All language subtitles for Module 44

And now

let's
talk about the use of a documentary style

in First Man. He.

Really wanted to feel.

The cinema verité again,
inspired by NASA's archival footage

and also old documentaries
from the 1960s and seventies.

So for scenes like this press conference.

And other scenes in Mission Control.

Damian and his crew would set up the scene

like it was a long event

and they would follow the characters

with often two cameras,

sometimes three cameras, and they would

cover it like a document, like an event,

and the cameramen would cover it
like a documentary.

So there were all sorts of you'll see
camera messy pans and moves,

and these were things that, um, that

I saw that

I thought would be
I find them kind of beautiful.

I love that type of filming and that,
that, those type of little anomalies.

When our cinematographer saw a rough
cut of the movie,

he talked to me about how he was surprised
at seeing some of those things.

And it's because when he was filming
this way,

he was not trying to merely replicate
the documentary style.

He was doing things wracking, focus,
moving the camera as a means to an end.

He was functioning as if he was filming
in a real documentary.

But when I saw the material, um,
I thought there was a way

that this messiness would not only help us
in terms of the feel,

it would feel more like a documentary
would feel a little rougher.

But also that that some of these.

Camera anomalies are

some of the messiness
could be used for impact, for effect.

In the case of the press conference,
when they come back from outer space,

we wanted the

scene to feel like rendezvous
and docking, to feel like an assault.

It is supposed to feel like an attack
on Neil Armstrong

because the idea with the scene is that

his judgment is being second guessed.

He's being reviewed.

And what we have is a press conference
where we see

that Neil feels out of place,
he feels uncomfortable.

And then we intercut that with Nasser,

basically giving him a report card,
grading him and basically questioning him.

And so it was important
to feel the discomfort of this character.

And we again,
we get to linger on this face,

linger on this performance,
which from Ryan Gosling was very strong.

But also we wanted to support
that performance, to support that emotion

by showing you why he feels that way.

And part of the
why is showing that he feels attacked.

You need to feel that.
And you had to feel that cinematically.

Channel at a function.

So you feel that with every little sound
effect of the flashbulbs, it's important

to really focus on those and hear those.

But then also to the
the outbursts of the reporters,

it was important to really support play
that up, not only play up the sound of it,

but pictorially play it up visually.

I think we should focus on the product,
which is part of the mission.

Again
it details like inserts that punctuation.

That's helpful function.

Yeah.

What are some of the separate PGA?

Migration is what we want to say.

It's a sketch.
It's an impression. That was.

That's the important thing
to get from the scene.

Specifically, it doesn't matter

who's asking the question or who or who's
pointing or who's choosing.

It's just an impression

that you want to give out everyone
and you anchor it to the character.

You always anchor it to the face.

There is no way to know that as an editor,
looks are your friend,

the eyes are your friend.

When someone's looking one way
and then you see him change. That's.

That's a helpful
tool. What's causing that?

We care about it.

Isolated each of Germany's thrusters

if we had that capability in

again, Neil Armstrong says something.

He tries to explain himself.
He's instantly attacked.

He's cinematically attacked.

I just want to do anything.

And this every time we wanted to come back

and do this.

It was important.

This is where you want it to be.

You don't want it to just be.

It doesn't necessarily in this case
have to be just one outburst.

We wanted to play it up.

So in some cases, when we cut back to it,
we used pieces.

There's not just one shot of someone
raising hand.

We we cut into something else.

We double cut it off.

Did you have any feelings of anxiety
after the video of the first day?

And when I'm looking through this cinema
verité, this documentary footage,

when I'm first getting this footage
and I'm looking for it.

This is to me,
this is some of the most exciting footage

to to edit and to look at, to go through.

It's also some of the hardest

because it doesn't seem to

be easily categorized and organized.

This editors were very compulsive,
and we like to say,

okay, well, here's all the close ups,
okay?

Now here's all the wide shots.

It's a way that we create systems to help

us do our jobs,
to help find order and chaos.

The verité footage is very hard to manage
that way.

It's very hard
for the assistance to organize it.

So. But
but it's very exciting to go through.

So when I'm going through making selects
of this type of footage,

I am always trying to be careful

to make an endpoint in and out
point in my selects.

I try to be very brutal
with what I set aside as my select.

I try to say, You know what?

I only like this part of the shot,
which is a snap zoom.

That looks great.

I don't know how I'm going to use it, but
I like it and I'm going to set it aside.

And I do that for for the whole
all of the footage,

just whatever little pieces
that I think might come in handy.

After this game, did you seem to realize
or feel that this is pushing

the envelope cinematically a little bit
because it's very cutting

the little pan
cut to another pan and cut to another pan.

It's it's it's baroque. It's it's overt.

It's it's over-the-top in a different
context, in a different movie.

You would never want to be
so presentational or showy in that way.

You, you it's it's
the opposite of invisible.

But in this context, you want this.

Now that assault is over.

Now we can take our time a little bit.

We can take our time
and create more discomfort

by just passing the time
with little pieces.

The pages turn just to know that he's
sitting here waiting,

and that's uncomfortable for him.

And so you want to take at least
a little bit more time with this.

You don't want just come in with this line

with his boss coming in and saying,
okay, boys, we're done.

You want to come in with spend
a little bit of real estate,

a little bit of time to set up
that this is.

That this is notable.

What is about to be said.

That.

And again using the inserts
as a punctuation that ends the scene.

Click, click.