Rob Legato: The art of creating awe

Translator: Joseph Geni Reviewer: Morton Bast

Prevodilac: Tatjana Jevdjic Lektor: Ivana Korom

I worked on a film called "Apollo 13,"

Radio sam na filmu "Apolo 13"

and when I worked on this film, I discovered something

i radeći na njemu otkrio sam nešto o tome

about how our brains work, and how our brains work

kako radi naš mozak. A on radi tako da,

is that, when we're sort of infused with

kad smo pod nekim uticajem

either enthusiasm or awe or fondness or whatever,

bilo entuzijazma, strahopoštovanja, privrženosti ili bilo čega,

it changes and alters our perception of things.

to menja i prekraja našu percepciju stvari.

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

Menja šta vidimo. Menja šta pamtimo.

And as an experiment, because I dauntingly create

Radi jednog eksperimenta, jer neumorno kreiram

a task for myself of recreating a Saturn V launch

svoj poduhvat, snimiti lansiranje Saturna V

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

posebno za ovaj film, jer to sam stavio u njega,

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

malo sam bio nervozan zbog toga, pa mi je trebao eksperiment,

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

doveo sam ovakvu grupu ljudi u sobu za projekcije

and play this stock footage, and when I played this

i pustio sam ovaj arhivski snimak.

stock footage, I simply wanted to find out

Tako sam želeo da otkrijem

what people remembered, what was memorable about it?

šta su ljudi zapamtili, šta je bilo nezaboravno?

What should I actually try to replicate?

Šta bi u stvari trebalo da ponovim?

What should I try to emulate to some degree?

Šta bi donekle trebalo da pokušam da simuliram?

So this is the footage that I was showing everybody.

Ovo je snimak koji sam svima pokazivao.

And what I discovered is, because of the nature

Ono što sam otkrio je da, zbog prirode

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

snimka i činjenice da snimamo taj film,

there was an emotion that was built into it

u njega smo gradili emocije

and our collective memories of what this launch meant to us

i naše kolektivno pamćenje onoga šta nam to lansiranje znači

and all these various things.

i sve te razne stvari.

When I showed it, and I asked, immediately after

Kada sam to prikazao i neposredno posle ih pitao

the screening was over, what they thought of it,

šta misle o tome,

what was your memorable shots, they changed them.

šta je vaš nezaboravan snimak, oni su ih promenili.

They were -- had camera moves on them.

Bili su -- kamera se kretala po njima.

They had all kinds of things. Shots were combined,

Imali su razne stvari. Snimci su bili kombinovani,

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

zaista me je zanimalo, šta ste zaboga

were you looking at just a few minutes ago

gledali pre par minuta

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

i kako ste došli do takvog objašnjenja?

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

Otkrio sam da ono što u stvari treba da napravim,

replicate what they saw, is replicate what they remembered.

nije replika toga šta su videli, već šta su zapamtili.

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

Ovo je naš snimak lansiranja, u osnovi baziran na

taking notes, asking people what they thought, and then

beleškama, pitanjima šta misle, zatim

the combination of all the different shots and all

kombinovanjem svih različitih snimaka i

the different things put together created their sort of

svih različitih stvari stavljenih zajedno. To je stvaralo

collective consciousness of what they remembered

neku vrstu zajedničke memorije onoga kako su zapamtili

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

da je izgledalo, ali nije bilo u stvari tako.

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

Dakle, ovo smo napravili za "Apolo 13".

(Launch noises)

(Buka lansiranja)

So literally what you're seeing now is the confluence

Ono što doslovno sada vidite je da spoj

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

gomile različitih ljudi, gomila raznih sećanja,

including my own, of taking a little bit of liberty

uključujući i moje, uzimaju malo slobode

with the subject matter.

u vezi sa tematikom.

I basically shot everything with short lenses,

Uglavnom sam sve snimio sa kratkim sočivima,

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

što znači da ste vrlo blizu akciji,

but framed it very similarly to the long lens shots

ali upakovano slično snimku sa dugim sočivima

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

što daje osećaj udaljenosti, pa sam u osnovi

was setting up something that would remind you

postavljao nešto što će vas podsećati

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

na nešto što niste još zaista videli. (Muzika)

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

Sada ću vam pokazati šta je tačno to

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

na šta ste reagovali kad ste reagovali.

(Music)

(Muzika)

Tom Hanks: Hello, Houston, this is Odyssey.

Tom Henks: Zdravo, Hjuston, ovde Odisej.

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

Drago mi je da te ponovo vidim. (Navijanje) (Muzika)

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

Rob Legato: Pretvaram se da meni aplaudiraju.

(Laughter)

(Smeh)

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

Sada sam na parkingu. U osnovi, to je limenka

and I'm basically recreating the launch with

i ponavljam lansiranje pomoću

fire extinguishers, fire, I have wax that I threw

aparata za gašenje požara, vatre, imam vosak koji sam bacao

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

ispred sočiva da bi ličilo na led,

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

pa ako ste poverali u nešto od ovog što sam sad pokazao,

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

ako ste na nešto reagovali i osećali,

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

to je totalna laž i otkrio sam da je to

really kind of fascinating.

na neki način fascinantno.

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

U ovom posebnom slučaju, to je kulminacija filma,

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

a postići je, jednostavno

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

uzmi model, baci ga iz helikoptera i snimi.

And that's simply what I did.

To je prosto ono što sam uradio.

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

Ovo sam ja kako snimam, osrednji sam operater,

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

imam lep osećaj za verodostojnost, kao

you know, following the rocket all the way down,

praćenje rakete celim putem dole,

and giving that little sort of edge, I was desperately

tako dajem tu oštrinu, očajnički sam

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

pokušavao da je zadržim u kadru. Posle sam otišao na sledeću stvar.

We had a NASA consultant who was actually an astronaut,

Imali smo NASA konsultanta koji je u stvari astronaut,

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

stvarno je bio u misijama Apola 15,

and he was there to basically double check my science.

bio je tu da temeljno proveri moju nauku.

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

Pretpostavljam da je neko mislio da to treba.

(Laughter)

(Smeh)

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

Ne znam zašto, mislili su da treba.

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

On je heroj, astronaut i

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

svi smo bili nekako uzbuđeni, pa sam bio slobodan da

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

kažem, da neki od mojih snimaka i

didn't really suck that bad.

nisu bili zaista tako loši.

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

Zbog toga smo se osećali na neki način pomalo

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

dobro u vezi toga. Doveo sam ga ovde, morao je

to really check and see what we were doing,

da zaista proveri šta radimo

and basically give us our A plus report card,

i dao nam je najbolju ocenu,

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

pa sam mu pokazao neke snimke na kojima smo radili

and waiting for the reaction that you hope for,

i čekao reakciju kojoj se nadate,

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

a to sam i dobio. (Muzika) (Buka lansiranja)

So I showed him these two shots,

Pokazao sam mu ova dva snimka,

and then he basically told me what he thought.

onda mi je rekao šta o tome misli:

("That's wrong") (Laughter)

"To je pogrešno." (Smeh)

Okay. (Laughter)

OK. (Smeh)

It's what you dream about.

To je ono o čemu sanjate.

(Laughter)

(Smeh)

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

Okrenuo se prema meni i rekao:

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

"Nikada, nikada ne bi tako dizajnirao raketu.

You would never have a rocket go up

Nema rakete koja ide gore

while the gantry arms are going out. Can you imagine

dok se izvlače nogare postolja. Možete li zamisliti

the tragedy that could possibly happen with that?

do koje tragedije može doći tako?

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

Nikad, nikad ne biste dizajnirali raketu tako."

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

Gledao me je. To je kao, ne znam,

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

ako ste primetili, ali ja sam momak sa parkinga

recreating one of America's finest moments with

koji ponovo stvara jedan od najboljih momenata Amerike

fire extinguishers.

sa aparatima za gašenje požara.

(Laughter)

(Smeh)

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

Neću se svađati sa vama. Vi ste astronaut,

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

heroj, ja sam iz Nju Džersija, pa --

(Laughter)

(Smeh)

I'm just going to show you some footage.

Pokazaću vam neki snimak.

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

Recite mi šta mislite.

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

Posle sam dobio reakciju kakvoj sam se nadao.

So I showed him this, and this is actual footage

Tako sam mu pokazao ovo, što je stvarni snimak

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

na kom je on. Ovo je Apolo 15. Ovo je njegova misija.

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

Pokazao sam mu ovo i rekacija koju sam dobio je bila zanimljiva:

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

"To je takođe pogrešno." (Smeh)

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

Ono što se desilo, zaključio sam,

in that is that he remembered it differently.

on je drugačije zapamtio.

He remembered that was a perfectly safe sort of gantry

Zapamtio je da je sistem postolja savršeno siguran,

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

savršeno sigurno lansiranje rakete, jer on je sedeo

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

u raketi čiji je pogon 50 t,

of thrust, built by the lowest bidder.

koju je napravio najjeftiniji ponuđač.

He was hoping it was going to work out okay.

Nadao se da će to dobro raditi.

(Laughter) (Applause)

(Smeh) (Aplauz)

So he twisted his memory around.

Tako da je on drugačije zapamtio.

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

Ron Hauard je naleteo na Baza Oldrina, koji nije bio

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

u filmu, tako da on nije imao pojma da lažiramo

any of this footage, and he just responded

bilo šta na snimku, pa je jednostavno odgovorio

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

kao što ćete videti.

Ron Howard: Buzz Aldrin came up to me

Ron Houard: Baz Oldrin mi je prišao i

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

rekao: "Hej, to lansiranje, video sam neke snimke

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

koje nisam pre video. U kom sefu ste

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

našli te snimke?" Rekao sam: "Ne u sefu, Baze,

we generated all that from scratch."

sve smo to napravili ni iz čega."

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

Rekao je: "Uh, to je prilično dobro. Možemo li da ga koristimo?"

(Explosion) ("Sure") (Laughter)

(Prasak) ("Svakako") (Smeh)

RL: I think he's a great American.

RL: Mislim da je on veliki Amerikanac.

(Laughter)

(Smeh)

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

"Titanik" se, ako ne znate priču,

doesn't end well.

ne završava dobro.

(Laughter)

(Smeh)

Jim Cameron actually photographed the real Titanic.

Džim Kameron je u stvari fotografisao stvarni Titanik.

So he basically set up, or basically shattered

U osnovi je postavio ili razbio

the suspension of disbelief, because what he photographed

odgađanje neverice, jer ono što je fotografisao

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

bilo je stvarno. Podmornica Mir plovi dole, u stvari

two Mir subs going down to the real wreck,

dva Mira idu dole do olupine

and he created this very haunting footage.

i on je kreirao ovaj avetinjski snimak.

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

Zaista je prekrasan, izaziva sve vrste

various different emotions, but he couldn't photograph

različitih emocija, ali nije mogao sve da fotografiše,

everything, and to tell the story,

a da bih ispričao priču,

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

trebalo je da popunim praznine, sada prilično zastrašujuće

because now I have to recreate back to back

jer moram da rekreiram sve unazad

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

šta se desilo i samo ja zaista mogu

who could really blow it at that point.

sve upropastiti na tom mestu.

So this is the footage he photographed,

Ovo je snimak koji je on napravio,

and it was pretty moving and pretty awe-inspiring.

prilično je dirljiv i izaziva strahopoštovanje.

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

Pustiću ga da ide, da možete da upijete

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

ovo i objasniću vam svoje reakcije

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

koje sam imao kad sam to gledao prvi put.

I got the feeling that my brain wanted to basically

Osećao sam da je moj mozak želeo njegov

see it come back to life.

povratak u život.

I automatically wanted to see this ship,

Automatski sam želeo da vidim taj brod,

this magnificent ship, basically in all its glory,

taj prekrasan brod, uglavnom u svoj svojoj lepoti

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

i obrnuto,

basically go back to what it looks like.

da ga vidim kakav je u stvari.

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

Tako da sam napravio jedan efekat, pokazaću vam kasnije

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

šta sam pokušao da uradim, to je na neki način srce filma

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

za mene. Zbog toga sam želeo da radim taj film

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

i da napravim stvari koje sam napravio.

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

Pokazaću vam još jednu stvar koja je

interesting is what we really were emoting to

zanimljiva, na nju zaista emotivno reagujemo

when you take a look at it.

kada je gledamo.

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

Evo iza scene, par kratkih snimaka ovde.

So, when you saw my footage,

Kada ste videli moj snimak,

you were seeing this: basically, a bunch of guys

videli ste ovo: gomilu momaka koji prevrću

flipping a ship upside down, and the little Mir subs

brod i malu podmornicu Mir,

are actually about the size of small footballs,

u stvari veličine malih fudbalskih kopti,

and shot in smoke.

i snimljeno je u dimu.

Jim went three miles went down, and I went about

Džim je otišao 5,5 km dole, a ja sam otišao oko

three miles away from the studio

5,5 km dalje od studija

and photographed this in a garage.

i snimio ovo u garaži.

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

Ono na šta reagujete ili to u šta gledate

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

izaziva isto osećanje, isto strahopoštovanje

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

koje je imao Džimov snimak, za mene je fascinirajuće

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

da naši umovi, kad poveruju da je nešto stvarno,

you transfer everything that you feel about it,

prenose osećanja koja prema tome imate,

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

taj kvalitet koji imate i to je potpuno veštačko.

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

To je potpuno pretvaranje, ali ne i za vas,

and I found that that was a very interesting thing

ovo mi je bilo zanimljivo da

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

istražim i iskoristim, zbog toga sam napravio

effect that I'll show you, which is

efekat koji ću vam pokazati, koji je

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

neka vrsta magične tranzicije, pokušao sam

to do is basically have the audience cue the effect,

da ostavim publici da oseti početak efekta

so it became a seamless experience for them,

i da za njih to bude neosetno iskustvo,

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

da ne pokazujem svoju interpretaciju,

I was showing you what you wanted to see.

već ono što želite da vidite.

And the very next shot, right after this --

Sledeći snimak, odmah posle ovog --

So you can see what I was doing.

Možete da vidite šta sam uradio.

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

Ako postoje dve podmornice u istom snimku,

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

onda sam ja snimao, jer odakle kamera dolazi?

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

Kad je Džim to snimio, bila je samo jedna podmornica,

because he was photographing from the other,

jer je on snimao iz druge,

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

ne sećam se da li je ovo uradio Džim ili ja.

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

Pripisaću Džimu, jer bi mu dobro došla pohvala.

(Laughter)

(Smeh)

Okay. So now the Titanic transition.

OK. A sada o tranziciji Titanika.

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

Ovo je ono na šta sam mislio kada sam hteo da

magically transplant from one state of the Titanic

magično pređem sa jednog stanja Titanika

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

na drugo. Pustiću snimak jednom. (Muzika)

(Music)

(Muzika)

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

Ono čemu se nadam je da to samo iščezne ispred vas.

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

Glorija Stjuart: To je poslednji put da je Titanik video dan.

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

RL: U stvari imao sam drugu

screening room experience where I was basically tracking

sobu za snimanje, gde sam pratio

where I was looking, or where we were looking,

u šta gledam ili gde smo gledali

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

i naravno, gledali ste dvoje na pramcu broda

of the ship, and then at some point,

i u jednom momentu

I'm changing the periphery of the shot,

menjam okolinu snimka,

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

menjam, postaje zarđala olupina,

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

zatim bih je puštao svaki dan i potom bih pronašao

exactly the moment that I stopped looking at them

tačan momenat kada prestajem da gledam u njih

and start noticing the rest of it, and the moment

i kad počinjem da opažam ostalo. Taj momenat

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

kad su moje oči skrenule, samo smo obeležili na frejmu.

The moment my eye shifted, I immediately started

Momenat kad su moje oči skrenule, momentalno sam počeo

to change them, so now somehow you missed

da ih menjam, tako da ste nekako ispustili

where it started and where it stopped.

gde je počelo, a gde se završilo.

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

Sad ću vam samo još jednom pustiti.

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

(Muzika) To je bukvalno urađeno koristeći ono što naš um

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

prirodno radi, a to je, čim skrenete

your attention, something changes, and then I left

svoju pažnju, nešto se promeni. Tad sam ostavio

the little scarf going, because it really wanted to be

mali šal da leti, jer zaista je htelo da bude

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

snimak duhova, zaista je htelo da se oseti da su oni još uvek

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

na olupini. To je mesto gde su zauvek sahranjeni.

Or something like that. I just made that up.

Ili tako nešto. Upravo sam to smislio.

(Laughter)

(Smeh)

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

Slučajno sam tada i ja poslednji put video dnevno svetlo.

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

Dugo smo radili na filmu. (Smeh)

Now, "Hugo" was another interesting movie, because

"Hugo" je još jedan zanimljiv film, jer

the movie itself is about film illusions.

to je film o iluzijama.

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

Radi se o tome kako se mozak zavarava da vidi trajanje

of vision that creates a motion picture,

vizije koja stvara pokretne slike,

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

jedna od stvari koju je trebalo da uradim je --

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

Saša Baron Koen je vrlo pametan momak,

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

komičar, hteo je da napravi omaž lažnim udarcima

the Buster Keaton sort of slapstick things, and he wanted

Bastera Kitona. Hteo je da

his leg brace to get caught on a moving train.

mu nogu zarobi voz u pokretu.

Very dangerous, very impossible to do, and particularly

Veoma opasno i nemoguće za izvesti, posebno na

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

našoj sceni, jer bukvalno nije bilo načina

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

da se pomeri ovaj voz, jer se dobro uklapa u naš set.

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

Pokazaću vam scenu, tu sam u osnovi

used the trick that was identified by Sergei Eisenstein,

koristio trik koji je otkrio Sergej Ajzenštajn, a to je

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

kad imate kameru koja se pomera sa objektom

object, what is not moving appears to be moving,

koji se pomera, ono što se ne pomera, deluje kao da se pomera,

and what is moving appears to be stopped,

a ono što se pomera deluje da je zaustavljeno,

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

tako da ono što u stvari vidite je voz koji se uopšte

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

ne pomera, u stvari pod se pomera.

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

Ovo je snimak. To je mali video,

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

vidite naš mali test,

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

to u stvari vidite, mislio sam da je to

sort of an interesting thing, because it was, part

nekako zanimljivo, jer i jeste, deo

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

omaža samom filmu je smišljanje

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

ovog genijalnog trika, koji nije moj.

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

Voleo bih da jeste, ali nije, jer je izmišljen

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

1910. ili slično, rekao sam Martiju,

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

to je ona vrsta stvari koje naš um radi i koje

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

je teško shvatiti, dok ih u stvari ne vidiš na delu.

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

Rekao sam da ću to da uradim, a on je rekao:

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

"Da li sam te dobro razumeo. Stvar sa točkovima?

That doesn't move."

Koja se ne pomera."

(Laughter) (Applause)

(Smeh) (Aplauz)

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

"I stvar bez točkova, koja se pomera."

Precisely. (Laughter)

Upravo. (Smeh)

Brings me to the next, and final --

Dolazimo do sledećeg i konačnog --

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

Marti ovo neće videti, zar ne? (Smeh)

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

Ovo se ne gleda van -- (Smeh)

The next illustration is something that, there's like

Sledeća ilustracija je nešto kao, teorija

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

jednog snimka. To je vrlo elegantan način pričanja priče,

especially if you're following somebody on a journey,

posebno ako pratite nečije putovanje,

and that journey basically tells something about

a putovanje vam u osnovi kaže nešto o

their personality in a very concise way,

njihovoj ličnosti na vrlo precizan način,

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

ono što smo hteli, kao u snimku u "Dobrim momcima",

which is one of the great shots ever,

a to je jedan od najbolje napravljenih snimaka,

a Martin Scorsese film, of basically following Henry Hill

film Martina Skorsezea. U njemu prati Henrija Hila

through what it feels like to be a gangster walk

kroz nešto što deluje kao gangsterski hod

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

kroz Kopakabanu i to je posebno urađeno.

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

Bio je gospodar svog sveta, hteli smo da Hugo

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

isto tako deluje, pa smo napravili ovaj snimak.

(Music)

(Muzika)

That's Hugo. (Music)

To je Hugo. (Muzika)

And we felt that if we could basically move the camera

Osetili smo da kad bismo mogli pomerati kameru

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

zajedno sa njim, osetili bi kako je biti taj dečak

who is basically the master of his universe,

koji je gospodar svog sveta,

and his universe is, you know, behind the scenes

a njegov svet je iza scene

in the bowels of this particular train station

u utrobi ove posebne železničke stanice

that only he can actually navigate through

kroz koju se samo on može kretati

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

i to ovako, morali smo to napraviti da se oseti

this is his normal, everyday sort of life,

da je ovo njegova normalna svakodnevica.

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

Ideja da se to napravi sa samo jednim snimkom je

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

vrlo važna i snimanje sa 3D, što je u osnovi

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

ogromna kamera koja visi sa ogromnog štapa

so to recreate a steadycam shot was the task,

pa je stvaranje mirnog snimka bio zadatak,

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

postići da izazove sličnu reakciju kao kad gledate

when you saw the "Goodfellas" shot.

snimak iz "Dobrih momaka".

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

Ono što ćete sada videti je ono što smo u stvari uradili.

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

To je pet odvojenih setova snimaka sa pet različitih vremena

with two different boys.

i dva različita dečaka.

The one on the left is where the shot ends,

Ovaj levo je onaj gde je snimak gotov,

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

a snimak desno je mesto gde preuzima

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

i sada zamenjujemo dečake, tako da je snimak išao od Ase Baterfilda,

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

zvezde filma, do njegove zamene. (Muzika)

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

Ne bih rekao kaskadera. Evo ga ludi tobogan

that we built for this. (Music)

koji smo napravili za ovo. (Muzika)

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

Ovo sad je set broj tri,

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

i zatim idemo u

the very last moment of the shot is actually

poslednji momenat snimka, to je u stvari

the steadycam shot. Everything else was shot on cranes

snimak mirnom kamerom. Sve ostalo je snimljeno na kranovima

and various things like that, and it literally was done

i raznim stvarima kao to, bukvalno je urađeno

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

kroz pet raznih setova, dva dečaka, u različitim vremenima,

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

a sve to na kraju deluje kao jedan snimak. Za mene

sort of great for me was it was probably

je sjajno to što je taj snimak verovatno

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

dobio najbolje kritike od kako snimam.

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

Bio sam ponosan kad je bio gotov i

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

nikad ne bi trebalo da ste ponosni na stvari.

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

Dakle, bio sam nekako ponosan na njega, otišao sam do prijatelja

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

i rekao: "Znaš, ovo je snimak

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

za koji sam dobio najbolje kritike.

What do you think was the reason?"

Šta misliš da je razlog?"

And he said, "Because no one knows

On je rekao: "Jer niko ne zna

you had anything to do with it."

da ti imaš bilo šta sa tim."

(Laughter)

(Smeh)

So, all I can say is, thank you,

Sve što mogu reći je hvala vam,

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

ovo je moja prezentacija za vas. (Aplauz)

(Applause)

(Aplauz)