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These are the user uploaded subtitles that are being translated: 1 00:00:13,066 --> 00:00:17,266 I felt that I had to learn how to make a picture faster 2 00:00:17,266 --> 00:00:21,599 cheaper um and still have um 3 00:00:21,766 --> 00:00:24,099 still have the energy in the film 4 00:00:24,700 --> 00:00:27,300 in fact go further with a certain kind of camera move 5 00:00:27,300 --> 00:00:28,700 and cutting in this sort of thing 6 00:00:28,733 --> 00:00:31,299 and when I first met Michael Ballhouse in 7 00:00:31,533 --> 00:00:32,866 Abby had gone through 8 00:00:32,866 --> 00:00:37,666 having gone through a series of films up about 1981 9 00:00:38,133 --> 00:00:39,699 came up to king of comedy 10 00:00:40,000 --> 00:00:40,533 and sort of 11 00:00:40,533 --> 00:00:42,599 the bottom fell out of everything after that 12 00:00:43,766 --> 00:00:45,099 but I did meet Michael 13 00:00:45,866 --> 00:00:50,666 when we were preparing last mutation of Christ in 1983 14 00:00:51,100 --> 00:00:53,566 and I'd seen his vast Bender films that he 15 00:00:53,566 --> 00:00:54,499 that he had shot 16 00:00:54,733 --> 00:00:56,099 and I wanted the 17 00:00:56,366 --> 00:00:57,999 a sense of um 18 00:01:00,400 --> 00:01:02,066 freedom with the camera again 19 00:01:02,066 --> 00:01:04,433 and freedom with light um 20 00:01:05,066 --> 00:01:05,933 in a sense I was 21 00:01:05,933 --> 00:01:09,666 I felt that with the bigger productions from uh 22 00:01:10,800 --> 00:01:13,000 as as as that's not the camera 23 00:01:13,000 --> 00:01:16,733 that's not the directors of photographies issue 24 00:01:16,733 --> 00:01:19,366 this had to do with the how a film is made 25 00:01:19,366 --> 00:01:20,299 the amount of people 26 00:01:20,300 --> 00:01:21,066 the amount of equipment 27 00:01:21,066 --> 00:01:24,366 I wanted to get something trimmer and faster you know 28 00:01:25,133 --> 00:01:28,466 and so I felt I should go back to 29 00:01:29,066 --> 00:01:31,499 independent style film making 30 00:01:31,500 --> 00:01:33,500 and I saw the Fastbender pictures 31 00:01:33,500 --> 00:01:35,333 and then followed up on that 32 00:01:35,333 --> 00:01:35,966 meeting Michael 33 00:01:35,966 --> 00:01:38,599 and we're gonna make last Temptation 34 00:01:38,700 --> 00:01:41,033 um but by the end of the year the film fell through 35 00:01:41,166 --> 00:01:42,933 and we were out in the diaspora 36 00:01:42,933 --> 00:01:43,599 so to speak 37 00:01:43,600 --> 00:01:44,966 out of Hollywood everywhere 38 00:01:44,966 --> 00:01:46,399 and can get a picture made 39 00:01:46,500 --> 00:01:48,766 but um finally 40 00:01:48,766 --> 00:01:51,566 it was time to start all over again I felt 41 00:01:51,666 --> 00:01:53,466 and we stumbled upon 42 00:01:53,466 --> 00:01:55,366 I think was Amy Robinson 43 00:01:55,366 --> 00:01:58,366 and Griffin Dunn gave me the script of after hours 44 00:01:59,133 --> 00:02:00,799 and so um um 45 00:02:00,800 --> 00:02:02,800 I thought this was a good opportunity to 46 00:02:03,166 --> 00:02:05,099 try to learn how to make a picture again 47 00:02:05,666 --> 00:02:06,966 and also a project 48 00:02:06,966 --> 00:02:08,899 of course that I really responded to 49 00:02:09,166 --> 00:02:10,966 because of the nature of the 50 00:02:11,000 --> 00:02:12,466 of the story 51 00:02:12,466 --> 00:02:15,633 in the character being out of his element 52 00:02:15,666 --> 00:02:16,499 and being in a place 53 00:02:16,500 --> 00:02:18,766 where he couldn't believe anyone or anything 54 00:02:18,766 --> 00:02:21,066 and he sort of trapped um 55 00:02:21,266 --> 00:02:21,999 and I thought this was 56 00:02:22,000 --> 00:02:24,200 that's way I felt myself at the time 57 00:02:24,366 --> 00:02:26,566 um and so uh 58 00:02:27,100 --> 00:02:29,533 I called on Michael again there 59 00:02:29,533 --> 00:02:31,299 and that's the first time we really had 60 00:02:31,300 --> 00:02:32,600 the ability to work together 61 00:02:32,600 --> 00:02:34,233 we shot it in 40 nights 62 00:02:35,766 --> 00:02:39,533 averaging about 25 to 26 set UPS a night 63 00:02:39,533 --> 00:02:41,099 and so Michael um 64 00:02:41,900 --> 00:02:43,033 would be on the set 65 00:02:43,133 --> 00:02:44,666 and it was you know 66 00:02:44,666 --> 00:02:47,299 downtown somewhere and the old Soho 67 00:02:47,300 --> 00:02:50,100 which at that time was really isolated at night 68 00:02:50,100 --> 00:02:52,200 there's nobody there uh 69 00:02:52,400 --> 00:02:55,700 and I'd get there and I'd be kind of grumpy um 70 00:02:56,400 --> 00:02:58,600 concerned about getting everything done 71 00:02:59,166 --> 00:02:59,933 proving to myself 72 00:02:59,933 --> 00:03:03,499 I can get something shot in a more efficient manner 73 00:03:03,500 --> 00:03:05,466 that still had everything I wanted 74 00:03:05,666 --> 00:03:07,666 not quite sure this particular scene 75 00:03:07,933 --> 00:03:10,266 and he would look at me and says ah 76 00:03:10,266 --> 00:03:11,266 but tonight 77 00:03:11,666 --> 00:03:16,199 tonight we do the shot that begins on the chair 78 00:03:16,533 --> 00:03:18,199 tracks up goes around 79 00:03:18,200 --> 00:03:20,333 the face comes over to the telephone 80 00:03:20,333 --> 00:03:21,799 goes to the jukebox as whole 81 00:03:21,800 --> 00:03:22,600 you're right 82 00:03:22,766 --> 00:03:23,566 you're right 83 00:03:23,900 --> 00:03:25,266 yeah yeah that's something 84 00:03:25,266 --> 00:03:26,766 so we don't do it first 85 00:03:26,766 --> 00:03:28,066 no no of course not 86 00:03:28,066 --> 00:03:29,266 we're gonna do it a little later 87 00:03:29,266 --> 00:03:31,666 because I have certain lighting issues okay okay 88 00:03:31,700 --> 00:03:33,566 but he gave me something to look forward to 89 00:03:33,766 --> 00:03:35,333 and brought back the excitement 90 00:03:35,333 --> 00:03:37,033 and the love of the process 91 00:03:37,300 --> 00:03:38,333 you know he said look this 92 00:03:38,333 --> 00:03:39,466 we're gonna have some fun tonight 93 00:03:39,466 --> 00:03:41,099 I mean and fun 94 00:03:41,100 --> 00:03:42,766 I use that word fun for many different things 95 00:03:42,766 --> 00:03:44,899 won't get have fun at say well 96 00:03:44,900 --> 00:03:45,666 we're gonna have some fun 97 00:03:45,666 --> 00:03:47,966 and ironic tone of course 98 00:03:48,000 --> 00:03:53,100 but it really was bringing back to me um 99 00:03:54,566 --> 00:03:58,333 the energy and the excitement of film making 100 00:03:58,333 --> 00:04:00,266 that he reinstilled in me 101 00:04:00,366 --> 00:04:01,199 and I remind you 102 00:04:01,200 --> 00:04:02,800 I had designed all these shots 103 00:04:02,800 --> 00:04:05,500 and drawings and diagrams 104 00:04:07,333 --> 00:04:09,166 smaller storyboards in a way 105 00:04:09,166 --> 00:04:10,466 on the edge of the script 106 00:04:10,466 --> 00:04:12,066 rather than in bigger drawings 107 00:04:12,733 --> 00:04:17,266 but Ballhouse studied them and made his own versions 108 00:04:17,600 --> 00:04:21,500 um trans transferred them to his script and made as any 109 00:04:21,500 --> 00:04:22,266 studied the shot 110 00:04:22,266 --> 00:04:23,766 study the understanding 111 00:04:23,766 --> 00:04:25,933 tried to understand how the camera would move 112 00:04:25,933 --> 00:04:26,799 the use of the lens 113 00:04:26,800 --> 00:04:28,466 which lens size lens 114 00:04:28,500 --> 00:04:29,666 all sorts of things 115 00:04:29,733 --> 00:04:32,566 nest then transferred over to Last Temptation of Christ 116 00:04:32,566 --> 00:04:33,833 when we were shooting in Morocco 117 00:04:34,266 --> 00:04:35,499 um a very very 118 00:04:35,500 --> 00:04:36,666 very low budget film 119 00:04:36,666 --> 00:04:38,566 the whole picture was designed on paper 120 00:04:38,733 --> 00:04:40,166 mainly because uh 121 00:04:40,166 --> 00:04:42,633 that's the way I always design a 122 00:04:43,133 --> 00:04:44,466 a film as much as possible 123 00:04:44,466 --> 00:04:46,066 but even more so in that case 124 00:04:46,066 --> 00:04:46,799 because I knew that 125 00:04:46,800 --> 00:04:48,066 if I had the chance to make the picture 126 00:04:48,066 --> 00:04:49,233 it was going to be very 127 00:04:49,333 --> 00:04:50,766 um a very low budget 128 00:04:50,766 --> 00:04:51,999 and I had to shoot very quickly 129 00:04:52,000 --> 00:04:53,533 so I can know exactly what I wanted 130 00:04:53,533 --> 00:04:54,733 in terms of the framing 131 00:04:54,733 --> 00:04:55,533 camera movements 132 00:04:55,533 --> 00:04:56,766 editing and that sort of thing 133 00:05:02,966 --> 00:05:04,899 the first day of shooting we knew it 134 00:05:06,600 --> 00:05:09,700 we understood that it was going to be an arduous shoot 135 00:05:10,566 --> 00:05:12,433 and after the second setup 136 00:05:12,666 --> 00:05:15,133 where just trying to set up a tripod 137 00:05:15,133 --> 00:05:17,666 and the ground and things falling 138 00:05:17,666 --> 00:05:19,766 and he looked at us and said well 139 00:05:19,766 --> 00:05:21,299 this is the way this film is gonna be 140 00:05:21,300 --> 00:05:23,733 every movement we make 141 00:05:23,733 --> 00:05:25,366 everything we set up 142 00:05:25,366 --> 00:05:27,566 is going to be hard to do 143 00:05:27,800 --> 00:05:31,000 so just accept it now 144 00:05:31,333 --> 00:05:32,733 which which we did 145 00:05:32,733 --> 00:05:33,466 which we did 146 00:05:33,466 --> 00:05:36,666 and we worked as furiously as possible 147 00:05:38,300 --> 00:05:38,966 and later on 148 00:05:38,966 --> 00:05:39,866 to one point 149 00:05:39,866 --> 00:05:42,166 things were so difficult 150 00:05:42,166 --> 00:05:43,599 and I was so 151 00:05:45,966 --> 00:05:48,366 in despair about losing time 152 00:05:48,366 --> 00:05:50,966 and not getting the right amount of extras 153 00:05:50,966 --> 00:05:52,233 and this sort of thing I 154 00:05:52,266 --> 00:05:53,866 and I was just sitting there one point 155 00:05:53,866 --> 00:05:57,399 I think about eight weeks into shooting saying 156 00:05:57,766 --> 00:05:59,133 well I said I 157 00:05:59,133 --> 00:06:00,133 maybe I should have waited 158 00:06:00,133 --> 00:06:00,933 maybe I should have waited 159 00:06:00,933 --> 00:06:02,099 to have more money in the budget 160 00:06:02,100 --> 00:06:03,400 maybe I should have waited not knowing 161 00:06:03,400 --> 00:06:04,366 I waited six years 162 00:06:04,366 --> 00:06:06,366 seven years you know 163 00:06:07,733 --> 00:06:09,333 you know to take the opportunity to make the film 164 00:06:09,333 --> 00:06:11,666 then at a very 165 00:06:11,666 --> 00:06:12,633 very low budget 166 00:06:12,733 --> 00:06:13,466 and he said to me 167 00:06:13,466 --> 00:06:14,499 no no he said 168 00:06:14,666 --> 00:06:16,699 this film has to be made this way 169 00:06:17,166 --> 00:06:20,666 um the um arduousness 170 00:06:21,100 --> 00:06:23,100 um the physicality 171 00:06:23,566 --> 00:06:26,899 um and the if one could term it 172 00:06:26,933 --> 00:06:28,899 suffering that had to be done 173 00:06:29,000 --> 00:06:30,866 that's the nature of this work 174 00:06:31,000 --> 00:06:32,466 of this particular film 175 00:06:32,600 --> 00:06:36,066 not that any film is luxurious in that way but um 176 00:06:36,066 --> 00:06:37,999 this really um 177 00:06:38,266 --> 00:06:40,699 became more than making a film 178 00:06:40,700 --> 00:06:43,733 it became a life experience 179 00:06:43,733 --> 00:06:45,499 and he was the one to point that out to me 180 00:06:45,533 --> 00:06:51,166 we had one company move from Marrakesh to 181 00:06:51,166 --> 00:06:52,599 um Marrakesh 182 00:06:52,600 --> 00:06:54,233 we shot outside Marrakesh 183 00:06:54,366 --> 00:06:56,066 a little village called umran 184 00:06:56,466 --> 00:06:58,266 about 25 minutes outside of Marrakesh 185 00:06:58,966 --> 00:07:02,433 then we had one company moved to a city called Mac Ness 186 00:07:02,466 --> 00:07:07,966 which gave a flavor of an urban center 187 00:07:08,533 --> 00:07:10,266 suggesting Jerusalem 188 00:07:10,466 --> 00:07:12,499 we thought um 189 00:07:12,566 --> 00:07:14,699 and so that was one big company move in 190 00:07:14,700 --> 00:07:15,666 that meant it was 191 00:07:16,066 --> 00:07:17,166 we couldn't afford a third 192 00:07:17,166 --> 00:07:19,533 we wanted to go to another place once as that 193 00:07:19,533 --> 00:07:20,499 but we couldn't do it 194 00:07:20,766 --> 00:07:25,533 and so um the only thing was that we found a quarry uh 195 00:07:25,533 --> 00:07:28,233 for the crucifixion that um 196 00:07:28,366 --> 00:07:29,266 was really very 197 00:07:29,266 --> 00:07:30,599 very good we thought 198 00:07:30,800 --> 00:07:32,800 and um we wanted to keep the crucifixion 199 00:07:32,800 --> 00:07:33,800 for the end of the film 200 00:07:33,800 --> 00:07:34,666 the shooting 201 00:07:35,366 --> 00:07:37,099 but we had to shoot it in the middle 202 00:07:37,600 --> 00:07:39,966 and in order to take advantage of this 203 00:07:39,966 --> 00:07:41,266 this location 204 00:07:42,166 --> 00:07:43,599 and I had designed 205 00:07:43,766 --> 00:07:46,633 and I remember very clearly 75 shots 206 00:07:47,766 --> 00:07:48,599 whether they were notes 207 00:07:48,600 --> 00:07:50,166 or whether they were drawings didn't matter 208 00:07:50,166 --> 00:07:52,899 that they would design that figure 209 00:07:52,900 --> 00:07:54,300 25 shots a day 210 00:07:54,733 --> 00:07:58,433 right now it's a very hard scene to stage 211 00:07:59,066 --> 00:08:02,699 um but we were under such uh 212 00:08:02,700 --> 00:08:04,166 uh pressure 213 00:08:04,266 --> 00:08:06,766 particularly because we've gone days over schedule 214 00:08:06,900 --> 00:08:09,066 and running out of money um 215 00:08:09,100 --> 00:08:11,700 that we had to make that move at that time 216 00:08:11,733 --> 00:08:14,833 and remember him and my ad and my producer 217 00:08:15,000 --> 00:08:18,000 sitting in a small room um 218 00:08:18,566 --> 00:08:20,966 five days before shooting 219 00:08:20,966 --> 00:08:23,266 or four days before shooting the crucifixion scene 220 00:08:23,500 --> 00:08:25,766 and going through all the shots 221 00:08:26,400 --> 00:08:27,400 and saying okay 222 00:08:27,400 --> 00:08:29,666 instead of three days for these 75 shots 223 00:08:29,666 --> 00:08:30,633 we have two 224 00:08:32,400 --> 00:08:33,200 so 225 00:08:34,600 --> 00:08:35,833 what could we lose 226 00:08:37,133 --> 00:08:39,766 and it became 50 shots 227 00:08:40,100 --> 00:08:43,033 25 and 25 and we got them all 228 00:08:43,466 --> 00:08:45,033 and how he did that was 229 00:08:45,766 --> 00:08:47,399 referring back to something to do with Fastpend 230 00:08:47,400 --> 00:08:48,066 in particular 231 00:08:48,066 --> 00:08:49,833 film called beware the Holy Whore 232 00:08:49,966 --> 00:08:50,933 where I think 233 00:08:50,933 --> 00:08:52,133 a few days into shooting 234 00:08:52,133 --> 00:08:54,833 Fastbender fired the lead actor 235 00:08:55,566 --> 00:08:57,166 and then took the role himself 236 00:08:57,166 --> 00:08:58,733 and so they had to reshoot everything 237 00:08:58,733 --> 00:09:00,066 that they had shot for those three days 238 00:09:00,066 --> 00:09:01,366 in one day and night 239 00:09:02,366 --> 00:09:08,166 and how they worked it out was timing it so that 240 00:09:08,466 --> 00:09:08,899 for example 241 00:09:08,900 --> 00:09:10,366 in the crucifixion scene 242 00:09:11,166 --> 00:09:14,599 if the first shot we would give 10 minutes 243 00:09:16,533 --> 00:09:18,599 the fourth shot was a little more complicated 244 00:09:18,800 --> 00:09:22,366 15 if it goes to 17 we have to move on 245 00:09:22,500 --> 00:09:24,000 accept what we have and move on 246 00:09:24,266 --> 00:09:26,433 um there was one shot uh 247 00:09:27,300 --> 00:09:30,500 where Willem Dafoe cries out 248 00:09:30,500 --> 00:09:31,666 you know Father Father 249 00:09:31,866 --> 00:09:32,733 why be forsaken 250 00:09:32,733 --> 00:09:35,666 me I think in the camera twists and turns said that's 251 00:09:35,666 --> 00:09:37,166 that's 45 minutes 252 00:09:51,066 --> 00:09:52,166 and that's how we did it 253 00:09:52,166 --> 00:09:52,933 that's how we did it 254 00:09:52,933 --> 00:09:55,266 when just literally within that 10 minutes 255 00:09:55,266 --> 00:09:56,999 I used to call it quality time 256 00:09:57,066 --> 00:10:00,433 we be intent on getting what we need to get 257 00:10:01,133 --> 00:10:04,399 or if not shooting extra two takes 258 00:10:04,400 --> 00:10:05,333 squeezing it in to 259 00:10:05,333 --> 00:10:07,266 to figure out later 260 00:10:07,966 --> 00:10:09,499 certain elements of the different takes 261 00:10:09,500 --> 00:10:11,666 which one of go with in the editing 262 00:10:11,666 --> 00:10:13,199 that was a very 263 00:10:15,200 --> 00:10:16,866 logical and a very 264 00:10:17,300 --> 00:10:19,633 also passionate way of going about it 265 00:10:19,733 --> 00:10:20,899 saying we're going to get it 266 00:10:21,266 --> 00:10:24,033 but we'll have to combine these 75 shots into fifty 267 00:10:24,500 --> 00:10:27,000 and we'll have 25 setups a day or 26 268 00:10:27,000 --> 00:10:27,966 we can do it 269 00:10:28,733 --> 00:10:31,766 and the thing was like a commando group 270 00:10:32,000 --> 00:10:35,900 we got there in the dark and the moment light broke 271 00:10:35,900 --> 00:10:38,833 we started shooting immediately 272 00:10:39,766 --> 00:10:41,266 and it was like being in 273 00:10:42,966 --> 00:10:45,533 a battle of some kind very very physical 274 00:10:45,533 --> 00:10:50,566 he always made it clear to me about the 275 00:10:53,266 --> 00:10:55,766 the value of what we were doing in that particular shot 276 00:10:55,766 --> 00:10:57,866 of that particular day you know 277 00:10:58,933 --> 00:11:00,899 and so what to go for 278 00:11:00,900 --> 00:11:02,100 what to emphasize 279 00:11:02,100 --> 00:11:04,833 what I mean is what to go for what to 280 00:11:05,266 --> 00:11:06,133 when I say go for 281 00:11:06,133 --> 00:11:07,999 means where to put the energy 282 00:11:08,366 --> 00:11:10,399 um and what to look forward to 283 00:11:10,400 --> 00:11:12,666 he was very clear about um 284 00:11:13,266 --> 00:11:14,599 in a case like that 285 00:11:14,966 --> 00:11:15,799 he didn't really say 286 00:11:15,800 --> 00:11:17,300 this is the way this film has to be made 287 00:11:17,300 --> 00:11:17,933 but he kept saying 288 00:11:17,933 --> 00:11:18,966 we will make it 289 00:11:20,100 --> 00:11:22,266 I kept I kept knowing that 290 00:11:22,266 --> 00:11:23,666 where everything was being taken away 291 00:11:23,666 --> 00:11:25,266 or the script was being changed 292 00:11:25,266 --> 00:11:27,399 and there were lots of production problems 293 00:11:27,400 --> 00:11:28,200 but he looked at me and say 294 00:11:28,200 --> 00:11:29,833 we're going to finish it 295 00:11:29,933 --> 00:11:31,066 we're going to make it 296 00:11:31,666 --> 00:11:33,433 and whether we did or not 297 00:11:35,100 --> 00:11:36,366 ultimately doesn't matter 298 00:11:36,533 --> 00:11:39,499 but it's how we got through each day 299 00:11:39,500 --> 00:11:41,866 of the skirmishes and the battles to make the picture 20610

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