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1 | 00:00:07,382 | 00:00:09,343 | It's the auto pilot. What's it doing? | It's the auto pilot. What's it doing? |
2 | 00:00:12,763 | 00:00:14,848 | Mayday, mayday, mayday. | Mayday, mayday, mayday. |
3 | 00:00:15,098 | 00:00:16,642 | One of the things that attracted me to the script, | One of the things that attracted me to the script, |
4 | 00:00:16,892 | 00:00:17,935 | the first episode, was, it had | the first episode, was, it had |
5 | 00:00:18,185 | 00:00:20,312 | this fantastic plane-crash sequence. | this fantastic plane-crash sequence. |
6 | 00:00:20,562 | 00:00:22,773 | The way that Ben had written it was played just as much | The way that Ben had written it was played just as much |
7 | 00:00:23,023 | 00:00:25,442 | off the passengers as it was off the pilots | off the passengers as it was off the pilots |
8 | 00:00:25,692 | 00:00:27,903 | who are wrestling with this machine as it was going down. | who are wrestling with this machine as it was going down. |
9 | 00:00:28,153 | 00:00:31,615 | Visualizing the plane crash has always been quite tricky. | Visualizing the plane crash has always been quite tricky. |
10 | 00:00:31,865 | 00:00:34,076 | You can throw a lot of money and have all those effects | You can throw a lot of money and have all those effects |
11 | 00:00:34,326 | 00:00:36,370 | and all these things, but in the end, you know, | and all these things, but in the end, you know, |
12 | 00:00:36,620 | 00:00:38,497 | its the drama that sells it. | its the drama that sells it. |
13 | 00:00:38,747 | 00:00:39,915 | I think there were two ways | I think there were two ways |
14 | 00:00:40,165 | 00:00:42,125 | that the plane was really important. | that the plane was really important. |
15 | 00:00:42,376 | 00:00:44,670 | The first way is that it felt like a new way | The first way is that it felt like a new way |
16 | 00:00:44,920 | 00:00:47,381 | of integrating that idea of the midpoint | of integrating that idea of the midpoint |
17 | 00:00:47,631 | 00:00:51,051 | and the border into the action of the story | and the border into the action of the story |
18 | 00:00:51,301 | 00:00:55,264 | but also the debris of a plane crash being full of stories. | but also the debris of a plane crash being full of stories. |
19 | 00:00:55,514 | 00:00:58,475 | Who was on the plane, what's in that suitcase, | Who was on the plane, what's in that suitcase, |
20 | 00:00:58,725 | 00:01:01,979 | what does that tell us, so it gives you plot | what does that tell us, so it gives you plot |
21 | 00:01:02,229 | 00:01:05,607 | way beyond the actual crash itself. | way beyond the actual crash itself. |
22 | 00:01:05,857 | 00:01:07,859 | There were 3 elements that we used | There were 3 elements that we used |
23 | 00:01:08,110 | 00:01:10,153 | to try to make the sequence be as...as gripping | to try to make the sequence be as...as gripping |
24 | 00:01:10,404 | 00:01:11,613 | and thrilling and also believable | and thrilling and also believable |
25 | 00:01:11,863 | 00:01:13,240 | as it possibly could be. | as it possibly could be. |
26 | 00:01:13,490 | 00:01:15,200 | The first was that we got a real plane on the tarmac. | The first was that we got a real plane on the tarmac. |
27 | 00:01:15,450 | 00:01:17,452 | Having a real plane and being able to shoot | Having a real plane and being able to shoot |
28 | 00:01:17,703 | 00:01:19,413 | from inside the cockpit down to the tarmac | from inside the cockpit down to the tarmac |
29 | 00:01:19,663 | 00:01:22,416 | and do the reverse solidified the idea in the audience's mind | and do the reverse solidified the idea in the audience's mind |
30 | 00:01:22,666 | 00:01:24,293 | that we are using a plane. | that we are using a plane. |
31 | 00:01:24,543 | 00:01:26,211 | We went to a real plane in Stanstead, | We went to a real plane in Stanstead, |
32 | 00:01:26,461 | 00:01:27,629 | and we filmed passengers getting on, | and we filmed passengers getting on, |
33 | 00:01:27,879 | 00:01:29,923 | and we filmed the pilots talking to each other. | and we filmed the pilots talking to each other. |
34 | 00:01:30,173 | 00:01:32,134 | At that point, you will cut to the passengers | At that point, you will cut to the passengers |
35 | 00:01:32,384 | 00:01:35,387 | going onto our controllable cabin | going onto our controllable cabin |
36 | 00:01:35,637 | 00:01:37,264 | we can effect and do everything because, obviously, | we can effect and do everything because, obviously, |
37 | 00:01:37,514 | 00:01:40,142 | in Stanstead, you can't touch any exterior of a plane | in Stanstead, you can't touch any exterior of a plane |
38 | 00:01:40,392 | 00:01:41,727 | or move it or anything like that. | or move it or anything like that. |
39 | 00:01:41,977 | 00:01:43,729 | Element number two was, uh, the fuselage. | Element number two was, uh, the fuselage. |
40 | 00:01:43,979 | 00:01:45,439 | We thought originally that it'd be a good idea | We thought originally that it'd be a good idea |
41 | 00:01:45,689 | 00:01:47,691 | or buying a fuselage, filming that sequence in the fuselage, | or buying a fuselage, filming that sequence in the fuselage, |
42 | 00:01:47,941 | 00:01:49,735 | and then tearing it to pieces to re-assemble it. | and then tearing it to pieces to re-assemble it. |
43 | 00:01:49,985 | 00:01:52,529 | However, there was a great company that we found | However, there was a great company that we found |
44 | 00:01:52,779 | 00:01:55,365 | Who have a purpose-built, ready-to-go fuselage. | Who have a purpose-built, ready-to-go fuselage. |
45 | 00:01:55,616 | 00:01:56,950 | We wanted to make it, obviously, look as dynamic | We wanted to make it, obviously, look as dynamic |
46 | 00:01:57,200 | 00:01:58,869 | As it possibly could because we were going to be using it | As it possibly could because we were going to be using it |
47 | 00:01:59,119 | 00:02:00,370 | During the crash sequence. | During the crash sequence. |
48 | 00:02:00,621 | 00:02:01,496 | We have to sort of simulate | We have to sort of simulate |
49 | 00:02:01,747 | 00:02:02,914 | The...the sense of flight movement. | The...the sense of flight movement. |
50 | 00:02:03,165 | 00:02:04,333 | We're doing that by putting lights on cranes | We're doing that by putting lights on cranes |
51 | 00:02:04,583 | 00:02:06,293 | So we see light moving in and out of the windows. | So we see light moving in and out of the windows. |
52 | 00:02:06,543 | 00:02:09,463 | I had the sun moving and the cabin static, | I had the sun moving and the cabin static, |
53 | 00:02:09,713 | 00:02:12,758 | And that would alternate between what is actually happening | And that would alternate between what is actually happening |
54 | 00:02:13,008 | 00:02:15,177 | Inside the aircraft, so if the aircraft | Inside the aircraft, so if the aircraft |
55 | 00:02:15,427 | 00:02:18,555 | Is pulling up, the light would go down, | Is pulling up, the light would go down, |
56 | 00:02:18,805 | 00:02:20,599 | And you'll see the effects through the cabin. | And you'll see the effects through the cabin. |
57 | 00:02:20,849 | 00:02:24,394 | You see the, uh, light move over the faces and vice versa. | You see the, uh, light move over the faces and vice versa. |
58 | 00:02:28,482 | 00:02:29,900 | So other big effect that we used today | So other big effect that we used today |
59 | 00:02:30,150 | 00:02:32,611 | Is the image shaker, which is on the camera, | Is the image shaker, which is on the camera, |
60 | 00:02:32,861 | 00:02:36,740 | And that is to recreate the actual shake of a cabin. | And that is to recreate the actual shake of a cabin. |
61 | 00:02:36,990 | 00:02:38,200 | You may have noticed things are a bit bumpy | You may have noticed things are a bit bumpy |
62 | 00:02:38,450 | 00:02:39,368 | At the moment. | At the moment. |
63 | 00:02:39,618 | 00:02:40,911 | Apologies for that. | Apologies for that. |
64 | 00:02:41,161 | 00:02:43,121 | You basically create another lens in front of your lens | You basically create another lens in front of your lens |
65 | 00:02:43,372 | 00:02:47,209 | Which then you can shake and rotate electronically, | Which then you can shake and rotate electronically, |
66 | 00:02:47,459 | 00:02:52,214 | And that plus performance recreates a shaking cabin. | And that plus performance recreates a shaking cabin. |
67 | 00:02:52,464 | 00:02:54,257 | The third element was the cockpit, obviously, | The third element was the cockpit, obviously, |
68 | 00:02:54,508 | 00:02:55,967 | And that's where most of the action takes place. | And that's where most of the action takes place. |
69 | 00:02:56,218 | 00:02:57,511 | That was probably the hardest element. | That was probably the hardest element. |
70 | 00:02:57,761 | 00:02:58,929 | We had to find a cockpit. | We had to find a cockpit. |
71 | 00:02:59,179 | 00:03:00,430 | We looked...again, we looked at building one, | We looked...again, we looked at building one, |
72 | 00:03:00,681 | 00:03:02,349 | But they are, obviously, very difficult builds, | But they are, obviously, very difficult builds, |
73 | 00:03:02,599 | 00:03:03,892 | Very expensive builds. | Very expensive builds. |
74 | 00:03:04,142 | 00:03:06,061 | What we managed to find after an exhaustive search | What we managed to find after an exhaustive search |
75 | 00:03:06,311 | 00:03:09,064 | Was a company who had a flight simulator cockpit. | Was a company who had a flight simulator cockpit. |
76 | 00:03:09,314 | 00:03:10,524 | The next thing that we needed to do | The next thing that we needed to do |
77 | 00:03:10,774 | 00:03:12,734 | Was to find images to put in front of it. | Was to find images to put in front of it. |
78 | 00:03:12,984 | 00:03:15,278 | We went out and filmed with an aerial photographer. | We went out and filmed with an aerial photographer. |
79 | 00:03:15,529 | 00:03:17,572 | He went out and took his plane out over the sea. | He went out and took his plane out over the sea. |
80 | 00:03:17,823 | 00:03:19,700 | That gave us the footage that we could then play back | That gave us the footage that we could then play back |
81 | 00:03:19,950 | 00:03:22,202 | On the day rather than having to use green screen | On the day rather than having to use green screen |
82 | 00:03:22,452 | 00:03:24,246 | And do it all in post, which is, obviously, a lot more expensive. | And do it all in post, which is, obviously, a lot more expensive. |
83 | 00:03:24,496 | 00:03:25,747 | The huge bit was done on projectors, | The huge bit was done on projectors, |
84 | 00:03:25,997 | 00:03:27,165 | And we have one, another one, on a crane | And we have one, another one, on a crane |
85 | 00:03:27,416 | 00:03:29,418 | Which is simulating the sun so, again, we get | Which is simulating the sun so, again, we get |
86 | 00:03:29,668 | 00:03:30,919 | That sort of movement of light. | That sort of movement of light. |
87 | 00:03:31,169 | 00:03:34,005 | One of the most complex elements in the scene | One of the most complex elements in the scene |
88 | 00:03:34,256 | 00:03:37,843 | Was how we would cue off of the visuals | Was how we would cue off of the visuals |
89 | 00:03:38,093 | 00:03:40,846 | Because ordinarily with a flight simulator, | Because ordinarily with a flight simulator, |
90 | 00:03:41,096 | 00:03:44,891 | You pull back on the stick, and the outside moves, | You pull back on the stick, and the outside moves, |
91 | 00:03:45,142 | 00:03:47,978 | But because this is being shot with real footage, | But because this is being shot with real footage, |
92 | 00:03:48,228 | 00:03:50,814 | It was really quite difficult because there's are all sorts | It was really quite difficult because there's are all sorts |
93 | 00:03:51,064 | 00:03:53,150 | Of things the control columns needed to do | Of things the control columns needed to do |
94 | 00:03:53,400 | 00:03:55,318 | That they wouldn't do in reality, | That they wouldn't do in reality, |
95 | 00:03:55,569 | 00:03:56,945 | Being pulled out of, uh, | Being pulled out of, uh, |
96 | 00:03:57,195 | 00:03:58,697 | The one of the pilot's hands, et cetera. | The one of the pilot's hands, et cetera. |
97 | 00:03:58,947 | 00:04:03,869 | Rather unusually, we would have to fly the sequence real time. | Rather unusually, we would have to fly the sequence real time. |
98 | 00:04:04,119 | 00:04:06,329 | It was the only way we could coordinate it. | It was the only way we could coordinate it. |
99 | 00:04:06,580 | 00:04:07,706 | The result that we found is, one, | The result that we found is, one, |
100 | 00:04:07,956 | 00:04:09,458 | That it was truly scary for the pilots. | That it was truly scary for the pilots. |
101 | 00:04:09,708 | 00:04:12,127 | They were really fighting as the controls were forcing it | They were really fighting as the controls were forcing it |
102 | 00:04:12,377 | 00:04:14,838 | To go down in the sea, so i think that's why | To go down in the sea, so i think that's why |
103 | 00:04:15,088 | 00:04:16,882 | We manage to, you know, above and beyond the fact | We manage to, you know, above and beyond the fact |
104 | 00:04:17,132 | 00:04:18,300 | That we cast some great actors, | That we cast some great actors, |
105 | 00:04:18,550 | 00:04:20,719 | They managed to get great performances. | They managed to get great performances. |
106 | 00:04:28,393 | 00:04:31,271 | On a practical level, there are times | On a practical level, there are times |
107 | 00:04:31,521 | 00:04:33,064 | When i wish there wasn't a plane | When i wish there wasn't a plane |
108 | 00:04:33,315 | 00:04:36,193 | Because it took so much logistical attention | Because it took so much logistical attention |
109 | 00:04:36,443 | 00:04:39,654 | Both in terms of how we realized a plane crash | Both in terms of how we realized a plane crash |
110 | 00:04:39,905 | 00:04:43,283 | In an interesting, exciting way and how we absolutely held on | In an interesting, exciting way and how we absolutely held on |
111 | 00:04:43,533 | 00:04:45,619 | To the fact that this isn't just a great, big, splashy, | To the fact that this isn't just a great, big, splashy, |
112 | 00:04:45,869 | 00:04:48,997 | This is about the human impact of killing that many people. | This is about the human impact of killing that many people. |
112 | 00:04:45,869 | 00:04:48,997 | This is about the human impact of killing that many people. | This is about the human impact of killing that many people. |