Rob Legato: The art of creating awe

Translator: Joseph Geni Reviewer: Morton Bast

Traducător: Alma Ghita Corector: Ariana Bleau Lugo

I worked on a film called "Apollo 13,"

Am lucrat la filmul „Apollo 13” şi am descoperit ceva

and when I worked on this film, I discovered something

about how our brains work, and how our brains work

legat de cum funcţionează creierul nostru.

is that, when we're sort of infused with

Funcţionează astfel: când suntem plini de entuziasm, uimire sau afecţiune,

either enthusiasm or awe or fondness or whatever,

it changes and alters our perception of things.

asta ne schimbă percepția asupra lucrurilor.

It changes what we see. It changes what we remember.

Schimbă ce vedem şi ce ne amintim.

And as an experiment, because I dauntingly create

Ca experiment, pentru că mi-am dat sarcina descurajatoare

a task for myself of recreating a Saturn V launch

de a recrea lansarea rachetei Saturn V

for this particular movie, because I put it out there,

pentru acest film, pentru că am îndrăznit,

I felt a little nervous about it, so I need to do an experiment

am avut emoţii, aşa că aveam nevoie de un experiment,

and bring a group of people like this in a projection room

să pun un grup de oameni într-o cameră de proiecţii

and play this stock footage, and when I played this

şi să rulez acest material de arhivă.

stock footage, I simply wanted to find out

Am vrut pur şi simplu să aflu

what people remembered, what was memorable about it?

ce îşi amintesc oamenii, ce a fost memorabil?

What should I actually try to replicate?

Ce ar trebui să reproduc?

What should I try to emulate to some degree?

Ce ar trebui să imit?

So this is the footage that I was showing everybody.

Acesta e materialul pe care l-am arătat.

And what I discovered is, because of the nature

Am descoperit că, din cauza naturii

of the footage and the fact that we're doing this film,

materialului şi a faptului că făceam acest film,

there was an emotion that was built into it

totul era emoţionant,

and our collective memories of what this launch meant to us

iar amintirile noastre legate de semnificaţia lansării pentru noi

and all these various things.

şi toate aceste lucruri...

When I showed it, and I asked, immediately after

După vizionare, când i-am întrebat

the screening was over, what they thought of it,

imediat după proiecţie ce credeau,

what was your memorable shots, they changed them.

care au fost scenele memorabile, au numit altele.

They were -- had camera moves on them.

Se gândeau la mişcările camerei.

They had all kinds of things. Shots were combined,

Au spus diferite lucruri.

Cadrele erau combinate, iar eu eram curios,

and I was just really curious, I mean, what the hell

adică la ce naiba v-aţi uitat acum câteva minute

were you looking at just a few minutes ago

and how come, how'd you come up with this sort of description?

şi de unde aţi scos descrierea asta?

And what I discovered is, what I should do is not actually

Am descoperit că nu ar trebui

replicate what they saw, is replicate what they remembered.

să copiez ce au văzut, ci ce îşi amintesc.

So this is our footage of the launch, based on, basically,

Aceasta e filmarea cu lansarea,

taking notes, asking people what they thought, and then

creată folosind înscrieri, întrebând oamenii ce cred.

the combination of all the different shots and all

Combinaţia de cadre diferite

the different things put together created their sort of

şi toate acestea puse laolaltă au creat

collective consciousness of what they remembered

conştientul lor colectiv, cum îşi amintesc că arăta,

it looked like, but not what it really looked like.

nu cum arăta de fapt.

So this is what we created for "Apollo 13."

Asta am creat pentru „Apollo 13”.

(Launch noises)

(Zgomote de lansare)

So literally what you're seeing now is the confluence

Ce vedeţi acum e combinația

of a bunch of different people, a bunch of different memories,

dintre diferiți oameni, amintiri,

including my own, of taking a little bit of liberty

inclusiv a mea,

şi o tratare mai liberă a subiectului.

with the subject matter.

I basically shot everything with short lenses,

Am filmat tot cu obiective scurte,

which means that you're very close to the action,

ca să pară că eşti aproape de acţiune,

but framed it very similarly to the long lens shots

dar cadrele sunt similare celor filmate cu obiective lungi,

which gives you a sense of distance, so I was basically

care îţi dau senzația de distanţă,

was setting up something that would remind you

aşa că practic făceam ceva care să-ţi amintească

of something you haven't really quite seen before. (Music)

de ceva ce nu mai văzusei înainte.

(Muzică)

And then I'm going to show you exactly what it is

Vă voi arăta apoi la ce anume aţi reacţionat de fapt.

that you were reacting to when you were reacting to it.

(Music)

(Muzică)

Tom Hanks: Hello, Houston, this is Odyssey.

Tom Hanks: Salut, Houston, aici Odyssey.

It's good to see you again. (Cheers) (Music)

Ne bucurăm să vă vedem din nou.

(Aclamaţii) (Muzică)

Rob Legato: I pretend they're clapping for me.

Rob Legato: Îmi imaginez că mă aplaudă pe mine.

(Laughter)

(Râsete)

So now I'm in a parking lot. Basically it's a tin can,

Acum sunt într-o parcare.

E un spaţiu mic, iar eu recreez lansarea

and I'm basically recreating the launch with

fire extinguishers, fire, I have wax that I threw

cu extinctoare, foc, am ceară pe care o arunc în faţa obiectivului

in front of the lens to look like ice, and so basically

pentru a arăta ca gheaţa.

if you believed any of the stuff that I just showed you,

Dacă ai crezut chestiile pe care ţi le-am arătat,

what you were reacting to, what you're emoting to,

toate la care ai reacţionat, care te-au emoţionat

is something that's a total falsehood, and I found that

sunt complet false.

really kind of fascinating.

Găsesc asta fascinant.

And in this particular case, this is the climax of the movie,

În cazul ăsta, aici e punctul culminant al filmului.

and, you know, the weight of achieving it was simply

şi greutatea a constat în luarea modelului

take a model, throw it out of a helicopter, and shoot it.

aruncarea lui din elicopter şi filmarea lui.

And that's simply what I did.

Asta-i tot ce am făcut.

That's me shooting, and I'm a fairly mediocre operator,

Aici sunt eu filmând, sunt un operator mediocru,

so I got that nice sense of verisimilitude, of a kind of,

am obţinut impresia de verosimil

you know, following the rocket all the way down,

urmărind racheta până jos

and giving that little sort of edge, I was desperately

şi dând impresia de limită, încercam cu disperare

trying to keep it in frame. So then I come up to the next thing.

să ţin totul în cadru. Apoi am ajuns la următorul lucru.

We had a NASA consultant who was actually an astronaut,

Am avut un consultant NASA care era astronaut,

who was actually on some of the missions, of Apollo 15,

fusese în câteva misiuni Apollo 15.

and he was there to basically double check my science.

Era acolo pentru a verifica aspectele tehnice.

And, I guess somebody thought they needed to do that.

Cineva s-a gândit că e nevoie de asta.

(Laughter)

(Râsete)

I don't know why, but they thought they did.

Nu ştiu de ce, dar s-au gândit.

So we were, he's a hero, he's an astronaut, and

El, erou, astronaut,

we're all sort of excited, and, you know, I gave myself

noi toţi entuziasmaţi, iar eu mi-am permis

the liberty of saying, you know, some of the shots I did

să spun că unele dintre cadre

didn't really suck that bad.

nu sunt chiar atât de proaste.

And so maybe, you know, we were feeling kind of a little

Ne simţeam destul de bine

good about it, so I brought him in here, and he needed

în legătură cu asta, aşa că l-am adus acolo,

to really check and see what we were doing,

el trebuia să verifice ce facem

and basically give us our A plus report card,

şi să ne dea nota zece.

and so I showed him some shots we were working on,

I-am arătat câteva cadre la care lucram

and waiting for the reaction that you hope for,

şi am aşteptat reacţia la care speram.

which is what I got. (Music) (Launch noises)

Asta am primit. (Muzică) (Zgomote de lansare)

So I showed him these two shots,

I-am arătat aceste două cadre,

and then he basically told me what he thought.

apoi el mi-a spus cum i s-a părut.

("That's wrong") (Laughter)

(„E greşit.”) (Râsete)

Okay. (Laughter)

OK. (Râsete)

It's what you dream about.

La asta visezi.

(Laughter)

(Râsete)

So what I got from him is, he turned to me and said,

S-a întors spre mine şi mi-a zis

"You would never, ever design a rocket like that.

„O rachetă nu ar fi concepută niciodată aşa.

You would never have a rocket go up

Nu ar putea sa urce

while the gantry arms are going out. Can you imagine

în timp ce braţele de susţinere cad. Îţi imaginezi

the tragedy that could possibly happen with that?

ce tragedie s-ar putea întâmpla?

You would never, ever design a rocket like that."

Nu se proiectează o racheta aşa.”

And he was looking at me. It's like, Yeah, I don't know

Se uita la mine. Nu ştiu dacă ai observat,

if you noticed, but I'm the guy out in the parking lot

dar eu sunt tipul din parcare

recreating one of America's finest moments with

ce recreează unul dintre cele mai impresionante momente

fire extinguishers.

cu extinctoare.

(Laughter)

(Râsete)

And I'm not going to argue with you. You're an astronaut,

Nu o să mă cert cu tine. Eşti astronaut,

a hero, and I'm from New Jersey, so --

un erou, iar eu sunt din New Jersey, aşa că...

(Laughter)

(Râsete)

I'm just going to show you some footage.

O să-ţi arăt o filmare.

I'm just going to show you some footage, and tell me what you think.

O să-ţi arăt o filmare iar tu să-mi spui ce crezi.

And then I did kind of get the reaction I was hoping for.

Atunci am obţinut reacţia pe care o doream.

So I showed him this, and this is actual footage

I-am arătat asta. Este materialul original

that he was on. This is Apollo 15. This was his mission.

în care apărea el. Acesta e Apollo 15. Asta era misiunea lui.

So I showed him this, and the reaction I got was interesting.

I-am arătat asta şi reacţia lui a fost interesantă.

("That's wrong too.") (Laughter)

(„Şi asta e greşită.”) (Râsete)

So, and what happened was, I mean, what I sort of intuned

Ceea ce am intuit din asta

in that is that he remembered it differently.

e că el îşi amintea totul diferit.

He remembered that was a perfectly safe sort of gantry

Îşi amintea de un sistem de schele perfect sigur,

system, perfectly safe rocket launch, because he's sitting

de o lansare în perfectă siguranţă, deoarece el stătea

in a rocket that has, like, a hundred thousand pounds

într-o rachetă care avea o tracţiune de 45.000 de kg,

of thrust, built by the lowest bidder.

construită de cel care a oferit cel mai puţin.

He was hoping it was going to work out okay.

Spera să funcţioneze.

(Laughter) (Applause)

(Râsete) (Aplauze)

So he twisted his memory around.

Îşi amintea pe dos.

Now, Ron Howard ran into Buzz Aldrin, who was not

Ron Howard s-a întâlnit cu Buzz Aldrin, care nu era

on the movie, so he had no idea that we were faking

la filmări, aşa că nu ştia că noi trucaserăm

any of this footage, and he just responded

materialul filmat, aşa că a răspuns

as he would respond, and I'll run this.

cum mă aşteptam. O să pun materialul.

Ron Howard: Buzz Aldrin came up to me

Ron Howard: Buzz Aldrin a venit la mine

and said, "Hey, that launch footage, I saw some shots

şi mi-a zis: „Hei, am văzut nişte cadre din filmarea lansării

I'd never seen before. Did you guys, what vault did you find

pentru prima dată. În ce pivniţă le-aţi găsit?

that stuff in?" And I said, "Well, no vault, Buzz,

I-am zis: Nicio pivniţă, Buzz,

we generated all that from scratch."

am generat totul din nimic.

And he said, "Huh, that's pretty good. Can we use it?"

A zis: E bun. Îl putem folosi?

(Explosion) ("Sure") (Laughter)

(Explozie) (Sigur!) (Râsete)

RL: I think he's a great American.

RL: Cred că e un mare american.

(Laughter)

(Râsete)

So, "Titanic" was, if you don't know the story,

„Titanicul”, dacă nu ştiaţi povestea,

doesn't end well.

nu se sfârşeşte bine.

(Laughter)

(Râsete)

Jim Cameron actually photographed the real Titanic.

Jim Cameron a fotografiat adevăratul Titanic.

So he basically set up, or basically shattered

Practic a anulat suspendarea

the suspension of disbelief, because what he photographed

neîncrederii, deoarece a fotografiat

was the real thing, a Mir sub going down, or actually

obiectul real cu un submersibil Mir,

two Mir subs going down to the real wreck,

de fapt, două, care s-au scufundat pînă la epava reală,

and he created this very haunting footage.

iar el a creat acest material filmat foarte tulburător.

It's really beautiful, and it conjures up all these

Este frumos şi stârneşte

various different emotions, but he couldn't photograph

atâtea emoţii, însă n-a putut fotografia tot.

everything, and to tell the story,

Pentru a spune povestea,

I had to fill in the gaps, which is now rather daunting,

a trebuit să umplu golurile, ceea ce e cam înfricoşător,

because now I have to recreate back to back

pentru că trebuia să recreez unul după altul

what really happened and I had, I'm the only one

evenimentele de atunci şi eram singurul

who could really blow it at that point.

care putea să rateze totul în acel moment.

So this is the footage he photographed,

Ăsta e materialul fotografiat de Cameron,

and it was pretty moving and pretty awe-inspiring.

emoţionant şi uluitor.

So I'm going to just let it run, so you kind of absorb

O să-l las să ruleze ca să puteţi absorbi

this sort of thing, and I'll describe my sort of reactions

detaliile şi vă voi descrie reacţiile mele

when I was looking at it for the very first time.

când l-am văzut prima dată.

I got the feeling that my brain wanted to basically

Am simţit cum creierul meu vroia

see it come back to life.

să vadă totul revenit la viaţă.

I automatically wanted to see this ship,

Am vrut automat să văd

this magnificent ship, basically in all its glory,

acest vas magnific în culmea gloriei

and conversely, I wanted to see it not in all its glory,

şi invers am vrut să nu-l văd în culmea gloriei,

basically go back to what it looks like.

adică să mă întorc la cum arată.

So I conjured up an effect that I'm later going to show you

Am inventat un efect pe care o să vi-l arăt,

what I tried to do, which is kind of the heart of the movie,

pe care l-am încercat şi care-i inima filmului pentru mine.

for me, and so that's why I wanted to do the movie,

De asta am vrut să fac filmul,

that's why I wanted to create the sort of things I created.

să creez lucrurile pe care le-am creat.

And I'll show you, you know, another thing that I found

O să vă arăt. Un alt lucru interesant

interesting is what we really were emoting to

este ce emoţii exprimă

when you take a look at it.

când te uiţi la el.

So here's the behind the scenes, a couple of little shots here.

Iată scene neprelucrate, câteva cadre.

So, when you saw my footage,

Când aţi văzut materialul,

you were seeing this: basically, a bunch of guys

aşi văzut de fapt asta: nişte tipi

flipping a ship upside down, and the little Mir subs

care răsturnau un vas şi micuţele submersibile Mir

are actually about the size of small footballs,

care sunt de mărimea unor mingi de fotbal

and shot in smoke.

erau filmate în semi-obscuritate.

Jim went three miles went down, and I went about

Jim a coborât trei mile, iar eu m-am depărtat

three miles away from the studio

cu vreo trei mile de studioul de filmare

and photographed this in a garage.

şi am fotografiat asta într-un garaj.

And so, but what you're emoting to, or what you're looking

Emoţiile pe care le exprimi şi lucrurile la care te uiţi

at, had the same feeling, the same haunting quality,

aveau aceeaşi încărcătură, aceeaşi esenţă obsedantă

that Jim's footage had, so I found it so fascinating

pe care o are materialul filmat de Jim şi mi s-a părut atât de fascinant

that our brains sort of, once you believe something's real,

cum creierele noastre, odată ce credem că ceva e real,

you transfer everything that you feel about it,

transferă tot ce simţim despre asta,

this quality you have, and it's totally artificial.

această însuşire, şi este total artificial.

It's totally make-believe, yet it's not to you,

Este un truc, deşi pentru tine nu pare.

and I found that that was a very interesting thing

Am descoperit că asta e un lucru interesant

to explore and use, and it caused me to create the next

de explorat şi folosit şi m-a dus la următorul

effect that I'll show you, which is

efect pe care o să vi-l arăt,

this sort of magic transition, and all I was really attempting

un fel de tranziţie magică, încercam practic

to do is basically have the audience cue the effect,

să fac audienţa să lege efectul,

so it became a seamless experience for them,

aşa că pentru ei a devenit o experienţă fluidă,

that I wasn't showing you my sort of interpretation,

nu arătam interpretarea mea,

I was showing you what you wanted to see.

ci vă arătam ce vroiaţi să vedeţi.

And the very next shot, right after this --

Următorul cadru, după ăsta -

So you can see what I was doing.

Vedeţi ce am făcut.

So basically, if there's two subs in the same shot,

Dacă sunt două submersibile în acelaşi cadru,

I shot it, because where's the camera coming from?

le-am filmat, căci altfel de unde ar veni camera?

And when Jim shot it, it was only one sub,

Când a filmat Jim, era doar un submarin,

because he was photographing from the other,

deoarece el fotografia din celălalt.

and I don't remember if I did this or Jim did this.

Nu-mi mai amintesc dacă eu sau Jim am făcut asta.

I'll give it to Jim, because he could use the pat on the back.

O să zic că Jim, pentru că are nevoie de încurajări.

(Laughter)

(Râsete)

Okay. So now the Titanic transition.

OK. Acum tranziţia pentru Titanic.

So this is what I was referring to where I wanted to basically

La asta mă refeream când am vrut

magically transplant from one state of the Titanic

să trec Titanicul, ca prin magie, dintr-o stare

to the other. So I'll just play the shot once. (Music)

în alta. O să rulez scena o dată.

(Music)

(Muzică)

And what I was hoping for is that it just melts in front of you.

Am vrut să se topească practic în faţa voastră.

Gloria Stuart: That was the last time Titanic ever saw daylight.

Gloria Stuart: A fost ultima dată când Titanicul a văzut lumina zilei.

RL: So, what I did is basically I had another

RL: Am avut, de fapt,

screening room experience where I was basically tracking

un test în sala de proiecţii unde am urmărit

where I was looking, or where we were looking,

locul unde mă uitam sau unde ne uitam

and of course you're looking at the two people on the bow

şi bineînţeles privim cei doi oameni de pe etravă

of the ship, and then at some point,

şi la un moment dat

I'm changing the periphery of the shot,

schimb periferia cadrului

I'm changing, it's becoming the rusted wreck,

şi devine o navă ruginită.

and then I would run it every day, and then I would find

Am rulat asta în fiecare zi şi am descoperit

exactly the moment that I stopped looking at them

momentul precis în care încetez să-i privesc

and start noticing the rest of it, and the moment

şi încep să observ restul şi momentul

my eye shifted, we just marked it to the frame.

în care privirea s-a mutat a fost marcat în cadru.

The moment my eye shifted, I immediately started

În momentul mutării privirii, am început imediat

to change them, so now somehow you missed

să-i modific, aşa că acum nu-ţi dai seama

where it started and where it stopped.

când începe şi când se termină.

And so I'll just show it one more time.

Vă mai arăt o dată.

(Music) And it's literally done by using what our brains

(Muzică) Practic asta se face cu ajutorul a ceea ce creierul

naturally do for us, which is, as soon as you shift

face pentru noi în mod natural, imediat ce muţi

your attention, something changes, and then I left

centrul atenţiei, ceva se schimbă.

the little scarf going, because it really wanted to be

Am lăsat eşarfa, pentru că trebuia să fie

a ghostly shot, really wanted to feel like they were still

un cadru fantomatic, de parcă erau încă pe epavă.

on the wreck, essentially. That's where they were buried forever.

Acolo au fost îngropaţi pentru totdeauna.

Or something like that. I just made that up.

Sau ceva de genul ăsta. Am inventat asta.

(Laughter)

(Râsete)

It was, incidentally, the last time I ever saw daylight.

Întâmplător, a fost ultima dată când am văzut lumina zilei.

It was a long film to work on. (Laughter)

A fost mult de lucru la film. (Râsete)

Now, "Hugo" was another interesting movie, because

„Hugo” e un alt film interesant,

the movie itself is about film illusions.

deoarece filmul în sine e despre iluzii.

It's about how our brain is tricked into seeing a persistence

E modul în care creierul e păcălit să vadă o persistenţă

of vision that creates a motion picture,

de imagine care creează un film.

and one of the things I had to do is, we —

Ceea ce am făcut --

Sasha Baron Cohen is a very clever, very smart guy,

Sasha Baron Cohen este un actor comic foarte inteligent.

comedian, wanted to basically do an homage to the kind of

El a vrut să aducă un omagiu

the Buster Keaton sort of slapstick things, and he wanted

farselor de tipul Buster Keaton şi a vrut

his leg brace to get caught on a moving train.

ca proteza piciorului să-i rămână prinsă de un tren în mişcare.

Very dangerous, very impossible to do, and particularly

Foarte periculos, imposibil de făcut,

on our stage, because there literally is no way to actually

mai ales în studio, pentru că nu aveam

move this train, because it fits so snugly into our set.

cum să mişcăm trenul care abia încăpea pe platou.

So let me show you the scene, and then I basically

Să vă arăt scena.

used the trick that was identified by Sergei Eisenstein,

Am folosit trucul lui Serghei Eisenstein.

which is, if you have a camera that's moving with a moving

Dacă ai o cameră ce se mişcă odată cu un obiect în mişcare,

object, what is not moving appears to be moving,

ce nu se mişcă apare ca şi cum s-ar mişca

and what is moving appears to be stopped,

şi ceea ce se mişcă apare ca stând pe loc,

so what you're actually seeing now is the train is not

aşa că acum vedeţi trenul

moving at all, and what is actually moving is the floor.

care nu se mişcă deloc, doar podeaua se mişcă.

So this is the shot. That's a little video of

Ăsta e cadrul. Şi un mic clip

what you're looking at there, which is our little test,

cu ce vedeţi aici, e testul nostru,

so that's actually what you're seeing, and I thought it was

deci asta se vede de fapt. M-am gândit

sort of an interesting thing, because it was, part

că e interesant, pentru că parţial

of the homage of the movie itself is coming up with this

omagiul adus de film este inventarea

sort of genius trick which I can't take credit for.

acestui truc genial care nu îmi aparţine.

I'd love to but I can't, because it was invented

Mi-ar plăcea, însă el a fost inventat

like in 1910 or something like that, is I told Marty,

în 1910 sau aşa ceva. I-am spus lui Marty -

and it's kind of one of those mind things that it's

e unul dintre lucrurile

really hard to really get until you actually see it work,

greu de înţeles până nu le vezi funcţionând -

and I said, you know, what I was going to do, and he said,

i-am spus ce vroiam să fac şi el a zis

"So, let me see if I can get this straight. The thing with the wheels?

„Să văd dacă am înţeles. Chestia cu roţi?

That doesn't move."

Aia nu se mişcă.”

(Laughter) (Applause)

(Râsete) (Aplauze)

"And the thing without the wheels, that moves."

„Şi chestia fără roţi, aia se mişcă.”

Precisely. (Laughter)

Exact. (Râsete)

Brings me to the next, and final --

Ceea ce mă aduce la următoarea şi ultima--

Marty's not going to see this, is he? (Laughter)

Marty nu o să vadă asta, nu? (Râsete)

This isn't viewed outside of -- (Laughter)

Nu se transmite în afară -- (Râsete)

The next illustration is something that, there's like

Următorul exemplu e ceva care exemplifică

all one shot theory. It's a very elegant way of telling a story,

teoria cadrului unic. Este un mod elegant de a povesti,

especially if you're following somebody on a journey,

mai ales dacă urmezi pe cineva într-o călătorie

and that journey basically tells something about

şi călătoria spune ceva

their personality in a very concise way,

despre personalitatea sa într-un mod concis.

and what we wanted to do based on the shot in "Goodfellas,"

Am vrut să facem ceva bazat pe cadrul din „Goodfellas”,

which is one of the great shots ever,

care e unul dintre cele mai bune,

a Martin Scorsese film, of basically following Henry Hill

un film de Martin Scorsese, când camera îl urmăreşte pe Henry Hill

through what it feels like to be a gangster walk

pe parcursul unei plimbări de gangster

going through the Copacabana and being treated in a special way.

prin Copacabana, având parte de un tratament special.

He was the master of his universe, and we wanted Hugo

Era stăpânul universului şi am vrut să-l facem pe Hugo

to feel the same way, so we created this shot.

să se simtă la fel, aşa că am creat acest cadru.

(Music)

(Muzică)

That's Hugo. (Music)

Acesta e Hugo.

And we felt that if we could basically move the camera

Ne-am gândit că dacă mişcăm camera

with him, we would feel what it feels like to be this boy

odată cu el, am simţi ce înseamnă să fii acest băiat

who is basically the master of his universe,

care e stăpânul universului său

and his universe is, you know, behind the scenes

şi universul lui e în culise,

in the bowels of this particular train station

în măruntaiele acestei gări

that only he can actually navigate through

prin care doar el se poate deplasa

and do it this way, and we had to make it feel that

şi a trebuit să transmitem sentimentul

this is his normal, everyday sort of life,

că ăsta e firescul lui, viaţa lui de zi cu zi,

so the idea of doing it as one shot was very important,

aşa că ideea de a trage totul într-o singură scenă a fost foarte importantă.

and of course, in shooting in 3D, which is basically

Am filmat în 3D,

it's a huge camera that's hanging off of a giant stick,

o cameră imensă care atârnă de un stâlp imens,

so to recreate a steadycam shot was the task,

aşa că scopul era recrearea unui cadru filmat cu amortizarea şocurilor

and make it feel kind of like what the reaction you got

şi să obţinem reacţia pe care o avem

when you saw the "Goodfellas" shot.

când privim cadrul din „Goodfellas”.

So what you're now going to see is how we actually did it.

Acum veţi vedea cum am obţinut asta.

It's actually five separate sets shot at five different times

Sunt cinci decoruri separate filmate la cinci intervale diferite

with two different boys.

cu doi băieţi diferiţi.

The one on the left is where the shot ends,

Cel din stânga e unde se termină cadrul,

and the shot on the right is where it takes over,

cel din dreapta arată de unde se preia.

and now we switch boys, so it went from Asa Butterfield,

Am schimbat băieţii. Am trecut de la Asa Butterfield,

who's the star of the show, to his stand-in. (Music)

care e starul filmului, la dublura sa. (Muzică)

I wouldn't say his stunt double. There's a crazy rig

N-aş spune cascador. Iată o instalaţie nebunească

that we built for this. (Music)

construită pentru asta. (Muzică)

And so this is, and now this is set number three

Acesta este al treilea decor

we're into, and then we're going to go into, basically

şi apoi întrăm în altul.

the very last moment of the shot is actually

Ultimul moment al scenei e filmat cu amortizor.

the steadycam shot. Everything else was shot on cranes

Restul a fost filmat de pe macarale

and various things like that, and it literally was done

şi chestii asemănătoare, pe parcursul

over five different sets, two different boys, different times,

a cinci decoruri diferite, cu doi băieţi diferiţi, temporizări diferite

and it all had to feel like it was all one shot, and what was

şi totul trebuia să pară ca făcând parte dintr-un singur cadru.

sort of great for me was it was probably

Pentru mine a fost minunat,

the best-reviewed shot I've ever worked on,

fiind cel mai apreciat cadru la care am lucrat.

and, you know, I was kind of proud of it when I was done,

Am fost mândru când am terminat.

which is, you should never really be proud of stuff, I guess.

Presupun că n-ar trebui să ne mândrim cu lucruri.

So I was kind of proud of it, and I went to a friend of mine,

Am fost destul de mândru. M-am dus la un prieten

and said, "You know, this is, you know, kind of

şi i-am spus: Ştii, ăsta e cadrul

the best-reviewed shot I've ever worked on.

cel mai apreciat dintre toate.

What do you think was the reason?"

Care crezi că a fost motivul?

And he said, "Because no one knows

El a zis: Pentru că nimeni nu ştie

you had anything to do with it."

că ai avut vreo legătură cu el.

(Laughter)

(Râsete)

So, all I can say is, thank you,

Tot ce pot spune e că vă mulţumesc

and that's my presentation for you. (Applause)

şi asta a fost prezentarea mea pentru voi. (Aplauze)

(Applause)

(Aplauze)