Original subtitles

There was a scene

that guy shot, which is all about super duper

crazy slow motion and things hitting and things.

You know, James Herbert's literally doing a masterpiece of, you know, it's like.

It's like an editing masterclass.

I looked at that thing, and the first time I looked at it and I went,

oh, right, okay, that's all the story going on.

There's all this stuff going on.

And stylistically, it's

it's very different from anything

in this movie.

so the two ways

of solving it, either I can go and

figure out every moment and

do something with every moment I can find

like a crazy simplistic through line.

so so the tempo had to be right.

And these guys had been working.

You know, I think Guy will forgive me for saying this.

They'd been working in the cutting room on this scene forever, and they could not

they didn't want to go and

ever look at that scene again.

and so this is where

the grid thing is interesting because it changes the feel.

So they were basically.

Very maybe a little bored with the scene.

Right.

So, so I remember the first time I showed it to go

without saying anything, just play it again

and again.

Play it again.

I thought.

What's he thinking?

Because I'll tell him you're thinking he's you know, he's either he's

either hating it or you start to come up with some.

It was like he couldn't look at the scene anymore, and suddenly

he found it completely compelling to look at again.

so if I can find the sped, cut, where was it?

Real fine.

We come from

the actually, we come from something, you know, which is on purpose.

They action musically and very, straight.

I don't.

Wanna hold them like we need them to go.

But what's wrong with this is nothing.

Just let them talk. Oh.

I can

just it's just swapping out the whole thing.

It's just,

I think it's funny

to talk.

So obviously there's so many different tempos

going on in the scene, in the cut, in the in the way

he treats every shot.

So. So by just

brutally

imposing this grid on set, it feels like sort of things can't end up

good, you know, it's like like, like fate just grabs you and,

you know, imposes its own rhythm on top of that.

and I, on purpose of moving.

Not if it's just like,

boldly sticking to one note.