Rob Legato: The art of creating awe

Translator: Joseph Geni Reviewer: Morton Bast

Translator: Peter Štrba Reviewer: Igor Lalík

I worked on a film called "Apollo 13,"

Pracoval som na filme s názvom "Apollo 13"

and when I worked on this film, I discovered something

a počas toho som objavil niečo o tom,

about how our brains work, and how our brains work

ako pracuje náš mozog. A on pracuje tak,

is that, when we're sort of infused with

že keď sme akoby naočkovaní

either enthusiasm or awe or fondness or whatever,

buď entuziazmom, úžasom, laskávosťou alebo čímkoľvek,

it changes and alters our perception of things.

mení to naše vnímanie veci.

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

Mení to, čo vidíme. Mení to, čo si pamätáme.

And as an experiment, because I dauntingly create

A ako experiment, pretože som si odstrašujúco ušil

a task for myself of recreating a Saturn V launch

na seba búdu snahou o reprodukciu štartu Saturnu V

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

v tomto konkrétnom filme. Keďže som ho tam zahrnul,

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

a bol som z toho trochu nervózny, takže som potreboval spraviť experiment,

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

priviesť skupinu ľudí, ako ste vy, do projekčnej miestnosti

and play this stock footage, and when I played this

a pustiť im surovú nahrávku.Keď som im pustil túto

stock footage, I simply wanted to find out

surovú nahrávku, chcel som jednoducho zistiť,

what people remembered, what was memorable about it?

čo si ľudia pamätali, čo bolo na tom nezabudnuteľné.

What should I actually try to replicate?

Čo by som sa vlastne mal pokúšať zopakovať?

What should I try to emulate to some degree?

Čo by som mal pokúsiť do istého stupňa napodobniť?

So this is the footage that I was showing everybody.

Toto je tá nahrávka, ktorú som každému púšťal.

And what I discovered is, because of the nature

A zistil som, že vďaka povahe

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

nahrávky a faktu, že robíme takýto film,

there was an emotion that was built into it

v ňom bola zabudovaná akási emócia

and our collective memories of what this launch meant to us

a naše spoločné spomienky toho, čo pre nás tento štart znamenal

and all these various things.

a všetky tieto rôzne veci.

When I showed it, and I asked, immediately after

Keď som im ju ukázal, a hneď po premietnutí som

the screening was over, what they thought of it,

sa ich spýtal, čo si o nej mysleli,

what was your memorable shots, they changed them.

ktoré zábery boli ich nezabudnuteľné, zmenili ju.

They were -- had camera moves on them.

Boli to... bol v nich pohyb kamery.

They had all kinds of things. Shots were combined,

Obsahovali všetko možné. Zábery boli kombinované

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

a bol som proste skutočne zvedavý, na čo do čerta

were you looking at just a few minutes ago

ste sa pozerali pred pár minútami

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

a ako je možné, že ste prišli s týmto opisom?

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

A zistil som, že by som vlastne nemal

replicate what they saw, is replicate what they remembered.

zreprodukovať to, čo videli, ale čo si pamätali.

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

Takže toto sú naše zábery zo štartu, založené v podstate

taking notes, asking people what they thought, and then

na poznámkach, na otázkach ľuďom, čo si mysleli a potom

the combination of all the different shots and all

na kombinácii všetkých možných záberov

the different things put together created their sort of

a všetkých možných vecí, ktoré spolu vytvorili akoby istý druh

collective consciousness of what they remembered

kolektívneho vedomia, čo si z toho pamätali,

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

ako to vyzeralo, ale nie ako to vyzeralo naozaj.

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

Takže toto sme vytvorili pre "Apollo 13".

(Launch noises)

(Hluk pri štarte)

So literally what you're seeing now is the confluence

Teraz vyslovene vidíte zhluk

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

skupiny rôznych ľudí, skupiny rôznych spomienok,

including my own, of taking a little bit of liberty

vrátane mojej, ako nám to dovolila

with the subject matter.

podstata námetu.

I basically shot everything with short lenses,

V podstate som všetko natočil krátkymi šošovkami,

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

čo znamená, že ste veľmi blízko k dianiu,

but framed it very similarly to the long lens shots

ale zostavil som to veľmi podobne, ako s dlhými šošovkami,

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

čo vám dáva pocit vzdialenosti, takže som v podstate

was setting up something that would remind you

chystal niečo, čo by vám pripomenulo

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

niečo, čo ste ešte nikdy celkom nevideli. (Hudba)

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

A potom vám ukážem, čo presne je to,

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

na čo ste reagovali, keď ste reagovali.

(Music)

(Hudba)

Tom Hanks: Hello, Houston, this is Odyssey.

Tom Hanks: Ahoj, Houston, tu je Odysea.

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

Je fajn vás znova vidieť. (Radosť) (Hudba)

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

Rob Legato: Robím si nárok na ten potlesk.

(Laughter)

(Smiech)

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

Takže teraz som na parkovisku. V podstate je to plechovka

and I'm basically recreating the launch with

a snažím sa zopakovať štart

fire extinguishers, fire, I have wax that I threw

s hasiacim prístrojom, ohňom, voskom, ktorý som hodil

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

pred šošovku, aby to vyzeralo ako ľad. A teda v zásade,

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

ak ste verili hocičomu z toho, čo som vám ukázal,

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

reagovali ste a vytvárali ste si emócie

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

na niečo, čo je úplný klam a to sa mi zdalo

really kind of fascinating.

skutočne fascinujúce.

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

A tento konkrétny prípad je vyvrcholením filmu

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

a, viete, na jeho dosiahnutie sme museli len

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

vziať model, vyhodiť ho z vrtuľníka a nakrútiť ho.

And that's simply what I did.

A to je skrátka to, čo som urobil.

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

To som ja, ako natáčam a som celkom priemerný kameraman,

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

takže som získal ten cit pre reálnosť a niečo ako,

you know, following the rocket all the way down,

viete, keď sledujete raketu počas celého pádu

and giving that little sort of edge, I was desperately

a dáte tomu akýsi nádych. Zúfalo som sa

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

snažil udržať ju v zábere. Takže potom som prešiel na ďalšiu vec.

We had a NASA consultant who was actually an astronaut,

Mali sme konzultanta z NASA, ktorý bol aj v skutočnosti astronaut,

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

bol aj v niektorých misiách, v misii Apolla 15,

and he was there to basically double check my science.

a bol tam, aby v podstate kontroloval moje vedomosti.

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

A predpokladám, že ktosi si myslel, že to musia urobiť.

(Laughter)

(Smiech)

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

Neviem prečo, ale mysleli si to.

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

Bol to hrdina, astronaut

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

a všetci sme boli nadšení a, viete, dovolil som si

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

povedať, že niektoré zábery, čo som spravil,

didn't really suck that bad.

neboli fakt až také zlé.

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

A preto sme sa s tým možno cítili tak trochu

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

spokojní, takže som ho tam priviedol a on chcel

to really check and see what we were doing,

naozaj skontrolovať a vidieť, čo sme robili

and basically give us our A plus report card,

a v podstate dať nám naše A+ na vysvedčení.

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

Ukázal som mu teda niektoré zábery, na ktorých sme pracovali,

and waiting for the reaction that you hope for,

a čakali sme na reakciu, v ktorú sme dúfali,

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

a tú sme aj dostali. (Hudba) (Hluk pri štarte)

So I showed him these two shots,

Ukázal som mu tieto dva zábery,

and then he basically told me what he thought.

a potom mi povedal, čo si o o tom myslí.

("That's wrong") (Laughter)

("Je to zle.") (Smiech)

Okay. (Laughter)

Fajn. (Smiech)

It's what you dream about.

O tom len snívate.

(Laughter)

(Smiech)

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

Jeho reakcia bola taká, že sa na mňa otočil a povedal:

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

"Nikdy v živote by ste nenavrhli takú raketu.

You would never have a rocket go up

Raketa by nikdy neodštartovala,

while the gantry arms are going out. Can you imagine

kým by sa portálové ramená vysúvali. Viete si predstaviť

the tragedy that could possibly happen with that?

tú tragédiu, ktorá by sa takto mohla stať?

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

Nikdy v živote by ste nenavrhli takú raketu."

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

A pozeral sa na mňa. A ja som si hovoril: "Hej, neviem,

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

či ste si všimli, ale ja som ten chlap na parkovisku,

recreating one of America's finest moments with

ktorý rekonštruuje jeden z najlepších momentov Ameriky

fire extinguishers.

pomocou hasiacich prístrojov.

(Laughter)

(Smiech)

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

Nebudem sa s vami hádať. Ste astronaut,

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

hrdina a ja som z New Jersey, takže...

(Laughter)

(Smiech)

I'm just going to show you some footage.

Teraz vám ukážem nejaké zábery.

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

Ukážem vám ich a poviete mi, čo si myslíte."

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

A potom som kvázi dostal tú reakciu, v ktorú som dúfal.

So I showed him this, and this is actual footage

Takže som mu ukázal toto, čo sú to skutočné zábery,

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

na ktorých bol on. Toto je Apollo 15. Toto bola jeho misia.

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

Takže som mu to ukázal a jeho reakcia bola zaujímavá.

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

("Aj to je zle.") (Smiech)

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

Takže sa stalo to, čo som očakával,

in that is that he remembered it differently.

že si to pamätal rozdielne.

He remembered that was a perfectly safe sort of gantry

Pamätal si, že to bol perfektne bezpečný portálový systém,

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

perfektne bezpečný štart, pretože on sedel

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

v rakete, ktorá má vyše 45 ton

of thrust, built by the lowest bidder.

ťahu, postavenú na základe najnižšej ponuky.

He was hoping it was going to work out okay.

Dúfal, že to bude fungovať správne.

(Laughter) (Applause)

(Smiech) (Potlesk)

So he twisted his memory around.

Takže si to v spomienkach pozmenil.

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

Ron Howard stretol Buzza Aldrina, ktorý nebol

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

vo filme, takže netušil, že ktorýkoľvek z tých záberov

any of this footage, and he just responded

je nafingovaný a on reagoval tak,

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

ako reagoval. Ja vám to pustím.

Ron Howard: Buzz Aldrin came up to me

Ron Howard: Prišiel za mnou Buzz Aldrin

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

a povedal: "Hej, ten záznam štartu, videl som pár záberov,

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

ktoré som predtým nevidel. Kde ste, ľudkovia, v akom archíve ste

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

našli tie materiály?" A ja som povedal: "Nuž, žiadny archív, Buzz,

we generated all that from scratch."

všetko sme vytvorili od nuly."

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

A on: "Fíha, to je celkom dobré. Môžme to použiť?"

(Explosion) ("Sure") (Laughter)

(Výbuch) ("Iste") (Smiech)

RL: I think he's a great American.

RL: Myslím, že je to skvelý Američan.

(Laughter)

(Smiech)

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

Takže "Titanic", ak nepoznáte príbeh,

doesn't end well.

neskončil dobre.

(Laughter)

(Smiech)

Jim Cameron actually photographed the real Titanic.

Jim Cameron v skutočnosti natočil skutočný Titanic.

So he basically set up, or basically shattered

Takže v podstate začal, respektíve v zásade rozbil

the suspension of disbelief, because what he photographed

napätie nedôvery, pretože to, čo natočil,

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

bolo skutočné. Ponorka Mir sa potápata, alebo vlastne

two Mir subs going down to the real wreck,

dve ponorky Mir sa potápajú ku skutočnému vraku

and he created this very haunting footage.

a tak vytvoril tieto strašidelné zábery.

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

Je to skutočne krásne a vykúzli to všemožné

various different emotions, but he couldn't photograph

rôzne emócie, ale nemohol nafotiť

everything, and to tell the story,

všetko. Aby som vyrozprával príbeh,

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

musel som zaplniť medzery, čo je zrazu dosť odstrašujúce,

because now I have to recreate back to back

pretože teraz musím postupne zrekonštruovať,

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

čo sa naozaj stalo a som jediný,

who could really blow it at that point.

kto to môže v tomto momente pokaziť.

So this is the footage he photographed,

Takže toto sú zábery, ktoré natočil

and it was pretty moving and pretty awe-inspiring.

a bolo to poriadne dojemné a úplne úžasné.

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

Takže to iba nechám pustené, aby ste absorbovali

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

všetky tieto veci a ja vám opíšem moje reakcie,

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

keď som sa na to pozeral po prvý krát.

I got the feeling that my brain wanted to basically

Mal som pocit, že môj mozog chcel v podstate

see it come back to life.

vidieť, ako to znova ožije.

I automatically wanted to see this ship,

Chcel som automaticky vidieť túto loď,

this magnificent ship, basically in all its glory,

túto veľkolepú loď, jadnoducho v jej plnej sláve

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

a obrátene, nechcel som ju vidieť v jej sláve,

basically go back to what it looks like.

chcel som ísť späť k tomu, ako vyzerá.

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

Takže som vykúzlil efekt, neskôr vám ukážem,

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

o čo som sa pokúšal, ktorý je akýmsi srdcom filmu

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

i pre mňa. Preto som chcel urobiť ten film,

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

preto som chcel vytvoriť všetko to, čo som vytvoril.

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

A ukážem vám ďalšiu vec, ktorá sa mi zdala

interesting is what we really were emoting to

zaujímavá, a to aké emócie sme chceli skutočne navodiť,

when you take a look at it.

keď sa na to pozriete.

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

Tu máme zábery zo zákulisia, zopár malých záberov.

So, when you saw my footage,

Keď ste sledovali moje zábery,

you were seeing this: basically, a bunch of guys

videli ste toto: v zásade skupinku ľudí,

flipping a ship upside down, and the little Mir subs

ktorí otáčali loď hore nohami, malé ponorky Mir

are actually about the size of small footballs,

majú v skutočnosti veľkosť malých lôpt,

and shot in smoke.

a natáčali sa v dyme.

Jim went three miles went down, and I went about

Jim šiel 5 kilometrov do hĺbky a ja som šiel asi

three miles away from the studio

5 kilometrov ďaleko od štúdia

and photographed this in a garage.

a natočil som to v garáži.

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

Ale vaše pocity sú rovnaké, respektíve to, na čo sa pozeráte,

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

vnímate rovnakým pocitom, má rovnakú strašidelnú kvalitu,

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

ktorú mali Jimove zábery, takže sa mi zdalo fascinujúce,

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

ako fungujú naše mozgy. Keď raz uveríte, že niečo je skutočné,

you transfer everything that you feel about it,

prepájate všetko, čo k tomu cítite,

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

túto povahu, ktorú vnímate a všetko je to úplne umelé.

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

Je to vyrobené úplne vierohodne, hoci pre vás už nie,

and I found that that was a very interesting thing

a zistil som, že to bolo veľmi zaujímavé

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

na skúmanie a použitie, čo spôsobilo, že som vytvoril

effect that I'll show you, which is

efekt, ktorý vám ukážem. Je to

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

akýsi magický prechod a pokúšal som sa,

to do is basically have the audience cue the effect,

aby si diváci ten efekt zapamätali,

so it became a seamless experience for them,

čím na nich pôsobil ako jednoliaty zážitok,

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

ktorým som vám neukazoval moju interpretáciu,

I was showing you what you wanted to see.

ale ukazoval som vám to, čo ste chceli vidieť.

And the very next shot, right after this --

A ďalší záber, hneď za týmto...

So you can see what I was doing.

Môžete vidieť, čo som robil.

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

Skrátka, ak sú v rovnakom zábere dve ponorky,

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

tak to som natočil ja, lebo kam by som dal druhú kameru?

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

A keď to točil Jim, bola tam len jedna ponorka,

because he was photographing from the other,

pretože on točil z tej druhej

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

a tento záber neviem, či som natočil ja alebo Jim.

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

Dám to Jimovi, pretože mu dobre padne potľapkanie po pleci.

(Laughter)

(Smiech)

Okay. So now the Titanic transition.

Dobre. Takže teraz ten prechod v Titanicu.

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

Na toto som v podstate narážal. Chcel som sa

magically transplant from one state of the Titanic

zázračne presunúť z jedného stavu Titanicu

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

do druhého. Takže pustím ten záber jeden krát. (Hudba)

(Music)

(Hudba)

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

A dúfal som, že sa pred vami priam rozpustí.

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

Gloria Stuart: To bolo poslednýkrát, čo Titanic videl denné svetlo.

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

RL: Spravil som to, že som využil ďalšie

screening room experience where I was basically tracking

skúsenosti z premietacej miestnosti, kde som sledoval,

where I was looking, or where we were looking,

kam som sa pozeral, respektíve kam sme sa pozerali

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

a, samozrejme, dívate sa na dvoch ľudí na prednej časti lode.

of the ship, and then at some point,

Potom v istom bode

I'm changing the periphery of the shot,

mením perifériu záberu.

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

Mením ju, stáva sa zhrdzaveným vrakom

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

Púšťal som si to každý deň a potom som našiel

exactly the moment that I stopped looking at them

ten konkrétny moment, kedy som sa na nich prestal pozerať

and start noticing the rest of it, and the moment

a začal som si všímať zvyšok lode a ten moment,

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

kedy sa moje oko pozrelo inde, sme zaznačili do obrázku.

The moment my eye shifted, I immediately started

V momente, keď sa moje oko pozrelo inde, som ich hneď začal

to change them, so now somehow you missed

meniť, takže teraz vám akosi ušlo,

where it started and where it stopped.

kde sa to začalo a kde skončilo.

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

Takže vám to ukážem ešte raz.

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

(Hudba) A deje sa to doslova vďaka tomu, čo náš mozog

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

pre nás prirodzene robí, a to je, že akonáhle presuniete

your attention, something changes, and then I left

pozornosť, niečo sa zmení, a vtom nechám

the little scarf going, because it really wanted to be

ten malý šál viať, pretože to mala byť

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

"snímka duchov", ktorá chcela vytvárať pocit, že oni sú

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

v podstate stále na vraku. Tam, kde boli navždy pochovaní.

Or something like that. I just made that up.

Alebo niečo také. Práve som si to vymyslel.

(Laughter)

(Smiech)

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

Mimochodom, to bolo naposledy, čo som videl denné svetlo.

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

Na tom filme bolo treba dlho pracovať. (Smiech)

Now, "Hugo" was another interesting movie, because

Ďalej, "Hugo" bol ďalší zaujímavý film, pretože

the movie itself is about film illusions.

film samotný je o filmových ilúziách.

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

Je to o tom, ako sa náš mozog klame, aby videl neústupnosť

of vision that creates a motion picture,

vízie, ktorá vytvára film

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

a jedna z vecí, čo som musel urobiť je, že...

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

Sasha Baron Cohen je veľmi šikovný, bystrý chlapík,

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

komik a chcel vzdať akúsi poctu

the Buster Keaton sort of slapstick things, and he wanted

komédiám Bustera Keatona a chcel,

his leg brace to get caught on a moving train.

aby sa mu noha zachytila v pohybujúcom sa vlaku.

Very dangerous, very impossible to do, and particularly

Veľmi nebezpečné, nemožné uskutočniť a špeciálne

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

na našej scéne, pretože doslova neexistuje, aby sme

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

pohli týmto vlakom, hoci tak priliehavo pasuje do našej scény.

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

Takže vám ukážem tú scénu, v ktorej som potom v podstate

used the trick that was identified by Sergei Eisenstein,

použil trik, ktorý vytvoril Sergej Eisenstein,

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

a to, že ak máte kameru, ktorá sa pohybuje

object, what is not moving appears to be moving,

spolu s objektom, tak to, čo sa nehýbe, sa javí ako v pohybe

and what is moving appears to be stopped,

a to, čo sa hýbe, vyzerá, že stojí.

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

Čiže to, čo teraz vlastne vidíte je, že vlak sa vôbec nehýbe,

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

ale v skutočnosti sa hýbe podlaha.

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

Takže toto je ten záber. To je krátky záber toho,

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

na čo sa tam pozeráte, čo je náš malý test.

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

Toto vlastne vidíte, čo sa mi zdalo ako

sort of an interesting thing, because it was, part

zaujímavá vec, pretože to bola sčasti pocta

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

filmu samotnému, ktorý prichádza s týmto

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

geniálnym trikom, ktorého vytvorením sa nemôžem pochváliť.

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

Rád by som, ale nemôžem, pretože bol vymyslený

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

zhruba v roku 1910. Povedal som o tom Martymu

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

a je to jedna z tých záležitostí mysle, ktoré

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

je naozaj ťažké pochopiť, kým nevidíte, ako fungujú.

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

Povedal som mu, čo idem robiť a on na to:

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

"Takže, pozrime sa, či to správne chápem. Tá vec s kolesami?

That doesn't move."

Tá sa nehýbe."

(Laughter) (Applause)

(Smiech)(Potlesk)

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

A tá vec bez kolies, tá sa hýbe."

Precisely. (Laughter)

Presne. (Smiech)

Brings me to the next, and final --

Čo ma privádza k ďalšiemu a poslednému...

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

Marty toto neuvidí, že? (Smiech)

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

Nedá sa to pozerať odinakiaľ... (Smiech)

The next illustration is something that, there's like

Ďalším príkladom je niečo ako

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

teória jedného záberu. Je to elegantný spôsob ako povedať príbeh,

especially if you're following somebody on a journey,

hlavne ak sledujete niekoho cestu

and that journey basically tells something about

a tá cesta skrátka hovorí niečo

their personality in a very concise way,

o jeho osobnosti veľmi stručným spôsobom.

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

Chceli sme na základe záberu z "Goodfellas",

which is one of the great shots ever,

ktorý je jedným z najlepších záberov z filmu

a Martin Scorsese film, of basically following Henry Hill

Martina Scorseseho, jednoducho sledovať Henryho Hilla

through what it feels like to be a gangster walk

pomocou niečoho, čo vyzerá ako chôdza gangstra

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

po Copacabane, ku ktorému sa správajú neobyčajným spôsobom.

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

Bol pánom vesmíru a chceli sme, aby z Huga

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

šiel rovnaký pocit, takže sme vytvorili tento záber.

(Music)

(Hudba)

That's Hugo. (Music)

To je Hugo. (Hudba)

And we felt that if we could basically move the camera

Mali sme pocit, že ak by sme mohli chodiť s kamerou

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

spolu s ním, cítili by sme sa, akoby sme boli týmto chlapcom,

who is basically the master of his universe,

ktorý je pánom vesmíru

and his universe is, you know, behind the scenes

a jeho vesmírom je zákulisie,

in the bowels of this particular train station

vnútrajšok tejto konkrétnej vlakovej stanice,

that only he can actually navigate through

v ktorom sa dokáže orientovať iba on.

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

Aby sme to dosiahli, museli sme docieliť,

this is his normal, everyday sort of life,

aby to vyznelo ako normálny, každodenný život,

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

takže ten nápad s jedinou klapkou bol veľmi dôležitý

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

a samozrejme, natáčali sme v 3D, čo je v podstate

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

obrovská kamera, ktorá visí na veľkej tyči,

so to recreate a steadycam shot was the task,

čiže sme mali za úlohu vytvoriť záber ako zo statickej kamery,

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

ktorý by vo vás vyvolal reakciu, ako keby

when you saw the "Goodfellas" shot.

ste videli záber z "Goodfellas".

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

Teraz uvidíte, ako sme to vlastne spravili.

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

V skutočnosti je to päť scén natočených v piatych rôznych chvíľach

with two different boys.

s dvoma rôznymi chlapcami.

The one on the left is where the shot ends,

Naľavo je záber, ktorý končí

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

a záber napravo je ten, ktorý sa prelína.

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

Teraz vymeníme chlapcov, takže sme prešli od Asu Butterfielda,

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

ktorý je hviezdou filmu, k jeho náhradníkovi. (Hudba)

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

Nenazval by som ho dablérom. Tu je šialená veža,

that we built for this. (Music)

ktorú sme kvôli tomu vyrobili. (Hudba)

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

To by sme mali a teraz je tu tretia scéna,

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

do ktorej sa presúvame, a potom ďalej do...

the very last moment of the shot is actually

Celkom posledným momentom záberu je vlastne

the steadycam shot. Everything else was shot on cranes

záber statickej kamery. Všetko ostatné sa natáčalo na žeriavoch

and various things like that, and it literally was done

a podobných zariadeniach a doslova sa to natáčalo

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

na piatich rôznych scénach, s dvoma rôznymi chlapcami, v rôznych chvíľach

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

a celé to muselo vytvárať pocit, že je to jeden záber. Pre mňa bolo

sort of great for me was it was probably

úžasné práve to, že to bol asi

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

najlepšie hodnotený záber, na akom som kedy pracoval

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

a bol som na to aj trochu hrdý, keď to bolo hotové.

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

Myslím si, že by ste nikdy nemali byť hrdí na veci.

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

Čiže som bol na to viac-menej hrdý, šiel som za priateľom

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

a povedal som mu: "Vieš, toto je asi

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

najlepšie hodnotený záber, na akom som kedy pracoval.

What do you think was the reason?"

Čo je podľa teba dôvodom?"

And he said, "Because no one knows

A on odpovedal: "Lebo nikto nevie,

you had anything to do with it."

že s tým máš niečo dočinenia."

(Laughter)

(Smiech)

So, all I can say is, thank you,

nuž, môžem vám už len poďakovať

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

a to bola moja prezentácia pre vás. (Potlesk)

(Applause)

(Potlesk)