Deleted scenes

as the only person we're not putting in closeup. So he's always in the shot, but we're never deliberately showing him. In fact, look at this wide shot. Right at the moment where you're about to see Henry, the pillar blocks him and we cut so that this was always intended to be his introduction. It creates a sense of prominence for this character. And then we discovered this, which is the first shot that shows him is actually in a wide. He's quite small.

18:37 · jump to transcript →

The way that we choose to cross the line. You know, we're keeping Ilsa alive in the story, obviously, at this point, deliberately with the compositions. And every time we cut, it's on a very specific idea shift or we're... A subject change. Yeah, we're subject change. We're forcing the audience to move their eyes from one side of the screen to the other so that you are forced to keep engaged with the...

23:34 · jump to transcript →

The first time you see this, you're not really paying attention to what Ethan is doing in the background. And then the second time you see it, you know what's coming. And so you're like, wait, what was he doing back there? And it was so, we had to be so particular of when we cut to that side of the line. Exactly. So you see there's multiple angles covering Henry. And all of that is to give us the space so we could control when to cut to Ethan and when not to.

27:15 · jump to transcript →

Nia DaCosta

So, we had... This is really fun. We had some really great prosthetics in this film. And some of them you're seeing here as he takes those arrows out of his torso. And then we cut to a close-up, which is a completely fake chest plate that has blood pumping out of it, which is fun. So, that was all real. Which means...

12:45 · jump to transcript →

Nia DaCosta

And so, basically, we have the circularity where he's talking about Old Nick and all this... Satanist stuff, and then finally Old Nick comes, and then eventually, you know, when we cut to the wide, we realize that it's a delusion that he's having as he nears death. And really, it's just Samson covered in blood, coming to see his friend. And unfortunately, coming upon this scene.

1:38:33 · jump to transcript →

She's from the garage. I'm sad we cut out. When we had that line where... I'm like, that's my wallet. Oh, okay. She sits on it. Oh, right. Yeah.

42:16 · jump to transcript →

This is where we enter the operatic, fun, non-serious part of the film. And that's why this shot is there. This is the only fancy shot we have in the entire film. 'Cause Pawel and I came up with a lot of cool shit to film. But at a certain point, we're like, "You know what? "Let's keep it super basic." And then we're like, "We should keep one just so people know we can if we want to," but we decided to restrain ourselves. But here we cut loose and we wanted to have this almost... Certainly these shots circling the guys are very Michael Bay-ish, which is not the tone of the film, but I thought we can get away with it and I think it works. These guys are having a good time, boy. They're in their element. - The bright light is just very... And here comes Yulian. He's so great. My brother gets shot. You out? - Yeah. Dad? This was so hard to do. - Why, Bob? 'Cause I got the sickness. We had a flu that went around. Norovirus. - Nurovirus? No, no, I think it's Noro. - Norovirus. Nuro would be scarier. - Yeah, Noro, and it hits you fast. And I had avoided it for what, a week-and-a-half? Yeah. There was a day when 35 people had to leave this shoot because they were just that sick. 35 people, all in one day. So it was that bad. I'm getting sick as you're watching me here, and I got sick very bad and very fast. And it was not good. I'd like to say that the sweat on your face, that's not makeup. - Yeah. That is real sweat. But holy cow, this impact is huge.

1:20:13 · jump to transcript →

Edward Berger

So we cut to this battlefield. It was a really hard shot to get here. We rehearsed it a couple of times in a parking lot at ARRI in Prague because we wanted to get the exact height and the lens right. And then on this day, we just shot it just before sunset and probably took about four or five takes only.

2:08 · jump to transcript →

film and editing and some of the grammar of film to try to convey something about disorientation and the effects of concussion. I think the concept of concussion is really crucial to this sequence. And so when we cut back inside that room, those other guys are not concussed. And suddenly sounds are changed and colors are changed and intensity is changed. And then we drop back into Ray slash D'Pharaoh's world.

49:10 · jump to transcript →