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1 | 00:00:07,257 | 00:00:11,345 | There's some details we can work out later on. | There's some details we can work out later on. |
2 | 00:00:11,386 | 00:00:14,348 | All right? Okay. Okay. Let's do the car crash. | All right? Okay. Okay. Let's do the car crash. |
3 | 00:00:20,229 | 00:00:22,356 | The car crash came about in discussion with Tim, | The car crash came about in discussion with Tim, |
4 | 00:00:22,397 | 00:00:26,527 | our Director, who wants to find a way of having Robert | our Director, who wants to find a way of having Robert |
5 | 00:00:26,568 | 00:00:29,571 | seem to escape from Koba and yet at the same time | seem to escape from Koba and yet at the same time |
6 | 00:00:29,613 | 00:00:32,533 | ultimately fail and get caught. | ultimately fail and get caught. |
7 | 00:00:32,574 | 00:00:35,494 | We wanted to do it in a way that was exciting and dynamic | We wanted to do it in a way that was exciting and dynamic |
8 | 00:00:35,536 | 00:00:36,954 | in the way that this show should be, | in the way that this show should be, |
9 | 00:00:36,995 | 00:00:38,580 | and one of the things that we started talking about | and one of the things that we started talking about |
10 | 00:00:38,622 | 00:00:40,707 | was car crashes and staying as close as we possibly could | was car crashes and staying as close as we possibly could |
11 | 00:00:40,749 | 00:00:43,001 | with the character, which is when we came up with this idea | with the character, which is when we came up with this idea |
12 | 00:00:43,043 | 00:00:46,213 | of being inside the car at the moment of the crash. | of being inside the car at the moment of the crash. |
13 | 00:00:53,387 | 00:00:55,222 | What we came up with in the end | What we came up with in the end |
14 | 00:00:55,264 | 00:00:59,059 | was 3 distinct sequences that we need to try and make look | was 3 distinct sequences that we need to try and make look |
15 | 00:00:59,101 | 00:01:00,811 | as though they were one. | as though they were one. |
16 | 00:01:00,852 | 00:01:02,604 | The first was buying 3 cars. | The first was buying 3 cars. |
17 | 00:01:02,646 | 00:01:04,940 | Unfortunately, we had to buy 3 of the same car. | Unfortunately, we had to buy 3 of the same car. |
18 | 00:01:04,982 | 00:01:07,901 | The first was used to simply have Robert driving down a road | The first was used to simply have Robert driving down a road |
19 | 00:01:07,943 | 00:01:09,736 | and being followed on a couple of other shots | and being followed on a couple of other shots |
20 | 00:01:09,778 | 00:01:11,363 | driving down that same road. | driving down that same road. |
21 | 00:01:11,405 | 00:01:13,282 | The second part was then a second car | The second part was then a second car |
22 | 00:01:13,323 | 00:01:15,826 | which had to be pre-broken-up and pre-smashed | which had to be pre-broken-up and pre-smashed |
23 | 00:01:15,867 | 00:01:18,287 | and have it roll over on its roof. | and have it roll over on its roof. |
24 | 00:01:18,328 | 00:01:21,790 | We had a little, small roll-over rig which allowed it | We had a little, small roll-over rig which allowed it |
25 | 00:01:21,832 | 00:01:25,961 | to roll 90 degrees. | to roll 90 degrees. |
26 | 00:01:30,841 | 00:01:32,926 | The middle sequence, the actual impact, | The middle sequence, the actual impact, |
27 | 00:01:32,968 | 00:01:34,928 | was something that needed quite a few stages, | was something that needed quite a few stages, |
28 | 00:01:34,970 | 00:01:36,388 | and that had to be filmed separately | and that had to be filmed separately |
29 | 00:01:36,430 | 00:01:39,016 | outside of our schedule, so we had a third car, | outside of our schedule, so we had a third car, |
30 | 00:01:39,057 | 00:01:41,643 | our final car, where we stripped as much weight off the car | our final car, where we stripped as much weight off the car |
31 | 00:01:41,685 | 00:01:44,062 | as we possibly could, and we then put it, basically, | as we possibly could, and we then put it, basically, |
32 | 00:01:44,104 | 00:01:46,607 | on a giant rotisserie, which is a big roll-over rig | on a giant rotisserie, which is a big roll-over rig |
33 | 00:01:46,648 | 00:01:49,651 | which can roll the car in 360 degrees | which can roll the car in 360 degrees |
34 | 00:01:49,693 | 00:01:52,738 | so that the camera, being inside the car, | so that the camera, being inside the car, |
35 | 00:01:52,779 | 00:01:54,823 | would look as though it's going through the crash | would look as though it's going through the crash |
36 | 00:01:54,865 | 00:01:56,658 | and we can keep the camera trained on Robert | and we can keep the camera trained on Robert |
37 | 00:01:56,700 | 00:01:58,702 | for that whole experience, which was going back | for that whole experience, which was going back |
38 | 00:01:58,744 | 00:02:00,871 | to the fundamental idea we had of trying to make the car crash | to the fundamental idea we had of trying to make the car crash |
39 | 00:02:00,912 | 00:02:02,664 | as personal as possible to Robert. | as personal as possible to Robert. |
40 | 00:02:02,706 | 00:02:05,250 | That, though, meant that if we were rolling the car over | That, though, meant that if we were rolling the car over |
41 | 00:02:05,292 | 00:02:06,918 | in a studio, we would see the studio roof. | in a studio, we would see the studio roof. |
42 | 00:02:06,960 | 00:02:08,629 | We wouldn't have any way of knowing that it was | We wouldn't have any way of knowing that it was |
43 | 00:02:08,670 | 00:02:11,173 | the same sequence as being on location, | the same sequence as being on location, |
44 | 00:02:11,214 | 00:02:13,091 | so we came up with the idea of strapping | so we came up with the idea of strapping |
45 | 00:02:13,133 | 00:02:15,510 | a...a ginormous television to the window of a car | a...a ginormous television to the window of a car |
46 | 00:02:15,552 | 00:02:17,721 | so that the cameraman sitting in the passenger seat | so that the cameraman sitting in the passenger seat |
47 | 00:02:17,763 | 00:02:20,891 | filming Robert driving would be looking at this screen. | filming Robert driving would be looking at this screen. |
48 | 00:02:20,932 | 00:02:23,518 | Of course, then we needed the footage to put on the screen | Of course, then we needed the footage to put on the screen |
49 | 00:02:23,560 | 00:02:26,396 | to make it look as though he was still driving down the road, | to make it look as though he was still driving down the road, |
50 | 00:02:26,438 | 00:02:29,232 | and it was shot on a camera which had a 360 roll-over rig | and it was shot on a camera which had a 360 roll-over rig |
51 | 00:02:29,274 | 00:02:33,362 | attached to it so that we could film the spin of the car | attached to it so that we could film the spin of the car |
52 | 00:02:33,403 | 00:02:36,073 | as it moved down the road. | as it moved down the road. |
53 | 00:02:37,449 | 00:02:39,242 | That allows the camera to go round | That allows the camera to go round |
54 | 00:02:39,284 | 00:02:41,578 | as if we've just been hit by another car. | as if we've just been hit by another car. |
55 | 00:02:41,620 | 00:02:43,622 | Obviously, we're gonna do it backwards, | Obviously, we're gonna do it backwards, |
56 | 00:02:43,664 | 00:02:45,707 | so we're gonna end up upside down, | so we're gonna end up upside down, |
57 | 00:02:45,749 | 00:02:47,751 | rotate round, | rotate round, |
58 | 00:02:47,793 | 00:02:50,754 | and stop the camera when it's level with the impact car. | and stop the camera when it's level with the impact car. |
59 | 00:02:50,796 | 00:02:52,798 | The crucial bit about it all was trying | The crucial bit about it all was trying |
60 | 00:02:52,839 | 00:02:55,967 | to make it look like the car was being hit and rolling over | to make it look like the car was being hit and rolling over |
61 | 00:02:56,009 | 00:02:58,220 | because of the car that was driving down the country road | because of the car that was driving down the country road |
62 | 00:02:58,261 | 00:02:59,805 | and aiming at it. | and aiming at it. |
63 | 00:02:59,846 | 00:03:01,473 | The simplest and safest way of doing that to make sure | The simplest and safest way of doing that to make sure |
64 | 00:03:01,515 | 00:03:03,725 | the choreography is all timed up is to do it backwards. | the choreography is all timed up is to do it backwards. |
65 | 00:03:03,767 | 00:03:05,727 | The truck started side on to the side of Robert's car | The truck started side on to the side of Robert's car |
66 | 00:03:05,769 | 00:03:07,896 | and then reversed away at high speed. | and then reversed away at high speed. |
67 | 00:03:07,938 | 00:03:11,692 | As it was reversing away, the camera rolled twice | As it was reversing away, the camera rolled twice |
68 | 00:03:11,733 | 00:03:14,653 | on it's 360 rig to make it look like the car was spinning | on it's 360 rig to make it look like the car was spinning |
69 | 00:03:14,695 | 00:03:16,321 | after it'd been hit. | after it'd been hit. |
70 | 00:03:16,363 | 00:03:18,281 | When you play those things backwards, | When you play those things backwards, |
71 | 00:03:18,323 | 00:03:20,242 | it looks like the car has come towards it, | it looks like the car has come towards it, |
72 | 00:03:20,283 | 00:03:22,411 | is hitting in on the side, and is rolling the car over. | is hitting in on the side, and is rolling the car over. |
73 | 00:03:25,831 | 00:03:28,625 | As a sequence, I am thrilled with it. | As a sequence, I am thrilled with it. |
74 | 00:03:28,667 | 00:03:30,627 | Yeah. it was great. yeah. yeah. | Yeah. it was great. yeah. yeah. |
75 | 00:03:30,669 | 00:03:33,630 | You feel the impact, all right. Yeah. Yeah. You feel...bwah! | You feel the impact, all right. Yeah. Yeah. You feel...bwah! |
76 | 00:03:33,672 | 00:03:38,135 | It's like...but you're strapped so, so, so good and so secure. | It's like...but you're strapped so, so, so good and so secure. |
77 | 00:03:38,176 | 00:03:40,595 | I think it takes us to a place in a car crash | I think it takes us to a place in a car crash |
78 | 00:03:40,637 | 00:03:43,515 | that I haven't seen done before where we stay | that I haven't seen done before where we stay |
79 | 00:03:43,557 | 00:03:46,727 | exactly with the character square on his face | exactly with the character square on his face |
80 | 00:03:46,768 | 00:03:48,729 | as he goes through this traumatic event | as he goes through this traumatic event |
81 | 00:03:48,770 | 00:03:50,147 | and is dazed, confused afterwards | and is dazed, confused afterwards |
82 | 00:03:50,188 | 00:03:51,481 | and ultimately taken away to his death. | and ultimately taken away to his death. |
82 | 00:03:50,188 | 00:03:51,481 | and ultimately taken away to his death. | and ultimately taken away to his death. |