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This is Peter Chung, the creator
of Aeon Flux.
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And this is Drew Neumann, the hired
lackey for music and sound effects.
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This is the first episode of Aeon Flux...
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the first time
she ever appeared on television...
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in 1991, I think, on Liquid Television.
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It was divided up into a series
of six episodes of two minutes each...
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which ran weekly...
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and was then compiled
into a 12-minute film...
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which you see here.
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My first viewings of it
were completely silent.
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I had no idea what was going on.
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But you had read the script
and saw the storyboard, I think.
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Yeah, although they weren't always
readily apparent...
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from just looking at storyboard to script.
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I think a lot of it had to play out
in motion...
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before you understood
what was going on.
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Yes, and maybe even then...
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But I have to say that...
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watching the film, initially
without sound, and then seeing it...
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with the music and sound that
Drew had provided...
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was just an incredible difference.
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He added so much scale...
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and depth and richness to it.
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Whereas my approach to the animation
was very spare...
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and almost minimal...
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in terms of design and shadow.
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I was deliberately going for a very,
kind of, graphic, descriptive look.
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But amazing angles.
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It seemed to me
that each section of this...
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when I originally saw it...
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played out two minutes at a time...
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needed a completely different flavour.
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And I really actually got in trouble
with MTV.
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The first section of this, which was
supposed to be a deception...
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kind of a Raiders of the Lost Ark,
over-the-top, action-adventure thing...
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they thought was
too orchestral-sounding, and I said:
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"Just hold on, trust me.
It's going somewhere else."
38
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And just about the time that she
finishes this run, shooting everybody...
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we shift gears...
40
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and, suddenly, where are we?
In Bugland...
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which sounds like
some weird old Italian melodrama...
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setting up expectations
and then shattering them...
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'cause I was always frustrated
in watching action movies...
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that they would only show
one side of the action...
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and what I really was doing here
in this episode...
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was doing a completely 180 reversal
and starting to see...
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And occasionally she comes through,
and it's more of a psycho approach...
50
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that she's just a mass murderer...
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instead of the hero from that first bit.
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Yeah, 'cause at this point
you have no idea who she is...
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or what she's after.
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You just know that she's cool...
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and she's good at what she does.
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And here's where we get the first hints...
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that, well, hey, all these people
were gonna die anyway.
58
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Well, it was an important thing
that they all wear masks...
59
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as a way of dehumanizing them...
60
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and then, in this episode,
they take off their masks...
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and we do see
that they're all individual people.
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This was particularly challenging
to write...
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this part right here...
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trying to come up with something
that would indicate this person's...
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'Cause he's smiling
even as he's about to die.
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And giving him some individuality...
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without resorting to things like...
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pictures of his family
and stuff like that...
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because the idea...
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that anybody's life is precious...
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or anybody's life, as an individual...
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is worth anybody else's...
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I think is true...
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regardless of whether or not
they have ties to other people.
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I think...
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that the inherent value
of the individual...
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It's a theme that I played with a lot
throughout the series...
78
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and, actually, it eventually became...
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the defining characteristic
of Aeon herself...
80
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because she herself is somebody
who has no ties...
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either familial or societal.
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Musically, this is my favourite section
of the pilot...
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a very radical shift in direction...
84
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much more industrial,
banging metal pipes...
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and processed piano sounds.
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From a sound effects standpoint...
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this was the first really odd thing
that I got to do.
88
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And I think it was actually
in the storyboards...
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where, as a character is being shot...
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we hear a, sort of, machine-gun version
of the laughter...
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from a point-of-view perspective,
rather than... Ah, here it is.
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You see a point of view
and sort of rapid-fire laughter...
93
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as we cut back to the other guy
who is actually laughing.
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That's as though
the psychological effect...
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of the person's perception
as they're dying.
96
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And then, of course,
that person's knocked off as well.
97
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Well, temporarily.
98
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But it's apparent at this point
that he's got the virus...
99
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and his only hope is to get
what's in that case.
100
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Yeah, the contents of the case
is still unknown...
101
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and in fact, Aeon...
102
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obviously, not knowing what's inside it...
103
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but assuming
that it has great importance...
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because people are
willing to fight and die over it...
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decides that it must be worth stealing.
But then...
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What calls us to that distant goal...
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Oh, I'm actually talking about the virus.
108
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We'll get back to the...
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Actually, I'm analysing this too much.
Make up your own story.
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I don't want to tell you what this about,
because that's the whole point...
111
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is to find out what it means to you.
112
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Anyway, I want to talk a little bit
about the costume...
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because that's something
that a lot of people bring up.
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- Aeon's, or...
- Yes...
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Aeon's costumes,
why she's dressed like that.
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It has a lot to do
with the fact that she doesn't talk...
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and she really has to use her body...
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to express
what she's thinking and feeling.
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I did try, initially, to design costumes...
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which were more realistic
or more practical...
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but what you find out is that...
122
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to draw realistic costuming...
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requires a lot of attention paid to things
like folds in the clothing...
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the way that the clothes
hang on the body...
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and you end up wasting a lot of time
just trying to figure that out...
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which, in the end, isn't important...
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and, in the end, actually works against
what you're trying to do...
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which is, use as much of the body's
expressive qualities as possible.
129
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It's the reason why...
130
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artists have always preferred
to portray the nude.
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Because to portray
a clothed figure, again...
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it becomes more about the costume
and less about the person.
133
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And I think
that's one of the reasons also...
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why comic-book artists...
135
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draw their characters
in skin-tight outfits...
136
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is to reveal different forms...
137
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that the anatomy takes.
138
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And it's also true of dancers, actually.
139
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The reason why dancers wear...
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skin-tight costumes,
or very revealing costumes.
141
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It's because
they have to use their bodies.
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And I was really thinking of Aeon
as a dancer...
143
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and choreographing her movements
in that way.
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Here we build up to a key plot point...
145
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which, actually, sound effects-wise,
was a nail into Styrofoam...
146
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which is a nasty sound, here we go...
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which doesn't play out again
until the very final bit.
148
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In the background,
we're hearing a source cue...
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that is kind of like a broken version...
150
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of something that Antonio Carlos Jobim
might have done...
151
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had he just wanted to do
something wrong.
152
00:08:01,080 --> 00:08:04,550
The idea was to try to create a world,
using the music and sound...
153
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that was a little bit more real,
gave it another dimension...
154
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that there's some other cultural aspect
to it besides what we're seeing.
155
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So in the background
we see this guy playing a piano.
156
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You know, we were left up
to our own devices.
157
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I just, sort of, wrote something
that felt like...
158
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strange lounge music,
and then peppered that throughout.
159
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In front of that is the sound effect
of this massage chair...
160
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and closer up,
the strange noises of whatever it is...
161
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that Trevor's doing to his finger...
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which eventually becomes
a tasty snack.
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Yeah, apart from the music having
different styles for each episode...
164
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actually, the...
165
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This is me.
166
00:08:44,680 --> 00:08:47,558
Yeah, Drew was doing multiple duties...
167
00:08:47,720 --> 00:08:51,713
doing sound design, recording gunfire,
music, voices...
168
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I was in a panic when I saw that.
169
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I said, "So do we have a recorded
dialogue track for that lip flap there?"
170
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I was told, "No."
I have to make something up.
171
00:09:01,560 --> 00:09:04,233
But this episode,
this two-minute segment...
172
00:09:04,320 --> 00:09:08,472
is made up entirely of
one continuous shot, with no cuts.
173
00:09:09,480 --> 00:09:13,075
And I wanted to give you the feeling...
174
00:09:13,160 --> 00:09:16,914
Well, the camera, apart from the pan
at the beginning, is just fixed...
175
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and zooming very, very slowly...
176
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closer and closer in
to a particular detail...
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which, I felt... I wanted
to experiment with the idea of...
178
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conveying, subliminally at least,
the idea that...
179
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the outcome is inevitable.
180
00:09:39,160 --> 00:09:41,674
And I think you can do that...
181
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with carefully controlled camera work...
182
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in the sense
that the camera already knows...
183
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where somebody is gonna be...
184
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before the character does it. So...
185
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I felt it was important
to stay out of the way of the visuals...
186
00:10:00,920 --> 00:10:03,798
and leave this
the ability to play anywhere.
187
00:10:04,040 --> 00:10:07,555
The reason for the announcer not to be
in English, obviously, was so that...
188
00:10:07,640 --> 00:10:10,438
you could play it
anywhere in the world...
189
00:10:10,520 --> 00:10:13,114
and somebody would still get, visually,
what's going on.
190
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Ouch!
191
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She steps on it and falls to her death.
192
00:10:22,200 --> 00:10:24,111
The first of many deaths for Aeon.
193
00:10:24,200 --> 00:10:27,795
Yeah, as it turned out, and when I first
did this, of course, I didn't know...
194
00:10:27,880 --> 00:10:29,313
that we were ever gonna do any more.
195
00:10:29,400 --> 00:10:31,789
So, I really wanted...
196
00:10:32,360 --> 00:10:35,193
to have the ending...
197
00:10:36,040 --> 00:10:39,237
that would have the maximum impact.
198
00:10:41,480 --> 00:10:43,311
Really, this story is...
199
00:10:43,400 --> 00:10:47,678
No, I'm not gonna go into
what that's about.
200
00:10:49,000 --> 00:10:50,911
Unlike the later episodes...
201
00:10:51,560 --> 00:10:53,437
this one, we do get, clearly, a sense...
202
00:10:53,520 --> 00:10:56,956
that she's on a mission
and belongs to a group...
203
00:10:57,160 --> 00:10:59,833
which was an idea
which I later abandoned...
204
00:10:59,920 --> 00:11:02,195
because I thought it was much more...
205
00:11:02,600 --> 00:11:04,079
It made her a stronger character...
206
00:11:04,160 --> 00:11:08,631
if she wasn't taking orders
and was always...
207
00:11:12,360 --> 00:11:16,478
motivated by her own personal motives,
as opposed to some kind of directive.
208
00:11:17,560 --> 00:11:20,154
Would you like to explain the blue guy
to us?
209
00:11:21,800 --> 00:11:22,869
I know that this...
210
00:11:22,960 --> 00:11:24,757
I can't say that I have any explanation...
211
00:11:24,840 --> 00:11:26,751
except that that is the afterlife,
in her mind.
212
00:11:29,000 --> 00:11:29,989
This last bit...
213
00:11:30,080 --> 00:11:32,719
A lot of the segments were running
so far behind schedule...
214
00:11:32,800 --> 00:11:36,475
they were coming in on flights,
United Airline flights into Burbank...
215
00:11:36,560 --> 00:11:39,028
that I would have to run, grab the tapes,
and come back.
216
00:11:39,120 --> 00:11:40,872
The producer and the editor
were sitting there...
217
00:11:42,080 --> 00:11:43,718
while I did this
last two-minute segment...
218
00:11:43,800 --> 00:11:46,872
and insisted
that I had to make a specific deadline.
219
00:11:46,960 --> 00:11:49,952
And I made it,
I think, within five minutes.
18391
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