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Promise me you'll come back.
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What if I can't make it?
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This is definitely the greatest movie
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that I have ever shot in terms of its ambitions.
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Extent of all backdrops,
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and the number of people is simply huge.
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A great filmmaker like Christopher Nolan
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can shoot spectacular scenes i
action scenes, but also touching scenes,
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Humanity and rawness.
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Here he is at his best, going all out.
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We're going all out...
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and we'll shoot the biggest one
and the most breathtaking film ever made.
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Let's go home.
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ODYSSEA is a magnificent story.
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And that's her charm,
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that it's not really just about one story.
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Succeeded in the film
many different genres.
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For me, the idea of letting go was tempting
into this most magnificent story
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with a cast of the highest caliber and I will use all techniques
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and the means offered by the magnificent
Hollywood production.
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Whether you're talking about visual effects
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or about stunts,
of real locations, building sets,
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we had to use for the film ODYSSEA
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all the tricks there are.
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This has never been here before
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and it's a really exciting challenge.
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You are a man who needs to control his destiny.
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But this cannot be controlled.
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And three, two, one, action!
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This is a really ambitious film.
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It's kind of like seven different ambitious movies
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folded into one.
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We needed the right people,
who would take up this challenge.
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Chris got the best craftsmen
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in the world in his field, and then asked everyone,
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to push the limits of their possibilities.
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That's what's so exciting about these pictures,
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that you feel everyone straining their strength
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to do it better than before and just get it done,
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what is expected of them.
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Chris looked at me and said:
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It's going to be a tough movie.
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And I said: Yeah, I know.
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And he said: No, this will be a really difficult film.
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And I said: Sure.
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Part of what I've been doing in my films over the years,
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be it the DARK KNIGHT or INTERSTELLAR
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or BEGINNING , is that I do come out
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from sometimes rather fantastic ideas,
but I try to anchor them in something
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what is really understandable to the audience.
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And I wanted to apply this to the world of Greek mythology.
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It is a huge task for the head of each section,
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reveal that reality and create a whole world,
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which can be performed in front of the camera,
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and then draw the audience into it.
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Everyone is on the same page and trying
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find the best possible solutions,
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basically right in the camera.
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My role consists of constantly scratching my head,
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how to handle it,
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this includes special effects
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or artists or anyone else.
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I reminded myself every day
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and he verified Chris's motto with his own skin:
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If it were easy, everyone would be doing it.
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No one can stand between me and my home.
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Not even the gods.
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I feel like we made six or seven movies,
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and in a sense we filmed them.
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Every single chapter of this adventure
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took place in another place,
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which presented a different challenge.
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One just knows,
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that when he tells such a story,
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are the individual places like the characters in them,
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and therefore it must be truly special.
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And so we found ourselves in really amazing places.
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There are parts of the world that I think about,
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that I would never have seen them without this experience
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I wouldn't even know about them.
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When something really happens
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you will learn a certain amount of information about it.
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So when you get to these places,
you just feel it
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and that adds another dimension to it,
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what are you trying to convey.
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Action.
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One of the things I love about shooting outdoors
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is that we move every few weeks
to other places.
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It supplies you
incredible dynamics.
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The interesting thing about this film is that we are shooting
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in extraordinary places that were
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difficult to access, where it was difficult to film.
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You know, normally when you make a Hollywood movie,
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base camp is 10 seconds from the filming location.
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When you make a Chris Nolan movie, it's like:
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No, that's a 45 minute walk in sandals
up, in full costume.
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We are at a castle called Santa Catarina.
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It stands on top of a hill.
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All equipment must be transported here.
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You have to film some of it too.
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Bringing out gear is going to be crazy.
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Preparation of camera equipment and auxiliary equipment,
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everything just happens up here on this hill.
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We basically have a trail,
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cable car for transporting equipment,
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and several helicopters,
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which will transport equipment and actors as needed.
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We all feel so happy.
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Although it's hard up here in that direction...
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it's worth it.
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Being on top of a mountain and being able to film
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in a 360 degree angle,
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without having to worry about the blue background,
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lights for visual effects
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and all these things, he gives us as actors
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huge freedom to just let it flow,
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just be human and react
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to the beautiful sunset that is currently visible
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from the top of the mountain.
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I mean every place we went
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when I got there, I just started laughing.
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You think: Who came up with the idea that you should make a movie here?
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We are filming in Nestor's cave in Greece.
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It is said to be the cave where Zeus was born,
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and it's a wonderful place, but no one has ever tried
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make a movie there instead.
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And so we went up with the crew
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and they saw the equipment installed,
that they basically made it
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natural filming scene, yeah,
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I don't know any other director
who would attempt such a thing.
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There wasn't a single place that was clear and easy.
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But all those places really made sense to the story.
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If we didn't go there and do it for real,
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It wouldn't be the movie it is.
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Tell me what you remember.
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We won the war.
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And what next?
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Chris is not satisfied with what has already been here.
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He wants to do things that no one has done before
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and do them on such a scale,
in which no one has done it before.
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And anything he can do to improve the experience
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from going to the cinema, watching movies and entertainment
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– that's his real goal.
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My first day in Morocco we filmed on the beach,
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where they pulled horses out of the water.
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I asked: Can I watch the filming?
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So I crossed that sand dune.
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And I guess I went 20 minutes through the extras
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and between the boats and the fire and the buildings
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and everything possible before I saw
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first member of staff.
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I was like, Where's the staff?
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Where is everyone anyway?
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That was the moment it really hit me,
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that I am lucky enough to be a part of something,
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what is different and exceptional.
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Because I've never seen anything before
on such a scale.
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When you look at a big budget movie production,
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every part of the film must be as impressive as possible.
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It has to transport the audience somewhere,
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where they haven't been yet.
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for example, Troy, and the fall of Troy,
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we needed it to be of absolutely colossal proportions.
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I knew from the beginning that there would be no sets,
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There will be no computer graphics.
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We wanted to build as much as possible.
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We discovered this terraced city,
Ait Benhaddou,
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The different layers and terraces helped us a lot,
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and then we incorporated it all into that city.
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That's damn big.
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It just looks like a really huge city.
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Let's say we walk a lot of kilometers every day.
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And we wanted the horse in terms of size
rivaled the temple.
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Have you ever heard the story about that horse?
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He is 10 m tall, weighs 3 ... 3.5 tons.
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We brought it in about nine or ten crates.
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The audience knows this trick very well.
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Everyone knows what a Trojan horse is.
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That can't be a big roller skate...
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it can't be on wheels.
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So I thought: what if it was like that,
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that he would be washed up by sea
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as a sacrifice to Poseidon?
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Chris and I specifically wanted something more,
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A more sophisticated horse.
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They were masters of their craft back then
and they were sailors.
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And so we were inspired by the paneling of the ship
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and we applied this design to horses,
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and thus we created a Trojan horse,
the likes of which you have never seen before.
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The aim was that it could be handled by human power,
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because it takes 100 guys in the script.
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So we worked really hard,
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to make it as durable, as strong as possible
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and light at the same time.
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When it is said that it is needed
the whole village, so it definitely applies.
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The special effects created formed the structural backbone.
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We made all the parts ourselves.
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Originally we had a whole horse cut out of polystyrene.
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Using this, we then made molds.
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And then we made fiberglass panels
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and we put all the infrastructure in them.
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That was incredible.
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And they actually moved it from the coast to the city
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and they built it by the temple of Athena.
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It's actually like everything in this whole movie,
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it is such a journey.
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You know, everyone works together to make it work.
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When you see it all together with the costumes
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and with people, it's absolutely epic.
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I mean, it's just stunning to see
how it all connects.
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All those extras.
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I remember going into the tent
with props in Ouarzazate
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and I thought to myself: For God's sake.
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This is really extraordinary.
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I don't know how we did it.
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Texture has always been very important when designing.
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Textures really are absolutely essential
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for each individual character.
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Nothing was flat.
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Everything felt three-dimensional,
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and one really felt it.
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There is so much detail and so much thought
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in every costume and every scenery.
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The sets are so huge and everyone built them
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at such a high level that you have
really feel like you're part of the action.
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As if I really found myself in that world.
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The King of Ithaca returns.
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No, it doesn't return.
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Like Odysseus's Ithaca, with a palace,
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we used the existing ruins and built on them.
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It had to convince the audience why they actually had to get home.
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When I first arrived at Favignana,
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it didn't even occur to me that the backdrop was a backdrop.
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Literally...I remember leaning against the wall,
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and she was such a soft mass.
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But it completely blended in with the real ruins.
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It was completely unbelievable.
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Ruth takes a realistic approach to everything,
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goes to the construction site and builds right there
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turns the construction site into
what do you need
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based on something that's already there.
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We built all this.
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But then you turn around here
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and you will see all this, it is amazing.
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This will be connected to our palace,
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which was built in a studio in Los Angeles.
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Chris knew he wanted it to be a really big scene.
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It's actually the only big scene in the whole movie.
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Everything else is filmed on location in the natural environment.
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Ruth and her team absolutely built this one
incredible scene
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which was really huge and really elaborate.
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And when you went in there, at all
it didn't look like a set.
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It felt like a completely different world.
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Great, guys.
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So just quickly parry the blow and move on.
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So bounce, continue forward, fall to the ground.
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When you're embarking on something on such an enormous scale
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and as spectacular as the attack
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to the gates of Troy and the Trojan horse
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and bows and arrows and swords and now you think,
261
00:12:23,699 --> 00:12:25,092
how do you take it to the next level?
262
00:12:25,309 --> 00:12:27,311
Go through it again please
263
00:12:27,529 --> 00:12:29,313
when you take these two axes.
264
00:12:29,313 --> 00:12:31,838
I said to George Cottle,
that we need fight scenes in the film,
265
00:12:32,055 --> 00:12:35,667
we need the actions to be in the movie
impressive and believable,
266
00:12:35,842 --> 00:12:36,756
and we need actors to play it.
267
00:12:39,759 --> 00:12:41,543
Matt and the entire cast
268
00:12:41,761 --> 00:12:43,980
were in incredible physical condition,
269
00:12:44,198 --> 00:12:47,375
and everyone worked really, really hard to make it happen.
270
00:12:49,594 --> 00:12:52,075
Movie fights are actually more like
dance than anything else
271
00:12:52,293 --> 00:12:53,685
because it really requires both fighters
272
00:12:53,860 --> 00:12:55,252
still in the right place.
273
00:12:55,470 --> 00:12:58,125
The people George surrounded me with were really
274
00:12:58,342 --> 00:13:01,693
extremely experienced so
I switched from one expert
275
00:13:01,868 --> 00:13:04,000
to the other.
276
00:13:04,218 --> 00:13:06,916
The actors must be as good as the stuntmen,
277
00:13:07,134 --> 00:13:10,702
but at the same time he has to bring acting elements into it.
278
00:13:10,877 --> 00:13:13,836
So we try to choreograph them
279
00:13:14,054 --> 00:13:15,533
etched in memory so much
280
00:13:15,751 --> 00:13:17,927
that they will be able to fully concentrate on their figure.
281
00:13:18,145 --> 00:13:19,886
You know, a lot of directors would focus on action
282
00:13:20,103 --> 00:13:22,105
and they would say: That looks great.
Great. Film it.
283
00:13:22,323 --> 00:13:24,760
But Chris is still looking
what is it that is wonderful
284
00:13:24,934 --> 00:13:27,067
and what drives the characters?
285
00:13:27,284 --> 00:13:30,244
Just the ability to discover the little ones
story details amidst spectacular action
286
00:13:30,461 --> 00:13:32,637
he makes Chris so special.
287
00:13:32,812 --> 00:13:34,248
Okay, here we go.
288
00:13:34,465 --> 00:13:35,727
Action!
289
00:13:41,864 --> 00:13:43,823
Stay the course!
290
00:13:47,522 --> 00:13:49,437
Rowers get busy!
291
00:13:49,654 --> 00:13:51,787
And take it!
292
00:13:51,961 --> 00:13:53,745
When I was working on the screenplay adaptation,
293
00:13:53,920 --> 00:13:56,052
I kind of hoped in my mind,
that I will succeed
294
00:13:56,052 --> 00:13:57,837
to limit the time spent on the boat as much as possible.
295
00:13:58,011 --> 00:13:59,403
But it's the ODYSSEY.
296
00:13:59,621 --> 00:14:00,883
Of course we'll be on this ship for months,
297
00:14:01,101 --> 00:14:02,276
just like back then.
298
00:14:02,493 --> 00:14:04,147
The last challenge.
299
00:14:04,147 --> 00:14:05,409
If you have nothing to do on this ship,
please get out of it immediately.
300
00:14:05,627 --> 00:14:06,889
The ship is sailing away.
301
00:14:06,889 --> 00:14:08,021
One of the main challenges was that,
302
00:14:08,021 --> 00:14:10,850
that we used period wooden boats.
303
00:14:11,024 --> 00:14:13,200
We did everything we could,
to hide the engines in them,
304
00:14:13,200 --> 00:14:14,418
but those engines were actually only there because,
305
00:14:14,636 --> 00:14:16,725
to keep the ship in a certain direction.
306
00:14:16,899 --> 00:14:18,074
They had to drive themselves after all
307
00:14:18,292 --> 00:14:20,337
half stuntmen and half actors.
308
00:14:20,555 --> 00:14:23,645
There's a reason we don't sail the ocean anymore
309
00:14:23,863 --> 00:14:25,865
in these huge open boats.
310
00:14:26,082 --> 00:14:29,346
But to experience that feeling, you have to try it yourself.
311
00:14:29,564 --> 00:14:30,913
We rowed this boat.
312
00:14:31,131 --> 00:14:32,741
When I say WE , I mean the poor people out there.
313
00:14:34,786 --> 00:14:38,834
There was a rowing camp because all Odysseus' men
314
00:14:39,008 --> 00:14:42,533
they had to learn to row on this one
a huge 100-ton ship.
315
00:14:44,405 --> 00:14:46,842
When the ship moves and your oar slips,
316
00:14:47,016 --> 00:14:48,365
can hit you in the chest,
317
00:14:48,583 --> 00:14:49,889
and it can even lift you up
318
00:14:50,063 --> 00:14:51,412
and throw you overboard.
319
00:14:51,412 --> 00:14:53,457
It requires constant attention,
320
00:14:53,675 --> 00:14:54,850
to keep you safe.
321
00:14:55,024 --> 00:14:57,113
It wasn't much at first,
322
00:14:57,331 --> 00:14:59,942
but then within a few days they managed it
323
00:15:00,160 --> 00:15:04,642
and the movement of the oars was already synchronized
and were ready to row.
324
00:15:04,860 --> 00:15:06,644
Shot!
325
00:15:06,862 --> 00:15:08,646
And the shot!
326
00:15:08,864 --> 00:15:11,780
They learned how to raise a sail on a boat.
327
00:15:11,780 --> 00:15:13,303
They learned to row.
328
00:15:13,521 --> 00:15:14,914
You know, we really did it all out there
329
00:15:15,131 --> 00:15:17,786
and that is extremely exhausting for people.
330
00:15:17,960 --> 00:15:20,223
It was incredibly, incredibly difficult.
331
00:15:20,441 --> 00:15:22,269
We were out there on the boat all together
332
00:15:22,486 --> 00:15:25,185
no one could just leave, go sit somewhere,
333
00:15:25,402 --> 00:15:27,491
go to the trailer or …
it just didn't work...
334
00:15:27,709 --> 00:15:30,538
we were together in the middle of the ocean.
335
00:15:30,755 --> 00:15:33,367
And then it was: What's the next shot?
336
00:15:33,584 --> 00:15:35,151
We are filming a detail.
337
00:15:35,151 --> 00:15:38,198
Matt was looking in the direction the ship was going
338
00:15:38,415 --> 00:15:41,375
and the dolphin jumped right into the shot.
339
00:15:41,592 --> 00:15:43,681
Come on, maybe not.
340
00:15:43,899 --> 00:15:46,293
I'll tell you where it wouldn't happen if this didn't happen - on a tank.
341
00:15:46,510 --> 00:15:47,859
And luckily we had this great big IMAX camera,
342
00:15:48,034 --> 00:15:49,035
and we filmed it.
343
00:15:54,344 --> 00:15:56,477
And for me it was my long unfulfilled dream.
344
00:15:56,694 --> 00:15:58,566
Seriously, ever since I was about 16 years old,
345
00:15:58,783 --> 00:16:01,786
I wanted to shoot the whole movie in IMAX.
346
00:16:01,961 --> 00:16:04,311
What held us back was always the sound.
347
00:16:06,574 --> 00:16:08,576
IMAX has an incredible team of engineers,
348
00:16:08,793 --> 00:16:13,233
who found a way to place
camera into this cover,
349
00:16:13,450 --> 00:16:15,496
so that we could film the most intimate scenes.
350
00:16:15,713 --> 00:16:17,585
We could have the camera 15 cm from you
351
00:16:17,802 --> 00:16:20,327
and the dialogues could still be caught.
352
00:16:20,544 --> 00:16:22,024
And so we are for the first time in history
353
00:16:22,242 --> 00:16:23,634
they were able to shoot the whole movie
354
00:16:23,852 --> 00:16:26,115
in the amazing IMAX format.
355
00:16:26,333 --> 00:16:29,553
And so the long unfulfilled dream finally came true.
356
00:16:29,771 --> 00:16:32,426
We, as filmmakers, shouldn't get comfortable.
357
00:16:32,643 --> 00:16:34,819
Our task is to present to the audience
358
00:16:34,994 --> 00:16:36,865
the best possible experience.
359
00:16:37,039 --> 00:16:39,999
Therefore, all our efforts had one goal:
360
00:16:40,216 --> 00:16:43,611
try to make our
the audience put themselves in our situation,
361
00:16:43,828 --> 00:16:46,440
and experienced something extraordinary.
362
00:16:46,657 --> 00:16:48,964
I think IMAX will really make it possible
363
00:16:49,138 --> 00:16:51,097
make the audience feel like they are part of it
364
00:16:51,314 --> 00:16:52,837
this journey of ours together.
365
00:16:53,012 --> 00:16:56,711
He really immerses himself in this world.
366
00:16:56,928 --> 00:16:59,409
I think Chris knows a way to draw you in,
367
00:16:59,627 --> 00:17:01,020
when you watch his movies.
368
00:17:01,237 --> 00:17:02,847
So naturally,
369
00:17:03,022 --> 00:17:05,546
the same goes for music.
370
00:17:05,763 --> 00:17:07,809
One of the first things that
one expects,
371
00:17:08,027 --> 00:17:10,029
when it comes to a film of this magnitude
372
00:17:10,203 --> 00:17:12,553
to the cinema is to experience the sound
373
00:17:12,770 --> 00:17:14,859
a large film orchestra.
374
00:17:15,034 --> 00:17:15,991
But you've seen that before.
375
00:17:16,165 --> 00:17:17,645
You've heard that before.
376
00:17:17,645 --> 00:17:19,995
For this film, Chris wanted it to be different.
377
00:17:22,737 --> 00:17:25,479
We wanted the film to feel like a known world
378
00:17:25,696 --> 00:17:28,873
for the audience, even though it was set in ancient Greece.
379
00:17:29,048 --> 00:17:30,571
We don't want it to look or feel like
380
00:17:30,788 --> 00:17:33,356
like the previous films already dealt with
381
00:17:33,574 --> 00:17:35,184
this classical world.
382
00:17:35,402 --> 00:17:37,578
What can we do, what else could be
more timeless than this?
383
00:17:37,795 --> 00:17:40,320
I knew that in order to create this completely
384
00:17:40,537 --> 00:17:42,887
original world, I had to step out of my comfort zone
385
00:17:43,062 --> 00:17:46,065
and find sounds that I haven't worked with before.
386
00:17:46,239 --> 00:17:50,547
Ludwig did very deep research
in the field of musical instruments,
387
00:17:50,765 --> 00:17:53,028
which was probably played at the time.
388
00:17:54,725 --> 00:17:56,205
Chris mentioned earlier,
389
00:17:56,423 --> 00:17:58,077
that he is interested in the double flute.
390
00:17:58,294 --> 00:17:59,948
He was interested in the lyre.
391
00:18:03,256 --> 00:18:05,997
The double flute is an ancient Greek musical instrument.
392
00:18:06,172 --> 00:18:08,348
It was the most popular instrument
393
00:18:08,565 --> 00:18:12,221
for 1,000 years.
394
00:18:12,439 --> 00:18:15,485
This is a replica of this flute.
395
00:18:15,703 --> 00:18:18,097
The original dates from the period between the 6th and
396
00:18:18,314 --> 00:18:20,055
and 5th century BC
397
00:18:20,229 --> 00:18:23,145
No original instruments survived.
398
00:18:23,363 --> 00:18:26,279
So I worked with two other people
399
00:18:26,496 --> 00:18:29,151
and we spent a lot of time to understand
400
00:18:29,369 --> 00:18:30,805
how this part above works.
401
00:18:31,022 --> 00:18:32,894
We had to read a lot of ancient sources
402
00:18:33,112 --> 00:18:35,723
and try to figure out how they did it.
403
00:18:40,467 --> 00:18:43,644
This is a reconstruction of the ancient Greek lyre.
404
00:18:43,861 --> 00:18:46,995
So that I can play it exactly like back then
405
00:18:47,169 --> 00:18:49,867
we had to do research on iconography,
406
00:18:50,085 --> 00:18:53,523
written sources and use personal experience
407
00:18:53,741 --> 00:18:54,959
musicians.
408
00:19:00,965 --> 00:19:02,619
Nice.
409
00:19:02,837 --> 00:19:04,752
Ms. You did it.
410
00:19:04,969 --> 00:19:06,145
Another thing Chris mentioned
411
00:19:06,319 --> 00:19:07,537
also, already at the beginning during our conversations
412
00:19:07,537 --> 00:19:08,625
was the use of bronze.
413
00:19:08,625 --> 00:19:10,932
You see, we are in the Bronze Age.
414
00:19:11,150 --> 00:19:13,761
So, for example, gongs are made of bronze.
415
00:19:13,978 --> 00:19:15,371
You can extract sounds from such instruments,
416
00:19:15,371 --> 00:19:17,460
like you've never heard before.
417
00:19:19,201 --> 00:19:21,116
We started experimenting with many other things,
418
00:19:21,290 --> 00:19:23,118
we were banging on the walls, the railings,
419
00:19:23,292 --> 00:19:26,295
We banged on anything we could find outside,
420
00:19:26,513 --> 00:19:28,950
such as scrap metal or air conditioning units.
421
00:19:33,650 --> 00:19:36,044
Using vocals was ultimately the way,
422
00:19:36,218 --> 00:19:39,221
how we could enrich the most emotional ones
423
00:19:39,439 --> 00:19:42,442
moments of music.
424
00:19:44,748 --> 00:19:49,405
There's a real intimacy to the soundtrack
and humanity.
425
00:19:49,623 --> 00:19:51,755
And I like that because it sort of goes against that,
426
00:19:51,973 --> 00:19:54,410
what did you expect.
427
00:19:57,761 --> 00:20:00,460
My father is coming home.
428
00:20:00,677 --> 00:20:01,896
He brings revenge.
429
00:20:04,725 --> 00:20:07,336
He takes everything with him.
430
00:20:07,554 --> 00:20:09,208
I'm a big fan of film history,
431
00:20:09,382 --> 00:20:10,600
especially the silent film era.
432
00:20:10,818 --> 00:20:13,168
What happened in front of the camera
was almost everything.
433
00:20:13,342 --> 00:20:15,562
Thousands of actors, extraordinary sets,
434
00:20:15,779 --> 00:20:17,694
unusual places.
435
00:20:17,694 --> 00:20:20,480
Over time, thanks to visual technology
effects in a Hollywood production
436
00:20:20,480 --> 00:20:22,090
lost much of it.
437
00:20:22,264 --> 00:20:24,048
We can do both.
438
00:20:24,223 --> 00:20:26,660
We can go back to earlier ways of filmmaking,
439
00:20:26,877 --> 00:20:29,576
but also add a whole new level to it
440
00:20:29,793 --> 00:20:31,621
fantasy and imagination
through force
441
00:20:31,839 --> 00:20:33,232
visual effects.
442
00:20:33,449 --> 00:20:35,103
We try to handle everything.
443
00:20:35,103 --> 00:20:38,324
This is ODYSSEA and like this
should sound on the screen.
444
00:20:41,196 --> 00:20:43,764
Action!
445
00:20:43,981 --> 00:20:46,941
Chris shoots on a really huge scale,
446
00:20:47,158 --> 00:20:48,377
in this large format.
447
00:20:48,595 --> 00:20:50,379
But basically they make independent films.
448
00:20:50,597 --> 00:20:55,166
And this creates a feeling of constant tension.
449
00:20:55,341 --> 00:20:58,431
He always does his best to
to make everything on the scene seem real,
450
00:20:58,648 --> 00:21:00,084
which then makes it work
451
00:21:00,259 --> 00:21:02,478
much more realistically for the audience in the cinema.
452
00:21:05,264 --> 00:21:07,266
People know a lot of the story,
453
00:21:07,440 --> 00:21:09,659
but they had never seen him like this.
454
00:21:09,877 --> 00:21:13,054
And it really deserves to be presented on a huge screen.
455
00:21:13,272 --> 00:21:15,622
As a fan, I'm really looking forward to this movie.
456
00:21:15,839 --> 00:21:17,406
Let's go!
457
00:21:17,406 --> 00:21:19,756
I absolutely can't wait to sit in that IMAX theater
458
00:21:19,974 --> 00:21:23,586
and I completely immerse myself in the world he created.
459
00:21:23,804 --> 00:21:25,980
For your entire life, if there is one movie
460
00:21:26,197 --> 00:21:29,375
which you absolutely must see in the cinema,
461
00:21:29,592 --> 00:21:33,509
so this is the right movie
because this is pure cinematography.