All language subtitles for Urban Legend s01e08 The Scuba Diver.eng

[theme music playing]

[woman sighs wearily]
My feet are killing me, we need to stop.

[man] Whatever.

What do you mean, whatever?

You're the one
who brought us here.

Yeah, and I'll get us
home, too.

Can you just figure out
where we are, please?

Look, I know exactly where
we're going, just trust me.

I'll get us
where we need to go.

We're lost.

-We're not lost.
-We're lost,

and you need to admit it.

Look, check this out,
all right?

So... [sighs in exasperation]

I know we started here.

Yes.

So, I'm pretty sure we are...

-here!
-Lost!

[woman sighs]

What?

[screams]

[young girl] Dad!

[rapid breathing]

-Dad!
-Yeah, I'm here.

[exhales] It was a bad dream?

-Dad, I was so scared!
-Okay.

[exhales deeply]

[grunts]

How bad was it, hmm?

How bad was it, one to ten?

-Ten.
-Ten?

Oh, that's pretty bad.

Remember what we talked about?

Dreams aren't real.

They scare you,
but they can't hurt you.

[kisses]

Okay?

-Good night.
-No!

Dad, stay.

Please stay here.

So, as long as this line,
right here,

stays connected
to the diver,

he'll never get lost.

You're not scared
in the caves?

Little bit.

But it's good
to be scared sometimes.

Makes you feel like
you can take on anything.

Plus when you're down here,

it's beautiful.

It's like this

amazing place.
You... you get to see things down there

that no one's
ever seen before, ever.

It's like real-life magic.

You'll see it.
I'll take you down there.

One day.
And you'll love it.

Please don't go tomorrow.

I have a really bad feeling.

Is this your bad dream?

I don't wanna talk about it.

Well, I'm not
going to the caves tomorrow.

You're not?

Mmm-mmm.

Where are you going?

[Dad] I'm going to the lake.

I'm just gonna try on
some equipment down there.

[inhales deeply]

[muffled yelling]

[muffled yelling]

[muffled yelling]

[muffled yelling]

[screaming]

[grunting]

[young girl] Dad?

Hmm?

Can you read me a story?

No. It's bedtime.

Please...

Mom already did.

But you're way more fun
when you read.

Well, that's true.
That's true, but we're not gonna tell your mom that.

Okay, fine, fine. Just one.
Pick one, but only one.

Oh...

-Good choice.
This is your new one, right? -Yep.

[inhaling] Okay.

[reading]
"Take a deep breath."

[inhales deeply]

[gasping, coughs]

[labored breathing]

[coughing]

[coughing]

[gasping]

[coughing]

[panting]

[panting
and coughing continues]

[coughing continues]

[screams]

[coughing]

[screaming]

[groaning]

[screaming]

[grunts]

[crying]

[gasping in pain]

[crying in pain]

[coughing]

[inhaling]

[moaning in pain]

[coughing continues]

[gasping for air]

[coughing]

[breathing]

You think he's gonna make it?

Well...

Still plenty
of pages left, so...

I think we're good.

But what if he lets go?

What do you mean?

Like, what if he just lets go?

He can't hang there forever,
could he?

What, he just gives up?

Yeah, like...

What if he just does that?
Then it's over, right?

[inhales, exhales deeply]

Well, he would probably...

I think he's gonna make it.

-You do?
-Oh, yeah.

You see
this little raccoon here?

He lost his parents, right?

So, he's gonna do
whatever it takes to find them.

Because he needs them.

Just like you and me.
We need each other.

But what if...

If he never does?

And... [sniffles]

[voice breaking]
He's all alone.

I'm not gonna
be alone, right?

You won't ever
have to think about that for a very long time.

[sniffling]

I'm done
with this stupid book.

-I wanna read something else.
-Hey, hey, hey.

Let's go
find out what happens?

Huh? Your little
raccoon friend, he's hanging there, look.

He's hanging there
with his little paws.

-His little baby fur paws.
-[chuckles]

-Baby fur paws.
-[laughs]

[Dad sighs]

Sometimes in life,

you just get problems
that you don't see coming.

But you face them...

You face them
and you persevere.

That's what he's trying to do.

He's trying to persevere.

I guess.
But what happens to him?

Well, let's find out.

[helicopter engine whirring]

Hey!

Help!

Help me!

Help!

Hey!

Hey!

[coughing]

Help. Help me!

[inhaling]

[helicopter engine whirring]

[radio static]

[man talking over radio
indistinctly]

[coughing]

[gasping] Hello.

-Hello.
-[crackling]

Hello!

Is anyone there? Hello?

Talk to me!

[groaning, whimpering]

[gasping]

[panting]

[groans softly]

[moans in pain]

[gasping]

[coughing, vomiting]

[retching,
vomiting continues]

[labored breathing]

[panting]

[screaming]

[continues crying]

Careful...
Get hold of yourself.

You can do this!

[muffled crying]

[crying]

[gasping]

[grunting]

[panting]

[moans]

[cloth tearing]

[crying]

[gasping
and groaning continues]

[screaming]

[crying continues]

[moaning]

[crying]

[gasps in pain]

[screaming in pain]

[groaning
and gasping continues]

[crying]

[crying]

Ouch!

[grits teeth]

[gasps]

[panting]

Hey, it was just getting good.

I don't think you're gonna
like where this is going.

You want
to keep reading it, Dad.

Not all fairy tales
have the happiest endings.

Yes, they do. They always do.

Remember that book
I read you, last week,

um, Hansel and Gretel?

The one with
the old witch in the house?

Mmm-hmm.
Well, in the original story,

they never left the house.

What happened to them?

The witch bakes them
into pies,

and then you know
what she does?

She took them and she...

-Ate them?
-Ate them.

Yeah, mmm-hmm.

-That's scary.
-Yeah, I know.

See, they would write
these scary endings

to... frighten the kids

and hopefully
teach them some lessons.

Like a school?

Like, don't talk to strangers

and always listen
to your parents.

Do adults learn
from them, too?

What's that supposed to mean?

All right, that's
enough for tonight.

We'll finish tomorrow.

It's bedtime.

Can you stay with me
till I fall asleep?

[exhales]

-Sure.
-Okay.

-Good night.
-Good night.

[breathes deeply]

[exhales]

[rumbling]

[crackling]

[thudding]

[thudding continues]

Honey?

[radio static]

[dispatch] Robbins 29.

Robbins 29. Come in.

-Over.
-[radio static]

[radio static continues]

[dispatch] Robbins 29.
Robbins 29. Location, over.

[clears throat]

[gasps] Hello? Hello? Hello?

[dispatch] Who is this?

[gasps, grunts]

[dispatch] Robbins 29.

Can you help me?
Help me.

Where is the rest
of your team?

There's no team.

There's no team.
I was swimming.

I was dropped off here.

And I don't know where I am.
I don't know where I am!

I need somebody.
I need someone to get me.

Dropped with what team?

-My name is--
-Dropped with what team? Over.

Who is this?

-Who is this?
-USFS.

Who?

United States Forest Service.

Help me. Help me. Help me.

[radio static]

Hello?

Hello?

[radio static continues]

Yes, I'm getting your location

and we'll send
someone to you now.

[radio static resumes]

[exhales]

Oh...

[short cry]

[gasping in pain]

[rumbling]

[young girl]
You shouldn't be here.

What? What did you say?

Are you listening to me?

You're not
supposed to be here.

Do you want me to read
you another story?

No.

I don't want another story.

Let me tell you a story.

My dream, I saw you.

In a strange room,
a room that could change its shape.

You stood there for so long,

for so long,
you didn't know what to do.

I couldn't do
anything to help.

I could see the door
for you to leave,

but I couldn't
tell you where it was.

And every time you turned
to see that door, it was gone.

I could see on your face
that you were so scared.

Then I watched
the room get smaller--

-Honey, honey, honey.
-Shh.

Look at me.

I can't because I don't
want you to see it.

See what?

To see...

[young girl] Ouch!

Okay, look at me, look at me.

Dad...

What?

Do you feel it?

Feel what?

You're on fire!

Wake up! Wake up!

Wake up!

[crackling]

[exhales]

[coughing]

[panting]

[Dad] USFS.

USFS, come in.

[dispatch] Roger.
This is USFS.

Robbins 29, do you copy?
What is your position?

I don't know!

Triangulating
your coordinates.

Robbins 29,
there is a ranger tower half a mile due east.

-We'll send a chopper...
-[static breaking]

[inhaling]

[labored breathing]

[gasping]

Charlotte.

Charlotte!

Hey! Hey! Hey!

[breathing heavily]

[inhaling]

Charlotte!

Hey! Hey! Are you all right?

[screams in fright]

[gasping and coughing]

[breathing]

[short breaths]

[beeping]

[gasping]

Wait.

Wait.

[groaning]

Wait!

Hey!

Is there anyone there?

Hey!

[grunting]

[gasps]

Come on.

[Dad] You ready?

Are you ready?

I love you.

What is it?

Thank you.

No, leave it on.

Bye, Dad.

Bye, hon.

All right. That was
"The scuba diver in the tree."

One of my favorite,
favorite, urban legends.

It's just
so completely insane,

and I'm now joined
by the director, Mike Gallant.

-Mike, welcome.
-Thank you for having me.

All right. So,
there was a big discussion about this episode.

And a lot of people told me
it was unfilmable,

or too crazy,

or, "How you're gonna
pull this off?"

And of course,
the answer is, "I don't have to.

The director has to," but I...

I fought so hard
for this episode,

um, because it's one of those
urban legends

I just wanted to see rendered.

Tell me about
what excites you about it

and what's your approach?

Like, how were you gonna
pull this off?

So, I'm actually
in agreement with you

in terms of the excitement
around the scuba diver myth.

As soon as I was told
that's what we were doing,

I was very excited because

we would make it a lot more
about the scuba diver himself

and we put our own
spin on it, whereas,

"Okay, he didn't die
from the fall.

He's actually in the forest,
in the fire

and he's using
his own oxygen tank,"

which makes sense
obviously being a scuba diver,

to keep himself alive
for as long as possible.

When I saw
that we were taking that approach to it,

I got really excited
because this sort of became a survival, uh, story.

But overall I just find that
the scuba diver myth itself

is just a really, really
great urban legend.

Is it true?
Did it really happen? Did it not happen?

Could it happen? [laughs]

Yeah, it's... It is...

Well, the best urban legends
live in that zone,

-where it's so absurd...
-Yes.

...that you'd think,
"Well, that could happen.

-That is a freak acc...
Freak accidents happen." -Yeah.

"The Scuba Diver,"
what I liked about the episode

is that anytime you have
kind of the velociraptor in the kitchen,

you know, something
completely out of context

-in the wrong place...
-Right.

...it's instantly unsettling.

If you're in a forest fire,
the oxygen tank, if it doesn't explode,

-is the thing that's gonna
save your life. -Yeah.

But now you gotta
walk around in this wet suit.

What do you do
if it's burned

-and sticking to your skin?
-Yeah.

I mean, it's literally
a contained horror film.

What I love about this episode
and this story in particular

is that it falls in
that category of pure cinema.

No, dialogue,
just camera work.

There's no talking.
It's all, like, a kinet...

And in this case
it will be some kinetic, visceral cinema.

Talk about
that kind of approach,

where you're
shooting the scene

that, you know, other than
the father and daughter,

there's not a lot of dialogue.

Yeah, so you
have to definitely get a very strong performer.

That's directing 101,
I guess you'd say,

and fortunately
we have someone really great,

Nick Smyth, uh,
who is carrying

this whole thing
sort of on his shoulders.

I told him, I was like,
"This is gonna be rough.

This is gonna be hard.
You're, you know,

you're gonna
get your ass kicked for about four days."

-And he's in a scuba suit.
-Yes, on top of that, and--

I mean, I went outside
in a T-shirt at 100 degrees and I was hot.

Being in a scuba suit,
you know, walking and doing the shot

-of someone with flippers...
-Right.

-...trying to...
It's such an absurd image. -Yeah.

And I think that
the best urban legends

-weirdly have an element
of absurdity to them. -Right.

You're like, "That's so crazy.
How could that ever happen?"

But it did happen.

Because someone you know

-knew someone
who knew someone... -Right.

...that swore
that it happened.

That's the thing
about this myth,

um, I would say
even more so than,

uh, all the other ones
in my opinion,

my humble opinion, is that

everyone swears
this has happened,

you know, California
or France were these big locations.

It happened in the '80s.

Somebody swears by it.

Planning a shoot like this,

how much is practical fire?

What can you do
with a flame bar?

What are you doing
with LED screens?

What's CGI?

How do you break
that down in your head?

And as a director,
what do you like to use?

Right. Well,

in terms of the locations
that we were...

They're very fickle about

just how much
we are able to bring fire into it,

understandably
in the middle of the summer.

Um, so we're using
a lot of visual effects

to portray the fire itself,

-but we're using
a lot of smoke machines. -Mmm-hmm.

-Um, and our great DOP
has flickering LEDs that... -Mmm-hmm.

Not just LEDs
but bigger lights than that

that we're sort of lining
our whole forest set with,

so that it's constantly
flickering on the scuba diver as he's going.

And we were having
a lot of conversations,

and, you know,
finding the best angles and everything to utilize

and just make it as believable
as humanly possible.

[inhaling]

I was going through
a lot of different films for references for this.

And obviously nowadays
they play it a lot more safe and lot of CG fire,

which is completely
understandable.

But when, you know,
you think about stuff that

performers such as
yourself go through

because you
had to deal with Tarantino's wall of fire

while you were shooting
Inglourious Basterds,

-and--
-I almost died.

-Yeah.
-Crazy.

-Not on purpose, but...
-Of course. Of course.

...if the fire
got much closer.

They'd done,
like, a bunch of tests,

but they never tested
the fire with the flags on the scene.

But even on camera
when you see how close you are...

-Yeah.
-...to that wall of fire,

you know, it just...
It makes you unnerved.

I had no frame of reference

for what
that level of pain was.

'Cause it... They... It was...
They said, "It won't get

closer than 20 feet,"
and it was right up over us

and I couldn't gel my hands...

Yeah, that's the thing, right,
you didn't have protection.

-My hands were
so burned and... -Right.

I passed out after it.

They said another...
It was... It was multiplying.

You see a swastika
fall in the film.

That wasn't
supposed to happen.

-Oh, okay.
-The steel liquified. It was 2,000 degrees.

They said that
another 30 seconds,

the structure we're on
would have collapsed.

So, Mike, tell us,
uh, just a bit about,

for people
that aren't familiar with your work,

that are gonna
see this episode for the first time,

tell us a little bit
about yourself,

where you started,
what you're doing,

other work of yours
that they could see,

where they
can find your stuff.

So, I've... I've actually
worked a lot as an editor

so I've, uh, edited
a lot of feature films

and many
horror films, actually,

so that's sort of how
I got into the whole thing.

How did all
those years of editing

prepare you for directing?

I think literally editing
is probably one of the best

ways to learn
how to direct, personally.

Uh, even writing, too,
because you see all the mistakes.

And then you see
how you have to fix it.

You know immediately
if you're shooting something,

"All right, that's not
gonna make the cut.

That's not gonna work."

We don't have
the reverse of that.

I need a transition from
this scene to this scene."

As an editor now directing,
do you pre-edit a scene before you go shoot it?

Do you, like, play it
in your head going,

"I need that,
that, that, that"?

Or you're doing that
while you're cutting?

I believe when I sort of
make my shot list initially,

that's sort of where
my head is at.

When I'm on set, I try

and just sort of live more
in the moment

and just make sure that
the performances

are getting out.
Like, I really care a lot about performances.

So, where can people
follow you?

Yes, so I'm on Instagram,

Helix Reel, R-E-E-L, Ent.

-I'm very, very easily,
uh, Google-able. [laughs] -Awesome.

Easy to find on Google.

No, I want
people to watch this and check you out

and follow you
and see your other works.

I really appreciate that.

I think your stuff
is really fantastic.

Thanks, man,
I appreciate that.

Great job, man.

It was, uh, really a pleasure
to sit down with you.

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