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Downloaded from
YTS.BZ

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<i>- Promise me</i>
<i>you will come back.</i>

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What if I can't?

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This is definitely
the biggest movie

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Official YIFY movies site:
YTS.BZ

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that I've ever done,
in terms of its ambition.

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<i>The scale of all the sets,</i>

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and the amount of people
involved, it's just so large.

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<i>- A great filmmaker</i>
<i>like Christopher Nolan</i>

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can do scope and action,
but also heart

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<i>and humanity and rawness.</i>

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<i>- This is him at his best,</i>
<i>going for it, you know?</i>

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Pedal to the metal,
like, we are gonna make

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the biggest and most impressive
movie that's ever been made.

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Let's go home.

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<i>- "The Odyssey"</i>
<i>is a massive story.</i>

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And that's part
of the appeal of it,

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is it's not really
just one story.

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<i>It manages to encompass</i>
<i>a lot of different genres.</i>

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<i>So for me, the idea of taking</i>
<i>on this biggest of stories</i>

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<i>with a top-level cast,</i>
<i>using all the techniques</i>

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<i>and resources of a massive</i>
<i>Hollywood production.</i>

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<i>Whether you're talking</i>
<i>about visual effects</i>

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<i>or practical stunts,</i>
<i>real locations, building sets,</i>

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<i>we needed to use all</i>
<i>of it for "The Odyssey,"</i>

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<i>every trick in the book.</i>

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That's never been done before,

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<i>and that's a really exciting</i>
<i>challenge to take on.</i>

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You're a man who needs
to control his fate.

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<i>But you cannot control this.</i>

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And three, two, one, action!

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<i>- This is such</i>
<i>an ambitious film.</i>

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It's sort of like seven
different ambitious movies

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all rolled up into one.

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<i>We needed the right people</i>
<i>to take on this challenge.</i>

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<i>- Chris gets</i>
<i>the finest craftsmen</i>

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<i>in the world at what they do,</i>
<i>and then he asks everybody</i>

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<i>to push the envelope.</i>

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That's the thing that's
exciting about these pictures,

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is you can feel everybody
straining--straining--

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<i>to do better than they've done</i>
<i>before, to just fulfill</i>

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<i>what's being asked of them.</i>

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<i>- Chris looked at me</i>
<i>and he goes,</i>

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<i>this is gonna be a hard movie.</i>

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And I said, yeah, I know.

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And he goes, no, this is
gonna be a really hard movie.

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And I was like, got it.

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<i>- Part of what I've been doing</i>
<i>in my films over the years,</i>

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<i>whether you look at "The Dark</i>
<i>Knight" or "Interstellar"</i>

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or "Inception," they're taking
sometimes fanciful ideas

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but trying to ground them
in something

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really recognizable
for the audience.

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<i>And I wanted to apply that to</i>
<i>the world of Greek mythology.</i>

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<i>That's a huge task</i>
<i>for every department head</i>

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<i>to find that reality,</i>
<i>to create an entire world</i>

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<i>that you can put into action</i>
<i>in front of the camera</i>

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<i>and then bring the audience</i>
<i>into that space.</i>

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<i>- Everyone's on that</i>
<i>same page of trying</i>

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to find the best possible,

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essentially in-camera
solutions.

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<i>My role is constantly</i>
<i>wracking my brains</i>

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<i>for how are we gonna do this,</i>

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<i>which may involve</i>
<i>special effects</i>

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<i>or the art department</i>
<i>or whoever.</i>

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I reminded myself
and learned firsthand

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<i>every single day</i>
<i>Chris's motto of</i>

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"If it's easy,
everybody would be doing it."

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<i>- No one could</i>
<i>stand between me and home.</i>

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Not even the gods.

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<i>- It feels like we made</i>
<i>six or seven movies,</i>

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<i>and in a sense, we did.</i>

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Every single chapter
of this adventure

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<i>was at a different location</i>

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<i>that posed</i>
<i>a different challenge.</i>

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<i>- You just know</i>
<i>that the locations,</i>

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<i>when you're telling a story</i>
<i>like this, are gonna be</i>

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like characters unto
themselves,

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so they have to be
extra special.

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<i>And so we found ourselves in</i>
<i>these really amazing places.</i>

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<i>- There are parts of the world</i>
<i>that I don't think I would</i>

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even have ever seen
or known about

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<i>had it not been</i>
<i>for this experience.</i>

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There's a certain
level of information

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that you learn when
something is real.

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<i>So when you go to these</i>
<i>places, you just feel it,</i>

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<i>and it just adds another layer</i>

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<i>to what it is that</i>
<i>you're trying to express.</i>

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Action.

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One of the things I like
about shooting on location

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is we're moving countries
every couple of weeks.

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<i>So it gives you this</i>
<i>incredible momentum.</i>

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<i>The issue on this film</i>
<i>is that we're shooting</i>

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<i>in extraordinary places</i>
<i>that were</i>

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<i>hard to get to,</i>
<i>hard to shoot in.</i>

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<i>- You know, normally if you're</i>
<i>doing a Hollywood movie,</i>

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the base camp is 10 seconds
away from the set.

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<i>When you're shooting a</i>
<i>Chris Nolan movie, it's like,</i>

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no, that's a 45-minute hike in
sandals up there, full costume.

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<i>- We're at a location called</i>
<i>Santa Catarina Castle.</i>

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It's on the top of a hill.

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All the equipment drops
are happening here.

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You guys gotta film
some of that.

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Load-in's gonna be nuts.

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<i>♪ ♪</i>

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<i>Getting the camera equipment</i>
<i>and the grip equipment,</i>

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<i>all of it just</i>
<i>up here on this hill.</i>

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<i>- We have, basically,</i>
<i>the footpath,</i>

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a funicular cableway
for equipment,

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<i>and a few helicopters to get</i>

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<i>equipment and crew up</i>
<i>as needed.</i>

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<i>- We all feel</i>
<i>so fortunate and lucky.</i>

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As hard as this is to work
like this up here in this...

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It's worth it.

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Being on a mountaintop
and having the capability

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to shoot 360 degrees

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<i>and not having to worry about</i>
<i>blue screens</i>

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<i>or visual effects lights</i>

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<i>and all this sort of stuff</i>
<i>just gives so much freedom</i>

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<i>to us as the actors</i>
<i>to just let it happen,</i>

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where you just have to be
a human being and react

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to the beautiful sunset
that's happening

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<i>on top of the mountain.</i>

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<i>- I mean, every location</i>
<i>we went to, I would get there,</i>

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<i>and I'd just start laughing.</i>

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You're like, who thought
you should shoot a movie here?

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<i>You know, we're shooting</i>
<i>in Nestor's Cave in Greece.</i>

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<i>They say it's the cave</i>
<i>where Zeus was born,</i>

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<i>and it's this incredible</i>
<i>place, but nobody's ever tried</i>

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<i>to shoot a film up there.</i>

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<i>And so to go up there</i>
<i>with the crew</i>

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<i>and to see the rigging that</i>
<i>they did to basically turn it</i>

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<i>into a natural soundstage,</i>
<i>yeah,</i>

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I don't know any other
director who would try it.

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<i>- There was no location that</i>
<i>was straightforward and easy.</i>

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But all of those locations made
sense for the story, really.

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<i>It wouldn't be the film</i>
<i>that it is without going there</i>

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<i>and doing it for real.</i>

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Tell me what you remember.

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<i>We won the war.</i>

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And then what?

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Chris is not happy with
what's already been done.

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<i>He wants to do things that</i>
<i>haven't been done before</i>

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<i>and do them on a scale that</i>
<i>hasn't been done before.</i>

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<i>And anything he can do</i>
<i>to enhance the experience</i>

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of movie going and watching
and entertainment,

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it's like, that's his goal.

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<i>- My first day in Morocco,</i>
<i>they were shooting the beach</i>

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<i>where they pull</i>
<i>the horse out of the water.</i>

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I asked, I was like,
can I visit set?

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<i>So I walk over this sand dune.</i>

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<i>And I reckon I walked</i>
<i>20 minutes through extras</i>

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<i>and boats and fires</i>
<i>and buildings</i>

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<i>and all this sort of stuff</i>
<i>before I saw</i>

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<i>the first crew member.</i>

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I was like, where is the crew?

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Like, where is everyone?

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<i>That was the moment</i>
<i>it really set in</i>

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<i>that I was lucky enough</i>
<i>to be a part of something</i>

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<i>that is different and special.</i>

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Because I've never seen
anything on that scale before.

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<i>- When you look</i>
<i>at large-scale filmmaking,</i>

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each section of the film has to
be as impressive as possible.

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<i>It has to take</i>
<i>the audience somewhere</i>

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<i>they haven't been before.</i>

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<i>Troy, for example,</i>
<i>and the fall of Troy,</i>

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<i>we needed that to be on</i>
<i>an absolutely colossal scale.</i>

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I knew from the get-go
there was no set extensions,

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<i>there was no CGI.</i>

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<i>We wanted to build</i>
<i>as much as possible.</i>

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<i>Finding this terraced town,</i>
<i>Ait Benhaddou,</i>

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<i>the different layers and</i>
<i>terraces helped us so much,</i>

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<i>and then designing everything</i>
<i>into that.</i>

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This is pretty darn big.

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<i>It just feels like</i>
<i>a real massive city.</i>

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Let's just say we got
our steps every day.

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<i>And we wanted the horse to</i>
<i>rival the scale of the temple.</i>

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<i>- Did you ever hear</i>
<i>the story of the horse?</i>

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<i>♪ ♪</i>

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<i>- It's 35 feet tall,</i>
<i>8,000 or 9000 pounds.</i>

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<i>We shipped it in, like,</i>
<i>nine or ten crates.</i>

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The audience is very
familiar with this trick.

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Everyone knows what
the Trojan horse is.

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<i>It can't be</i>
<i>a big roller-skate--</i>

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<i>it can't be on wheels,</i>
<i>you know?</i>

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<i>So I had this idea that</i>
<i>what if it's left there</i>

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<i>as if it's meant</i>
<i>to be taken by the waves</i>

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<i>as an offering to Poseidon.</i>

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Chris and I specifically
wanted a more

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<i>sophisticated-looking horse.</i>

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<i>They're master craftsmen,</i>
<i>and they were sea people.</i>

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<i>And so we took the inspiration</i>
<i>of the ship siding</i>

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<i>and applied that</i>
<i>to the horse to make it</i>

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<i>sort of a Trojan horse you've</i>
<i>never, ever seen before.</i>

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<i>- The goal was to make it</i>
<i>manageable by human power,</i>

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because in the script,
there's 100 guys pulling it.

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<i>And so we really</i>
<i>worked hard to try</i>

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<i>to make it as strong</i>
<i>and lightweight</i>

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<i>and durable as possible.</i>

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<i>- When they say it takes</i>
<i>a village, it certainly does.</i>

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Special effects built
the structural spine.

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<i>We made all the parts.</i>

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<i>Originally, we had the entire</i>
<i>horse cut out of foam.</i>

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<i>And from there, we made molds.</i>

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<i>And then from there,</i>
<i>we made the fiberglass panels</i>

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<i>and put all</i>
<i>the infrastructure in it.</i>

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This was incredible.

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And they actually moved it
from the shore to the town

208
00:09:34,922 --> 00:09:37,315
<i>and erecting it up</i>
<i>the Temple of Athena.</i>

209
00:09:37,533 --> 00:09:38,795
It's really like everything
in this whole movie,

210
00:09:39,013 --> 00:09:40,449
you know,
there's such a journey.

211
00:09:40,449 --> 00:09:42,016
<i>You know, everyone works</i>
<i>together to get it done.</i>

212
00:09:42,233 --> 00:09:44,888
<i>- When you see it all</i>
<i>together with the wardrobe</i>

213
00:09:45,106 --> 00:09:46,890
and the people,
it's absolutely epic.

214
00:09:47,108 --> 00:09:50,328
<i>I mean, it's just stunning</i>
<i>to see it come together.</i>

215
00:09:50,546 --> 00:09:52,504
<i>All of those extras.</i>

216
00:09:52,679 --> 00:09:56,117
I remember going in the
extras tent in Ouarzazate

217
00:09:56,334 --> 00:09:59,120
and going, holy mother.

218
00:09:59,337 --> 00:10:01,775
<i>It was quite extraordinary.</i>
<i></i>

219
00:10:01,992 --> 00:10:04,821
<i>I don't know how</i>
<i>we've accomplished it.</i>

220
00:10:05,039 --> 00:10:09,086
What was always very important
in the design was texture.

221
00:10:09,304 --> 00:10:12,655
The textures are really
absolutely essential

222
00:10:12,873 --> 00:10:14,614
<i>for each and every character.</i>

223
00:10:14,831 --> 00:10:16,006
<i>Nothing was flat.</i>

224
00:10:16,224 --> 00:10:18,443
<i>Everything felt</i>
<i>three dimensional,</i>

225
00:10:18,618 --> 00:10:20,620
and you could actually feel it.

226
00:10:20,794 --> 00:10:22,056
<i>- There's so much detail</i>
<i>and thought</i>

227
00:10:22,273 --> 00:10:25,276
<i>in every costume, set piece.</i>

228
00:10:25,494 --> 00:10:28,671
The sets are so massive,
and everybody's working

229
00:10:28,889 --> 00:10:32,457
at such a high level
that you really feel immersed.

230
00:10:32,632 --> 00:10:35,547
Like, I really stepped
into this world.

231
00:10:37,898 --> 00:10:39,595
Ithaca's king is coming back.

232
00:10:39,769 --> 00:10:40,944
No, he's not.

233
00:10:43,207 --> 00:10:46,123
<i>- Odysseus's Ithaca,</i>
<i>with the palace,</i>

234
00:10:46,341 --> 00:10:49,910
<i>we used these existing ruins</i>
<i>and built onto them.</i>

235
00:10:50,127 --> 00:10:53,870
It had to convince the audience
why he needs to get home.

236
00:10:54,088 --> 00:10:55,872
<i>- When I first</i>
<i>got to Favignana,</i>

237
00:10:56,090 --> 00:10:59,571
I didn't even realize that
the set part was a set.

238
00:10:59,746 --> 00:11:02,923
I literally--like, I remember
just leaning against the wall,

239
00:11:03,140 --> 00:11:04,620
<i>and it was squidgy.</i>

240
00:11:04,794 --> 00:11:06,883
<i>And it's completely seamless</i>
<i>with the real ruins.</i>

241
00:11:07,101 --> 00:11:08,624
<i>It was absolutely incredible.</i>

242
00:11:08,624 --> 00:11:10,844
<i>- Ruth comes at everything</i>
<i>from a place of reality,</i>

243
00:11:11,061 --> 00:11:13,020
of going to a location
and building there

244
00:11:13,237 --> 00:11:14,586
and changing it into what
you need to be,

245
00:11:14,761 --> 00:11:16,197
<i>basing it on something there.</i>

246
00:11:16,414 --> 00:11:18,155
This is all us.
We put all this.

247
00:11:19,679 --> 00:11:20,941
But then you can
turn around here,

248
00:11:21,158 --> 00:11:24,292
and you get all of this,
which is epic.

249
00:11:24,509 --> 00:11:26,294
We're gonna tie
this into our palace

250
00:11:26,511 --> 00:11:28,513
on stage in Los Angeles.

251
00:11:28,688 --> 00:11:31,821
<i>Chris knew he wanted this</i>
<i>to be a very large set.</i>

252
00:11:32,039 --> 00:11:34,998
<i>It's really our only build</i>
<i>of the entire movie.</i>

253
00:11:35,216 --> 00:11:39,176
Everything else is built
on location in an environment.

254
00:11:39,394 --> 00:11:43,311
Ruth and her crew built this
absolutely incredible set

255
00:11:43,528 --> 00:11:47,794
<i>that was really huge</i>
<i>and really detailed.</i>

256
00:11:48,011 --> 00:11:50,100
<i>And you walked in there,</i>
<i>and it didn't feel like a set.</i>

257
00:11:50,318 --> 00:11:53,974
<i>It felt like its own world.</i>

258
00:11:57,586 --> 00:12:04,462
<i>♪ ♪</i>

259
00:12:04,680 --> 00:12:07,422
Nice, guys.

260
00:12:07,639 --> 00:12:09,641
So just, like, a quick parry,
and keep going.

261
00:12:09,816 --> 00:12:12,079
So parry, keep going,
forward, fall to the ground.

262
00:12:12,296 --> 00:12:14,777
<i>- When you're taking on</i>
<i>something as epic scale</i>

263
00:12:14,995 --> 00:12:17,040
<i>and grand as this,</i>
<i>about the attack</i>

264
00:12:17,258 --> 00:12:20,174
of the gates at Troy
and the Trojan Horse

265
00:12:20,391 --> 00:12:23,481
<i>and bow and arrows and swords</i>
<i>and now you think,</i>

266
00:12:23,699 --> 00:12:25,092
<i>how do we take that</i>
<i>to the next level?</i>

267
00:12:25,309 --> 00:12:27,311
Walk through this bit
again, will you please,

268
00:12:27,529 --> 00:12:29,313
when you grab these two axes.

269
00:12:29,313 --> 00:12:31,838
<i>- I said to George Cottle, we</i>
<i>need the fighting in the film,</i>

270
00:12:32,055 --> 00:12:35,667
we need the action in the film
to be remarkable and credible,

271
00:12:35,842 --> 00:12:36,756
and we need
the actors to do it.

272
00:12:39,759 --> 00:12:41,543
<i>Matt and all of the cast</i>

273
00:12:41,761 --> 00:12:43,980
were in incredible
physical condition,

274
00:12:44,198 --> 00:12:47,375
and they all worked
so, so hard to deliver that.

275
00:12:49,594 --> 00:12:52,075
Movie fighting is really more
like dancing than anything,

276
00:12:52,293 --> 00:12:53,685
because it really
requires both people

277
00:12:53,860 --> 00:12:55,252
<i>to be in the right place.</i>

278
00:12:55,470 --> 00:12:58,125
<i>The guys that George</i>
<i>put around me were really</i>

279
00:12:58,342 --> 00:13:01,693
super experienced so that
I was moving from one expert

280
00:13:01,868 --> 00:13:04,000
dance partner to the next one.

281
00:13:04,218 --> 00:13:06,916
<i>- The actors have to be</i>
<i>as good as the stunt guys,</i>

282
00:13:07,134 --> 00:13:10,702
<i>but then also bring the acting</i>
<i>elements into those equations.</i>

283
00:13:10,877 --> 00:13:13,836
<i>So we try to make</i>
<i>the choreography</i>

284
00:13:14,054 --> 00:13:15,533
so ingrained in them that

285
00:13:15,751 --> 00:13:17,927
<i>they can truly concentrate</i>
<i>on their character.</i>

286
00:13:18,145 --> 00:13:19,886
<i>- You know, lots of directors</i>
<i>would look at the action</i>

287
00:13:20,103 --> 00:13:22,105
and go, that looks awesome.
Great. Shoot it.

288
00:13:22,323 --> 00:13:24,760
<i>But Chris is looking for,</i>
<i>why is it awesome</i>

289
00:13:24,934 --> 00:13:27,067
<i>and what makes</i>
<i>these characters tick?</i>

290
00:13:27,284 --> 00:13:30,244
<i>Finding those little story</i>
<i>pieces within the great action</i>

291
00:13:30,461 --> 00:13:32,637
<i>is what makes Chris</i>
<i>so special.</i>

292
00:13:32,812 --> 00:13:34,248
Okay, we're gonna go.

293
00:13:34,465 --> 00:13:35,727
Action!

294
00:13:35,902 --> 00:13:41,690
<i>♪ ♪</i>

295
00:13:41,864 --> 00:13:43,823
Keep us straight!

296
00:13:47,522 --> 00:13:49,437
rowers:
Pull!

297
00:13:49,654 --> 00:13:51,787
And pull!

298
00:13:51,961 --> 00:13:53,745
<i>- When I was adapting</i>
<i>the screenplay,</i>

299
00:13:53,920 --> 00:13:55,835
<i>I was sort of privately</i>
<i>kind of hoping I'd be able</i>

300
00:13:56,052 --> 00:13:57,837
to minimize the amount
of boat time.

301
00:13:58,011 --> 00:13:59,403
But it's "The Odyssey."

302
00:13:59,621 --> 00:14:00,883
<i>Of course we're gonna be</i>
<i>on this boat for months,</i>

303
00:14:01,101 --> 00:14:02,276
<i>as we were.</i>

304
00:14:02,493 --> 00:14:04,147
Last call.

305
00:14:04,147 --> 00:14:05,409
If you do not need to be on
this boat, please get off now.

306
00:14:05,627 --> 00:14:06,889
Boat's pushing off.

307
00:14:06,889 --> 00:14:08,021
<i>- One of the main</i>
<i>challenges here was</i>

308
00:14:08,021 --> 00:14:10,850
that we were using
period wooden ships.

309
00:14:11,024 --> 00:14:12,982
<i>We did everything we could</i>
<i>to hide engines in them,</i>

310
00:14:13,200 --> 00:14:14,418
<i>but those engines were</i>
<i>just kind of, like,</i>

311
00:14:14,636 --> 00:14:16,725
<i>to keep them</i>
<i>in a certain direction.</i>

312
00:14:16,899 --> 00:14:18,074
These were ultimately
gonna have to be sailed

313
00:14:18,292 --> 00:14:20,337
by half stunt, half cast.

314
00:14:20,555 --> 00:14:23,645
There's a reason we don't
row great big open boats

315
00:14:23,863 --> 00:14:25,865
around on the ocean
anymore, okay?

316
00:14:26,082 --> 00:14:29,346
<i>But to get that feel,</i>
<i>you do the real thing.</i>

317
00:14:29,564 --> 00:14:30,913
We rowed this boat.

318
00:14:31,131 --> 00:14:32,741
When I say, "we," I mean
those poor guys out there.

319
00:14:34,786 --> 00:14:38,834
<i>- There was a rowing camp,</i>
<i>because all Odysseus's guys</i>

320
00:14:39,008 --> 00:14:42,533
had to learn how to row
this giant 100-ton ship.

321
00:14:44,405 --> 00:14:46,842
<i>- As that ship's moving,</i>
<i>if you drop that oar,</i>

322
00:14:47,016 --> 00:14:48,365
<i>it can jam you in the chest,</i>

323
00:14:48,583 --> 00:14:49,889
and it actually has
the ability to pick you up

324
00:14:50,063 --> 00:14:51,412
and eject you from the boat.

325
00:14:51,412 --> 00:14:53,457
<i>There needs to be</i>
<i>a real conscious effort</i>

326
00:14:53,675 --> 00:14:54,850
<i>to make sure you're safe.</i>

327
00:14:55,024 --> 00:14:57,113
<i>At first, it wasn't great,</i>

328
00:14:57,331 --> 00:14:59,942
but then within a couple
of days, they had it dialed in,

329
00:15:00,160 --> 00:15:04,642
and they had oars in,
oars out, ready and rowing.

330
00:15:04,860 --> 00:15:06,644
Row!

331
00:15:06,862 --> 00:15:08,646
And row!

332
00:15:08,864 --> 00:15:11,562
<i>- They learned how to put</i>
<i>the sail up on the boat.</i>

333
00:15:11,780 --> 00:15:13,303
<i>They learned how to row.</i>

334
00:15:13,521 --> 00:15:14,914
<i>You know, we're out there</i>
<i>doing these things for real,</i>

335
00:15:15,131 --> 00:15:17,786
and that is tremendously
taxing of people.

336
00:15:17,960 --> 00:15:20,223
It was incredibly,
incredibly difficult.

337
00:15:20,441 --> 00:15:22,269
<i>- Being out there</i>
<i>on the boat together,</i>

338
00:15:22,486 --> 00:15:25,185
<i>and nobody could go off</i>
<i>or go sit down somewhere</i>

339
00:15:25,402 --> 00:15:27,491
<i>or go to a trailer</i>
<i>or go--it was no--</i>

340
00:15:27,709 --> 00:15:30,538
we were out in the middle
of the ocean together.

341
00:15:30,755 --> 00:15:33,367
And it was like,
what's the next shot?

342
00:15:33,584 --> 00:15:35,151
<i>We're doing a close up.</i>

343
00:15:35,151 --> 00:15:38,198
<i>Matt is looking over where</i>
<i>the ship is sailing to,</i>

344
00:15:38,415 --> 00:15:41,375
<i>and a dolphin jumps</i>
<i>right through frame.</i>

345
00:15:41,592 --> 00:15:43,681
<i>I mean, come on.</i>

346
00:15:43,899 --> 00:15:46,293
I'll tell you where that
would not happen, on the tank.

347
00:15:46,510 --> 00:15:47,859
<i>And luckily, we had this</i>
<i>great big IMAX camera,</i>

348
00:15:48,034 --> 00:15:49,035
and we recorded it.

349
00:15:54,344 --> 00:15:56,477
And for me,
it's been my long held dream,

350
00:15:56,694 --> 00:15:58,566
I mean, really, since I was
about 16 years old

351
00:15:58,783 --> 00:16:01,786
<i>to do an entire film on IMAX.</i>

352
00:16:01,961 --> 00:16:04,311
<i>The thing that was stopping</i>
<i>us was always the sound.</i>

353
00:16:06,574 --> 00:16:08,576
<i>IMAX has an incredible</i>
<i>team of engineers</i>

354
00:16:08,793 --> 00:16:13,233
<i>who found a way to enclose</i>
<i>the camera in this box</i>

355
00:16:13,450 --> 00:16:15,496
<i>so that we could shoot</i>
<i>the most intimate scenes.</i>

356
00:16:15,713 --> 00:16:17,585
<i>We could have the camera</i>
<i>six inches away</i>

357
00:16:17,802 --> 00:16:20,327
<i>and still get dialogue.</i>

358
00:16:20,544 --> 00:16:22,024
<i>And so for</i>
<i>the first time ever,</i>

359
00:16:22,242 --> 00:16:23,634
<i>we've been able</i>
<i>to do the entire film</i>

360
00:16:23,852 --> 00:16:26,115
<i>on the incredible</i>
<i>IMAX film format.</i>

361
00:16:26,333 --> 00:16:29,553
It's a long held dream
finally coming to fruition.

362
00:16:29,771 --> 00:16:32,426
We, as filmmakers, we're not
supposed to be comfortable.

363
00:16:32,643 --> 00:16:34,819
We're supposed to present
the audience

364
00:16:34,994 --> 00:16:36,865
<i>with the best experience</i>
<i>possible.</i>

365
00:16:37,039 --> 00:16:39,999
<i>So all our effort</i>
<i>was all in service</i>

366
00:16:40,216 --> 00:16:43,611
<i>of trying to put our audience,</i>
<i>you know, in our shoes,</i>

367
00:16:43,828 --> 00:16:46,440
<i>and experience</i>
<i>something extraordinary.</i>

368
00:16:46,657 --> 00:16:48,964
I think the IMAX
is gonna really allow

369
00:16:49,138 --> 00:16:51,097
the audience to feel
like they are a part

370
00:16:51,314 --> 00:16:52,837
<i>of this journey with us.</i>

371
00:16:53,012 --> 00:16:56,711
<i>You're really gonna be</i>
<i>immersed in this world.</i>

372
00:16:56,928 --> 00:16:59,409
<i>- I think Chris has a way</i>
<i>of pulling you in</i>

373
00:16:59,627 --> 00:17:01,020
<i>when you're watching</i>
<i>his films.</i>

374
00:17:01,237 --> 00:17:02,847
So naturally,
the same thing starts

375
00:17:03,022 --> 00:17:05,546
to happen with the music.

376
00:17:05,763 --> 00:17:07,809
<i>One of the first things</i>
<i>that people would expect</i>

377
00:17:08,027 --> 00:17:10,029
when you go to see
a movie of this scale

378
00:17:10,203 --> 00:17:12,553
in a movie theater
is to hear the sound

379
00:17:12,770 --> 00:17:14,859
of a big, cinematic orchestra.

380
00:17:15,034 --> 00:17:15,991
And you've seen that before.

381
00:17:16,165 --> 00:17:17,645
You've heard that before.

382
00:17:17,645 --> 00:17:19,995
<i>For this one, Chris</i>
<i>wanted it to be different.</i>

383
00:17:22,737 --> 00:17:25,479
<i>- We wanted the film to feel</i>
<i>like a recognizable world</i>

384
00:17:25,696 --> 00:17:28,873
<i>to people, even though it was</i>
<i>gonna be Ancient Greece.</i>

385
00:17:29,048 --> 00:17:30,571
<i>We don't want it</i>
<i>to look or feel</i>

386
00:17:30,788 --> 00:17:33,356
like previous movies
that take on this

387
00:17:33,574 --> 00:17:35,184
<i>kind of classical world.</i>

388
00:17:35,402 --> 00:17:37,578
<i>What can we do that's</i>
<i>more timeless than that?</i>

389
00:17:37,795 --> 00:17:40,320
<i>- I knew that in order</i>
<i>to create this completely</i>

390
00:17:40,537 --> 00:17:42,887
original world, I also had to
get out of my comfort zone

391
00:17:43,062 --> 00:17:46,065
<i>and find sounds that</i>
<i>I haven't worked with before.</i>

392
00:17:46,239 --> 00:17:50,547
Ludwig went very deep
on researching the instruments

393
00:17:50,765 --> 00:17:53,028
<i>that they might have had</i>
<i>at that time.</i>

394
00:17:54,725 --> 00:17:56,205
<i>- Chris had</i>
<i>mentioned early that</i>

395
00:17:56,423 --> 00:17:58,077
<i>he was interested in aulos.</i>

396
00:17:58,294 --> 00:17:59,948
<i>He was interested in lyre.</i>

397
00:18:03,256 --> 00:18:05,997
<i>The aulos is an</i>
<i>ancient Greek instrument.</i>

398
00:18:06,172 --> 00:18:08,348
It was the most
popular rock star instrument

399
00:18:08,565 --> 00:18:12,221
<i>for 1,000 years.</i>

400
00:18:12,439 --> 00:18:15,485
This is a replica
of an aulos.

401
00:18:15,703 --> 00:18:18,097
The original dates from
between the sixth century

402
00:18:18,314 --> 00:18:20,055
and the fifth century B.C.

403
00:18:20,229 --> 00:18:23,145
We don't have
any surviving reeds.

404
00:18:23,363 --> 00:18:26,279
So I worked
with two other people,

405
00:18:26,496 --> 00:18:29,151
and we spent a while trying
to work out and figure out

406
00:18:29,369 --> 00:18:30,805
how this bit worked at the top.

407
00:18:31,022 --> 00:18:32,894
<i>We had to read lots</i>
<i>of ancient source material</i>

408
00:18:33,112 --> 00:18:35,723
<i>and try and work out</i>
<i>how they did it.</i>

409
00:18:40,467 --> 00:18:43,644
This is a reconstruction
of an ancient Greek lyre.

410
00:18:43,861 --> 00:18:46,995
To be able to play it
in a philological way,

411
00:18:47,169 --> 00:18:49,867
we have to do research
between iconography,

412
00:18:50,085 --> 00:18:53,523
<i>philological sources,</i>
<i>and personal experience</i>

413
00:18:53,741 --> 00:18:54,959
<i>as a musician.</i>

414
00:19:00,965 --> 00:19:02,619
Nice.

415
00:19:02,837 --> 00:19:04,752
Wow. You nailed it.

416
00:19:04,969 --> 00:19:06,145
<i>- Another thing that</i>
<i>Chris mentioned,</i>

417
00:19:06,319 --> 00:19:07,320
<i>too, early on</i>
<i>in our conversations</i>

418
00:19:07,537 --> 00:19:08,625
<i>was to use bronze.</i>

419
00:19:08,625 --> 00:19:10,932
You know,
this is the Bronze Age.

420
00:19:11,150 --> 00:19:13,761
<i>So gongs, you know,</i>
<i>for example, made of bronze.</i>

421
00:19:13,978 --> 00:19:15,371
<i>You know, you can</i>
<i>make these instruments</i>

422
00:19:15,371 --> 00:19:17,460
<i>sound a way that</i>
<i>you never heard them before.</i>

423
00:19:19,201 --> 00:19:21,116
<i>We started to experiment</i>
<i>with a lot of other stuff,</i>

424
00:19:21,290 --> 00:19:23,118
<i>hitting walls,</i>
<i>hitting railings,</i>

425
00:19:23,292 --> 00:19:26,295
<i>hitting any kind of things</i>
<i>you could find outside,</i>

426
00:19:26,513 --> 00:19:28,950
<i>like scrap metal</i>
<i>or air conditioning units.</i>

427
00:19:33,650 --> 00:19:36,044
<i>Using vocals kind of became</i>

428
00:19:36,218 --> 00:19:39,221
how we could also add on
to some of the more

429
00:19:39,439 --> 00:19:42,442
<i>emotional pacing of the score.</i>

430
00:19:44,748 --> 00:19:49,405
There's real intimacy
and humanity in the soundtrack.

431
00:19:49,623 --> 00:19:51,755
<i>And I love that,</i>
<i>because it sort of subverts</i>

432
00:19:51,973 --> 00:19:54,410
<i>all your expectations.</i>

433
00:19:57,761 --> 00:20:00,460
My dad is coming home.

434
00:20:00,677 --> 00:20:01,896
Bringing vengeance.

435
00:20:04,725 --> 00:20:07,336
Bringing it all.

436
00:20:07,554 --> 00:20:09,208
<i>- I'm a big fan</i>
<i>of film history,</i>

437
00:20:09,382 --> 00:20:10,600
<i>particularly the silent era.</i>

438
00:20:10,818 --> 00:20:13,168
<i>In-camera spectacle</i>
<i>was everything.</i>

439
00:20:13,342 --> 00:20:15,562
<i>A cast of thousands,</i>
<i>extraordinary sets,</i>

440
00:20:15,779 --> 00:20:17,694
<i>extraordinary locations.</i>

441
00:20:17,912 --> 00:20:20,262
Over time, with visual effects
technology, a lot of that

442
00:20:20,480 --> 00:20:22,090
has got lost
in Hollywood production.

443
00:20:22,264 --> 00:20:24,048
<i>We're able to do both.</i>

444
00:20:24,223 --> 00:20:26,660
<i>We can go back to</i>
<i>an older era of filmmaking,</i>

445
00:20:26,877 --> 00:20:29,576
<i>but also add on to that</i>
<i>an entire level</i>

446
00:20:29,793 --> 00:20:31,621
<i>of fantasy and imagination</i>
<i>through the power</i>

447
00:20:31,839 --> 00:20:33,232
<i>of visual effects.</i>

448
00:20:33,449 --> 00:20:35,103
<i>We're trying to do it all.</i>

449
00:20:35,103 --> 00:20:38,324
<i>That's what "The Odyssey" is</i>
<i>and needs to be on screen.</i>

450
00:20:41,196 --> 00:20:43,764
Action!

451
00:20:43,981 --> 00:20:46,941
<i>- Chris really shoots</i>
<i>on this massive scale,</i>

452
00:20:47,158 --> 00:20:48,377
on this massive format.

453
00:20:48,595 --> 00:20:50,379
But he basically shoots
independent films.

454
00:20:50,597 --> 00:20:55,166
<i>And there's a lot</i>
<i>of urgency to that.</i>

455
00:20:55,341 --> 00:20:58,431
He goes the extra distance to
make it feel authentic for us

456
00:20:58,648 --> 00:21:00,084
on set,
which then makes it feel

457
00:21:00,259 --> 00:21:02,478
<i>more authentic for</i>
<i>the audience in the theater.</i>

458
00:21:05,264 --> 00:21:07,266
<i>- People know</i>
<i>a lot of the story,</i>

459
00:21:07,440 --> 00:21:09,659
but they've never
seen it in this way.

460
00:21:09,877 --> 00:21:13,054
<i>And it really deserves</i>
<i>a huge canvas.</i>

461
00:21:13,272 --> 00:21:15,622
As a fan, I'm so excited
to see this film.

462
00:21:15,839 --> 00:21:17,406
Let's go!

463
00:21:17,406 --> 00:21:19,756
<i>- Like, I cannot wait</i>
<i>to sit in that IMAX theater</i>

464
00:21:19,974 --> 00:21:23,586
<i>and completely be lost in</i>
<i>this world that he's created.</i>

465
00:21:23,804 --> 00:21:25,980
<i>- In your lifetime,</i>
<i>if there is one movie</i>

466
00:21:26,197 --> 00:21:29,375
that you go to the cinema,
no matter what,

467
00:21:29,592 --> 00:21:33,509
<i>this is the movie to do it,</i>
<i>because this is pure cinema.</i>

468
00:21:33,727 --> 00:21:40,168
<i>♪ ♪</i>