All language subtitles for Module 45

They're pretty rough today.

Keep an eye on your.

That the.

Equality between the minimum.

But I learned in the first.

Low climb.

There is a dirty word on your radar.

Deal.

The vehicle's not safe.

This is based on a real event.

Neil Armstrong Actually,
you can find the real video on YouTube.

Neil Armstrong was in a training vehicle

training to, you know, to try to land.

And and he lost control of the vehicle

and he had to eject and he nearly died.

And so there was footage of this
that that Damien

and his crew in production

used as a reference.

And so a lot of the footage actually
looks like the wide shots you see,

which are these very telephoto kind of

are very rough shots of this craft.

That they recreated.

So Damian wanted to build this up
musically.

Justin Hurwitz The score
and then just cut right in.

And just from a story point of view,
what has just happened is

Neil Armstrong's
best friend, Ed White, has just died.

And so we are coming from knowing,
getting that information.

And Damian wanted to start
the next chapter with impact.

So we did that with a title card
and we crescendo.

Justin Hurwitz's music.

And then we just did a smash cut,

not to an establishing shot,
but again to a detail, to a close up.

And then we once we establish this,
then we can pull out to the wide

and get our bearings.

But we wanted to be thrown.

We want to throw the
audience headfirst into this.

Now we see another detail.

We start to pull back.

He recreated an exact replica
of this vehicle

and they hung it from a crane.

Same with this shot.

This is a full scale vehicle

being hung by a crane
which was erased from this shot.

But it was important to Damien
that it have that real physicality.

He didn't want to do it. CG.

And now we pull back to the wide
to show what it is.

And we show details, little fragments.

Damian wanted this to be chaotic.

He wanted this section to be

out of control
and so that the vehicles out of control.

And editorially, he wanted to express that
through these fragmented pieces.

And again, a cause and effect.

These inserts are your friend.

You show a switch and you hear that
sound of the lever being pushed.

And then you can
cut to the craft reacting.

There was.

They had storyboards of this section,

but we only use that as a starting point.

We veered very quickly
from those storyboards and we relied

then on the footage.

The footage told us, in a way
how to cut it.

And and we did that
by looking at the footage and pulling out,

selecting the little pieces we liked.

Okay.

Well, this wide shot of the craft

careening this way or shifting that way,
I like the way that looks.

It looks violent.
It looks out of control. Let's grab that.

And that starts dictating
what your editing plan is.

And this again, P.O.V.

shots are your friend.

But in this case it's
okay that it is not always

necessarily linked up with the eyes.

Although by the by the time the scene,
the way the scene crescendos the eyes

and that POV back and forth will

will come into play and we'll use that to
build up to a certain point.

Again ship careening.

Let's let's answer with pieces.

And now.

We wanted to build this up real fast.

And it was important that we get this wide
shot in here just to just to help sell.

It's okay that it's different

that you're feeling the pieces,
but also just to sell the fall.

And now we can go completely subjective.

So now we go into.

And again, this is a place where I want to

you as an editor,
you want during moments like this,

you want to get the audience
in almost like a wrestling hold.

You want to grab the audience, and you do
that by teeing things up a certain way.

And so this is where
now you want to set up the POV

with this close up of the eyes.

And by the way, this shot.

I put a push

on this zoom to start zooming in.

Into the eyes.

Now we answer with the POV.

And now we push in further.

This is a zoom
I've added in the above to push in.

More on his eyes. Now he reacts.

And it's okay that it's that that you
that it's you're in in the micro.

It's okay that it's somewhat abstract.

And now rhythmically we see.

And again, these are short shots.

That's six frames long.

He's pulling the lever
for the ejection seat.

And now.

What we like here is we cut to this
where we see his head go back.

And this was a this was a double a cut

with two shots
where one helps the other going up.

And then just in a graphic sense,
pulling up on the lever

and then the head going up.

Those are two things
that you want to link together.

Now we have this pyrotechnics.

And now,
because we've started cutting faster

and now we have these fast pieces,
now we are allowed to stay on this shot.

Damian's favorite shot, one
of his favorites is Ejection Seat Shot,

which we always knew
we'd want to linger on.

But now it means something
because we've set up this contrast.

We've learned that now we can stay on it.

Now we change the pace of the scene.

And now this shot.

We've earned the right to hold on
this shot.

Just stay with it. Of.

Of Neil being dragged.

And in fact,

that's Ryan Gosling.

Ryan Gosling did the stunt.

And so when you have an actor
in this situation

doing something like that, that's gold.

You want to stay with that,
you want to hold on and you want to hold

so you can show that it's actually
Ryan Gosling.

It's your actor doing this.

So we stay.

He looks up. His said.

You can see his visors cracked.

It's Ryan Gosling.

Because we've just come from something
cinematically overt and cutty.

Now we've earned the right
to linger on these things.

And that's the payoff to the scene.

It's okay that the shot before that's
is is through the fire, through the heat.

Now, this is the punctuation of the scene.

Now you see. Exactly.

The context you see where he is

in relation to.

The craft.

Vehicles are safe.

Well, unfortunately, it's the free lap.

And then we go into the next scene.