Pacing & rhythm

This was extremely complicated. But look how beautiful this is. My sympathies go out to everybody who worked on Jaws. Working on water is extremely complicated. And again, just their rhythm and their energy together and creating that relationship between those two people, obviously, in preparation for what was coming. This, we had done months of testing, you remember? Yes. Trying to create...

1:17:48 · jump to transcript →

Always, yeah. And we feel ourselves saying, oh, we've overcooked it here. Yeah, and quite often we will over-tighten the seam and put air back in, but then we know that it's as tight as a drum. Yes. This was terrific behaviour from them. Again, Tarzan and Shay, they are just... They were an effortless double act. They required very, very little...

1:22:53 · jump to transcript →

because we cut with no temp. Yes. The movie develops its own internal rhythm. Yes. And we find ourselves very often taking the same piece of music and it lays almost cut for cut in multiple scenes in the movie. And then here we are. This was kind of a revelation to us, this scene. You remember, we started shooting this. I remember this. We shot completely different coverage of Haley. And the camera was front on. And her hair was down.

1:41:20 · jump to transcript →

Edward Berger

with one by one meter of mud on the ground and him shot against the sky. So we didn't need to build a trench again. And you know immediately, oh God, this is his friend. He's dead. And it just puts the audience more with Paul. And before that, you kind of question it for a little bit too long. Who was he looking at? Who was he finding? What was he holding in his hand?

32:16 · jump to transcript →

Edward Berger

without being vain. And the movement, it was the exact perfect rhythm with the pan up and the tilt up and the tilt down. And look how a lot of this here works through sound. We only hear French. We only hear a gunshot off camera now in a minute, like someone screaming. We don't see anything. We always stay with Paul. And that was a very important part of perspective for me.

38:21 · jump to transcript →

Edward Berger

Just to distinguish everyone. And I didn't know what to write. And also the rhythm of the movie was perfect at that moment. And I said, like, I can't make it any longer. I really got to get back into the story and so forth. And then I found this letter and I knew, oh, this is a good idea. And it became my favorite scene. So, you know, there you go for studio notes. They sometimes can be really helpful. So I found this scene.

46:57 · jump to transcript →

but it was just taken too long, so you don't see it. The old Slavic or old Ukrainian was done by Ukrainian poet Yurii Andrukhovych, and I can't know how great it is, but it does sound beautiful, and Anya does it very well. I use the water.

36:21 · jump to transcript →

I think we probably should have just... We should have woken up now. Instead of there. And then we could then start panning now. And it would have been a lot better. I think we hold on this sort of poorly composed academic painting far too long. But you win some, you lose some.

1:11:20 · jump to transcript →

I'm really excited we're going to be spending Christmas together. It's been too long. Yeah, it has. I'm really looking forward to it. Well, uh... Fun little detail, like the scars on her face. See you soon. Love you. I love you more.

41:43 · jump to transcript →

new casts, but your teeth also shift. So Dave and Samantha, everybody, they all talked about how, you know, they weren't uncomfortable to wear, but they, you know, they had moments of being uncomfortable, and too long in the mouth would make them uncomfortable. So again, all the right reasons for making new ones. And so we took new casts of their teeth,

1:13:49 · jump to transcript →

We did not have Bobby Digital for too long. He was only there for what, three days? - I think four, including the rehearsal. Yeah, this is a lot of work to do, but, you know, he's done action before, many times. Directed it, starred in. Of course, you know, he knows... He's definitely seen more action movies than I have. Yeah. - Which is rare. It's hard to find. - Yeah.

1:18:06 · jump to transcript →

Tim Burton

that felt sort of right. So it wasn't just deadhead slight undulating quality to it. It's just so that there's a weird kind of a hypnotic rhythm to the whole thing. So it's like with costumes, sets, cinematography, we discussed all of this in terms of creating what it ultimately is. You are no more my king, but with the blessing of the angels of undying love.

1:05:14 · jump to transcript →

Yeah, that's one of the things I remember both you guys spending a lot of time teaching, which to me almost sounded like slightly sing-song cadence, if that's the cadence you're referring to. Yeah, yeah, yeah. Because people expect it on the other line, too, so it's not... And anyone that's been in the military knows that rhythm.

35:09 · jump to transcript →

Nia DaCosta

Take it. Pick it up! Too slow, pal. We had to re-record dear Connor's dialog a couple of times because of his Glaswegian accent, which I, you know, understand just enough. But I think for the average American audience, they were a bit confused. Shit! It was really fun to do that stab. I really like special effects, especially when they have to do with, like, cuts or blood or gore, I think it's really fun. And so this is... And I wanted also much of the blood to be practical. I really hate VFX blood 'cause it looks so fake. And so in this scene, we have mostly real blood, but then VFX to either clean up or to match certain things. But everything we do is like a rig. So when you see the blood spraying out, it's always or almost always real... well, not real blood, but like real red fluid coming out of a pump. And then right off-screen, there's, like, SFX artists, like, pumping away at this can full of, you know, fake blood. Sir.

4:10 · jump to transcript →