The long take

This sequence was difficult to shoot, because that was made in the studio with a tent and some kind of white gas. The gas they use in the discos. So it was very difficult to shoot that, because sometimes we shot one take and we needed to get out of this place because it was very, very... The fog was very heavy and intense. And to match with the exteriors that we shot before, we needed a level of fog, so these kind of technical problems always are complicating the situation... especially because you are dealing with fire as well in this moment. That was also a critical choice because that wasn't planned in the script. In the script, that was the moment when Rose Byrne, the character of Rose Byrne is being killed instead of Doyle. But we thought it will be weaker and a bigger problem from the kids to be led by this woman instead of this very strong soldier. And in terms of the sacrifice, which is an idea attached to the... to Doyle's sniper, it's interesting that he died in this moment, because now, you know, his sacrifice is clear, and the kids and the doctor are more fragile. Yeah. - And it was quite surprising, I think. In terms of the genre, we loved the idea about the hero's death. And now it seems like it's so difficult to stay alive in this city, so now the tension is stronger.

1:19:39 · jump to transcript →

And he did the tilt down on that one take. And it was like, and he just stayed there. And we're just like, hold, hold, hold. And then he went slowly up and he just perfectly hooked back up to her face. And it was like, it worked out really great. And we're like, ah, you know, it's like, it's one moment in the movie that's got a little, a little bit of that kind of, you know, that kind of action. We didn't want to go full on. You know, you got alien. She's like in her panties at the end, alien, uh, four, uh,

47:48 · jump to transcript →

Rob Cohen

This originally was going to be a shot in three different pieces, the volley of arrows, and on the site with Joel Hynek that day, I just went, let's make it all one, and here's how we'll connect the three into one continuous shot, both the launch of the arrows, the flight of the arrows, and the impact of the arrows. I did that little bit of humor because, you know, a mummy movie, you have to keep your sense of humor or...

1:27:15 · jump to transcript →

How was it doing that shot, doing that roll? Because that was a one-take deal. It was adrenaline incarnate, man. Yeah. I wasn't wanting to carry a brother right here, though. Yeah, no, all through the prep of the movie, you were upset about this scene because you had to carry me. And then you had to carry me at the end of the movie, too. Now, Jack, that little roll was not easy. That was my stunt. This is good. Look at the eyes. That's not me, believe it or not.

8:30 · jump to transcript →

Matthew Vaughn

...the mat that we wouldn't put down and knock himself out. So he's probably... I don't know. As I said, it probably looks good. They were all in pain afterwards. I mean, he had one take, so you can imagine how relaxed we were... ...blowing up the one set. We did it all for real. I wasn't into CG, the glass game. Everything was real. And the weird-sounding bazooka, we made that up. I think sometimes if you've got something like a weak spot in a movie... ...or could be perceived as a weak spot, you should...

1:43:49 · jump to transcript →

the hardest thing was to watch you going through the underwater training. That was brutal. It was really brutal. Because there was long take after take. Oh, God, yeah. I remember we came up with the idea of the underwater thing when we were doing Edge of Tomorrow underwater. Well, here's what happened. Here's what happened. Jim Bissell showed a picture of the Taurus as, like, just an idea of something to do a sequence in and hung it on this board, and you saw it and said, great, we're doing an underwater sequence.

59:24 · jump to transcript →