --> 00:01:08,860
Shooting in Canada, we're
not doing anything small.
18
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It was quite the endeavor.
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I remember when the game came out,
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there were so many people saying,
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"This needs to be made
into a live action."
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I was in conflict with it at first
because I was like, "We've already done it.
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We've shot it, we've
performed it, we've edited it.
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Why do we need to go
in and do this again?"
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Neil said, "At the end of the day,
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there are people out there that
will never pick up a controller,
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00:01:42,268 --> 00:01:44,312
and they will never
experience this story.
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And I think our story is special
enough to bring it to them."
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The HBO series,
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00:01:50,068 --> 00:01:52,487
uh, I don't remember when
I first heard about it,
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00:01:52,487 --> 00:01:56,658
but when I did, I was
like, "Mommy want that."
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'Cause I knew it was
gonna be spectacular,
33
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especially when I heard
that it was a collaboration
34
00:02:01,496 --> 00:02:03,164
and that Neil would also be involved.
35
00:02:04,040 --> 00:02:06,334
When you're casting
these iconic characters,
36
00:02:06,334 --> 00:02:09,879
these characters are iconic
in a cinematic way already.
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00:02:09,879 --> 00:02:10,879
So now, it's like,
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we need to find someone
that can elevate it
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00:02:13,758 --> 00:02:16,135
or make it their own in
a really interesting way
40
00:02:16,135 --> 00:02:18,221
so it doesn't feel like
they're just duplicating
41
00:02:18,221 --> 00:02:19,722
this other medium.
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00:02:19,722 --> 00:02:22,100
I learned very quickly
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00:02:22,100 --> 00:02:25,728
the massive fanbase
that I was stepping into.
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00:02:25,728 --> 00:02:26,980
I called my sister
45
00:02:26,980 --> 00:02:29,399
to tell her about the
possibility of the job.
46
00:02:29,399 --> 00:02:31,526
And she was in the car with my nephews.
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I didn't even get the S and
T out from the word "Last"
48
00:02:35,530 --> 00:02:36,698
when I said it.
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00:02:36,698 --> 00:02:39,284
"There's this job, it's
based on a video game.
50
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It's called The La... "
51
00:02:40,368 --> 00:02:42,537
And they were like, "The Last of Us?!"
52
00:02:42,871 --> 00:02:45,248
And I was like, okay, I
definitely have to do this.
53
00:02:45,248 --> 00:02:47,333
I was actually advised
not to play the game,
54
00:02:47,333 --> 00:02:49,085
so that I wouldn't try and like copy
55
00:02:49,085 --> 00:02:51,462
Ashley Johnson's version of
Ellie, which is incredible.
56
00:02:51,462 --> 00:02:53,673
But I just watched some
of the gameplay though,
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00:02:53,965 --> 00:02:55,049
secretly, on my own.
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00:02:55,049 --> 00:02:58,052
When I met Bella for the first time,
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00:02:58,052 --> 00:03:00,138
I was so excited because, obviously,
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00:03:00,138 --> 00:03:02,348
I'd seen her in Game of Thrones.
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00:03:02,599 --> 00:03:04,601
And seeing her in person
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00:03:04,601 --> 00:03:07,186
and even just seeing her
on set and doing scenes,
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00:03:07,186 --> 00:03:10,106
she has the essence of
Ellie already in her.
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00:03:10,106 --> 00:03:15,028
Seven, eight, fuck... you.
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00:03:15,320 --> 00:03:17,572
What's incredible
about what they've done
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00:03:17,572 --> 00:03:19,240
with these scripts,
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00:03:19,240 --> 00:03:24,120
was to be able to explore and
nourish things that I think
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00:03:24,370 --> 00:03:27,081
are very much a part of
the experience of the game.
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00:03:27,081 --> 00:03:28,124
One of those things
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00:03:28,124 --> 00:03:31,044
is the internal life
of these characters.
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And to really get into the flesh
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00:03:33,504 --> 00:03:35,590
of what's happening inside of them.
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00:03:35,590 --> 00:03:37,091
You want to know what
the biggest surprise
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00:03:37,091 --> 00:03:38,885
of adapting The Last of Us is?
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00:03:38,885 --> 00:03:40,470
It's the Neil Druckmann,
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00:03:40,470 --> 00:03:43,348
the genius who made the
game in the first place,
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00:03:43,348 --> 00:03:45,391
who created this
story, these characters,
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00:03:45,391 --> 00:03:46,517
the whole world,
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00:03:46,517 --> 00:03:50,521
he was so generous
and flexible and smart
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00:03:50,855 --> 00:03:54,067
about how to re-present The Last of Us
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00:03:54,067 --> 00:03:56,569
in a different format
to a whole new audience.
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00:04:03,660 --> 00:04:06,829
The scientific vision that
the show presents to people
83
00:04:06,829 --> 00:04:08,665
is based absolutely in reality.
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00:04:08,665 --> 00:04:12,043
That fungus is real, it
does those things to insects,
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00:04:12,043 --> 00:04:14,712
and if it were to be
able to infect humans,
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00:04:14,712 --> 00:04:16,255
it would go like that.
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00:04:16,255 --> 00:04:17,257
It's terrifying.
88
00:04:17,590 --> 00:04:20,802
We want people to feel the
reality of the science here.
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00:04:22,929 --> 00:04:24,764
Cordyceps, it's a fungus.
90
00:04:24,764 --> 00:04:27,016
And what that fungus does
91
00:04:27,016 --> 00:04:30,520
is it attaches to the
brain stem of an ant,
92
00:04:30,520 --> 00:04:33,106
takes motor control of the ant's body,
93
00:04:33,106 --> 00:04:35,858
and then attacks the
rest of the ant colony,
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00:04:35,858 --> 00:04:38,987
spreading the disease and
devouring the other ants.
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00:04:42,281 --> 00:04:43,533
Fungus is a funny word,
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00:04:43,533 --> 00:04:46,661
but there's so much more
of it than we realize.
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00:04:46,661 --> 00:04:49,247
Pretty much anywhere you see grass,
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00:04:49,539 --> 00:04:51,124
there's fungus right underneath it.
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They're connected.
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00:04:57,755 --> 00:04:58,923
More than you know.
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00:04:58,923 --> 00:05:00,675
One of the changes that Neil and I felt
102
00:05:00,675 --> 00:05:01,884
we needed to make early on
103
00:05:01,884 --> 00:05:04,303
was the way the fungus would spread.
104
00:05:04,303 --> 00:05:05,805
We loved the idea of biting.
105
00:05:05,805 --> 00:05:10,268
We thought that that
was primal and violent.
106
00:05:11,477 --> 00:05:13,896
But we started looking at
something called mycelium,
107
00:05:13,896 --> 00:05:17,358
which are these threads
that make up fungus.
108
00:05:17,358 --> 00:05:18,735
And those threads,
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00:05:18,735 --> 00:05:21,279
if they get into an
insect, for instance,
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00:05:21,279 --> 00:05:23,406
that's what starts to worm its way
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00:05:23,406 --> 00:05:24,866
towards the insect's brain.
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00:05:28,161 --> 00:05:31,039
Barrie Gower and his team
did this beautiful work
113
00:05:31,039 --> 00:05:34,125
to mesh humans and fungus together.
114
00:05:35,752 --> 00:05:38,796
Initially, we'd created
various practical tendrils,
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which was basically like a dental plate
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00:05:40,631 --> 00:05:43,009
that we had inside the
infected character's mouth,
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00:05:43,009 --> 00:05:46,429
which had all these little
silicon cords joined to.
118
00:05:46,429 --> 00:05:47,680
As soon as you pulled away,
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00:05:47,680 --> 00:05:49,057
everything started to...
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00:05:49,057 --> 00:05:50,725
Practically, it looked great.
121
00:05:50,725 --> 00:05:51,976
I think the reality of it
122
00:05:51,976 --> 00:05:55,354
was going to be the
resettability on the day.
123
00:05:57,899 --> 00:06:00,359
Having huge, big fungal
pieces all over the head,
124
00:06:00,359 --> 00:06:01,694
as soon as you took the eyebrows away,
125
00:06:01,694 --> 00:06:04,280
you started veering
into zombie territory.
126
00:06:05,323 --> 00:06:06,699
When it has more of a human side,
127
00:06:06,699 --> 00:06:09,243
more of a beautiful side,
it makes it even scarier.
128
00:06:09,243 --> 00:06:11,245
As a person, you can relate to it more.
129
00:06:11,245 --> 00:06:12,872
From an infected point of view,
130
00:06:12,872 --> 00:06:14,832
we had the first-stage infected.
131
00:06:15,333 --> 00:06:17,460
Very shortly after they've been bitten,
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there's a lot of redness,
133
00:06:18,461 --> 00:06:20,213
a lot of tenderness around the skin.
134
00:06:20,963 --> 00:06:24,926
Stage two, tiny little things
start breaking through the skin.
135
00:06:24,926 --> 00:06:27,220
They're a bit like the cordyceps
you actually see on ants
136
00:06:27,220 --> 00:06:29,430
or spiders when they've
taken over by the fungus.
137
00:06:30,139 --> 00:06:31,974
Stage three is a slightly
bigger version of that
138
00:06:31,974 --> 00:06:34,519
where you've got real mushrooms
that you can begin to see.
139
00:06:34,519 --> 00:06:35,812
Until you get to stage five,
140
00:06:35,812 --> 00:06:38,106
where the head shape is distorting.
141
00:06:38,481 --> 00:06:40,942
Just basically breaks
through the cranium
142
00:06:40,942 --> 00:06:43,319
and just splits the
skull down the front,
143
00:06:43,319 --> 00:06:45,113
and you have these huge sort of blooms,
144
00:06:45,113 --> 00:06:46,531
these sort of petals.
145
00:06:46,823 --> 00:06:48,074
No, I didn't want to look at them.
146
00:06:48,074 --> 00:06:50,284
I didn't want that in my
head to go home and sleep,
147
00:06:50,284 --> 00:06:51,869
and then you have to be kind of,
148
00:06:52,203 --> 00:06:55,748
you're like, "Hi! How are you?"
149
00:06:57,208 --> 00:06:58,960
And it's not just kind
of what they look like,
150
00:06:58,960 --> 00:07:01,671
it's the physicality and
the way that they move
151
00:07:01,671 --> 00:07:04,841
is what makes them so
creepy. But impressive.
152
00:07:04,841 --> 00:07:07,135
Not just the prosthetic, obviously,
153
00:07:07,135 --> 00:07:09,846
but the inhabiting of it.
154
00:07:19,647 --> 00:07:20,773
Coming from visual effects,
155
00:07:21,065 --> 00:07:23,151
I think the clicker performances
can be quite challenging
156
00:07:23,151 --> 00:07:25,528
just 'cause they're very specific.
157
00:07:29,323 --> 00:07:32,451
He just had this really
amazing performance
158
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and movement study to him.
159
00:07:36,080 --> 00:07:37,540
Those are the type of things
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00:07:37,540 --> 00:07:41,460
that is quite difficult
to reproduce digitally.
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00:07:45,631 --> 00:07:48,259
These are a lot of our very
early concept and busts.
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We're following real
reference and real nature
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of real fungus and real mushrooms.
164
00:07:53,931 --> 00:07:56,267
And just down to the
shapes of the petals.
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Underneath, you've got all these
slits which are called "gills,"
166
00:07:59,353 --> 00:08:01,606
and we always had to make
sure that the orientation
167
00:08:01,606 --> 00:08:04,859
was as such that all the
gills were facing downwards.
168
00:08:04,859 --> 00:08:05,859
And occasionally,
169
00:08:06,277 --> 00:08:07,403
you'd have a piece which
looked really, really great,
170
00:08:07,403 --> 00:08:08,821
but the mushroom's around the wrong way,
171
00:08:08,821 --> 00:08:09,989
so it's just like...
172
00:08:09,989 --> 00:08:11,199
Just move that over a little bit.
173
00:08:14,952 --> 00:08:16,245
The sound of the clickers,
174
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we worked so hard to make sure
they sounded just like the game.
175
00:08:19,582 --> 00:08:21,334
Why don't we try some
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00:08:21,334 --> 00:08:23,419
good, old-fashioned
clicking in the dark?
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00:08:23,419 --> 00:08:24,419
Yeah.
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00:08:25,213 --> 00:08:27,256
- Let me just practice a few so we can make sure...
- Yeah, sure.
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00:08:33,638 --> 00:08:36,140
Misty was the originator
of the sound itself,
180
00:08:36,140 --> 00:08:38,517
and she did these amazing
like throat sounds,
181
00:08:38,517 --> 00:08:39,560
which were like, "That's it!"
182
00:08:40,436 --> 00:08:41,760
And they were like, "Now
we gotta find somebody
183
00:08:41,761 --> 00:08:43,105
who can do it too, like a guy."
184
00:08:43,105 --> 00:08:46,067
- Right.
- And then I was like, "I figured it out."
185
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Mr. and Mrs. Clicker. The original.
186
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The Adam and Eve of clicking.
187
00:08:51,030 --> 00:08:53,991
- Yeah.
- It's also here, like...
188
00:08:55,243 --> 00:08:56,911
I think it's that
first little bit, right?
189
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It's just the initial...
190
00:08:58,412 --> 00:09:02,250
Which I think isn't bad here,
I just want the real thing.
191
00:09:02,250 --> 00:09:03,918
- Sure.
- Let's do some clicking.
192
00:09:10,299 --> 00:09:12,301
- That was good stuff. I like that.
- Thank you.
193
00:09:12,301 --> 00:09:14,095
I love sound, but it's like...
194
00:09:14,095 --> 00:09:16,138
I don't actually think I've
ever had anything like this
195
00:09:16,138 --> 00:09:18,140
where there was somebody who knew
196
00:09:18,140 --> 00:09:19,517
how to do this
incredibly specific thing,
197
00:09:19,517 --> 00:09:21,811
and I have the incredibly
specific thing people
198
00:09:21,811 --> 00:09:23,854
doing the incredi...
Oh, this is so cool.
199
00:09:24,230 --> 00:09:25,523
All right, I think it might be time
200
00:09:25,523 --> 00:09:28,025
to go to the bullpen and
bring in the ol' lefty.
201
00:09:28,025 --> 00:09:34,025
Oh, that was a good one.
202
00:09:34,407 --> 00:09:36,033
Yeah, that was a good one!
203
00:09:36,033 --> 00:09:38,119
- I was back here going, "Oh!"
- That felt juicy.
204
00:09:46,043 --> 00:09:47,169
When we made the game,
205
00:09:47,169 --> 00:09:48,796
we don't make any physical things,
206
00:09:48,796 --> 00:09:49,839
it's all digital.
207
00:09:49,839 --> 00:09:51,465
It's all two-dimensional on the screen.
208
00:09:51,465 --> 00:09:54,343
The first time I walked on
set, it was Joel's house.
209
00:09:55,261 --> 00:09:57,471
There's Sarah's room,
there's their living room,
210
00:09:57,471 --> 00:09:59,724
there's the sheets that
are just like the game.
211
00:09:59,724 --> 00:10:04,020
And you already got to
see the love this crew had
212
00:10:04,020 --> 00:10:05,521
for the original material.
213
00:10:05,771 --> 00:10:07,857
And I was like emotionally moved by it.
214
00:10:09,066 --> 00:10:12,111
The sets have just been
so fucking incredible.
215
00:10:12,111 --> 00:10:13,696
I mean, you just don't
even appreciate it
216
00:10:13,696 --> 00:10:15,740
until you're in the
space that you can like,
217
00:10:15,740 --> 00:10:17,742
just fucking shoot things in 360
218
00:10:17,742 --> 00:10:20,077
because everything is like magic.
219
00:10:21,203 --> 00:10:22,997
In the practical shooting of it,
220
00:10:22,997 --> 00:10:28,085
there was strangely little
left to the imagination
221
00:10:28,085 --> 00:10:30,880
because of the quality
of its production.
222
00:10:30,880 --> 00:10:32,673
The game is beautifully realized
223
00:10:32,673 --> 00:10:35,217
and has a beautiful tone and story.
224
00:10:35,217 --> 00:10:37,303
The Last of Us is about a journey,
225
00:10:37,303 --> 00:10:39,096
going across the United States.
226
00:10:39,388 --> 00:10:41,390
And so, having that variety of landscape
227
00:10:41,390 --> 00:10:43,893
really helps make it feel
as authentic as possible.
228
00:10:46,020 --> 00:10:49,315
Fort Macleod was a good
stand-in for Austin, Texas.
229
00:10:49,315 --> 00:10:52,068
We really tried to go
to town there with neon.
230
00:10:52,068 --> 00:10:56,280
Colors you wouldn't see
once the infection starts.
231
00:10:57,406 --> 00:11:01,744
The QZ, that was a
challenge to make the wall.
232
00:11:01,744 --> 00:11:03,537
You know, built it
out of actual concrete
233
00:11:03,537 --> 00:11:05,206
and I could have people walk on it.
234
00:11:05,206 --> 00:11:09,293
I think it really lended a
lot to the realism of things.
235
00:11:10,378 --> 00:11:12,880
Edmonton was a key for the statehouse.
236
00:11:13,297 --> 00:11:15,216
The Fireflies' set was stunning.
237
00:11:15,549 --> 00:11:18,844
'Cause now we're outside the
QZ, it's way more run down.
238
00:11:19,595 --> 00:11:21,347
When we're going through the tunnel,
239
00:11:21,347 --> 00:11:23,265
like the underground,
and up to the office,
240
00:11:23,265 --> 00:11:25,935
and we're standing behind,
about to get through the door,
241
00:11:25,935 --> 00:11:27,019
and I look down,
242
00:11:27,019 --> 00:11:29,897
and there's like little sesame seeds
243
00:11:29,897 --> 00:11:32,566
to look like mouse poo on the ground.
244
00:11:32,566 --> 00:11:36,153
The detail is, like,
from this to like...
245
00:11:36,737 --> 00:11:38,447
That you put that there, I just...
246
00:11:38,447 --> 00:11:42,993
It's... It's... It's just amazing!
247
00:11:43,619 --> 00:11:45,204
They created a village! I mean...
248
00:11:45,579 --> 00:11:48,165
Bill's town, the way it was
written was very particular.
249
00:11:48,165 --> 00:11:50,167
The action involved
and the look of the town
250
00:11:50,167 --> 00:11:51,502
and the feel of the town.
251
00:11:52,086 --> 00:11:53,879
And I kind of had in the back of my mind
252
00:11:53,879 --> 00:11:55,339
that this location existed
253
00:11:55,339 --> 00:11:57,842
after the floods in High River in 2013.
254
00:11:57,842 --> 00:11:59,635
It's on the... kind of
the wrong side of the berm,
255
00:11:59,635 --> 00:12:01,345
and they had to tear all the homes down.
256
00:12:01,345 --> 00:12:02,888
And what was left was all the streets
257
00:12:02,888 --> 00:12:05,057
and the sidewalks and
the infrastructure.
258
00:12:06,016 --> 00:12:07,601
There's a town here, Canmore,
259
00:12:07,601 --> 00:12:11,188
that stood in quite nicely
for Jackson Hole, Wyoming.
260
00:12:11,188 --> 00:12:14,024
This is a town that's self-sufficient.
261
00:12:15,025 --> 00:12:16,025
My favorite part of that
262
00:12:16,360 --> 00:12:18,904
was building the paddock and
the stables and everything
263
00:12:18,904 --> 00:12:21,449
in the parking lot right
in the middle of town.
264
00:12:22,283 --> 00:12:23,492
I was just like,
265
00:12:23,492 --> 00:12:26,162
"There's the bank!
There's a zoo! Lights!"
266
00:12:26,162 --> 00:12:29,039
I was like... I was
like... Everything was...
267
00:12:29,331 --> 00:12:30,708
I was like, "They got everything!"
268
00:12:31,333 --> 00:12:34,503
I was really impressed
with our production design.
269
00:12:34,503 --> 00:12:38,841
Everything was just so
faithful to the game,
270
00:12:38,841 --> 00:12:42,178
and so detailed and specific.
271
00:12:43,179 --> 00:12:47,183
But the mall was, I think, one
of the most amazing sets there is.
272
00:12:47,183 --> 00:12:49,143
You know, we had to get a carousel,
273
00:12:49,393 --> 00:12:51,103
we had to do a Halloween store,
274
00:12:51,353 --> 00:12:53,022
we had to do a Victoria's Secret store.
275
00:12:53,022 --> 00:12:55,816
Even though this was an
abandoned mall before,
276
00:12:55,816 --> 00:12:59,737
the authenticity of
what the mall looks like,
277
00:12:59,737 --> 00:13:00,737
it's really cool.
278
00:13:01,030 --> 00:13:03,616
Plants growing
everywhere, there's algae.
279
00:13:04,074 --> 00:13:05,409
It's just a mess.
280
00:13:06,160 --> 00:13:08,412
This location has been
perfect to shoot in
281
00:13:08,662 --> 00:13:10,456
because they were gonna
tear down this mall anyway.
282
00:13:10,831 --> 00:13:13,334
So, that's given the
amazing art department
283
00:13:13,334 --> 00:13:16,253
like free reign to completely destroy it
284
00:13:16,253 --> 00:13:17,588
and make it their own.
285
00:13:17,588 --> 00:13:19,757
So, as soon as we finish
this, like, this mall is gone.
286
00:13:20,799 --> 00:13:22,009
And let's cut.
287
00:13:24,637 --> 00:13:26,305
Okotoks, the challenge was
288
00:13:26,305 --> 00:13:28,766
that we needed a cul-de-sac neighborhood
289
00:13:28,766 --> 00:13:30,476
to situate this big action scene.
290
00:13:30,851 --> 00:13:34,063
And it's actually a bit freaky,
in terms of how perfect it fits
291
00:13:34,063 --> 00:13:35,689
within the visuals within the game.
292
00:13:37,441 --> 00:13:39,401
When we scouted, it was
exactly what we wanted.
293
00:13:39,401 --> 00:13:41,362
We had extreme winds where literally,
294
00:13:41,362 --> 00:13:42,863
you could almost...
you couldn't stand up.
295
00:13:43,280 --> 00:13:46,158
When Craig was there, I mean, it was
just like, "This is what I wrote."
296
00:13:46,158 --> 00:13:48,410
And that's the best
compliment you can get.
297
00:13:48,410 --> 00:13:51,622
We went to Waterton
because it was known to have
298
00:13:51,622 --> 00:13:53,749
a massive amount of snow.
299
00:13:54,208 --> 00:13:57,169
And what happened
was, there was no snow.
300
00:13:57,169 --> 00:13:59,922
There was drifts up
against some buildings,
301
00:13:59,922 --> 00:14:02,716
but all the roads, all the grass,
302
00:14:02,716 --> 00:14:05,135
everywhere that you
looked, the snow was gone.
303
00:14:06,053 --> 00:14:08,847
You couldn't bring in
snow from outside the park.
304
00:14:08,847 --> 00:14:11,642
I had to use whatever was in the town.
305
00:14:12,101 --> 00:14:17,398
So in three days, we did
350 dump trucks of snow.
306
00:14:17,690 --> 00:14:21,944
Shoveling, brooming,
raking, snow blowers
307
00:14:21,944 --> 00:14:23,946
to cover ten city blocks.
308
00:14:24,321 --> 00:14:26,448
That night, it snowed.
309
00:14:28,951 --> 00:14:32,871
There was a day of shooting,
and we were out in the elements,
310
00:14:33,205 --> 00:14:34,915
and there was snow everywhere,
311
00:14:34,915 --> 00:14:36,834
and we were on the side of a mountain,
312
00:14:36,834 --> 00:14:38,669
and it was really cold,
313
00:14:38,669 --> 00:14:41,714
and there was a trek through the snow.
314
00:14:41,714 --> 00:14:45,926
And there were three or four
house-sized wind machines.
315
00:14:45,926 --> 00:14:48,262
I loved it. I love it. I wanna go back.
316
00:15:02,484 --> 00:15:03,652
How do you want it?
317
00:15:03,944 --> 00:15:05,237
- For me.
- Sí, for you.
318
00:15:07,489 --> 00:15:10,451
Gustavo Santaolalla, our composer,
319
00:15:10,451 --> 00:15:13,329
has such a different way of working.
320
00:15:13,329 --> 00:15:15,122
The way I worked with Gustavo,
321
00:15:15,122 --> 00:15:17,458
starting with the game, and
now continuing with the show,
322
00:15:17,458 --> 00:15:19,126
is pitch him the story.
323
00:15:19,418 --> 00:15:21,837
I think Gustavo as well is
very much about minimalism.
324
00:15:21,837 --> 00:15:24,173
Like what's the least we need to do
325
00:15:24,173 --> 00:15:25,173
to achieve this moment?
326
00:15:25,591 --> 00:15:28,427
Which is very much mine and
Craig's philosophy as well.
327
00:15:28,677 --> 00:15:32,514
The whole thing in the music
of The Last of Us from what I do
328
00:15:32,514 --> 00:15:36,560
is to preserve this organic element.
329
00:15:36,560 --> 00:15:39,980
Kind of minimalism because
I have to play less.
330
00:15:40,230 --> 00:15:44,943
The pipes, the cans, all that
has a little bit to do with
331
00:15:44,943 --> 00:15:49,907
the reality of a post-disaster world
332
00:15:49,907 --> 00:15:52,826
of found objects, broken things.
333
00:15:52,826 --> 00:15:54,078
But it's very organic.
334
00:15:54,078 --> 00:15:57,331
It's almost like in
primitive folk instrument.
335
00:15:57,331 --> 00:15:59,291
Like a modern primitive folk.
336
00:16:02,378 --> 00:16:04,421
The beginning, you
know, was trying to find
337
00:16:04,421 --> 00:16:08,884
how do we translate the language
from the game to the series,
338
00:16:08,884 --> 00:16:13,263
but I think we have found now
something that kind of flows.
339
00:16:15,015 --> 00:16:16,016
He would go off,
340
00:16:16,350 --> 00:16:19,561
and he's come back with
an hour or more of music.
341
00:16:19,561 --> 00:16:21,105
And we'd just sit here listening.
342
00:16:21,355 --> 00:16:24,274
And he's just like, "Here's
this moment that you talked about
343
00:16:24,274 --> 00:16:25,693
that has inspired this theme.
344
00:16:25,693 --> 00:16:27,653
And that's very much what
it's like working with Gustavo.
345
00:16:27,653 --> 00:16:29,154
It's like starting with a lot
346
00:16:29,154 --> 00:16:31,115
and then continuing to
trim it down, trim it down,
347
00:16:31,115 --> 00:16:34,118
and find the right
elements and how they fit.
348
00:16:37,287 --> 00:16:38,706
There's stuff that was
created for the game
349
00:16:38,706 --> 00:16:40,499
that you can just take it and put it,
350
00:16:40,499 --> 00:16:42,209
and it works fantastic.
351
00:16:42,209 --> 00:16:45,879
Which, for me, says a lot
also about what they have done
352
00:16:46,171 --> 00:16:48,549
'cause it means that
there is a connection
353
00:16:48,549 --> 00:16:53,011
between the game and what the series is.
354
00:17:04,314 --> 00:17:07,192
Visual effects is a
big part of this show.
355
00:17:08,944 --> 00:17:10,446
Every shot that we shoot
356
00:17:10,696 --> 00:17:13,198
needs to be touched in
some way by visual effects.
357
00:17:14,366 --> 00:17:18,495
There's such an effort to
really push the boundaries
358
00:17:18,495 --> 00:17:22,416
on both what is practical
and what is a visual effect.
359
00:17:22,833 --> 00:17:24,126
Right from the get-go,
360
00:17:24,126 --> 00:17:28,672
the impetus was to try and do
as much practical as possible.
361
00:17:29,381 --> 00:17:32,092
Alex understands that the dovetail
362
00:17:32,092 --> 00:17:34,386
between practical and visual effects,
363
00:17:34,803 --> 00:17:38,640
when you make it
seamless, that's the magic.
364
00:17:42,936 --> 00:17:46,106
It is very interesting working
with Alex and the VFX team.
365
00:17:46,106 --> 00:17:48,192
The visual effects department
is probably the one department
366
00:17:48,192 --> 00:17:49,610
we work probably the closest with
367
00:17:49,610 --> 00:17:51,111
on any given show or film.
368
00:17:51,570 --> 00:17:54,531
They benefit a lot more from
having something there on the day,
369
00:17:54,531 --> 00:17:57,201
which they can either
manipulate or augment in post
370
00:17:57,201 --> 00:17:59,161
or they've got something
there that needs a touch.
371
00:18:00,120 --> 00:18:01,288
There's everything on this show,
372
00:18:01,288 --> 00:18:03,499
from airplane crashes,
373
00:18:05,167 --> 00:18:07,002
to big environments,
374
00:18:07,920 --> 00:18:11,465
to war-torn destruction in a big city,
375
00:18:12,424 --> 00:18:14,384
to smaller tendrils.
376
00:18:14,384 --> 00:18:17,221
So, there's a lot for
visual effects to work on.
377
00:18:17,596 --> 00:18:19,264
Because there's a lot of environments,
378
00:18:19,264 --> 00:18:21,850
we've actually used a
lot of drone scanning,
379
00:18:21,850 --> 00:18:24,603
so that we're able to
recreate it digitally.
380
00:18:25,270 --> 00:18:26,325
On this show, we used
381
00:18:26,326 --> 00:18:28,315
a combination of drones and LiDAR.
382
00:18:28,315 --> 00:18:32,486
LiDAR scanning is light
imaging distance ranging.
383
00:18:32,486 --> 00:18:36,657
And it basically gives you a 3D
model of what you're scanning.
384
00:18:36,657 --> 00:18:39,535
We knew that there would be
a lot of environment work,
385
00:18:39,535 --> 00:18:40,577
in line with the game.
386
00:18:41,078 --> 00:18:44,456
There's a lot of overgrowth,
and everything's deteriorated.
387
00:18:44,456 --> 00:18:47,000
And we knew that we
would have to pretty much
388
00:18:47,000 --> 00:18:49,878
help out in every
episode in that respect.
389
00:18:54,925 --> 00:18:56,998
So, there's a couple of
different types of scanning
390
00:18:56,999 --> 00:18:58,178
that we're doing on the show.
391
00:18:58,178 --> 00:19:00,389
One of them is cyber scanning.
392
00:19:00,389 --> 00:19:02,975
It's a circle of cameras and lights
393
00:19:02,975 --> 00:19:04,810
that flash simultaneously.
394
00:19:05,144 --> 00:19:06,979
We scan every character
that's on a show,
395
00:19:06,979 --> 00:19:09,857
in case we need to build
a digital version of them.
396
00:19:12,860 --> 00:19:14,236
For all the gamers,
397
00:19:14,236 --> 00:19:17,656
I know everyone knows the
scene when they're escaping.
398
00:19:17,656 --> 00:19:19,658
And they're in the car,
399
00:19:19,658 --> 00:19:21,493
and you can watch everything,
400
00:19:21,493 --> 00:19:24,204
what's happening from
Sarah's perspective.
401
00:19:24,204 --> 00:19:26,039
The amazing thing with that scene
402
00:19:26,039 --> 00:19:28,500
is that it's very true to the game.
403
00:19:28,876 --> 00:19:32,254
We feel like we're with Sarah and Joel
404
00:19:32,254 --> 00:19:34,256
in Tommy's truck the entire time.
405
00:19:34,715 --> 00:19:37,801
And because of our desire working 360,
406
00:19:37,801 --> 00:19:40,137
it was a big challenge
how should we do that.
407
00:19:40,387 --> 00:19:44,057
So, the car was built
with a stunt pod on top.
408
00:19:44,808 --> 00:19:48,604
So, the stunt drivers were sitting
on the rooftop driving a car
409
00:19:48,604 --> 00:19:50,731
while actors could do their thing.
410
00:19:50,731 --> 00:19:53,275
Tilt up.
411
00:19:57,988 --> 00:19:58,988
Run!
412
00:19:59,156 --> 00:20:00,282
The cul-de-sac sequence was certainly
413
00:20:00,282 --> 00:20:03,076
the toughest sequence that we had to do.
414
00:20:03,076 --> 00:20:06,246
The combination of
VFX, the choreography,
415
00:20:06,246 --> 00:20:08,165
and the explosions.
416
00:20:08,540 --> 00:20:11,084
Just the kind of craziness
of it all, really.
417
00:20:11,501 --> 00:20:13,211
And this used to just be a field.
418
00:20:13,211 --> 00:20:15,422
This was nothing but grass.
419
00:20:15,422 --> 00:20:17,299
Craig wrote this amazing sequence
420
00:20:17,299 --> 00:20:18,884
where our cast,
421
00:20:18,884 --> 00:20:23,305
they walk their way onto this
seemingly innocent cul-de-sac
422
00:20:23,305 --> 00:20:24,431
and come under attack.
423
00:20:25,557 --> 00:20:29,353
And then behind them,
a whole convoy of rebels
424
00:20:29,353 --> 00:20:30,520
come up behind them.
425
00:20:30,520 --> 00:20:32,981
So at that point, we
actually opened this up
426
00:20:32,981 --> 00:20:34,775
into the main road behind,
427
00:20:34,775 --> 00:20:37,110
and that gave us all that extra distance
428
00:20:37,110 --> 00:20:39,446
out there in the real
world, on a real road
429
00:20:39,446 --> 00:20:41,281
for the convoy to get up to speed
430
00:20:41,281 --> 00:20:42,282
and start chasing them.
431
00:20:42,574 --> 00:20:44,368
These trucks come through,
there's a "run" truck
432
00:20:44,368 --> 00:20:46,787
that just plows through
all these vehicles,
433
00:20:46,787 --> 00:20:48,330
knocking them all over the place.
434
00:20:48,330 --> 00:20:49,748
Yeah, it was a big deal
435
00:20:49,748 --> 00:20:52,459
plowing through all these
cars, making it look realistic.
436
00:20:52,459 --> 00:20:54,836
We had to reinforce the plow
437
00:20:54,836 --> 00:20:56,463
because the first night, it broke.
438
00:20:59,299 --> 00:21:01,927
And then it was the
driving into the house
439
00:21:02,844 --> 00:21:05,013
without destroying the building
440
00:21:05,013 --> 00:21:07,975
because the building
was prepped for fire.
441
00:21:07,975 --> 00:21:11,019
Meaning that post-crash,
we would pull the truck out
442
00:21:11,019 --> 00:21:14,856
and put another truck in
there that would then explode.
443
00:21:15,482 --> 00:21:17,484
Special effects did an amazing job
444
00:21:17,484 --> 00:21:20,487
piping those houses and
vehicles with propane,
445
00:21:20,487 --> 00:21:23,782
but we'll go in there and
just add the finishing touches.
446
00:21:26,827 --> 00:21:28,453
In the big, climactic battle scene,
447
00:21:28,453 --> 00:21:30,998
most of that was done practically
448
00:21:30,998 --> 00:21:32,332
with real performers.
449
00:21:33,083 --> 00:21:36,336
However, we felt like we
needed to triple that amount.
450
00:21:36,336 --> 00:21:40,173
So, everything in addition
was visual effects.
451
00:21:40,507 --> 00:21:42,718
When we need to make
these creatures in CG,
452
00:21:42,718 --> 00:21:44,636
it's always good to have a reference
453
00:21:44,636 --> 00:21:47,055
from the actual performers themselves,
454
00:21:47,055 --> 00:21:49,474
so an animator doesn't have
to do it frame-by-frame.
455
00:21:49,474 --> 00:21:54,813
Mocap is a methodology of
capturing movement of characters.
456
00:21:54,813 --> 00:21:56,398
We did a mocap session,
457
00:21:56,398 --> 00:21:59,192
tried to record as
many different movements
458
00:21:59,192 --> 00:22:01,445
from the stuntmen as we possibly could.
459
00:22:01,445 --> 00:22:03,947
We had multiple cameras set up.
460
00:22:04,281 --> 00:22:07,576
So much of what we do
in post with animation
461
00:22:07,576 --> 00:22:09,202
depends on the performances.
462
00:22:09,202 --> 00:22:11,580
We shot a library of their movements,
463
00:22:11,580 --> 00:22:14,082
and we selected the best
ones that we could have.
464
00:22:21,256 --> 00:22:24,551
Of course, we try to do as
much practically as possible.
465
00:22:24,551 --> 00:22:27,220
The makeup people were awesome.
466
00:22:29,306 --> 00:22:32,559
The design work from Barrie
Gower's team was complete.
467
00:22:33,101 --> 00:22:35,062
We took these designs
and we scanned them,
468
00:22:35,062 --> 00:22:38,273
and this helped create
visual assets for us in post.
469
00:22:41,151 --> 00:22:42,486
With the infected,
470
00:22:42,486 --> 00:22:44,946
we started exploring all
these other paint schemes.
471
00:22:45,530 --> 00:22:47,240
Once we knew what the colors were,
472
00:22:47,240 --> 00:22:49,743
then we would paint a suit to match.
473
00:22:49,743 --> 00:22:52,037
We would glue all the mushrooms
and everything onto the suits,
474
00:22:52,037 --> 00:22:54,831
and then the suits would go
over to Sage and her team,
475
00:22:54,831 --> 00:22:56,291
and they would cut the costumes
476
00:22:56,291 --> 00:22:58,919
for the mushrooms to be growing through
477
00:22:58,919 --> 00:23:01,004
and sort of dripping stains
478
00:23:01,004 --> 00:23:02,756
as they kind of came through the skin
479
00:23:02,756 --> 00:23:04,132
and the flesh broke down.
480
00:23:04,132 --> 00:23:07,594
Each clicker is designed individually.
481
00:23:07,594 --> 00:23:08,970
And the costume had to be durable enough
482
00:23:08,970 --> 00:23:14,017
to go through all of the crazy
contortionist sort of moves
483
00:23:14,017 --> 00:23:16,269
that the clickers have
in the fight scenes.
484
00:23:17,479 --> 00:23:18,980
Then they run through
the breakdown department,
485
00:23:18,980 --> 00:23:21,108
so it looks like they've
been rotting and molding
486
00:23:21,108 --> 00:23:22,275
for months or years.
487
00:23:22,275 --> 00:23:24,111
And so, when you see
the whole thing together,
488
00:23:24,111 --> 00:23:25,153
with the prosthetics
489
00:23:25,529 --> 00:23:28,406
and the sort of muddy, drippy
costume that's coming off them,
490
00:23:28,406 --> 00:23:30,158
it just looks so amazing.
491
00:23:30,408 --> 00:23:32,452
You never go into
battle with one costume,
492
00:23:32,452 --> 00:23:33,537
but these guys did.
493
00:23:33,537 --> 00:23:35,497
So, you know, makeup,
effects, and costumes
494
00:23:35,497 --> 00:23:37,707
would be sitting on
set, biting their nails,
495
00:23:37,707 --> 00:23:39,543
just hoping that
everything stays together.
496
00:23:39,543 --> 00:23:41,586
So, one thing we did
for a lot of our shots
497
00:23:41,586 --> 00:23:43,630
was we actually had a little area
498
00:23:43,630 --> 00:23:45,757
that we could remove from the crown
499
00:23:45,757 --> 00:23:47,259
of the clicker's appliance.
500
00:23:47,259 --> 00:23:49,719
We would either have
complete vision for the actors
501
00:23:49,719 --> 00:23:51,555
and you'd see their
eyes looking through,
502
00:23:51,555 --> 00:23:53,390
which would then be replaced in post,
503
00:23:53,390 --> 00:23:55,725
or we'd be able to do
some more close up stuff
504
00:23:55,725 --> 00:23:56,977
and put that plug back in.
505
00:23:56,977 --> 00:23:58,603
The amount of work they had to do
506
00:23:58,603 --> 00:24:00,981
just to get the 200 we had in there,
507
00:24:00,981 --> 00:24:02,357
it was amazing.
508
00:24:10,031 --> 00:24:11,658
There are several creatures
509
00:24:11,658 --> 00:24:13,702
that we had to make the
decision fairly early on
510
00:24:13,702 --> 00:24:16,746
whether they'd be done
practically with prosthetics,
511
00:24:16,746 --> 00:24:18,123
in visual effects entirely,
512
00:24:18,540 --> 00:24:20,584
or if it might be a hybrid
approach of the both.
513
00:24:20,876 --> 00:24:23,044
In the case of the bloater itself,
514
00:24:23,044 --> 00:24:25,547
because it's an enormous creature,
515
00:24:25,547 --> 00:24:27,674
it's meant to stand
about seven feet tall,
516
00:24:27,674 --> 00:24:30,051
you can get a man and put
him in a prosthetic suit,
517
00:24:30,051 --> 00:24:31,052
which they did.
518
00:24:31,052 --> 00:24:32,179
At the end of the day,
519
00:24:32,179 --> 00:24:33,597
there's only a certain
amount of mobility
520
00:24:33,597 --> 00:24:34,931
in this prosthetic suit.
521
00:24:34,931 --> 00:24:37,475
As good as it looked, he
just couldn't do the things
522
00:24:37,475 --> 00:24:39,895
that he needed to do as the bloater.
523
00:24:40,353 --> 00:24:43,190
Very early on, we kind
of planned for doing it
524
00:24:43,190 --> 00:24:44,232
practically on set,
525
00:24:44,232 --> 00:24:46,693
in a prosthetic suit
that Barrie Gower made.
526
00:24:46,693 --> 00:24:49,654
But we reserved the option
and shot a lot of clean plates,
527
00:24:49,654 --> 00:24:52,490
which means we took the
bloater, the physical bloater,
528
00:24:52,490 --> 00:24:55,911
out of the shot so that we
had a clean background to use
529
00:24:55,911 --> 00:24:58,330
in case we wanted to go the CG route
530
00:24:58,330 --> 00:25:00,290
in some or in all cases.
531
00:25:00,290 --> 00:25:02,709
Barrie Gower and his
team did a fantastic job
532
00:25:02,709 --> 00:25:05,337
creating the bloater
suit with so much detail.
533
00:25:05,670 --> 00:25:08,006
However, we found that what we needed
534
00:25:08,006 --> 00:25:10,091
was the bloater to be
a little bit bigger.
535
00:25:10,091 --> 00:25:12,469
And it needed to move a
little faster, as well.
536
00:25:12,469 --> 00:25:15,764
This CG creature is doing
some very fantastical things.
537
00:25:15,764 --> 00:25:18,099
Things that a normal human couldn't do.
538
00:25:18,099 --> 00:25:21,770
We ended up just feeling like
it was necessary to create
539
00:25:21,770 --> 00:25:23,271
a full digital version of the bloater.
540
00:25:31,404 --> 00:25:33,031
In the case of the child clicker,
541
00:25:33,031 --> 00:25:34,699
very much like the bloater early on,
542
00:25:34,699 --> 00:25:37,744
what we did was we sussed out
543
00:25:37,744 --> 00:25:38,995
a person that could play the role.
544
00:25:38,995 --> 00:25:40,330
And in this case, it happened to be
545
00:25:40,580 --> 00:25:44,209
a girl from Toronto called Skye,
who was also a contortionist.
546
00:25:44,209 --> 00:25:47,921
So she could move her
body very, very effectively
547
00:25:47,921 --> 00:25:51,675
and do all sorts of clicker-y,
kind of stutter-y motions.
548
00:25:52,926 --> 00:25:55,971
What we did was we shot Skye
on set, like the bloater.
549
00:25:55,971 --> 00:25:59,599
And then we also decided
to sort of change the design
550
00:25:59,599 --> 00:26:03,353
just ever so slightly, in
terms of the prosthetic makeup.
551
00:26:03,353 --> 00:26:06,231
We wanted to feel
frightened by her character,
552
00:26:06,231 --> 00:26:08,900
but also have a sense
of sympathy for her.
553
00:26:09,484 --> 00:26:12,112
We had more of her face exposed,
554
00:26:12,362 --> 00:26:15,448
we could see her long
hair, her pigtails.
555
00:26:15,448 --> 00:26:18,451
These were all the aspects that
were important to Craig and Neil.
556
00:26:19,744 --> 00:26:21,733
What started out as just replacing
557
00:26:21,734 --> 00:26:24,291
Skye's head as a CG element,
558
00:26:24,291 --> 00:26:27,711
we realized we might as
well go a full CG body on it.
559
00:26:27,711 --> 00:26:29,921
And then we can get
this child clicker to do
560
00:26:29,921 --> 00:26:31,840
exactly what we want it to do.
561
00:26:31,840 --> 00:26:35,510
So, now she's able to do that
in a much more fantastical way
562
00:26:35,510 --> 00:26:37,345
because we went CG with it.
563
00:26:39,973 --> 00:26:43,184
The fight at the Silver Lake Steakhouse,
564
00:26:43,184 --> 00:26:45,186
special effects did an excellent job
565
00:26:45,186 --> 00:26:48,398
of essentially piping the entire set.
566
00:26:48,398 --> 00:26:50,358
Of course, we can see
some of this piping,
567
00:26:50,358 --> 00:26:52,652
which, this is where
visual effects will come in
568
00:26:52,652 --> 00:26:57,574
and remove the piping and
also blend in more flames.
569
00:26:58,074 --> 00:27:01,244
At one point, we were not
going to do any practical fire
570
00:27:01,244 --> 00:27:04,205
because the discussion was
that it was too much money,
571
00:27:04,581 --> 00:27:06,291
and we couldn't do
it in the time we had.
572
00:27:06,291 --> 00:27:08,918
That's where I come in to
say, "No, we can do it."
573
00:27:08,918 --> 00:27:10,545
Basically, I said, "You can have...
574
00:27:10,545 --> 00:27:14,174
Of this size set, you can
have a quarter of it on fire."
575
00:27:14,924 --> 00:27:17,635
Joel Whist, our special
effects supervisor,
576
00:27:18,053 --> 00:27:19,304
is amazing,
577
00:27:19,304 --> 00:27:21,639
and he designed that entire set
578
00:27:21,639 --> 00:27:25,060
to be fireproof in the areas
that we needed it to be.
579
00:27:25,060 --> 00:27:27,645
And that helped immeasurably for us.
580
00:27:35,111 --> 00:27:37,238
Shooting with Nabo the giraffe
581
00:27:37,238 --> 00:27:40,450
will certainly be one of
my favorite experiences.
582
00:27:40,825 --> 00:27:44,496
What I quickly learned after
doing the research on the game
583
00:27:44,496 --> 00:27:47,248
was just how critically important
584
00:27:47,248 --> 00:27:50,960
this one moment is to the
whole story of the game.
585
00:27:51,669 --> 00:27:53,463
Giraffes are pretty massive.
586
00:27:54,756 --> 00:27:58,051
It's like a spiritual experience almost,
587
00:27:58,301 --> 00:28:02,013
being so close to such
a magnificent animal.
588
00:28:02,514 --> 00:28:04,974
Yes, you can create a
giraffe in visual effects,
589
00:28:04,974 --> 00:28:06,434
but it's just not the same.
590
00:28:07,769 --> 00:28:11,398
Fortunately, the one thing Alberta
does have is a zoo with giraffes.
591
00:28:11,398 --> 00:28:15,944
And we spent quite a while
putting things in the enclosure,
592
00:28:15,944 --> 00:28:19,072
so that we could shoot it and
getting the giraffes acclimated.
593
00:28:19,072 --> 00:28:21,574
Like panels with blue screen,
594
00:28:21,825 --> 00:28:25,078
so that we could go in there
and just shoot the giraffe
595
00:28:25,078 --> 00:28:26,830
and have Ellie feed the giraffe.
596
00:28:27,205 --> 00:28:30,959
And then, visual effects in
all the other pieces around it.
597
00:28:32,877 --> 00:28:33,878
Something that was so fascinating
598
00:28:33,878 --> 00:28:35,380
about this experience was that
599
00:28:35,380 --> 00:28:37,632
the visual effects
and the special effects
600
00:28:37,632 --> 00:28:39,300
and all of the departments
working together,
601
00:28:39,300 --> 00:28:41,302
building all of these
practical elements.
602
00:28:41,302 --> 00:28:45,723
To be able to actually see it
in front of you was everything
603
00:28:46,015 --> 00:28:48,143
in terms of the playing
of these characters
604
00:28:48,143 --> 00:28:51,229
and the being in this fungus apocalypse
605
00:28:51,646 --> 00:28:52,772
20 years in.
606
00:29:01,948 --> 00:29:04,534
I don't know how to describe
this feeling of pride.
607
00:29:04,534 --> 00:29:06,619
And I can't wait for
everybody at Naughty Dog
608
00:29:06,619 --> 00:29:08,163
that worked so hard on the game
609
00:29:08,163 --> 00:29:11,291
and realize that the first
time to see this version
610
00:29:11,291 --> 00:29:12,792
does all their work justice.
611
00:29:13,084 --> 00:29:15,670
There's something really
beautiful and moving about that.
612
00:29:16,838 --> 00:29:18,923
When people talk to me about the game,
613
00:29:18,923 --> 00:29:20,008
we are the same.
614
00:29:20,008 --> 00:29:21,926
We understand each other.
615
00:29:21,926 --> 00:29:23,845
We have a shared language.
616
00:29:24,554 --> 00:29:25,554
Arts are so important
617
00:29:25,805 --> 00:29:27,640
because it holds a mirror
to our social condition,
618
00:29:28,016 --> 00:29:30,643
and it helps us have
better understanding
619
00:29:30,643 --> 00:29:33,688
for someone who doesn't
look or act like us,
620
00:29:33,688 --> 00:29:35,440
who might come from a different culture,
621
00:29:35,440 --> 00:29:38,943
and I think that we'll be
able to jump over some of these
622
00:29:38,943 --> 00:29:40,904
skyscraper-high hurdles
623
00:29:40,904 --> 00:29:43,573
that we have in the
things that divide us.
624
00:29:43,990 --> 00:29:46,826
And that will never end.
625
00:29:46,826 --> 00:29:50,872
That right there is the
crux of The Last of Us.
626
00:29:51,998 --> 00:29:54,918
One of the most exciting
experiences of my life
627
00:29:54,918 --> 00:29:57,128
was getting this job.
628
00:29:57,128 --> 00:30:01,549
To come back to HBO,
which basically raised me,
629
00:30:01,549 --> 00:30:06,221
to meet Craig, to meet Bella,
all of our different actors,
630
00:30:06,221 --> 00:30:09,474
there was something of where
I knew this was going to be
631
00:30:09,474 --> 00:30:14,562
the hardest and the best
experience of my life.
632
00:30:14,562 --> 00:30:16,147
And weirdly, there was something
633
00:30:16,147 --> 00:30:19,817
that I knew was special and terrifying.
634
00:30:19,817 --> 00:30:22,111
And it all came true.
635
00:30:23,905 --> 00:30:28,368
On the first day, I set
a fairly reasonable goal
636
00:30:28,368 --> 00:30:30,828
to make the best television show ever.
637
00:30:30,828 --> 00:30:32,413
That was our reasonable goal.
638
00:30:33,164 --> 00:30:37,502
I just want to say thank you.
I love you guys. Thank you.
639
00:31:05,572 --> 00:31:07,490
And that's the end of this story.
640
00:31:09,000 --> 00:31:14,000
- Synced and corrected by chamallow -
- www.addic7ed.com -
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