Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:12,266 --> 00:00:14,399
Apollo 13 was
2
00:00:14,900 --> 00:00:17,466
a project that it was easy to fall in love with
3
00:00:17,466 --> 00:00:20,999
we all became very passionate about about it
4
00:00:21,500 --> 00:00:25,000
one of the real champions of
5
00:00:25,466 --> 00:00:27,966
of this of of the
6
00:00:28,133 --> 00:00:29,866
very similar to the honesty
7
00:00:29,866 --> 00:00:33,066
the seeking the truth in the story was Tom Hanks
8
00:00:33,100 --> 00:00:34,600
who loved the space program
9
00:00:34,600 --> 00:00:36,766
initial screenplay was very entertaining
10
00:00:36,766 --> 00:00:37,699
but there were some
11
00:00:37,733 --> 00:00:39,499
some some situations
12
00:00:39,500 --> 00:00:41,466
some scenes where things were
13
00:00:41,466 --> 00:00:42,366
um you know
14
00:00:42,366 --> 00:00:43,666
sort of combined
15
00:00:43,666 --> 00:00:47,766
slightly exaggerated for drama and um
16
00:00:48,566 --> 00:00:49,499
Tom would always say
17
00:00:49,500 --> 00:00:50,500
why are we doing that
18
00:00:50,500 --> 00:00:51,966
is that really what happened
19
00:00:52,300 --> 00:00:55,833
and I actually wrote on the cover of my script finally
20
00:00:55,900 --> 00:00:57,166
um to tell the truth
21
00:00:57,166 --> 00:00:58,166
just show it
22
00:00:58,200 --> 00:01:00,666
because I began to trust that
23
00:01:00,733 --> 00:01:05,066
and it was really the first time that I developed that
24
00:01:05,066 --> 00:01:06,666
that's that trust in in
25
00:01:06,666 --> 00:01:07,933
in the in the
26
00:01:07,933 --> 00:01:09,166
in the ideas
27
00:01:09,666 --> 00:01:11,499
um and and it's the first
28
00:01:11,533 --> 00:01:13,366
first time I worked on a story
29
00:01:13,366 --> 00:01:15,033
it was based on real events
30
00:01:15,133 --> 00:01:19,599
but again one of the great triangles was in fact
31
00:01:19,800 --> 00:01:22,366
Dave Scott who was a
32
00:01:22,366 --> 00:01:25,599
an Apollo veteran and an ex commander
33
00:01:26,200 --> 00:01:28,700
and who's our technical advisor
34
00:01:28,766 --> 00:01:31,099
Tom Hanks and myself
35
00:01:31,266 --> 00:01:34,866
city simply sitting with transcripts and
36
00:01:34,866 --> 00:01:35,199
you know in
37
00:01:35,200 --> 00:01:37,433
Tom wanted to understand as a as a
38
00:01:37,700 --> 00:01:39,433
as a commander
39
00:01:39,666 --> 00:01:42,166
you know what these various procedures might mean
40
00:01:42,166 --> 00:01:44,266
and we wind up getting so much suspense
41
00:01:44,266 --> 00:01:45,366
and gaining so much drama
42
00:01:45,366 --> 00:01:49,166
simply by going through a process that began as a
43
00:01:49,166 --> 00:01:52,399
sort of a technical understanding of a procedure
44
00:01:53,000 --> 00:01:56,200
and wound up turning into
45
00:01:56,266 --> 00:01:57,099
um you know
46
00:01:57,100 --> 00:01:57,866
a character moment
47
00:01:57,866 --> 00:01:59,199
a moment of decision
48
00:01:59,200 --> 00:02:00,600
a moment of suspense
49
00:02:00,600 --> 00:02:04,300
that I was able to identify and do something with
50
00:02:04,300 --> 00:02:05,766
that would inform the camera work
51
00:02:05,766 --> 00:02:07,166
would inform the editing
52
00:02:07,166 --> 00:02:08,799
um but it would come out of these
53
00:02:08,800 --> 00:02:09,800
these quiet
54
00:02:09,900 --> 00:02:11,733
Three Way you know
55
00:02:11,733 --> 00:02:14,499
conversations that were more informational and creative
56
00:02:14,500 --> 00:02:18,100
and yet I think every conversation you have on
57
00:02:18,133 --> 00:02:20,766
you know around the problem solving
58
00:02:21,200 --> 00:02:22,466
of a movie or television show
59
00:02:22,466 --> 00:02:24,599
is ultimately a creative conversation
60
00:02:30,466 --> 00:02:31,766
it was an important moment
61
00:02:31,766 --> 00:02:35,799
where I really availed myself of some
62
00:02:35,800 --> 00:02:38,400
some relationships that I was lucky enough to have
63
00:02:39,266 --> 00:02:40,433
as a director
64
00:02:40,800 --> 00:02:44,833
um and I was timid about it at first but I was
65
00:02:45,466 --> 00:02:47,566
I was going into a beautiful mind
66
00:02:47,566 --> 00:02:49,866
it was the most serious movie um
67
00:02:49,866 --> 00:02:53,399
that I'd made at that point in my career and um
68
00:02:53,400 --> 00:02:55,300
um and I and I
69
00:02:55,300 --> 00:02:59,566
I I done a lot of rehearsing and preparing of movies
70
00:02:59,566 --> 00:03:00,666
I love to stage
71
00:03:00,666 --> 00:03:02,399
I love to rehearse ahead of time
72
00:03:02,400 --> 00:03:05,400
but generally were lighter movies um
73
00:03:05,400 --> 00:03:06,100
or you know
74
00:03:06,100 --> 00:03:08,500
or a little more action oriented
75
00:03:08,600 --> 00:03:11,300
and wasn't so much about mining these deep
76
00:03:11,933 --> 00:03:15,333
psychological minefields you know
77
00:03:15,333 --> 00:03:16,599
and these troubles
78
00:03:17,200 --> 00:03:21,633
and setting the stage for triumphs that were
79
00:03:22,666 --> 00:03:24,533
you know supposed to be monumental
80
00:03:24,533 --> 00:03:26,099
for the character and for the audience
81
00:03:26,100 --> 00:03:26,500
but in fact
82
00:03:26,500 --> 00:03:27,333
we're small
83
00:03:27,333 --> 00:03:29,866
small things and um
84
00:03:29,866 --> 00:03:31,899
we're about to begin rehearsals and I
85
00:03:31,900 --> 00:03:34,200
I decided that I would
86
00:03:34,400 --> 00:03:36,266
I would call on some people I really admired
87
00:03:36,266 --> 00:03:38,733
who I knew just enough to be able to to
88
00:03:38,733 --> 00:03:40,166
to send a call out
89
00:03:40,400 --> 00:03:43,100
um it kind of a haha
90
00:03:43,366 --> 00:03:45,599
kind of a SOS of sorts
91
00:03:45,866 --> 00:03:48,099
and it was Martin Scorsese
92
00:03:48,300 --> 00:03:49,433
Mike Nichols
93
00:03:49,600 --> 00:03:51,633
um and Sidney Lamette
94
00:03:52,133 --> 00:03:54,366
and there are three directors who are
95
00:03:54,366 --> 00:03:58,299
whose dramatic work I admired you know
96
00:04:00,100 --> 00:04:02,466
and I knew them well enough to call
97
00:04:02,733 --> 00:04:07,099
and they had three very different ideas for me
98
00:04:07,133 --> 00:04:10,066
in terms of going into this rehearsal period
99
00:04:10,466 --> 00:04:11,799
um you know
100
00:04:11,800 --> 00:04:13,233
I said how do you approach it
101
00:04:13,900 --> 00:04:16,566
Mike Nichols said I try to
102
00:04:16,733 --> 00:04:20,166
in addition to working out the problems of the script
103
00:04:20,166 --> 00:04:20,899
and you know
104
00:04:20,900 --> 00:04:22,600
into testing the material
105
00:04:22,733 --> 00:04:26,366
I try to build a bridge between the
106
00:04:26,366 --> 00:04:28,666
the actor and the character
107
00:04:28,666 --> 00:04:30,333
and I want to talk about it enough
108
00:04:30,333 --> 00:04:34,699
so that I understand what that bridge is like
109
00:04:34,700 --> 00:04:36,500
so that at 3 o'clock in the morning
110
00:04:36,500 --> 00:04:38,166
on some bitter cold night
111
00:04:38,766 --> 00:04:40,699
if I feel like they're missing a moment
112
00:04:40,700 --> 00:04:41,533
I might be able to
113
00:04:41,533 --> 00:04:43,733
remind them of a conversation we had in rehearsal
114
00:04:43,733 --> 00:04:47,799
or push a button in some way that reconnects them
115
00:04:47,933 --> 00:04:49,966
and bridges them to that character
116
00:04:49,966 --> 00:04:52,833
so that what they give is organic
117
00:04:53,000 --> 00:04:56,633
you know Mike was a tremendous you know
118
00:04:57,100 --> 00:04:58,500
stage and theater director
119
00:04:58,500 --> 00:05:00,466
as well as film and television
120
00:05:00,966 --> 00:05:02,566
that was really insightful
121
00:05:02,566 --> 00:05:05,233
I'd never heard anyone describe it that way
122
00:05:06,166 --> 00:05:07,166
um he said I
123
00:05:07,166 --> 00:05:07,966
sometimes I don't care
124
00:05:07,966 --> 00:05:09,566
if we never get around to actually reading this
125
00:05:09,566 --> 00:05:10,799
script you know I
126
00:05:10,800 --> 00:05:12,800
I just wanna build that bridge
127
00:05:13,533 --> 00:05:16,633
sitting in the mat was um
128
00:05:16,800 --> 00:05:18,500
much more about preparation
129
00:05:18,933 --> 00:05:19,466
he of course
130
00:05:19,466 --> 00:05:20,699
wanted to explore it
131
00:05:21,100 --> 00:05:23,066
I wanted to hear what the actors thought
132
00:05:23,066 --> 00:05:25,733
there's a lot of trust there um
133
00:05:25,733 --> 00:05:26,566
and sitting on that
134
00:05:26,566 --> 00:05:28,266
also wanted to make sure
135
00:05:28,266 --> 00:05:30,166
that it was technically prepared
136
00:05:30,400 --> 00:05:31,533
that it that
137
00:05:31,533 --> 00:05:33,999
that it was meticulously marked out
138
00:05:34,000 --> 00:05:36,800
that camera positions were selected
139
00:05:36,866 --> 00:05:38,566
so that when the actor came in
140
00:05:38,566 --> 00:05:40,899
not only could the production work very
141
00:05:40,900 --> 00:05:42,033
very efficiently
142
00:05:42,733 --> 00:05:44,566
the actors would be liberated of that concern
143
00:05:44,566 --> 00:05:45,166
that pressure
144
00:05:45,166 --> 00:05:47,866
cause the production was moving um
145
00:05:47,866 --> 00:05:49,166
you know so swiftly
146
00:05:49,200 --> 00:05:51,700
um but um the
147
00:05:51,700 --> 00:05:53,033
all they had to think about was the
148
00:05:53,333 --> 00:05:54,966
was the performance and
149
00:05:54,966 --> 00:05:56,866
and he also did very few takes
150
00:05:56,866 --> 00:05:58,499
which I thought was interesting
151
00:05:58,500 --> 00:05:59,300
some of these things
152
00:05:59,300 --> 00:06:01,066
I chose to borrow
153
00:06:01,066 --> 00:06:01,933
others you know
154
00:06:01,933 --> 00:06:02,599
not so much
155
00:06:02,600 --> 00:06:03,600
but I thought it was very
156
00:06:03,600 --> 00:06:04,633
very interesting
157
00:06:05,000 --> 00:06:08,700
scorsese was um
158
00:06:08,700 --> 00:06:10,866
used a lot of improvisation he said
159
00:06:10,966 --> 00:06:12,899
and a lot of
160
00:06:13,200 --> 00:06:15,666
of of character exploration
161
00:06:15,800 --> 00:06:17,900
but he also said something that I really related to
162
00:06:17,900 --> 00:06:18,733
that kind of surprised me
163
00:06:18,733 --> 00:06:19,266
which is he said
164
00:06:19,266 --> 00:06:22,166
he wanted to make sure that there were no barriers
165
00:06:22,166 --> 00:06:23,366
that there were no roadblocks
166
00:06:23,366 --> 00:06:25,466
that if a scene troubled an actor
167
00:06:25,600 --> 00:06:28,933
he wanted to know about it ahead of time um
168
00:06:28,933 --> 00:06:31,766
and so that the big problems could be solved
169
00:06:31,800 --> 00:06:33,066
in pre production
170
00:06:33,100 --> 00:06:35,566
and the shooting could just be all about
171
00:06:35,566 --> 00:06:37,166
maximizing the ideas that they'd
172
00:06:37,166 --> 00:06:38,666
more or less all um
173
00:06:38,666 --> 00:06:39,499
agreed upon
174
00:06:39,866 --> 00:06:40,999
and you know
175
00:06:41,000 --> 00:06:43,633
three different headlines
176
00:06:43,700 --> 00:06:45,533
but all very much adding up to the
177
00:06:45,533 --> 00:06:46,966
to the same thing
178
00:06:47,333 --> 00:06:48,633
use this period
179
00:06:48,900 --> 00:06:51,666
to go beyond
180
00:06:52,066 --> 00:06:54,266
understanding the material
181
00:06:54,300 --> 00:06:55,133
and preparing
182
00:06:55,133 --> 00:06:55,799
professionally
183
00:06:55,800 --> 00:06:56,866
to execute it
184
00:06:56,933 --> 00:06:57,699
and you know
185
00:06:57,700 --> 00:06:59,100
really roll up your sleeves
186
00:06:59,100 --> 00:07:00,900
and expose yourself to it
187
00:07:01,066 --> 00:07:02,533
both as a professional
188
00:07:02,533 --> 00:07:03,766
and as an artist
189
00:07:03,800 --> 00:07:04,900
and you know
190
00:07:04,900 --> 00:07:07,066
I really that was a
191
00:07:07,066 --> 00:07:08,933
that was a remarkable day
192
00:07:08,933 --> 00:07:10,533
a singular day
193
00:07:10,533 --> 00:07:12,299
in my experience
194
00:07:12,300 --> 00:07:13,100
as a director
195
00:07:13,100 --> 00:07:13,866
and I you know
196
00:07:13,866 --> 00:07:15,333
I've always
197
00:07:15,333 --> 00:07:16,799
always appreciated having that
198
00:07:16,800 --> 00:07:18,000
having that conversation
199
00:07:23,966 --> 00:07:25,866
sometimes it would just be easier to say no
200
00:07:25,866 --> 00:07:26,933
let's put the camera here
201
00:07:26,933 --> 00:07:28,566
and you stand over there and say the line
202
00:07:28,566 --> 00:07:29,799
sometimes you have to do that
203
00:07:29,800 --> 00:07:31,000
you know cause the sun is coming
204
00:07:31,000 --> 00:07:31,900
is going down
205
00:07:31,900 --> 00:07:33,300
but again I always feel that
206
00:07:33,300 --> 00:07:35,933
in a spirit of a collaborative environment
207
00:07:35,933 --> 00:07:38,799
that when you do have to simply decide
208
00:07:38,800 --> 00:07:41,266
people are far more accepting
209
00:07:41,266 --> 00:07:43,999
but sometimes it's exhausting
210
00:07:44,133 --> 00:07:47,399
uh when you've basically opened up the channels
211
00:07:47,566 --> 00:07:50,099
of collaboration and expression
212
00:07:50,100 --> 00:07:53,033
and you're in this role as kind of editor in chief
213
00:07:53,133 --> 00:07:55,166
of a lot of ideas it that
214
00:07:55,166 --> 00:07:59,066
that alone will never really make the movie work
215
00:07:59,800 --> 00:08:01,966
you must decide
216
00:08:02,100 --> 00:08:05,300
you have to ultimately be the last word
217
00:08:05,300 --> 00:08:05,933
you have to
218
00:08:05,933 --> 00:08:07,966
it's not directing by consensus
219
00:08:07,966 --> 00:08:09,499
that never you know
220
00:08:09,500 --> 00:08:10,166
that never works
221
00:08:10,166 --> 00:08:11,899
I never feel like that's what I'm
222
00:08:11,966 --> 00:08:14,533
I'm ever advocating or doing
223
00:08:14,533 --> 00:08:16,299
it's it's trying to
224
00:08:16,800 --> 00:08:18,166
you know mine
225
00:08:19,133 --> 00:08:20,266
the creative
226
00:08:20,533 --> 00:08:22,866
um brain power um
227
00:08:22,866 --> 00:08:25,333
and um and and and
228
00:08:25,333 --> 00:08:25,899
and you know
229
00:08:25,900 --> 00:08:29,600
and artistic instincts of the people I'm working with
230
00:08:29,600 --> 00:08:33,366
to just to elevate my set of choices
231
00:08:33,533 --> 00:08:34,999
and then make those decisions
232
00:08:35,000 --> 00:08:35,800
but sometimes
233
00:08:35,800 --> 00:08:37,300
sometimes it can be very difficult
234
00:08:37,300 --> 00:08:39,400
and sometimes it can be offensive to people
235
00:08:39,500 --> 00:08:41,766
um and of course um
236
00:08:42,866 --> 00:08:45,499
one of the things that I love about
237
00:08:46,000 --> 00:08:51,300
about this career is it not only um
238
00:08:51,300 --> 00:08:53,800
generates a kind of a lifetime of
239
00:08:54,000 --> 00:08:55,400
of exploration
240
00:08:55,400 --> 00:08:57,700
and understanding the world and the way it works
241
00:08:57,700 --> 00:08:58,700
because you know
242
00:08:58,700 --> 00:09:00,866
that's ultimately what storytelling is all about
243
00:09:00,866 --> 00:09:05,499
is sharing aspects of the human experience
244
00:09:05,500 --> 00:09:08,366
in particular ways and
245
00:09:08,366 --> 00:09:09,699
and to you know
246
00:09:09,700 --> 00:09:10,933
to try to reach an audience
247
00:09:10,933 --> 00:09:12,299
and that's thrilling
248
00:09:12,300 --> 00:09:13,766
and you learn a lot doing it
249
00:09:13,766 --> 00:09:16,833
but equally as fascinating
250
00:09:16,900 --> 00:09:19,366
maybe even more fascinating
251
00:09:19,400 --> 00:09:22,400
uh is is the array of individuals that you work with
252
00:09:22,400 --> 00:09:27,100
because nothing draws a more desperate group of
253
00:09:27,100 --> 00:09:28,133
um you know
254
00:09:28,133 --> 00:09:29,433
highly motivated
255
00:09:29,700 --> 00:09:31,033
very talented
256
00:09:31,133 --> 00:09:33,266
um very interesting people
257
00:09:33,266 --> 00:09:34,766
but from all walks of life
258
00:09:34,866 --> 00:09:36,199
all sensibilities
259
00:09:36,266 --> 00:09:37,133
um you know
260
00:09:37,133 --> 00:09:38,766
all cultures and
261
00:09:38,766 --> 00:09:40,233
and all personalities
262
00:09:40,266 --> 00:09:41,499
and there's a lot of pressure
263
00:09:41,866 --> 00:09:42,899
you put them all in a pressure
264
00:09:42,900 --> 00:09:43,666
in a pressure cooker
265
00:09:43,666 --> 00:09:45,499
it's another reason I like to create
266
00:09:45,500 --> 00:09:48,766
an environment where it's as much fun as it can be
267
00:09:48,800 --> 00:09:50,566
but it cannot always be fun
268
00:09:50,566 --> 00:09:53,766
and I cannot always be the one who's making it pleasant
269
00:09:53,766 --> 00:09:54,733
in fact often
270
00:09:54,733 --> 00:09:56,633
I'm the one making it very unpleasant
271
00:09:56,900 --> 00:09:59,966
um but I I try to apply
272
00:10:00,133 --> 00:10:01,633
you know um
273
00:10:01,866 --> 00:10:03,033
a sense of logic
274
00:10:03,366 --> 00:10:03,999
like we all
275
00:10:04,000 --> 00:10:05,600
we all want the same thing
276
00:10:05,600 --> 00:10:06,666
a great moment
277
00:10:06,666 --> 00:10:07,666
a great scene
278
00:10:07,733 --> 00:10:08,666
a great movie
279
00:10:08,933 --> 00:10:10,366
this is what it takes right
280
00:10:10,566 --> 00:10:12,899
and when things get difficult
281
00:10:12,900 --> 00:10:14,300
those are the kinds of conversations
282
00:10:14,300 --> 00:10:15,533
that I'm able to have
283
00:10:15,533 --> 00:10:17,066
and most of the time
284
00:10:17,933 --> 00:10:20,233
you know they lead to a good result
285
00:10:20,866 --> 00:10:22,566
sometimes you know
286
00:10:22,800 --> 00:10:23,800
having been an actor
287
00:10:23,800 --> 00:10:25,900
I know what people say about the director
288
00:10:26,266 --> 00:10:27,866
I'm back in the makeup trailer
289
00:10:28,700 --> 00:10:31,766
I'm sure I'm not immune to you know
290
00:10:31,766 --> 00:10:35,266
all those modelings and all that head shaking but
291
00:10:36,200 --> 00:10:36,800
but you know
292
00:10:36,800 --> 00:10:38,433
I do love that collaboration
293
00:10:44,266 --> 00:10:47,366
when it comes to collaboration um
294
00:10:47,733 --> 00:10:49,433
around your project
295
00:10:49,933 --> 00:10:52,066
I would say try to keep the kind of mental
296
00:10:52,066 --> 00:10:55,666
emotional equilibrium so that you can
297
00:10:56,366 --> 00:11:00,466
you know you're open and you hear everybody
298
00:11:00,866 --> 00:11:01,899
but ultimately
299
00:11:01,900 --> 00:11:03,266
you listen to yourself
300
00:11:03,666 --> 00:11:06,199
you know really look yourself in the mirror
301
00:11:06,400 --> 00:11:10,300
but listen to yourself because it
302
00:11:10,766 --> 00:11:12,299
these projects are not
303
00:11:12,600 --> 00:11:17,400
are not made by committees
304
00:11:17,500 --> 00:11:19,766
yes you want to take into account
305
00:11:20,366 --> 00:11:22,999
the comments and the ideas that are coming at you
306
00:11:23,000 --> 00:11:24,466
but you you
307
00:11:24,466 --> 00:11:26,433
you have to run them through your filter
308
00:11:26,600 --> 00:11:28,600
and vitally important to have
309
00:11:28,966 --> 00:11:32,199
the strength and the confidence to do that
20849
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.