I am writer-director Christopher McQuarrie.
Hi, my name is Eddie Hamilton, I'm the film editor on the movie.
This is Mission: Impossible - Fallout.
And these are our very, very fast logos.
Yeah, I was inspired by watching another movie
that ran their logos at double speed.
And we got kind permission from everyone
to keep the logos nice and quick 'cause we have quite a long movie
and we were thinking of any way we could to get the pace up.
So, all these logos are running at about
half the length they usually would.
So our thanks to everybody for contributing to that.
And this scene...
This scene was shot in New Zealand at a place called Milford Sound
and was one of the trickier scenes.
Despite the fact that there's very little editing in the scene,
the scene had to be shaped.
It was actually much longer, there was more dialogue,
and we kept noticing that despite the fact that the scene was very short,
we were getting comments about the pace of the scene.
And we noticed that there was certain dialogue within the scene
that was vague.
It implied things about earlier Mission: Impossible chapters
that you really had to think about.
And when we took all of that dialogue out,
the pace issues went away.
And it was very important, to me,
that the movie began with a closer understanding of Ethan Hunt,
rather than diving into some big action scene.
And this scene we cut a million different ways, as I remember.
We spent a lot of time honing and shaping this scene.
And one of the things about it thatyou1lnofice,
is the use of music in the scene
is constantly finessed to throttle pace.
We'd originally tried something much pacier.
From the moment Ethan heard the door knock,
the pace started, there was a quicker-tempo music.
And we noticed that, that actually led to fatigue.
By the time you got to the book here, you were worn out.
So, we went back to Lorne Balfe, we reshaped the scene
to play with suspense rather than tempo.
Yeah, the pace picks up when he gets the book
and then it dials down here,
to allow the space for the dialogue of the mission
to make its way through.
And these are the trickiest scenes in Mission: Impossible
for a lot of different reasons, the biggest being
the number one enemy of pace in a film is information.
And these scenes tend to be pure information.
It's very difficult to make that information emotional.
The only way to really inject emotion into a scene that's pure information
is the music.
We were constantly struggling with ways to bring music in
that didn't fight with the dialogue.
Poor Lorne Balfe had to do multiple variations of this scene
until we found something that felt right.
And the other thing we experimented with a million different times was
the voice, the actual person giving the mission briefing.
We auditioned multiple male voices, we actually brought in two women.
It was very interesting to watch
audiences react and respond to this scene
based on who it was that was actually speaking.
The woman's voice tended to be almost soothing
and the scene became hypnotic as opposed to
getting you to lean forward.
And a lot of the men had smokier voices,
which tended to put you to sleep.
And male voices that were very resonant were very effective,
except they weren't particularly good storytellers.
And so we ended up with Mr. McQuarrie doing the voice.
After many different iterations, Chris decided to jump on board
and lend us his voice.
Well, I had done it, I had recorded it right at the beginning
when we were first doing it.
We were always rewriting it and changing it,
so, it was just easier for me to record it.
Of course, you get very self-conscious about your own voice
and so, I started doing this impression of,
I don't know who, Bill Kurtis.
Bill Kurtis on Case Files.
Doing everything I could to make my voice lower and more resonant
as opposed to the naturally, I guess,
you would call my voice a more smokey voice.
One point we had Alec Baldwin do it.
- Yeah, we did. - And Alec did an excellent reading,
but again, his voice is so velvety
that you just tended to phase out,
you weren't focusing on the information.
Plus, you were going, "Hey, it's Alec Baldwin."
And you weren't listening to the information either,
'cause you were just enjoying listening to Alec's voice.
Yes, you're saying, "I know this voice."
This scene, again, another challenge.
The whole opening of this movie, the first 15-20 minutes of the movie,
is really information.
Because there was quite a complex story going on,
there were all of these many elements that you had to introduce.
And when we shot this scene,
this banter between these guys was not in it,
because I was throttling everything as quickly as I could
to get to the credits.
And when Tom watched the edit of the scene for the first time...
And we read the scene together,
we shot the scene, we all had a great time shooting it.
When Tom watched it for the first time,
he said, "I feel no connection between Ethan and the team.
"I just feel no sense of..."
And what we had done, inadvertently, is
taken that for granted.
And that was our big rule for Mission: Impossible.
You could not assume that the audience had seen any of the previous iterations.
And this is the one instance in the movie
where we quite naively made that assumption.
And as soon as we saw the scene cut together,
we realized, "Well, that doesn't work."
I'll step in quickly, Chris.
Just earlier, where Benji says,
"Tonight, Luther, I want to be in the van."
That was where in any screening with an audience...
If they laughed at that line,
we knew we had them invested in the film.
That was our metric of how engaged the audience were
with the characters and the humor if that line got a big laugh.
It was similar in Rogue Nation,
when Alec Baldwin talked about the Kremlin, he would say,
"This is the Kremlin before, this is the Kremlin after."
And at that point, if we got a laugh, we knew that the audience was with us.
- You knew you had 'em. - Yeah, exactly.
If you didn't get a laugh, you knew you were...
We were in trouble and the scores would not be great.
The scores would be reflective.
Caspar is this great actor
and he actually had more of a scene with Tom.
He did a 360 around Tom
and was talking about John Lark and bringing up plot in the movie.
It was actually a beautiful shot,
and it got off of the axis that really bothers me,
which is just straight coverage,
which I'm always trying to get out of
and find myself getting locked back into.
And it was unfortunately an extra minute in the scene
that we simply didn't have.
We were looking at the beginning of this movie,
and as we were editing it together,
we felt the credits just getting farther and farther and farther away.
And here we're teaching the audience about the plutonium,
and about the radioactivity that will come up in the third act.
So, we are introducing them to the idea of,
you know, how radioactive the plutonium cores are,
because it will be crucial later.
Yes, and in the structuring of a movie like this,
especially one that runs over two hours,
you're looking for every single second that you can cut out of the film.
It adds up.
That was one of the things we debated.
You could've made the scene significantly shorter
if you took away the explanation of the plutonium
-and merely showed the cores. - Yeah.
But of course, you wouldn't have it later on,
and we evaluated every emotion versus information beat within it.
I seem to remember...
I quite like it, audiences quite like being educated as well.
So, when he says this is a beryllium rod,
you get a bit of a physics lesson.
I think people quite like the sense that
these spy movies are teaching them cool science as well.
- That was your defense all the time... - Yeah.
...of that moment. You said,
"I like being taught. I like the how-to."
You liked learning how the bombs worked.
Originally, in one draft of the script,
there was even more of an explanation.
Luther explained how the bombs actually worked,
-you remember? - Yes.
And you were liking the education of knowing how
-an implosion device works. - Yeah.
Great percussive score here that kind of came in and out,
but we eventually ended up with a very high-energy score,
to just keep the momentum going through here.
And you'll remember here, the little edits we made in the scene.
Simon originally didn't throw the case
until after they knew that Luther...
Simon very deliberately makes a choice.
He tries to get to Ethan, they are shooting at him,
and he makes a choice to throw the case.
And it was a really nice hero moment, for Benji.
But then what it left us feeling, was a sense of...
You started asking questions.
Like, why didn't Benji drive the car over to himself first,
and then drive over to Tom.
We realized the more time that we gave people to think about things,
the more complex it made Ethan's dilemma.
And what was most important in this scene was
that Ethan be left with a terrible choice
and that Ethan end up having to choose between his friends and the plutonium.
The more we gilded that lily, the more people start...
You just felt yourself asking questions.
I say "people," it's usually us in the editing room saying,
"I'm taken out of this emotionally."
And again all of this is Lorne's score really doing a phenomenal job
of keeping the tone and the emotion going.
This was a tricky shot. How to prove a negative.
How do you show that something's not there?
You know, and so...
We shot that multiple ways and finally settled on that crane shot.
One of our very few dissolves in the movie there,
but it's definitely appropriate at that point.
Yes. I'm often...
Eddie is probably the only editor I've worked with
who doesn't cringe when I suggest a dissolve.
Dissolves somewhere along the line became taboo.
There was an editors' expression, "if you can't solve it, dissolve it."
- And? - And I did...
I just disagree. I think it's totally appropriate
to use those kinds of transitions.
Or I completely agree, we couldn't solve it any other way,
we dissolved it. That doesn't make it a bad thing.
Amazing visual effects work from DNEG,
on those aftermath shots on the news.
All of that is blue screen projection on those TVs.
So, they worked up some archive footage of those cities.
This was another scene. This was the first scene,
that I saw assembled while we were still making the movie.
I tend not to watch footage while we're shooting
for this very reason, it depressed me to no end.
When I saw the scene cut together the first time,
- I think it was nine minutes long. - Yeah, yeah.
And had lots and lots of air.
You didn't feel any of the emotional punches that we wanted to feel,
which is the consequence of a rough assembly.
And every time we cut the scene shorter,
we thought we had cut it to the absolute bare bone
and it couldn't possibly be any shorter.
Then it was eight minutes, then it was seven minutes...
There were all of these flourishes,
all of these nice moments, character moments,
great performance moments, of all these three actors.
Kristoffer Joner here who plays Delbruuk
is an absolutely fantastic actor.
What we realized was with each flourish,
the audience was having time to think about what was happening in the scene.
And we started cutting closer and closer
to keep the scene driving forward and taking things out.
At one point, he asked him,
"Who are you, you NSA or CIA?"
And Luther says, "We are what you might call the last resort."
It was fun, cool stuff.
But because he was asking questions,
the audience was suddenly asking questions.
- You felt people getting ahead of it. - Exactly right.
And we were asking people, "When did you know?
"When did you know something was going on?"
And the more we cut the scene down,
the later and later their realization was.
And one of the things we embraced early on...
This is a moment where a lot of people start to pick up.
People were feeling like Ethan doesn't react like this.
We know he's performing and we drastically reduced this
and looked at the takes very carefully
and found what we felt was a really good balance.
Because people don't want to believe that Ethan loses his temper
in these kinds of situations.
They're like, "Wait, our hero doesn't do this."
Or that Ethan and Luther are fighting.
- Exactly. - That there's any conflict between them.
They're bothered by... They're hoping that it's not what it seems.
But also, you could feel them,
as the drama started escalating, you felt people thinking,
"Okay, this is not... There's something going on."
- And... - I love this. I love this.
That little nod that he does, it's so cool.
Because Delbruuk can't see it
and he's like, "Yeah, this is all going to plan."
When you watch this scene the second time,
you can just see exactly how they are performing
for the benefit of Delbruuk there in the bed.
And that is something that we obsess about is the second viewing,
is finding ways to make the film more entertaining
the second time you come around knowing what's going to happen.
There are nice little flourishes.
Mission lends itself so nicely to it,
because everything is a shell game, everything is a con.
There are nice little winks and nods that we do throughout,
little behavioral things that are tells.
This music cue that's playing here
used to be a kind of dread sustain build.
And very late in the game,
you had the great idea of making it more of a simmering...
- A flutter. Lorne calls it a flutter. - A flutter, yeah.
And it's incredibly effective at
making you feel like our guys have lost
and that Delbruuk has got the upper hand.
I'm glad you brought it up because the music that you hear over the wedding,
at the beginning of the film,
is a piece that Lorne referred to as Loves Reduced.
It's actually one of the first pieces that he sent us
long before we had all started working together on the edited film.
And it was this piece of music that we noticed remarkably worked
in just about every scene in the movie.
You could put it anywhere, and it worked,
and it worked rhythmically.
And we loved it so much, we had it everywhere.
Then, of course, once you've fallen in love with a piece of music,
the hardest thing is taking it out.
And this was one of the areas where we had it.
And it was very late in the game that we started to look at the score
as the last element of how to crank up the pace,
how to drive us through the movie
without making it feel overt.
This was another moment at the end of scene, it was very tricky.
There was a lot more of Delbruuk fading out
and fading to black before it went to the credits.
We passed out from his point of view.
Ultimately, we broke our own rules and came up with a much stronger cut.
These are titles designed by the wonderful guys at Filmograph LA,
who also worked on the last film.
They did such a great job on the last film,
for I guess what you would call their audition...
They sent us two versions,
and we liked them so much we put them both in the movie.
One was at the beginning and one was at the end.
And it ended up creating something of a tradition for us
of now, bringing in the curtain call,
which we do at the end of this movie, as well.
This is also one of the more chaotic opening credits I've ever seen.
Love the idea of having everything burning.
Amazing music from Lorne.
That was one of the things that he did figure out quite early on
was how to play the opening titles.
And when you go and watch a Mission: Impossible meme,
you're always thinking as a fan,
"How are they going to treat the theme music?
"What's the opening credit montage going to be like?"
Because they are so iconic in these movies.
So, we really worked very hard to deliver
an exciting different take and a different spin on that
for fans of the franchise.
Yes, and this was another scene that we scored a bunch of different ways.
We're always playing with...
Because you felt like you were in a title sequence
and you wanted to feel that continuing.
There is a line here where Alec mentions the plutonium,
which we added later, because we were trying to...
- Which we can only assume... -ls our missing plutonium...
- And it was originally Eddie's voice. - It was my voice.
Suddenly, Alec Baldwin says,
"Which we can only assume is our missing plutonium."
But you had very similar voices when you're both speaking loudly.
- It's quite funny. - It sounded very funny.
Quite often when you're editing a movie,
the editor or the assistant editors will lend their vocal talents
and allow us to use temp voices to help clarify bits of the story
before we get the actors in to do the lines.
So, when you're watching an early assembly,
it's sometimes quite amusing to hear
all the different voices that get laid in.
This is also a wonder of color timing.
Things that people don't necessarily know about
or ever see in the making of a film
is the grading of the film
and how we play with color, temperature,
brightness, darkness, and how we bring out certain facial features.
The light on the runway was very low
and it was a particularly tricky scene
to bring out the negative
and leave it feeling this dusky feeling that it had.
You'll see behind the actors, you can see lights everywhere.
Those lights actually, some of them are lights that we added,
others are lights that we had to turn on
because the sensors hadn't come on yet.
And it was all to give just a slightly stronger impression of nighttime
as opposed to just low light.
You can see this whole scene has this lovely almost violet hue to it.
All of that was brought out in the color timing.
Alec nails that line there. He just nails it.
It's just a brilliant piece of writing from Chris
and Alec nailed the delivery.
Interestingly, Angela had a longer introduction
where she removed a security badge
from a security guard
and people found her dislikable, actually,
found her character dislikable
-and they'd kind of made a judgment. - They found her mean.
They found her mean. They made a judgment call
right at the beginning of the movie about her character
and they thought she was mean.
We only really discovered that very late on.
But in one of our friends and family screenings,
someone said, "You know, I just decided that I didn't like Angela."
And we said "Why?" And she said, "Well, she removes the security guard...
"The security guard's badge."
And we thought, "Oh, you're dead right."
Well, then we asked. We said, "Did anybody else feel this?"
And everyone in the audience raised their hand.
- No one had ever specified it. - No, and so we took that out.
It was only 20 seconds.
We took it out and there's enough introduction to her character here.
And suddenly, she had...
- She was just more complex. - Yes.
You know, she had more shades of gray.
You were more interested to kind of find out
what made her tick, rather than just making a...
Well, audiences kept thinking that she had an agenda.
And we thought her agenda was very straightforward.
This shot is a completely digital creation.
Almost impossible to film for real, unless you had two C-17s.
Yes.
And you could film out of the back of one at another one,
which you just can't really practically do.
And I was so upset about having to do it
and we... The wonderful guys at DNEG
created that shot and they created a sort of like,
your perfect dream image of it,
which, of course, didn't look real at all
and we discovered that the way to make the shot look real was to...
There's the shot that you wanted and now, let's...
Now, give me the shot that I'd have to settle for.
What's everything that could go wrong?
Framing wouldn't be right.
The moon wouldn't be the way we wanted it on the day.
The plane wouldn't be coming quite straight at you.
There'd be heat haze, there'd be...
The more we added messy layers to it, the more the shot became...
Became real.
And interestingly, we did a version of this scene
-before Tom broke his ankle. - Correct.
And then Chris and I felt like
we had a better idea of Walker's character
and how Henry had evolved the character
and this scene was re-written and filmed a second time when Tom had recovered.
- And we... - Tom also instinctively knew
something was not right about the scene.
That's true.
And it was the only time in the entire movie
where he looked at it and just said, "This is not... This is not ready."
- And it was a very tough day. - Yeah.
We were gonna have to... We ran out of time.
We were gonna have to do the scene very fast.
And Tom just said, "Let's come back to this another time."
Yeah. And we get a much better handle on Walker's character
in that new version of this scene.
And well, and the scene was more about conflict and less about information.
And that was the big thing I learned on this movie was
anytime I could take information and turn it into conflict...
I actually learned it on the last movie.
Yeah.
And so we were constantly striving for ways.
That's really one of the reasons why Ethan's and Walker's relationship
was the way that it was.
Even as Walker's character was evolving,
it was always gonna be an antagonistic relationship between them
because that was more compelling to drive the scene forward.
This shot
was extremely, extremely difficult.
This entire sequence is difficult.
And in fact, at the time of our recording this,
this scene is not... This sequence is not finished.
Yeah, we're recording this with about,
you know, 10 days to go until the premiere.
And we haven't quite got these shots finished yet.
So, what you're watching,
will be the result of many, many hundreds of hours of work
from the fine artists at DNEG.
And we're still working on it right now, but it'll look great when it's finished.
We had a little... Played around
with the exact dialogue that's spoken by the guys here
to clarify Walker's motivation 'cause people didn't really understand.
- Yeah, they kept asking... - Like, "What's he doing?"
You know, "Why is he pulling Tom's oxygen and..."
Well, what we noticed was that people tend to try to...
They'd been outsmarted by Mission so often
that they're trying to outsmart the movie.
And they're overthinking every little nuance so,
when Walker disconnected his air hose,
they were saying, "Was he trying to sabotage the mission? Was he..."
And... And so we had to go in and put that dialogue in.
Also, we had to put the dialogue in over the establishing shot...
- Exactly. -...where Ethan is saying
what they're doing, because people... Very late in the process,
someone finally raised their hand and said,
"Why do they have to jump out of a plane?
-"Why do they even have to do it?" - Yeah.
Yeah. Why can't they just drive up in a taxi?
You know, why can't...
And it didn't matter that Alec Baldwin said,
"You gotta be there in two hours," or any of that,
unless you explicitly say it.
You know, we have to drop into France undetected.
Yeah.
And now, the moment we added those lines,
everyone got it and it was all fine so...
This. This. The tracking in this shot.
What's amazing is, Tom and Henry are actually over Abu Dhabi.
They're over a desert.
They're over an air base in Abu Dhabi, and so,
it's actually impossible for a computer to track the ground,
especially since they're falling at nearly 200 miles an hour.
The Paris background that you see
is manually tracked in frame by frame.
- It was. .. - Painstaking.
It was split into 15 sections, this shot.
And amazing artists at Double Negative
manually tracked the background on, and...
And you've also manipulated this, 'cause you've speed-ramped.
For example, here, the camera actually took much longer to get to Tom,
and there is a lot of what we call air in the shot,
no pun intended here...
Just a feeling of it, just things taking a little bit too long.
And we cranked the speed up to get it there,
and, of course, you then have to digitally smooth out...
Editorially, you ramp shots from 100%, to 120%, 130%,
back to 100%, just so that you...
You kind of remove sections which are feeling slow.
Just to keep the excitement up.
And again, this incredible piece of music that's playing
was written almost at the 11th hour, as well.
For one of the very... Yes,
Tom had watched the sequence,
and our original idea
was that this sequence was gonna be without music.
It was all gonna be very much in Tom's ears.
The sound of the wind...
We recorded all of that sound,
and I like to score...
I like to avoid using score whenever possible,
with action, if the action's done right.
And Tom watched it and came back and said,
"It needs music.
"I just feel like it needs to be..."
So very late,
we went into the...
We went into Lorne's room, sat down, and then,
-in the course of an afternoon... - Yeah.
-...he wrote that piece.
And the sound team came up with the idea of having the voice,
-the female voice, reading the altitude. - Oh, yes, they did!
- Victoria. - Victoria.
Victoria, you're one of the sound team.
That's her voice, and they stuck that in.
That wasn't even a conceit that we'd originally thought of.
And everything was designed to give a sort of ticking clock.
Also, before we get too far,
the line where he says, "You've lost your oxygen."
In our obsession with cutting seconds out of the movie,
we cut too quickly.
And by not letting that moment breathe,
there wasn't a moment for the audience
-to laugh at that line. - That's true.
And when we added time,
and we extended Tom's reaction
and waited for the music,
you felt the audience just enjoy that moment.
Now interestingly, here, you'll see, on the deleted scenes montage,
a very ambitious sequence
where Tom and Henry have to swing across a gantry
in order to get access to the Grand Palais,
but it was four minutes of amazing stunt work
that we couldn't afford, at this point,
in terms of the pace of the film.
It just killed the pace of the movie.
And we needed to get to the dance floor.
We needed to get to finding Lark.
We needed to get to the bathroom quicker.
It was also one of the first...
It was the first stunt that we shot.
It was Henry's first day on the movie.
It was a massive, massive undertaking
to put cables and pulleys and all the gear we needed
up into the gantries,
up above the floor.
He's 120 feet in the air. It was extremely dangerous.
And we did not really have a sense
of the scope and scale of the movie,
and so, this was a very big deal.
This was one of our big stunts.
Beautiful lighting here,
-in the Grand Palais. - It's gorgeous.
This is all Peter Wenham's design.
Everything that you're seeing here, all of those lights and everything,
we had only nine days to shoot in the Grand Palais,
and so, I gave Peter a challenge, where I said,
"You have two days to build, and two days to strike the sets
"so that we have more time to shoot."
So, everything you're seeing
was designed in such a way that it could be portable,
and it could be very quickly moved in and moved out,
without a lot of heavy construction.
And this set...
Well, you can tell us stories about this set.
Beautiful set, that's built at Leavesden Studios.
- Yes. - And it was...
This was our...
This set was our first day of work,
in London, after... We shot in Paris, then New Zealand,
and then came and shot in London.
And this sequence
we were shooting for the rest of the time we were in London.
- Yeah. - Tom broke his ankle
midway through shooting it,
so, that delayed our being able to...
So the set had to just sit for six months.
And every time we had a little spare time,
we would run in here and shoot little pieces of the...
In the toilet stall, and little inserts and shots at the mirror.
We managed to get most of the fight done,
but there were all of the many little pieces around it
that were very complicated,
and we had to keep going back.
In fact, one of the shots, which I'll point out,
was the very last day
-of pickups on the movie. - That's true.
It wasn't even the last day of principal photography.
Pickups are where you go back
and grab little bits of stuff that you...
That you missed, or you find in the edit that you need.
This was, for the entire time that we were in London,
this set, or pieces of it,
were waiting for us to come back and finish the scene.
Took forever.
These actors, they're just phenomenal.
They were essentially cast off of their headshots.
I had never met with them.
They came in on the day, all of these guys,
everything that they're doing in this scene is improvised.
They were all just working with each other,
and responding to very, very basic direction.
And they were just so good, and so natural,
and they all came together like they were old friends.
I believed in that minute, I believed in the group and their dynamic.
They were really natural and very fun.
They really are the unsung heroes of this scene.
They really make it.
All of this dialogue is improvised.
I didn't know any of... I didn't know any of what they were saying.
We'll talk a little bit about the graphics
on the mask machine, done by BLIND,
a company who design motion graphics
for films in the UK here, and they did an amazing job.
The graphics and also so...
BLIND is doing the graphics on the top of the screen,
and DNEG are doing the actual forming of the masks.
A huge amount of effort from two different entities
is going into making that mask machine.
I remember this top shot here, Chris, you sent me...
You took a video grab off the video assist tap
and sent it to me to go, "Check it out, dude!
"It's so exciting! Look at this fight, it's so cool!"
And then, when I got the dailies,
it was just extraordinary to put this together.
It was such fun.
It was quite tricky, to make sure that
we didn't cross the line too much, and the geography was...
We did once, in that doorway, but...
But it looked as though Tom suddenly turned into...
But we figured it out, and then,
this insert was filmed two months later,
because we didn't have quite enough energy in the shot, and...
This is the very famous scene where Henry cocks his arm...
This is a nice improv from Henry,
which suddenly turned into
bigger than any action scene in the movie,
-people responded to that. - Yeah, it's great.
Look at them really going for it.
Liang, the stunt performer here, is astonishing.
That's Liang Yang, who's an incredible Wushu fighter.
And what's amazing, what's great for me,
is all three of the actors are giving it so much of their all.
It's such a physically painful thing that their doing
and it allows me to not have to
shake the camera and do a lot of crazy stuff.
And it allows us to just sit back from the action.
This shot, coming up here...
This was the last shot...
- The very last shot we did. - On the very last day.
We just had a piece of ceiling, and we brought Liang Yang back,
because originally, we didn't rack focus to the gun.
And we realized this would be a lot more effective
if we racked to the gun.
You'll remember also that they ran into Rebecca
before coming into the bathroom.
We originally had Rebecca's entrance to this,
which you'll see in the "Deleted" montage.
And when we cut that out,
we realized her entrance was that much more effective.
Mission is comprised of a lot of things that you think you need.
We tend to over-explain,
we tend to overwrite,
and then, we see how much of that we can take away.
This is a shot using a prism on the lens,
which enables us to get really low
without having to cut the hole in the floor.
And we had a shot like this in Rogue Nation,
which we didn't have a prism,
-we had to build a rostrum... - That's true.
- And do all sorts of stuff. - The blood.
- Do you remember the blood?
So, that blood that you can see there was not in the film
-for the first three test screenings. - It's all digitally put in.
So people didn't understand
that there was this massive pool of blood on the floor,
caused by the headshot
and all the comedy here didn't work.
The moment we put that pool of blood on the floor
with visual effects,
the audience reacted in a completely different way.
This whole section here makes so much more sense.
They're seeing this massive pool of blood
and Ilsa is trying to pretend that it's a nosebleed.
- You know? - Yes, none of this worked.
None of this worked until we got that shot
showing the blood and the smears,
and everyone goes, "Oh!"
And every time it didn't work,
we'd go, "We need that shot. When are they gonna put the blood in?"
I know, "When are we gonna get the blood?"
Great line here. That's one of the best lines.
"You must be new." Everyone loves that moment.
She delivers it so well.
I actually added about a second of air after that
so that the audience could laugh,
because the next line that he says about
"I only have to be this guy for five minutes,"
people weren't hearing that in the screenings,
because they were laughing so much.
So I added a second of air there, to make sure...
And you remember this? This was a reshoot,
where Tom originally took his jacket off
and brushed all the dirt off of it. Which you would.
The jacket had all this stuff on it.
But the physical movement of him putting his jacket on
in the middle of those lines worked against it.
There's a running gag here
where Walker introduces himself, and people ignore him.
He goes, "My name's Walker, by the way,"
-and she goes, "Yeah, you're welcome." - And no one cares.
And then later in the film,
when he says it to Benji, Benji's just, like,
"Was the little car your idea?"
It's, like, this running gag that we discovered,
that people just ignore Walker,
which is one of the reasons why he's so upset.
It's also just a shorthand
for the fact that he's a new character.
And you have to get past the introduction of this character.
It was a completely practical...
This was filmed on Day 2, I think?
- This was Day 2. - Day 3?
I remember seeing the dailies of this,
and seeing them back together again,
and them just nailing this scene.
- And she looks so phenomenal. - She looks amazing.
And then you've got these angled mirrors and these lights,
it's just visually astonishing.
- And these last two lines... - Yeah.
I knew... Tom and I knew instinctively
the scene needed something.
-"You should've stayed out of the game." - Emotionally, yeah.
And I came up with that on the way to work.
I said to Tom, "It'll be in the scene,
"I just don't know where."
And on the way to work that day, I realized what it was,
and I pitched that to them on the set.
Now, this VIP room set
was again built at Leavesden
and so they walk from the Grand Palais,
and they walk into this astonishing set at Leavesden.
- It's fantastic. - This was real movie magic.
When you walked onto this set,
you were transported to a different world,
but there's a real story about
the introduction of the White Widow here.
Originally, what Rob Hardy and I...
The cinematographer Rob Hardy and I were talking about,
we wanted to move out of one world and into another.
So the bathroom was one thing,
the DJ, the rave, was another.
And this, we wanted to...
We didn't want it to feel like a nightclub you've seen
in every other movie.
There's a video on YouTube you can watch called Club Hell,
where somebody has quite cleverly cut together
every fight in a nightclub.
- Tom's in it, by the way. - That's true.
And it's quite funny, it's quite clever,
but it also shows you how generic
these scenes become.
And so, we had this idea of a cabaret.
Of course, the cabaret led to an idea that,
"Hey, the White Widow could be singing!"
There's a band back there,
and everybody is applauding.
What they're really applauding is
Vanessa Kirby has just finished singing a song,
as our introduction to this character.
And what we discovered was
it threw the balance of the entire movie off.
It created this introduction to her character,
that created a completely different expectation,
and it also diminished all the tension in the scene.
Absolutely. And we talk about her having a charity fundraiser
on the tarmac
at the air base, and so, it felt natural
to put in a little speech about raising money.
And we also have a little Easter egg nod to the first movie.
When she refers to her mother as Max.
That was again when we...
What we did was, we said,
"Okay, well, how do we get them to the bar,
"if we're gonna take out the music,
"this two-minute long musical number?"
And we just cut all of the...
All of the shots of the band playing,
and what was left over
we then looked at and said,
"Look, we're on her back here, we're on her back there,
"she'd be giving a speech."
And so, we just went back to the stage,
and we got... Her first close-up
we shot in front of the green screen,
and that was the way we could remove the song
and include the speech.
And then, of course, the night before, I thought,
"Well, what should the speech be?"
And I wrote that speech for Vanessa the night before
-she came in to shoot it. - Yeah.
And inserted that little reference to Max.
That was actually something that Vanessa and I
had talked about early on,
in the creation of her character,
was the possibility that she could be
in some way related to
Vanessa Redgrave's character in Mission I.
All of this stuff, the shots of these guys
when Tom sees them walking in, none of that was...
We weren't supposed to see them walking in.
We were only supposed to see them come in very late.
And Eddie and I realized
that by putting the shots of them in earlier,
even though the eyelines were wrong,
it created tension in the scene
-that wasn't there. - I love this shot, by the way.
I thought it's beautifully directed, this idea of just putting...
- This one right here? - These two close-ups, yeah.
I must confess, this was Tom.
Tom was standing...
This was a moment where Tom turned to me, and he said...
He said, "There should just be a more intimate shot of us,"
-so we got out a 135. - I remember seeing these dailies
and just thinking, "Oh, yeah, that's money."
And that line, the whole thing about "I know what you're thinking,"
it's again something that...
We knew what we wanted
was to convey the very complex idea
that Tom was using the information
that people were there to kill Lark
-in order to gain her confidence. - Exactly.
It's a very complicated idea,
and Tom and I were on the set,
talking about it all day long,
trying to figure out what's the idea.
Editing all of this stuff...
This was the eyelines, et cetera, et cetera,
and in the time that we had left to shoot it,
it was very...
It was very tricky to shoot.
But actually, in the editing,
together, your first assembly is very much...
- Very much what we're looking at now. - Now, interestingly,
Rebecca is pregnant in that shot.
She is seven months pregnant in that shot.
And you can't tell, because we're behind her.
It was filmed again.
We went back after Tom had recovered from his broken ankle
-and filmed this fight and so... - This was...
At the beginning, she's not pregnant, but at the end she is.
Yeah, and so those two shots,
-the shot of them leaving the bar... - Yeah.
...and the shot of them walking out of...
- Down that mirrored corridor... - Yeah.
-...were a year apart. - That's true.
And you'll notice again on the deleted scenes montage,
there's a little scene we had outside the Palais
where the widow's brother Zola attacks Ethan
and they're in a hurry to get out because the police are coming,
but again we wanted to get to this.
The film really takes off
once Ethan discovers that he has to break
- Lane out of prison. - Solomon Lane.
And so we wanted to get to this reveal,
and this dilemma and this kind of impossible mission for Ethan
as quickly as possible and...
So, that scene was a casualty.
And the framing of this shot,
-we spent all morning figuring it. - Yeah.
We wanted to be able to convey the sense of, "What have I walked into?"
Exactly. "What are these guys all doing?"
And the room was originally beautifully furnished
-and the guns were all on the furniture. - Yeah.
And it said, "These guys have all just like
"put weapons on their boss' furniture."
- Yeah. - And I don't see the weapons.
And so I... The set was impeccably dressed.
And I took it all out, much to the horror of the production designer,
brought in a bunch of plastic tables and Chinese food, but it all...
It drew your eye where we wanted it to go.
What's great about this scene
and when you watch these Mission: Impossible memes,
they break down into
setup, suspense and action and that repeats itself
the way that the scenes play out.
And we're setting up for the audience here
all the stakes of what they're about to see,
and what's great about this is that
you can then run the 20 minutes of action in Paris
without any explanation.
You know what's supposed to happen, so you can enjoy...
So, you can just enjoy watching the action.
- Watching when it doesn't happen. - So we're setting it up.
But it does look beautiful, this scene.
And everyone is just in top form.
Yeah, I'm loath to use the word "favorite."
This is my...
This is without question my favorite
edited and composed scene in the entire movie.
It was a very difficult scene to shoot
and all of the coverage,
this was one of two scenes where you just had
mountains and mountains and mountains of coverage.
It's very, very tricky and you'll notice when we cut to Henry...
Oh, yes.
When at specific moments in the scene,
when he talks about Solomon Lane and says,
"He used rogue covert operatives," we cut to Henry,
and we do that throughout the film.
There are moments and references to
bad guys, and we take those moments to cut to Henry.
- This shot right here is one... - I love this shot.
-...of my favorite shots in the film. - Look at that.
The lighting is amazing but also,
the sense of power that you get between those two characters,
that it marries, for lack of a better word...
There, the composition, Ethan is surrounded and has no way out.
And we wait to cut to this shot until Ethan realizes
-that he's stepped into a trap. - Yeah.
And there were numerous other opportunities,
but again, it's a very deliberate cut.
It was... It's...
And you'll notice the way the scene is staged.
There's always someone behind Tom, between Tom and the door.
There's always a sense of no matter what direction he'd move,
somebody's in his way and there's even Henry standing in the door.
There's the two guys behind Tom.
This is great because
we only have two plutonium cores at the end of the movie
and yet there are three plutonium cores at the beginning of the film.
And then, Chris, you had the idea...
- The dilemma was how do I get rid of... - One plutonium core.
...one plutonium core,
and they were all this conversation,
"Oh, it could get lost. It could this and that...
It was again on the way to work.
I said, "Oh, my God. I've got this idea."
You can just give it to him as proof. A down payment.
And then they get one, but there are still two out there...
- And it further sucks Ethan in. - Yeah.
It's Lane teasing Ethan right from the beginning, saying,
-"You want it, you've gotta come." - Exactly.
This was very early on...
Tom had suggested, "Let's see what was supposed to happen."
But oi course, in even; Mission: Impossible movie,
you do that as the characters are talking.
And I had the idea of doing it as a misdirection.
And you and I debated for a really long time when you first watched it.
You said, you know, you were saying,
"There's gotta be sound here. They're gonna know...
-"They're gonna know something's wrong." - I wanted kind of driving,
you know, music with momentum.
And I wanted it to feel like the mission has started.
And, yet, even with this,
this is the Loves Reduced which we used in the wedding.
And so, even this very emotional music,
people absolutely believe that this is what is going on.
It's only around this time when they've kind of...
The pennies drop that this might be Tom.
And he's like, "Wait a second. He's not gonna... He doesn't..."
So they're starting to think, "Wait, this isn't right."
You also know, if you go back and watch this again,
the complexity of shooting in a oner, it's all about,
this was all about trying to do this in as little coverage as possible.
Not to be showy, but to be more in Tom's point of view.
And, so, we spent a lot of time designing that, that shot.
And when in the shot you start to notice Tom.
- Yeah. - It was all very, very carefully
choreographed. And then of course here, when it snaps you back, we...
This was something I really debated 'cause you were...
Mission never goes back.
You don't go from one scene to another and go back to a location.
And this is the first time that...
This is the only instance in which we broke that rule.
I was very hesitant to do it.
And fortunately, it paid off.
And that musk: "m the scene, the Loves Reduced,
when we played it over that scene and saw how well it worked,
it suddenly found its place in the movie.
The music became about Ethan's regret.
It became the embodiment of the emotional journey of this character,
which was the most important thing for me.
And so, you'll hear Loves Reduced repeating itself throughout the movie.
I love this edit here where we chop the very top of this next scene off
and come straight into the middle of the scene.
Yes, there was dialogue at the top of the scene, and we pre-lapped a line.
Yeah, and we go straight to breaking Lark out of prison
and her expectations of what this was supposed to be and so you're thinking,
"Oh, my God! She was in on this and she's been planning it."
And, you know.
And this was again, when we took this line out,
she said, "You're reaching, Walker, trying to cover your ass."
When we took that line out, this scene began to feel conspiratorial.
- Yeah, yes. - When you took away a sense of hierarchy
in the scene, people started asking the question,
"What's Sloane up to in the movie?"
And also in the wide shot,
where you can put anything you want,
you remember we simplified her dialogue. She was being a little bit
cryptic about what she was after
and we simply stated explicitly what she wanted.
She wanted Lark, she wanted the plutonium.
And questions of her character went away.
I especially love when we were testing the movie
and you'd have the focus groups,
there would be people in the focus groups saying,
"Well, I knew Henry... The movie was predictable.
"I knew Henry was a bad guy."
And so Kevin, who was running the focus group, said, "When did you know?"
They said, "When Henry gives him the phone."
And it's like, "Oh, you mean in the moment when we were clearly telling
"the audience that Henry is a bad guy?"
And I loved your note which was, "He's got a mustache."
- He's got a villain mustache. - He's a bad guy
from the beginning of the movie. He's got a bad guy mustache.
- How can you not know he's a bad guy? - Yeah, yeah.
Angela, by the way is so extraordinary
and has such power.
The great time that I had directing Angela, was telling Angela
to be nicer with her most lethal dialogue.
She really loved getting, you know...
Getting all the life out of it.
And I just kept saying to Angela, "Your power is so innate
"and so inherent, you don't need to do anything
"to dominate," and it really, Henry...
Henry came up to me on the day
and he was very complimentary of Angela.
- Said she's a really intimidating woman. - He's handing the phone over here.
And then we know that that's not the phone.
Now, that's neither Angela or Henry. This is months later.
And the floor is a printout.
We actually print out the floor.
Anytime you look at an insert like that in a movie,
you're actually looking at a printed floor.
Somebody else's hands shot months later.
Yeah, look at that shot, that's beautiful.
- And a tremendous amount of... - Paris.
We had to remove that fence, you remember?
So, they're actually down there in the bottom left of the screen.
That's where they're sitting. That's why...
It's a nice juxtaposition of images there.
Now, this was the first sequence that we ever cut together,
'cause it was one of the first things we shot,
with very little... Very little was missing.
These close-ups of Ethan were all shot months later.
And without them, there's no emotional buildup to this sequence.
All of that was done later, and I remember I sent this to Tom.
This shot was shot months later. This is months later.
This was shot on the stage in Leavesden.
When I sent this sequence to Tom,
it was only for him to listen to Lorne's music,
'cause this was the first piece of music.
Lorne wrote maybe a good hour of music for us which were just suites of
amazing music that he had written just like, "How about this? How about this?"
And he had written this incredible piece with this...
Which built, and built, and built and built...
And we thought, "You know where this would go?
"This would go on the build on Lane arriving in the helicopter."
The buildup to Ethan smashing the truck into Lane's van.
And we put it on there and we cut this.
It was originally quite a bit longer I would say.
We were in love with a lot of the images.
But we ended up streamlining it right down.
The piece of music that you can hear is pretty much Lorne's demo
as he presented it to us,
you know, months before we really got into writing the score.
Well, and what you had done is you had music-edited it.
Because it was a three-minute cue and you had to stretch it to five.
Yeah, that's true.
And one of the things Eddie and I do, we do not outwith temp music.
We don't use music from other films to score the movie while we're cutting.
Everything we do is dry and without music.
This is a close-up, for example, of Tom
that was filmed months later than this next shot coming up.
So, that's London, that's Paris.
That's Paris, you know, six months earlier and so...
We wanted to get these very intimate moments with Ethan
where we could see him thinking about Lane.
And thinking about Lane's progress.
And you know, Lane getting off the helicopter
and Lane being put in the van.
And Lane on his way. And he's dealing with the fact that,
you know, he put Lane in prison, and he's about to break him out of prison.
But this conversation between the two of them
is untouched from Eddie's original edit.
All of these choices, these looks that, you know,
choosing to hang on Tom for that little uncomfortable moment.
And this is actually Tom picking up the keys to get out of the car.
Yeah, so we moved that section where he puts the little camera on the car.
- We put it first. - We put it first, rather than...
And then here, look at these shots. These are astonishing.
This was a great location. This is the Ministry of Finance in Paris.
And again, this entire sequence
is dictated by two very specific things.
One, that you could land a helicopter
on that great-looking, super modern building,
as compared to everything else in Paris.
And that this location was the only place
in Paris where you could knock a truck into the Seine.
- And so everything here... - I love that shot where you
just angle the camera so you see the little bike driving in the background.
- It's so well done. - Look at that
-for an image. Look at the light. - These are... All of this stuff...
- Look at the sky. It's so good. - The sky, there's the train...
- It's amazing. - I mean, it was amazing.
- We got very, very lucky. - Yeah.
This truck was shot months later at Leavesden in front of a green screen.
- This was shot in Paris. - Yup.
I love this. I love the way it's all building.
And the audience is just leaning forward and leaning forward going,
"Oh, my God! What's Ethan gonna do?
"What's gonna happen? What's gonna happen?"
And then you remember, we kept getting notes that this was too long.
And what we did here, you'll notice there's a change in the music.
- Yes. - The cue had originally kept going.
And we loved it. When you first showed it to people,
you realized, "Why is it long? It's not that there's too much story.
"Why does it feel long?" And then we realized,
"God, you know, I'm probably really tired of this cue."
That's because we were using a three-minute cue
-that had been edited to five minutes. - Yeah.
These are the close-ups of Tom that we put in to keep you connected with him.
And always cutting from Tom to Lane.
And cutting from Lane to the police.
Keeping the reminder that there are human beings here.
This shot has actually been digitally altered.
'Cause there was a big green boat that would cost tons of money to move.
It was a restaurant, and they just said, "We'll shoot around it."
It ended up in every shot in the sequence.
In the little video cameras, everything. And we had to spend
gobs of money painting it out of all the different shots.
The boat was just not a particularly great color for the sequence.
We call it the boat of shame.
And the lesson I learned was just next time just move the boat.
And this shot here is actually a rig inside of a...
- On a sound stage that can roll over. - In a big tank, yeah.
It can spin over 360 degrees.
This whole sequence was so complex
and was filmed in all kinds of different environments.
And cut together over, you know, months really.
Months and months, yes.
All these little pieces, the guys falling out of the truck.
That was all shot at Leavesden. That's really, really Paris.
And what happens is when you shoot a sequence like this,
you have so much good material, you wanna include it all.
That's actually a green screen and that's a pool
-on the back lot of Leavesden. - This is amazing special effects rig
where the truck twisted, it was going underwater,
to generate these shots.
The green screen work is really actually quite extraordinary.
It was pouring rain. You can see there, it was one shot.
Yeah, this little section here was filmed,
you know, on a day that it was raining in Paris.
Yeah, and you have no choice. You just have to keep shooting
and hope nobody notices.
- And this is actually Simon Pegg. - That is Simon Pegg.
Who trained to swim underwater, even though you can't tell it's him.
But he actually went and learnt and did all that...
And with a re-breather.
And it was originally... In some of the shots it's a stuntman,
'cause Simon was very nervous about
taking too much time to get in and get the regulator in Sean's mouth.
Yes. 'Cause Sean is actually underwater with no air.
- And that's actually him and so... - In a straightjacket.
Yeah.
But he did it multiple times and...
This is again, these close-ups, this is all stuff...
The river, the Seine river is so unhealthy
that we actually didn't put anybody in the water in the Seine.
That was all done on a stage back at Leavesden.
Little things like this, the no signal.
Those graphics, they're all done after the fact
and there's a lot of specific storytelling.
It's seems like a throwaway thing,
but it's a lot of specific storytelling that goes into it.
And here, at no point did the truck ever drive in this alley.
The only time there, that's the only time the truck was ever actually...
That's a real alley in Paris.
You drove the truck in incredibly slowly
and then built a little bit of extra set where you could wedge it.
And there's a wall right there.
That street doesn't actually continue on to anywhere.
So...
It looks like Henry's driving out.
He's driving, and he has to literally stop a second later,
-or he'll smash into a wall. - Yeah.
And everything we did was to create length and to create greater scope here.
I love this shot.
I love this moment here where Luther waves at the police.
- It's so great. - I remember seeing this in the dailies.
He's just got ad-libbed that. It's so cool.
It's Luther... Simon and Ving so inherently understand their characters.
- Yes. - And...
And interestingly enough, in the last movie,
Jeremy Renner and Ving became a double act,
almost by circumstance.
Same thing happened here with Simon and Benji. And there was always talk
about having them being competitive with one another
because they're both tech guys and we just kind of...
Look at that shot, Chris, with the train going overhead. That's real.
You had timed all that so the train goes overhead.
We had timed all that to the train.
All the actors are sitting in the truck and you would wait,
'cause you could hear the train coming,
and Tommy Gormley knew just when to call "action."
I remember watching those dailies going, "Wow! Guys, you nailed this stuff."
Tommy Gormley is a great AD, Assistant Director,
and he was so good at timing all of that stuff. Very meticulous and painstaking.
This is Tom riding the bike for real.
This is, I remember getting these dailies and just going,
"Oh, my word, this is astonishing."
And there are additional cars that we've added to make it look more dangerous.
But still, he's still really doing this stuff at incredible speed.
And...
Yeah, it's just so dynamic and kinetic and earthy and real.
- It's just terrific. - There is originally a safety rig
that we had built, I'm sure.
I'm sure Tom and I will talk about it on that commentary.
But there was a safety rig that would enable Tom to do all of this
and never fall off the motorcycle.
There was no danger of him crashing.
Look at this. You're on the Rue de I'Opera in Paris.
Astonishing, this stuff, I mean...
Incredible work.
And you only had like a day to film this and the Arc de Triomphe.
We had two hours at the Arc de Triomphe and the rest of the day here.
This street, when I came to work that morning, was completely closed off,
devoid of traffic, it was deserted.
And to be standing on that street
where you had complete control of the location was really extraordinary.
And here's the Arc de Triomphe.
This was first thing in the morning. The sun had just come up.
- Yup. - They gave us two hours,
starting a half an hour before sunrise.
Which meant we had 90 minutes to shoot all of this.
And we had to do very little in the way of adding cars.
A lot of these cars are ours.
We were there with stunt drivers driving around the Arc de Triomphe.
That police oar, obviously, we added later,
So it didn't kill Tom.
This particular moment...
Apologies to Parisians,
because the Arc de Triomphe is not down the end of that street.
No, we've completely murdered all the geography.
For as honest as we were with the geography at the start of this sequence,
we've now just gone completely off the rails
and none of this is where it is.
This was interesting, I'd never used slow motion.
I am not a big fan of slow motion.
And you actually slowed this shot down.
And your instinct was absolutely right.
Yeah, it felt very much like, you know,
the audience needed a moment to breathe and just go,
"Wow. Did Tom just hit a car? And is he..." You know...
Then it was your idea to just let this shot play and play.
Originally, we used to cut to this shot. Earlier you'd see Tom jump over.
Yeah.
Well, we played it... We shot it in every which way.
And you remember this. There's a moment here,
where again Loves Reduced played here.
- Yeah, that's true. - Not at this moment.
Loves Reduced started playing
there. Once you got over the fun of the chase,
you went into Ethan's regret and Loves Reduced played all the way up until
the French policewoman.
And it's beautiful. That music playing on, playing in this moment.
And what we realized was it was telling you
that the sequence, that something was...
What you didn't get was a sense that they had won.
That's right, you wanted a little moment and...
- Well, and we were avoiding that. - Yes.
And we were avoiding that because we thought, "We don't want that."
But what we realized that was doing is it was actually undercutting
the scene with the policewoman.
You were telegraphing that something was coming.
Yes, exactly.
And you had the great idea of getting the snare drums out
and playing the plot theme.
The old-fashioned, TV show...
And just allowing a moment for that, like... And everyone loves that.
And again, Lorne wrote that very late in the day.
It was the idea to change direction.
Yeah, it was the last minute. We just said, "Let's change this sequence."
In fact, he only had one day left of recording to throw in all this...
It's just great, though. It was so much fun to hear that music
just played, like, completely straight.
And here's one of the last edits we made in the entire movie is
we flipped these two shots. It was originally...
Originally cut from that shot to the shot of Henry.
- Yeah. - And we changed them.
And it affected, just by her looking from Luther over to Ethan,
it created a completely different emotional punch in this scene.
Yeah, this is a great scene.
Yeah, this is Alix Bénézech.
She's an absolutely fantastic, fantastic actor.
And it was really wonderful.
And it was Tom's idea to make this a policewoman.
I had originally written it as a man.
And Tom said the scene would be much more effective if it's a woman.
And again, playing into the side.
- This idea that Ethan... - Talk about this shot.
- So, that was never in the scene. - Yeah.
And we were watching this and saying it needs something else.
And so, we found those two shots of Henry.
- Yeah. - And months later we got a shot of him
pulling out a gun.
And there's a moment here where you think that
Henry has shot the police woman.
Yes. It just... What I realized there is...
I don't believe for a minute she's going to shoot Ethan.
And Ethan doesn't... There's nothing Ethan can do to her.
What can add tension to the scene before these guys arrive.
Because originally, what we had is Ethan saw a gun on the seat of the car.
And you didn't know whether or not he had picked up the gun.
And we didn't shoot it.
Because, on the day we looked at it and said,
"I don't believe he's gonna pick up the gun.
"I don't believe he's gonna..." It just felt false.
But we knew instinctively that something needed to be there
and only discovered it months later.
- There's one shot of... - Great sound design here.
Shall we talk a little about the sound of the train?
- The sound design, yes. - The train's going over the top.
Inspired a little bit by The Godfather but James Mather and his sound team,
when they presented us with this, they had done this great sound design
of the train going over the bridge.
It's incredibly effective to build suspense.
And Simon's dialogue in the background where he's saying,
"Come on, we gotta go." Originally, he said, "Ethan, come on."
And somebody, one of our friends watched it and said,
"He's not a very good spy if he's saying Ethan's name in front of a cop."
So we took that out.
So, we re-recorded his dialogue and stuck it in, in the background.
Now, talk about Jenny who rides the bike.
Jenny is this incredible rider
who has won the Man TT twice.
And doubled for Rebecca on the last film and
-came back and doubled here. - There she is.
That wide shot.
Here's the line where he says, "Name's Walker, by the way."
He says, "Was the little car your idea?"
He's ignored yet again.
That always gets a big laugh. Everyone loves that.
It's the delivery, Simon's delivery there.
Yeah, it's so good.
That's actually Rebecca there.
-'Cause you can see her... - Yes.
...through the visor of the...
I can remember this is a particularly chaotic day. We had...
We had only so much time at these locations.
Yeah, but it's amazing. I remember seeing the dailies.
You've got Tom driving and all these guys...
It's astonishing to see...
You've got multiple cameras attached to the car
and Tom is doing this precision driving through these Paris streets.
It's just astonishing to watch.
Really great work.
Also, you'll notice,
this is one of the few sections in the movie where there is no music.
- That's true. - And...
Similar to Rogue. The car chase in Rogue Nation is the same.
That's right. And...
Here's our little homage to... These shots.
These were such... And the sound of the cars were...
Here's our little homage to William Friedkin.
We kept calling that the Friedkin shot, anytime you had a...
Anytime you had the camera on the front of the car.
Yeah.
- This was the second day of shooting. - That's true.
There were two profile shots of the car
here, which you loved and you didn't wanna cut out.
They're in the deleted scenes montage, you'll see.
- I had to cut them out. - Again,
people were giving us notes that this scene was outstaying its welcome.
We went through every second
going, "Does this deserve to be in the film?
"Does this deserve to be in the film?"
And does it relieve you from the tension of the chase?
- Exactly. - We had more of this.
We had more fishtailing around corners.
All of the shots were spectacular. It was great driving.
And do you remember how much we were worried about the ear?
- Yeah. - Making it clear to the audience that
Lane had been shot in the ear and not in the head.
We did everything we could to...
That shot of the hand brake was done right at the eleventh hour.
Because we wanted to... It's just a great shot.
- Basically... - It's obligatory.
You have to cut a car in half in order to get a camera down there.
And so, you always do it at the very, very end.
It was the same on Rogue. There's a similar shot
where you just have to cut a car in half and do it.
We actually saved that car.
We only cut a piece of the floorboard out.
Okay, 0K8)'-
This is an amazing shot coming up here.
Look at this precision riding from Jenny, down this alleyway.
She's going incredibly fast
and has to stop and make a left turn, right at the end.
She has just enough time to get up to speed.
Look at the speed. Oh, my word!
- Amazing. - Yeah.
You made that tunnel look like it was five miles longer than it was.
But it was the hardest location to get when you were filming, I think.
- You know, that tunnel. - Yeah.
And all of this, with this...
The sound design with no music,
comes from the fact that you have two different-sounding engines.
You have a motorcycle and you have a car.
The reason why we scored the motorcycle chase,
is that you don't have the variation in sound.
Whereas in a car chase, the engine becomes the score.
Yes.
But because this came at the end and not the beginning,
we noticed we were getting notes unlike the one in Rogue Nation.
- Yes. - There were people saying
that it felt long and so we had to then go back
and really design the music in the motorcycle chase
and in the buildup to the chase because it felt punishing.
You were already tired by the time Tom knocked the truck in the water.
So, an incredible amount of time and effort went into
the sound design of this whole 20-minute segment of the movie
so that it always felt like it was building and evolving.
This location here is in the same location.
If you look deep in the background there,
that's where they're buying the plutonium
at the beginning of the movie.
At the beginning of the movie in Berlin, yeah.
And what we would do is we would come in the afternoon
and shoot this scene until the sun went down and then run across the street,
and shoot the other scene, the plutonium-buying scene.
And in both instances, separate issues.
We had technical issues and had to go back to this...
It was like this location was...
These two scenes were cursed.
- We had focus issues, you remember. - Yeah.
We shot all of Sean's coverage
and he went out of focus for his most important lines.
Now, interestingly, this dialogue that Lane is delivering here
was originally in a scene in Rogue Nation.
The very start of it was.
The, "Your mission, should you choose to accept it."
And I love the kind of 90-second countdown.
And the stopwatch.
It gives this scene an enormous drive and momentum.
- And an additional layer of... - Tension.
...tension on top of the dialogue.
And it was a choice I debated right up until
the last minute, 'cause I worried, "Was this gonna be distracting?
"Was it gonna take away from the speech?"
And here's an interesting thing that we do.
Watch the eyelines here, we're shooting...
We're shooting on, you know... Benji's looking left to right
and then looking right to left.
We've shot on both sides of Tom and both sides of Sean.
- Yeah. - We only do this,
and again, cutting to Walker,
just as he's talking about the Syndicate.
- Yeah, exactly. - All little things
the second time you watch the movie and know who people are.
Yeah.
So, this is... You'll see Sean is looking from...
From right to left.
Tom is looking from left to right.
But we also shot on the other side of the line.
I love the sound design here. "You should have killed me, Ethan."
How everything goes...
And Tom's performance here. You remember we had a much shorter beat
and Tom said, "Go back. I gave you a much better reaction to that."
It's so great, and it harks back to the wedding in the beginning.
And he's like, "Wait a second, what did you say?"
Yeah, it's very rare that Tom will give
-a performance note. He'll always... - Yeah.
...look at his performance as you've put it together
and he'll say, "I acted it, I can't reallyjudge it."
And this was one instance where Tom came and said,
"I think I gave you a longer look, more of a reaction to that."
We were playing it much differently.
- And he was right, much more effective. - This moment here
worked incredibly well. It's one of those things
where you had an idea about all the sirens going past.
And until we got the sound design exactly right,
everyone was looking at it going, "Are they listening for the..."
- That's a pregnant pause... - Yeah, they were like,
"What are they doing?"
"Are they gonna make it explode or something?"
But it just works incredibly well.
And we used to have a little line from Henry at the end of this scene.
There was a little wink here, where Henry as he's walking away says,
"I can kill 'em all now and we can walk away."
And Sean says, "Death is too good for Hunt."
And we cut it out very late.
- We didn't need it. - We didn't need it.
Yeah.
Again, this is a stunning location.
Vanessa Kirby looks fabulous.
- The scene was originally a lot longer. - We had...
We trimmed it down to the bare essentials.
- Look at that location. - It was explaining a lot of plot.
It was explaining who the bad guys...
- Yeah. -...in the nightclub were.
And they'd been hired by Zola
because Zola was trying to protect her from Tom,
who he believes is Lark.
It was a lot of character stuff
and it was also just stuff that you weren't listening to
and people didn't need explained.
I was so worried that people were gonna be asking...
Yeah.
"Who were the guys in the bar trying to kill..."
We just wanted to get to, "Where's Lane?"
'cause he's certainly not at the bottom of the Seine
-and we wanted to get to that line. - We also debated this about...
Because this builds up a kind of tension.
This establishes a conflict
between Rebecca and Vanessa
that doesn't come to fruition.
Yeah. When she says, "I want her, Lark."
Yeah, "And you're gonna bring her to me."
But what we're really interested in...
We debated cutting it out.
We kept it because of the pressure that it puts on Ethan.
A word that Eddie hears me use almost constantly is "pressure"
from not only the content of the scene
but the way the scene is framed.
Even here you're framing it in such a way that...
Look at Ethan backed up against the corner of the frame.
There's constantly a sense of creating pressure
within the frame, within the story, within the structure,
so that you're feeling pressure down on Ethan
and by extension pressure on his relationship with Rebecca.
This we changed at the very last minute.
She originally had a line where she says,
-"I do like your style, Lark." - Yeah, that's true.
And people were bothered by the kiss.
- They weren't seeing what we were. - Yeah.
I always thought it was kinda this little scary, a little bit...
- It was a bit threatening. - Yeah.
But by having that line, people thought she was smitten
-with Tom. - Yeah.
- And now she's just... - She's dangerous.
Yeah, it's just that she wants something and she takes it from him.
Here's a cheeky little wipe that we do with Rebecca.
Yeah, the only wipe in the film but it does work.
And here is a montage which...
When I saw these dailies I thought, "Okay, I know
"what Chris is going for here," but in the back of my mind I was thinking,
"ls the film gonna be able to sustain this?"
It's a very
intimate moment with Rebecca
where you're given time to connect with her as a character.
And it's poetic.
And it's the very definition of shoe leather.
- It's characters walking. - Absolutely.
And most of the time you're very aware, as an editor,
of travel in scenes and geographical movement of characters
and trying to minimize that and get to the drama of the scene.
But in this case, you... The film...
You actually embrace it
and you enjoy the moment of connection with her
and feeling for her.
And again, you've got this great music playing.
It's working on several levels.
One, Rebecca embodies what you look for in a leading lady,
which is, "I don't know what she wants but I want her to have it."
And just watching Rebecca walking after him,
the sense that you get of her need
and the more you're withholding that the more...
It almost becomes a suspense sequence.
This whole idea of her following Ethan
and Ethan turning the tables on her
was Tom's suggestion,
days before we shot it.
Tom had made that suggestion
and we didn't have a location.
We went and scouted restaurants and everything.
And where they're standing right now,
just to their right, by about maybe 30 yards,
is where Jenny was riding her motorcycle down that corridor.
I didn't know that.
And while we were there... You didn't know that?
- I didn't know it was next door. - It's all the same geography.
- Great. That's funny. - You can see the colonnades.
This is where Jenny was riding her motorcycle
and the car chase goes around the outside of that square.
And I looked at it and I walked that geography
and realized, "This is the perfect place to do this."
And what I love is Rebecca's wearing a green coat,
- Tom's wearing a green suit. - That's true.
And neither of them...
Rebecca just picked her clothes that day.
And Tom, we picked that suit at the last minute.
He was originally going to wear something else
before we picked this location.
- And now look at this shot. - Yeah.
- It looks as though it was designed. - Yeah.
And in reality it was a series of really delightfully happy accidents.
And, of course, we were shooting at just the right time of the day.
And, of course, here this is not...
This is a really wonderful...
What you're not seeing, it might look like it's all natural light,
but it's actually...
Rob Hardy and Martin Smith are actually
bouncing a lot of natural light in there
so that you can actually see the actors.
- It's very shady in there. - Yeah.
So, while all the light looks completely natural,
it's actually very, very particularly crafted
by Rob and Martin, who are excellent.
- The performances here are so good. - Their performances are great.
Their chemistry is really wonderful together.
And there's a moment at the end of the scene
where we originally cut to Angela Bassett...
That's true, which you'll see in the deleted scenes montage, yeah.
You'll see a glimpse of it in the deleted...
She's calling Alec Baldwin to say, "This is what just happened in Paris."
And we took it out and when we took it out,
just to see if we could remove it,
-this happened. - Yeah.
So, instead of dissolving to Angela at the CIA headquarters,
we dissolve to Ethan's dream and...
And Loves Reduced, which you're hearing playing throughout here.
Remember we went to Lorne and we said,
"The music didn't work in a dialogue scene."
And we just said, "Just take out all the high strings."
And we took out the high strings.
Yeah, so we just ended up with the low strings
-and that's what you're hearing here. - Yeah.
All we did is just take the same piece of music,
took all the high strings out and let it play.
And it just becomes this incredibly...
It's such an intimate moment for Ethan.
It goes from being sadness and regret
to being another kind of emotion entirely.
Yeah. Yeah.
And that was another musical secret we unlocked.
And another great Mission trick is to not necessarily
show that much travel from one location to another.
And magically, within a few seconds, we've traveled from Paris to London.
Ethan wakes up and he's already in a van in London.
And in a strangely jarring way in this one
we were sort of pleased with the effect
that you were suddenly ahead, like, "Wait. How much of that was a dream?"
- Yeah, exactly. - There's a strange feeling of...
Yeah, it's very effective.
This is one of your favorite cues in the film.
- Without question this is in my top two. - Yeah.
I love this cue
and the pace that it gave.
And here we are at Pennington Arches.
All of this sadly is gone now. It's all been developed.
We were there days before they were gonna start construction in here.
And we were racing to finish shooting 'cause we knew we could never come back.
And then of course, here's the brilliant...
And the arches are almost an exact 2.40 aspect ratio arch.
It's just so cinematic.
- It's fantastic. - Yeah.
And all the lights that you added give it such depth and I love it.
Yeah, that's all of our lighting that Martin brought in.
And this common motif of these little fluorescent lights,
all of them were very well considered, very well thought out where they go.
And they provide almost all of the light for this sequence.
Much of what you're looking at,
almost all of which you're looking at is practical.
When we came here,
I realized we were gonna have lots and lots of pages here.
And so, the idea became about
why don't we change the lighting
when the gunfight starts.
And I said, "Let's have all the lights go out."
And Martin and Rob looked at me kind of horrified.
And they said, "We're gonna be shooting in the dark."
And I said, "No, you remember when we came and scouted the location
"there was a construction light in the corner."
And that was the only light in there.
It was a single source, really bright, all the way at the far end
and the shadows are very eerie.
And I said, "We'll have emergency lights come on
"that'll provide it."
And that's what gave this its whole...
That's what broke this up
so that it didn't feel like the scene happening in the same location.
And this was also millions of miles of footage.
Yeah, this was a lot.
I remember it took me two days
just to watch the footage and break it down.
And then another couple of days to assemble this scene.
There's so many dynamics, there's so much choice of coverage.
- But again, we used every single angle. - Yes.
And again here we get a...
There's a fantastic moment for the audience
when he's like, "Why do I have to be Lane?"
And, "I'm working on it." There we go.
What's great about this is that everyone
is performing for the benefit of tricking Walker.
And you only realize it when you watch the film a second time.
I love it. Even Alec is playing... Even Hunley is playing along
with this whole performance that they are doing.
But on the first time you watch the film,
it's this amazing conflict brilliantly written by Chris
and brilliantly performed by the actors.
It's all conflict, it's all...
You're learning stuff about this file, you're learning about Ethan,
you're learning about Hunley, you're learning about...
- It's all the information. - All the information
you're gonna learn about what they're gonna do with the mask machine.
But again, it's a trick on the audience and it's a trick on Walker.
And it's so much fun when you watch the film a second time
and you realize what's going on.
Because for the audience, it's all very useful information,
but it's all there... Ultimately, it's a trick.
And all of this is for the benefit of Walker in the background, watching.
It's so clever, it's just great.
And this... Thank you. That's very nice of you to say.
- It is, it's great. - This is well edited, thank you.
But this scene was not written before...
We wrote this after Tom broke his ankle.
- That is true. Yeah. - We wrote this during the hiatus.
This was one of the scenes that came up during the script development,
after Tom broke his ankle,
when we realized what we needed this scene to be about.
And there was a French safe house.
There was a Paris safe house right after the car chase
where they had to...
Tom had to give the Widow $30 million.
- He had to pay. He's posing as Lark. - Yeah.
And Lark had agreed to pay her
and he has to figure out where the money is.
Yeah, you see those images in the deleted scenes montage.
You'll see shots of Lane in handcuffs.
- Luther finds the money... - Luther...
-...on the magnetic strip... - Yeah, exactly.
...of a hotel room key.
It was all this plot-y stuff that was creating obstacles for our team.
And in the scene Luther says to Ethan...
And we used it in the trailer, he says, "He's not some assassin."
- Yes. Observer. -"He's not some observer...
-"He's an assassin." -"...he's an assassin."
But as I was writing this scene,
I realized it's so much more interesting here.
Yes.
And when I wrote those lines I realized...
-"Oh, my God, we shot this whole scene." - I love the performances here.
Both of them are on fire.
- They are on fire. - And it's just...
This whole section is just...
This whole scene just...
Both of them are also in extraordinary pain.
That is true 'cause Tom was still recovering.
Tom had finished the foot chase the day before
-with his still broken ankle. - That's true.
He's in extreme pain.
And Alec is days away from getting a double hip replacement.
So his hips are... I hope I'm not telling tales that I shouldn't.
- Maybe we shouldn't put that bit in. - No, Alec will be fine with it.
Okay.
So, Alec was in real pain, Tom was in real pain,
and they were both powering through this.
To keep that in mind as you're watching these actors
-in such a great scene. - Yeah. Yeah.
They're both in real physical agony.
Yeah.
- It's so good. - And this moment, right here,
was taken from...
And then, of course, this moment.
Yeah,"It's the job. No hard feelings."
Yeah, Henryjust delivers it.
And by having that happen in that dynamic,
it went from information to conflict.
- Yeah. - And everything
that was the death of pace in the movie
suddenly became a scene that's really...
- Yeah, I mean it's... - For me, it's one of my favorite scenes.
Yeah, you're leaning forward the whole time,
which is incredibly difficult to do
in a dialogue scene that's like six pages long.
- Very hard. - And...
And it's so much obligatory information.
- The audience at this... - Another fantastic music cue starts now.
Now, watch this shot here of Henry.
This is one I love.
Watch this. The camera pushes in and then right at the end
you just get this beautiful flare that just comes up. There. There.
It's so nice.
I remember when you were doing that you were like, "Now, just do it."
And you did it like six times
and on the last one you got the flare just perfect. It was so good.
Was I going for the flare?
I don't know. It sounded like somebody was...
I could hear Rob going, "Wait, the flare..."
And you got one.
- Look at this. It's beautifully done. - I was so nervous about the flares.
I was looking at these and I was like, "Are they distracting?
-"They're going over people's eyes." - I think it's great fun.
This is in-camera mask shot which we love.
I remember you were... This was another one where you video...
You sent me a video of the...
- Of the video tap. - Of the shot, yeah.
Just to go, "Hey, Eddie, check it out."
And I was looking at it going, "How on earth did you do this?"
But it's a motion-control rig
and you had a visual effects artist on the setjust do a quick comp of this...
- That's right. -...and send it to me.
I was like, "How on earth did you...
Look at that. It's so cool.
So, a motion-control camera is a camera that you program in the move
-and it moves the same way every time. - Yeah.
So we simply had Sean sit in that chair
-and then had Sean sit in Simon's chair. - Yeah.
And then had Simon sit in Simon's chair.
Yeah, it's very cool.
And it's all real. It's all in camera.
And you just stick the two shots together.
Yeah, and fantastic music playing through here from Lorne.
It's great.
And you think they're going off to do this big exchange
and yet what happens in the story is you stay with Walker
and we see this story. But this is...
They've been planning this all along.
I love this insert that you did here.
We're going, "Look.
-"Something's coming." - Something's coming.
And there's the tracker and here's the knife that he's gonna use later on.
We went back and re-shot. That was Tom going...
He goes, "Get a shot of him getting the knife
-"out of the bag." - Exactly. Yeah. Yeah.
And we did, but he didn't take it out of the sheath.
- And so you couldn't tell what it was. - Yeah. Exactly.
And he said, just by putting that shot in there
you're gonna have that sense that something is coming.
- Yeah. - In the back of your mind
you're gonna know this means something.
And this was originally a much longer scene, which'll see bits of,
-that explained everything in the movie. - Yeah.
Explained everything Walker did, every...
Where all the plutonium went, et cetera, et cetera.
All Of this.
- And you didn't need any of it. - Yeah.
And we cut right to the gag.
And the photography was beautiful, there's great silhouette shot.
Again, you'll see them in the very...
You'll see a couple of the shots in the deleted scenes montage.
And you'll see this, the camera has just crossed the line.
We were over one shoulder, now we're over another.
- I love this stuff, Henry's great here. - Henry's really great here.
And they were great.
- Coming in to this scene... - Yes.
...I was really... It was a lot of dialogue.
And we had just shot the other scene which was a lot of dialogue.
- So, I'd kind of developed a gauge... - Yeah.
...for how long it took to shoot in here,
and I thought we would never ever get out of this room
with all the exposition in this scene.
And these guys nailed it.
- Every shot they did in two takes. - Yeah.
And in every shot you see the mask machine.
- It's just lurking in the background. - And Sean loved playing Benji,
-playing... - He did. He loved it.
He said to me, "I'm..."
He goes, "To me, I think Benji is...
"Thinks he's giving the performance of a lifetime.
"So I'm actually overacting."
And I said, "No offense, Sean, you should try overacting more often.
-"You're really good at it." - Yeah, it's great.
And I love this moment here.
The audience just goes nuts
if you watch this film in a theater with the audience.
They... The penny is dropping for them at the same time
as it's dropping for Walker.
And they're like, "Oh, my God! It's Benji in a mask. It's so cool."
And as we all know,
Benji has never been able to wear a mask in any of the movies
apart from in a flash forward in Rogue Nation.
And now he gets to wear two masks in this one.
- It's inadvertently become a thing. - So for the fans...
- It was never by design. - So for the fans,
it's very rewarding to see Benji get to wear two masks.
This was Alec improvising a line.
A huge reaction from the crowd. Everyone loves Hunley here.
- Alec was having the time of his life. - It's so satisfying.
By the way, everything that happens to Alec in the movie
is Alec's suggestion.
He said when I asked him to come back,
he said, "I'll come back, but I wanna die.
-"I wanna die saving Ethan." - Yeah.
And he goes,
"The idea of taking a bullet for Tom Cruise really appeals to me."
And I said, "You wanna get..." No other actor wants to get the phone call of,
"Yeah, we're gonna kill you off."
And Alec called me and it was like, "Yeah, let's do this and..."
- The needle in his neck... - Yeah.
...was another thing where he...
Originally, Ethan pulled a gun on him and he's like,
"Why pull a gun? It's just another page of dialogue.
"Just stick a needle in my neck and get me out of there."
And all Of that,
those requests
turned into what is, you know,
one of the more effective scenes in the movie
and the audience really responds.
And Alec is just...
- He's having such a great time. - Yeah.
And one of the really beautiful things
that occurred in the shorthand of everything we were doing,
you very quickly develop an affection for this character.
- Alec is so fun in that scene. - Absolutely.
And a moment later we take him away.
- And the first screening we went to... - Yeah.
For an audience, and you heard their reaction when Alec gets stabbed,
you knew right then
that this sequence was worth it.
You are always afraid of sequences like this
because audiences are so hungry for the next thing,
and to, you know,
you've got to be constantly visually changing and visually engaging,
-got to constantly be giving action. - They love this as well.
- This was an ad-lib. - It's a Luther ad-lib.
"The bad boy."
- He is great. - Ving is great.
Ving is so great and so comfortable in the character
that when it comes time to shoot his coverage,
Ving is just like, "Give me the line and I'll give it to you five times."
And he just says his lines very quickly
-and he doesn't... - Yeah.
He's not precious about it.
And I will just give, and I'll create moments like that for Ving.
And I'll just go, "Do whatever you want."
And he gives me five or six things.
Editorially, this was a very difficult scene
-to explain where Ilsa was. - Very hard.
- To understand... - Well, she...
- She actually entered much later. - She used to come in much later,
and we put her in there so that you understood
-that she was there. - It's a total cheat
because she's actually... Where she's standing,
she's actually standing,
she would be standing right next to two of the...
- Yeah, that's true. - Yeah, it's a complete manipulation.
It's just explaining, trying...
The audience was quite confused about what was going on here
until we managed to figure out the order of the events and...
Well, there's so much happening
-simultaneously. - Yeah.
And that's a big thing that is developed in this movie.
The helicopter chase has a lot of simultaneous action as well.
- That you have to embrace the idea. - To explain that the soldiers
are kind of killing their own guys,
-and then... - Yes.
And not seeing Walker before he knocks Benji out.
And then it's the kind of percussive nature of this sequence
in terms of the short shots and the gunshots.
We're in the dark,
trying to make sure everyone understands where everyone is
that, you know, and trying to keep the action alive.
So Ilsa and a guy are having a gun battle.
Ethan and a guy are having a gun battle.
You know, there, Walker can see Ethan and now Hunleyjumps in and...
And the more we tried to make the gun battle clearer,
-the longer the scene felt. - Yeah, exactly.
- So we ended up reducing it. - Yeah.
- There is the reaction. - And we intercut those...
- Yeah. - The punches with the knife.
Remember originally, he pulled the knife out
and stabbed in the same motion.
- Yeah. - And it felt a little bit
-like Alec was waiting for it. - I love this.
This shot coming up now. This is pure McQuarrie choreography.
Let's watch this. This where you can see the geography clearly.
I love that stuff. Chris is so good at directing that.
- Well, thank you, Eddie. - It's true.
I love this shot here where you see Walker running down at the end of it.
- This I love, right here. - Look at there, there he is.
- You can see him in the background. - It's so good. It's so good.
These little glimpses and little details.
I tried very hard
because we had so little time and I did not know
what the gunfight was until the day we got to work.
I never had time to come down to the location and work it out.
And my plan was, "You know what I'm gonna do?
"I'm gonna get a hand-held camera and make it real shaky and dark in here
"and it will just, it will barely make sense
"and you'll kind of cut it together in your mind and..."
As soon as I tried doing that, everything unraveled.
And I went back right to what I always do, which is
-geography, geography, geography. - Yeah, geography.
Yeah.
'Cause the key to action for me is clarity and geography.
- I love this. Look, it's beautiful. - This was all...
This was once...
- Once Rob and Martin embraced it. - Interestingly here on Hunley
we added these "Go." He says...
- Yes, yes. _llGo-ll
It was a late Tom suggestion.
Yeah, he was like, "Hunley's gotta say something."
And so we've slipped in these "Go's" into his mouth.
And the audience kept saying that they wanted more of a moment here.
- Yeah. - And we didn't want that.
- We didn't want some cheesy line. - He originally said,
-"Walker." -"Walker."
Yeah, and "Walker" didn't quite work, but then, when he says "Go,"
-it's very powerful. - Yeah. That was Tom
in the middle of the night calling and saying it.
- It's terrific. - But you see here
it's like all of these lighting, these emergency lights...
Once Rob and Martin embraced it,
-they killed it. - Yeah.
- I mean, this is all very hard to do. - It's fantastic.
And it's so good.
And there's Ilsa saving Ethan's skin again.
- Yes. - She does it several times in the movie.
It was an interesting thing is that Tom Cruise
is not afraid to get his ass beat in the bathroom.
- Yeah. - And he's not afraid to have
the woman come in and save him.
There's a... It's... So much of these movies
is about what Tom gives to the other actors
that would normally be viewed as kind of a sacrifice
-for his character. - Yeah.
- All of this, broken foot. - Yeah.
This is all after Tom has broken his foot.
There's only one shot in the foot chase where his foot is not broken
and it's the shot where he breaks his foot.
Yeah. And this was a...
I remember watching these dailies in St. Paul's Cathedral with,
you know, how many hundreds of extras, astonishing.
And then we've got...
The choreography is so cool in this oner.
And a note, just to note to the extras themselves,
-they're all so good. - Yeah.
- Extras are very hard. - Yeah, look at them.
Hundreds of extras are even harder and the performances of the extras...
Rewind and just watch all of them.
- Yeah, they're great. - Because they are really great.
- This is hard stuff to do authentically. - Yeah.
And we give props to our colorist, Asa Shoul.
The color in this film looks great, but he also managed to dig out
the coffin and the crowd and make sure
-that story was told really well. - So that your eye went to it.
Because it was kind of a discovery we made.
Yeah.
We're shooting that oner and you go past the coffin.
- Yeah. - We realized it was this...
I love this gag. Everyone loves this gag here.
I remember seeing this shot.
These graphics were done afterwards by BLIND.
They're beautiful. Very clear storytelling.
And then, here we are in The Whispering Gallery.
So if any of you have not been in St. Paul's Cathedral,
this is a nice little trip.
Very... I mean, normally this is crowded, full of people
-and you can't get up there. - Yeah.
You know, it's an amazing place to go and visit.
And everything happening with Benji in this sequence
did not yet exist.
- Yeah, that's true. - We were running through this...
And this stuff,
-we shot the day Tom broke his foot. - That's true.
He broke his ankle. We don't have anything else to shoot.
- Yeah... - So we just went with Henry
-and walked around... - Yeah.
...the streets to find interesting places for him to walk.
So all the stuff with Benji, we were coming up with the lines
and so then you were feeding him all the lines in the back of the truck.
- Yes. - And he was ad-libbing.
And Tom would just always ask me,
he's like, "Can I say something to Benji here?"
- Yeah. - And so we would, yeah...
So all these lines were kind of being made up
-just based on the shot. - Yeah.
And it would then obligate us to create dialogue for Benji later.
It was kind of like writing the punchline and then writing the joke.
I mean, these are all extras.
It's astonishing when you think we're...
- And that's all right there. - That's Blackfriars train station.
Beautiful geography. Here's Tom.
- Tom's foot is broken in this shot. - So... Yeah.
- Here's his two shots... - He is running.
-...stitched together. - Yeah.
And you're going to see this shot turns into...
- There's a stitch right there. - There's a stitch right there.
And now he's about to break his foot.
- Yeah. There it is. - And there it goes.
In less than a 24th of a second,
-his foot is broken. - Yes. And all of this
is Tom realizing in these... There, his foot's broken there.
- He's just broken it. - Yeah.
And he realizes, "I got to finish the shot
-"because we're not coming back." - Yeah. Yeah.
And interestingly enough, all of this,
again, geography, you and I were talking about this yesterday.
There's two sequences in the movie
that take place on a U-shaped geography involving a bridge,
two locations divided by water.
When Lane lands his helicopter at the ministry and ends up in the Seine,
and when Tom starts at St. Paul's
and ends up at Blackfriar, or at the Tate Modern.
That all came from scouting these locations
and saying, "Okay, well, what if it happened here? What would we do?"
And, ironically enough, I only realized days ago
that, "Wait a minute, I did this in Jack Reacher."
- In the opening of Jack Reacher... - Yeah, that's true.
...the sniper sequence was a similar...
- I love this moment. Yeah. - So, apparently, that's my thing now.
This is very funny.
The way that Lorne stopped the music here is just so good,
and all these reactions from Luther, music stops,
fantastic reactions from...
That shot is actually edited. That's actually...
This is stitched together. It's three different bits. Yeah.
Yes, it's a split screen
so we could time the performances of all the actors
so that the shot actually directs your eye.
Yeah. Then, I remember watching these dailies and my mind
just being blown by the fact that
he was running across Blackfriars Bridge for real.
I mean, this is nuts.
This is on a Sunday, what, at 2:00 in the afternoon...
- And this is a helicopter. - There's a helicopter.
And he... And... It's... And he's...
He's got a broken...
He's running on a broken ankle, right, at this point?
Yes. Yes.
He's still recovering from the injury.
- Yes. - And then here's the Tate Modern.
And now, it's winter by the way.
The chase started, you'll notice,
the chase started in the spring in one of the shots
and every other shot is in the winter.
This is the most awesome Tom Cruise running shot. My word.
This was his last running shot in the movie.
- Look at him. - And he was going for it.
He's really... It's fantastic.
He was so relieved to have the chase done.
Again, that's probably the loudest music cue.
It's fantastic, the percussion and the way that the music builds.
And all practical.
- The helicopter up there is real. - Yeah, all real.
See how we... I thought for sure we'd have to edit it in.
Now, this is manufactured, this lift shaft up the side
of the Tate Modern is manufactured for the film.
Yes. This is built on a stage back at Leavesden.
He has 20 feet of travel.
Everything is a manipulation of light and image.
The elevator stops right there.
Tom actually had to pull his legs up to get out of frame.
Yeah. That's true, that's true.
To make it look like he was still moving.
This is a great moment from Henry.
Henryjust looks phenomenal here.
So, all of that, that's a digitally composited background.
That's all blue screen
to make the elevator look as though it's moving.
Yeah.
Tom's performance is so good here.
I really like these two guys together.
These are things that you don't think about.
Tom hanging on to the bottom of that elevator,
he's obviously got a harness,
but his arms are really supporting most of his weight.
And it's just an extraordinarily uncomfortable position to be in,
to be acting.
And we... You remember, we debated here how to shoot this.
- Whether, "Who saw the picture first?" - Yeah.
Originally, we were in Tom's POV,
and it actually took away from his ability to react to the photo.
Exactly.
And we recut it so that Tom saw the picture before we did.
I love this shot. Look at this.
And there's some fabulous camera work coming up here.
- I love this stuff. - And lighting.
- Oh, my God, I love it. It's so good. - This is all stuff that's...
This is the stuff of the movies that I really love.
A movie that Rob Hardy and I talked about quite a bit was Klute,
the Alan Pakula film shot by Gordon Willis.
Great sound design on the elevator.
I know that it's a tiny detail, but I remember
when the sound team delivered the sounds for the elevator,
I thought, "Wow, you guys have nailed it."
This was a roof we built on the backlot
-at Leavesden for this one shot. - That's right.
That's Tom for real on the top of the Tate Modern.
You built a construction elevator up the side of the Tate Modern.
- No. A ladder. - The stunt team...
A ladder.
It was a rickety wooden...
- Look at this shot! Listen to the music. - I would never have gotten near it.
It's amazing.
I would never have gone near it.
It was horrible.
It's money.
This is so cool.
And, of course, you can see that the hatch Tom came out of is not there.
It's someplace else.
- It's a complete continuity error. - Actually, this was idea that you had
when you saw it.
You're like, "We need to close-up of Tom."
The next day, you went to Leavesden and filmed that close-up.
Shot him standing... He's standing on a rostrum.
- Yeah. Yeah. - Like a three-foot-high platform.
Now, originally, we used to have another scene in here...
That you'll see a glimpse of in the deleted montage.
Where Ethan and Ilsa
had a kind of intimate moment.
They have kind of a conflict in an intimate moment,
and it was an idea that...
The way the Lane scene was kind of...
The one we shot in Rogue Nation was almost like a test version
of what ended up in this movie.
I feel like that scene is gonna find its way in down the road.
The less said about it, the better, 'cause it'll show up.
She is seven months pregnant here again.
The costume designer Jeffrey Kurland is doing an excellent job
of concealing that.
Rebecca was an absolute trouper.
Yeah.
Considering when...
Obviously, when she found out she was pregnant,
it was days after Tom had broken his ankle.
We weren't expecting to be shooting this far into her pregnancy.
Tom's broken ankle then compounded all sorts of editorial chaos for us.
This was another one where I came in
not knowing what to expect from these two actors,
having had no time to rehearse it.
And so, I just didn't know what this was...
I just didn't know how long this would be,
how difficult it would be to get to the emotion I was looking for.
And Ving really just... He just...
The first time he said it, I was so touched by...
Yeah, I remember you calling me and saying, "He's just nailed this."
Yeah. I said, "Ving has really surprised me."
- And they're so good together. - Yeah.
That's what I love about this and Rogue Nation,
is the pairings that we discovered of different actors,
mixing people together that might not normally end up together,
and it's been really wonderful.
Especially seeing Ving with Michelle, it's another really nice color.
And this is, again, you're hearing the music that's playing in here is...
- It's the lower strings from... - The lower strings from Loves Reduced.
- Yeah. - It's that same thing.
- So, you feel Ethan in the scene... - Yeah.
-...even though he's not there. - The same music we're using
as she's walking through Paris. Yeah.
Yes. And I wanted this scene, writing-wise,
I wanted it to be a haiku.
I wanted to be able to tell the story of Ethan and Julia
in as few words with as little visual information as possible.
This scene is inspired by a scene in Sidney Lumet's The Verdict
where Jack Warden tells Charlotte Rampling all about Paul Newman
when he's not in the room.
And it's a very efficient bit of storytelling.
We agonized about cutting the previous scene because it showed...
It established this environment.
It showed you that it was a parking garage that had standing water in it.
Yeah, you'll see... Again, in the deleted scenes montage,
you'll see an image of Tom walking down this wet, beautiful...
'Cause it's a strangely alien environment.
You're going, "Where are they?"
It's this flooded underground car park...
And it was really flooded. We didn't have to do that.
It was all day long, we were sweeping water down the drain
and then water would just slowly seep in through the floor.
Again, a music cue that we struggled with for a really long time
just to get it just right, to get a sense of pace,
and to add a sense of rhythm, but not step on the music.
Or the dialogue.
Yeah.
You remember, we had more of a team moment here.
There were kind of more looks to each other...
Yeah, right at the end,
there was a moment where the team all sized each other up
and they were like, "Right, we're gonna do this."
And she said it's a suicide mission
and they don't know how they're gonna defuse the bombs,
and they're going into a really, really dangerous situation together.
And this is Ilsa really becoming part of the team.
Absolutely.
And so, we had a moment where they were all looking at each other and...
And Benji nods at her and says, "Right, welcome to the team."
It's really lovely the looks they all give to each other,
and when you saw it in front of an audience,
you just went, "My God, what are we doing?
-"Just get to Kashmir!" - Yeah, exactly.
It was only about seven or eight seconds, but it was just too much.
We abbreviated it.
This is the beauty of a thing like Mission: Impossible.
You just got to Kashmir.
Yeah. Go to Kashmir, music...
Jake directed these shots. Jake Myers.
- Jake Myers, that's our producer. - Producer.
- He was out with the helicopter. - Beautiful shot. Look at that.
- Amazing. - Amazing.
This is all New Zealand.
And this, of course, is one of the few uses
of an all-green screen environment in the movie.
- Yeah. - We'd originally...
We were slated to shoot this scene
on a day that we shot a scene where the team comes to a border crossing,
which you'll see in the deleted montage.
Because I really felt like he needed to explain that,
and, of course, you forget this is Mission.
I don't need to explain any of that.
But we built this border location,
and on the day we got there it was socked in with fog,
and stayed socked in.
So, we actually ended up shooting a beautiful scene,
and they were gonna shoot this scene in the car for real.
It would've just been all foggy.
Not only would it have been... Yes, it would've been all foggy,
but more importantly, all of this information changed.
Yeah, exactly.
And what are the rules of Mission: Impossible?
Whenever you have story to tell,
when you have to explain stuff to the audience,
do it in a phone booth, do it in a car,
do it in the smallest place possible
because you can be sure you're gonna be rewriting it,
you're gonna be reshooting it,
the audience is gonna have questions you didn't even think of,
and that's the only reason why they're doing this in green screen.
But it's very efficient that...
Again, here we are setting up the rules of engagement for the third act.
They're very carefully explaining to the audience,
they have to get this detonator,
they have to get the key out of the detonator
before they're allowed to cut the wires.
So, everything is clearly explained so you understand the stakes
and you can let the action play out for the third act.
Again, Ilsa reiterates it here.
She's going, "Now, now. Let me get this straight.
"So, what you're saying is we have to do this,
"and then we have to do this, and then we have to do this."
And then Benji goes, "And then..."
So, the audience is now completely clear
on what they have to do in order to defuse the bombs.
And then, llsa's like, "Wait a second. This is... What's going...
-"This is impossible." -"You guys are crazy."
-"Is this what you do for a living?"
And this is all shaped up to the last minute on set.
We listen to it, we play it back, we all discuss it.
Tom has a very good ear for it, for what needs to be explained,
and so he'll pick specific lines and say,
"That should be the last line of the scene."
We constantly move it around and reinvent it
so that the information is coming across clearly,
and it's one of the only scenes in the movie that is pure information.
Yeah. That's true.
It's that and the mission briefing at the beginning.
Anything else where you're getting information,
you're getting it through conflict, emotion,
and it's one minute long and it explains a ton of stuff.
This is Rees Valley.
The three houses closest to the camp
are the only things real, other than the tents.
- The medical camp, and the houses. - The medical camp is real.
And these three houses right in the foreground back there, they're real.
Everything beyond it is CG,
and it's still a massive undertaking
to bring everything out there and build it.
- The set was huge. - Yeah.
Three days before we shot here, I did not know what the scene was.
I knew what the elements were, but the scene had not been written,
and I hadn't figured out anything,
except for the conversation that was going to happen
between Michelle Monaghan and Tom.
These tents were in a completely different place three days before.
We came down and picked the place
where we knew Michelle would be standing and look most beautiful
with the backlight and the depth behind her.
Look at the light.
It's astonishing how the sun came out when we were filming this.
You had, I don't know, like, 90 minutes or two hours to film this?
You had five hours of light every day,
and by the time we got to this place right here,
we had about 90 minutes of light left looking in that direction.
So, of course, you look at the number of angles I have
looking in that direction,
there are many, many, many camera angles, deceptively so,
'cause what's happening is,
I'm over Tom's right shoulder whenever he's talking to Wes,
and I'm over Tom's left shoulder
whenever he's having a private moment with Michelle.
So, you had to shoot the scene twice.
Once as the scene between...
See, this is now a moment between the two of them,
and a sense of a private conversation they're having.
It's a great moment when he goes, "No, no, I'm working."
And then... I jump over to this side,
and now it's a conversation involving all of them.
All of that meant you're magnifying the number of camera angles you have,
and it's all creating time pressure.
And you see this beautiful sunlight that's happening,
that's all going away in 90 minutes.
So, by the time I was able...
Tom, again...
Tom, this is the star and the producer of the movie,
looked at the sun and looked at the situation and said,
"This shot, we can always get at Leavesden.
"Shoot them. Shoot them right now."
What that ended up doing is,
it left Tom with only eight minutes
to shoot all of his coverage in this scene.
And he got it.
- He nails it. - So everything here.
- He didn't just get it, he nails it. - He crushed it. He crushed it.
The performance is astonishing.
The amount of detail and levels of subtext
that is going on in his performance is just fantastic.
All of this, you'll remember, it forced the way
-we edited the scene... - That's true.
Because if you were on the wrong person
during the wrong moment,
it suddenly made it sound like...
When he's talking about the guardian angel
and we cut to Benji waving to Julia,
it looked like Benji was the guardian angel they were talking about.
Virtually every single moment in this scene
is dictated by the storytelling elements within it.
When we cut to Tom, when we cut to Wes,
making sure that Michelle is in the shot
so that you're feeling her reactions all the time.
Props to Wes Bentley as well 'cause his performance is just fantastic.
- He's so amazing. - He's so good,
and he's like, "Wait a second.
"Something's up here, but I don't know what it is,
"and I love my wife, and I trust my wife,
"so I'm gonna go along with it." But it's great.
Yes. He's not just some rube who doesn't realize what's going on.
Yeah, yeah, yeah.
Another great music cue from Lorne here.
This is absolutely...
And this was one of the hardest shots.
I remember you telling me how hard this shot was to get.
It took three hours to get it.
- Yeah. To get the camera work. - The poor actors are running through it
every time, just getting the crane to land in just the right spot.
This used to be a longer scene between the two of them,
but we just kept it down to the minimum of handing the...
- Yes. And by the way, beautiful... - Handing the detonator key over.
Beautiful light on the porch of the house and everything was so amazing.
This movie is comprised of so many beautiful shots
that we simply... We had no room for it.
It was an embarrassment of riches on this location.
What we're doing here is we're saying to the audience
that it's all gonna kick off in a moment
and there's gonna be 15 minutes before the end of the movie.
So, mentally, they're kind of like, they're buckling themselves up
for the final 15-minute roller-coaster on the film,
and we're just getting them primed for that.
The arrangement of these trailers where Luther is,
is very deliberate.
One, it creates a corridor effect.
There's a motif of corridors and tunnels running through the movie,
but it's also something I could very easily bring back to Leavesden...
- Yes. - And reconstruct,
knowing full well that scenes where you're building bombs,
just, they require so many little pieces,
you could spend years of valuable time.
- This is one of my favorite cue... - Oh, my word. Look at this.
The music and image coming together
in a way that is probably my favorite in the film.
It's really, really powerful.
And now, here we go.
Fifteen minutes to go until the end of the movie.
Now, you can see a lot of these shots,
this is shot, obviously, in New Zealand,
but the shot before it was shot in Leavesden months and months later.
There's a lot of time cuts here to speed through the action
-and get things going. - Yeah.
The more coverage you have of that car,
-the faster you can make it look. - Exactly.
And it is not a fast car.
This was shot months later at Leavesden,
driving down the same hill where Tom crashes his helicopter...
- That's true. - Because we realized
we had cut that dialogue out and never picked it up.
Yeah.
And now, now we're back in New Zealand.
Here's a fantastic...
This is a great moment and then here's
an IMAX aspect ratio change.
The other one's earlier in the film during the skydive,
but now we're into IMAX mode and you can see we're letting
-the aspect ratio in. - And I never notice it.
I never notice it.
No, it's cool. I'm a nerd so I notice these things.
But when you pointed it out,
it's the first time I've actually looked and watched it.
No, I love it. I love it.
You pitched it to me.
You said, "When he runs to the helicopter,
-"that's when the IMAX is gonna change." - Yeah, I know.
And I never think about it when we're in the midst
of editing this scene or reviewing it or anything,
I never think about the ratio change at all.
I remember when I watched Ghost Protocol at the IMAX,
and I remember the IMAX ratio changed,
and I thought it would be cool to have one in here.
- Here is another lovely double act... - Absolutely.
...that comes of circumstance,
and not knowing what the team was going to be doing
in the days leading up to this scene.
This line from Luther, "What? Where's the detonator?"
- Then we cut to the detonator. - We added months later.
We added that to make sure that...
Keeping the audience aware of what everyone's doing,
and where they are in the geography,
and who's got what, and what Walker's doing.
And this was another sequence where we kept hearing...
Tom is doing this for real, can I just point out?
I remember watching these dailies,
and he's got a safety harness on that we removed,
but he is doing it for real.
Well, the safety harness is so that
his body doesn't have to be recovered from the bushes.
It's not gonna help him if he breaks his neck.
That is true.
Oh, my word. I remember...
'Cause he's really falling.
They just let it go.
- Yeah, that's true. - Yeah.
- And this... Michelle Monaghan. - Now... Now...
We're in this stuff with Michelle, which is just great.
For fans of the movie, for fans of the franchise,
this is just great to see Michelle and Luther
because you know that there's some kind of connection with them.
You know, "I taught her. She's a ghost.
"I taught her how to do this."
There's a moment at the end of Ghost Protocol
where you know that Luther's aware of what's going on.
It's just so good.
We had a very limited time with Michelle Monaghan.
We only had her for a few days because she was shooting The Path.
She had to go back and...
- And so, all of the shots... - Again, Tom is doing this for real.
- Tom is doing it for real. - Just pointing it out.
- And this was a reshoot. - Yeah.
This was the second time
'cause it didn't look like he was climbing the rope...
No, it's just, we didn't pull back fast enough.
- There was the line, air in the shot. - Again, it's astonishing.
I remember watching these dailies in New Zealand and just being,
"It's for real. It's astonishing."
Again, great music playing through here.
- Yes. - Thank you, Lorne.
Thank you, Lorne, indeed.
What's amazing is that
the cameras attached to the helicopter are so stable
that they don't...
It feels kind of unreal.
So, we've actually added this camera shake
-to give it a bit more energy. - But look at this.
- The camera is panning. That's a head. - Exactly. It's remote-controlled.
Which means it's being remote-controlled from the ground.
You have to get the shot before the camera flies out of range.
Yeah.
So, these shots where you actually see movements in the camera,
Rob Hardy is operating that from a mile away.
Yeah, yeah.
- It's amazing. - You're constantly hoping
that Tom will get in the helicopter before we lose control of the head.
Yeah, this is amazing stuff.
By the way, a lot of this stuff is...
This is stuff that can't be done safely.
Everybody would be dead.
And so, of course, it requires green screen on a buck
shooting on the backlot,
and it has to look like the real stuff that we've shot in New Zealand.
Incredibly, incredibly difficult painstaking work from the guys at DNEG
to make this stuff look real.
I remember that shot you looked at and said, "No, that's real!"
And I said, "No, he didn't do that.
"He'd be dead.
"He would've crashed."
Now we start this great chat between Benji...
Yes. And all of this was shot months later
when we figured... We found moments in the scene.
- But that was shot in New Zealand. - That's right.
So, it's really interesting to watch
as, "What parts of the riddle actually work in the movie?"
So, you end up shooting lots and lots and lots of this stuff,
-knowing you're gonna use some of them. - I'm finding the rhythms in the way
it's gonna intercut, and the way
that the combination of emotion and humor has gotta be exactly right,
and explaining that, "if he's in another helicopter,
"how are you gonna get it?"
So, the audience is being...
And your choice to cut to Tom in his helicopter
-looking at the other helicopter... - Yes, exactly.
You chose a very specific moment.
That's great editing.
Yeah. Just to say...
To demonstrate visually what it is we're talking about.
Somehow, Ethan Hunt is gonna have to get
from that helicopter into the helicopter in front
to get that thing around Henry Cavill's neck.
It's like, how is he gonna do that?
Those trees are, by the way, real, but they're much lower.
- They're 50 feet below that ball. - Yeah.
And somehow, the guys at DNEG managed to bring them up
-and make it all look real. - Yeah.
But there was no way you could safely do that.
But you did this for real.
- This is real. - I remember watching this,
and you've got this payload attached to this helicopter,
and you're actually flying it above.
I found that shot of Henry with the payload coming up behind,
and it's just so elegant and great.
And here we are, again, all these inserts on the timers
are all filmed months later
when we know exactly what time to show on them
because we were playing around with parsing out the time with this sequence.
It actually takes around...
Like, it's nearer 20 minutes than 15 minutes...
It's such a cheat.
But we hope that it doesn't feel like that because you're so invested,
there's so much parallel action.
This was done for real, no...
It's just incredibly dangerous.
And very hard to coordinate.
Very hard to coordinate with multiple helicopters.
Because helicopters, you just get the shot lined up,
and then one helicopter or another has to leave for fuel.
It's very, very, very hard to do.
- It was a nightmare. - This is really...
You actually dropped that ball into the lake though?
Not in that lake.
That's a shot of us dropping it in another lake
-where we had a boat to recover it. - I see.
- This is such a remote lake. - Yeah. Oh, my word.
And it was originally gonna be CG
and I begged Jake to please find me a way to do it so that it would be real.
It was just never gonna look right in CG.
This is awesome.
But, yeah, all of this...
Some of this, again, it's a mixture of real and...
- Henry's really firing that gun as well. - Oh, yeah.
- He is really firing... - That gun is locked and loaded
-and firing... - That shot is amazing.
- Yeah. - The shot of the lake.
All this is, I remember, slowly, painstakingly...
That shot of Ethan flying,
all this stuff of him doing this spin is completely real,
and, you know, incredibly dangerous that he's that close to the rocks
and he's spinning pretty much out of control of the helicopter.
And for every shot that you're seeing,
there are five on the cutting room floor.
- Yeah. - Seventy hours of footage, you know.
Much of it was just footage driving to work.
Yeah, exactly.
'Cause then, you'd start the camera, it would take off.
So, it would fly.
So, it would be 40-minute-long takes
where there would be, like, 20 minutes of good stuff.
Yes. And what ended up happening...
That was the shot that to you did on the boat.
- That's right. - Which is amazing.
Oh, my God, yes, we were on a jet boat...
- Going 70 miles an hour. - I mean, look at this.
The way the sun moves, and the tracers, the beautiful tracers from DNEG.
Well, this was our big thing, we said, going into the helicopter chase,
that what was going to make the chase work
-was the interactive light. - Yeah.
But if you're shooting on a flat day, it was never gonna feel real
-even if it was real. - Yeah.
And that the more you could have rotating light
going through the helicopter, and flares, and backlight...
This was, again, shot months later
because this shot took too long.
And I said, "You know, if we had a close-up,
"we could make this feel tighter
-"and give it more action." - Yeah.
And the beauty of those tents were, they went everywhere,
and they just sat on the Leavesden backlot.
And anytime we needed a little bit of information
to tighten this scene up, we could go back.
And that was one of the advantages of having Eddie there on set
cutting while we were doing it.
And Eddie is so fast at what he does
and is so precise in what he does, you know what it is you're looking for.
Again, for real, he's flying through this...
Look how narrow that canyon is. It is so dangerous, what he's doing.
And I remember, like, holding my breath, watching the footage,
going, "How are they ever going to survive?"
You know, the rotor blades are literally a foot away
from the edge of the...
- And Tom is flying for real... - That was horrible.
- I've never been so scared in my life. - Oh, my word. It's terrifying.
Those days when you were filming, every day the helicopters landed,
and word got around the production that the hellies had landed safely,
we all were, like... You know. Look at this shot.
- Oh, my word. The sun. - It's amazing.
Peter Wenham, our production designer who we've not given a shout-out to,
he built these houses, and built them...
It's not just building the houses
that have this great authentic lived-in look,
but where he built them in relation to where the light would be
if you were lucky and there was sun out that day.
It's all stuff that is so unimaginable when you think about it.
'Cause look at this,
the reason the shot is as beautiful as it is
-is because of the light. - Yeah.
And that is because where the house was built.
- Yeah. - And with a knowledge of that.
It's an incredibly precise skill. He did a great job.
This is shot months later on the set in Leavesden.
- In the studios now. - And she's pregnant.
And she's pregnant.
- This is earlier in her pregnancy. - Yeah.
We started shooting this scene... This shot took hours.
- I had to remove the wall behind us. - Beautiful choreography. Look at that.
There's Lane hiding there. Fantastic.
And this was originally a oner. You remember, they brought her in
-from the stairs. - Yes, yes, yes, yes.
And I tend to get a little bit obsessive when I do those things,
so I shot it about 14 times to get it right,
and then we cut into it.
But this was shot at Leavesden months and months later.
We didn't know what this action was gonna be
when we shot the end of the movie.
So, Rebecca has marks on her neck, Simon didn't have marks on his neck
and it was all stuff that we had to... And she's got a cut over one eye.
The whole reason Sean backhands her
is because she has to have the cut over her right eye
-and not her left. - Yeah, exactly.
I love this stuff with the clouds here.
This was quite challenging, editorially, to build.
To give us the sense that, you know, they were above the clouds,
and then Ethan comes out and he's now turned the tables
and he's chasing after them.
And some of this stuff here...
This was originally... There was a much bigger sequence
where Tom ended up on a road
-and you saw it in the early trailers... - Yeah, that's true.
- On the first trailer... - From the first trailer.
- Where he almost hits a semi... - That's right.
-...and has to go through these trees. - That's right.
And all of it was taking you off-story.
It was quite spectacular-looking, but you didn't feel...
What you wanted was this.
- You wanted the drive. - Yeah.
And we ultimately... It was one of the things we cut.
It's always a challenge with this to make sure that you don't...
You know, you're giving the audience enough, but not too much
because they get fatigued quite quickly,
so a lot of these helicopter sequences are very short.
You know, some of them are only 10 or 15 seconds.
Yeah.
But they're full of dynamic, great shots.
The more you intercut, the longer the sequence feels.
- That's right. - Sometimes it's the opposite.
Sometimes you let whole chunks of action play out and intercut less,
then the audience is given time to engage with it.
But it depends on the movie.
I've done it both ways in different films, you know.
But in this particular case, we ended up with quite large chunks of action,
although we did push the fight in the Kashmir house down quite a lot
until quite late in Ethan's action.
- Yes. - Eventually.
And what you had to do within the choreography was find ways.
You built yourself opportunities to cutaway...
- Yeah. - More often than you might.
Just so you have that option. Because the fight is so specific.
And what really saved us...
Rebecca is so good in this scene. Look at how committed she is.
- Rebecca is unbelievable. - Yeah.
They're all really great.
- This is very hard and exhausting work. - Yeah, yeah.
And by the time we came back here,
she was, at this point, seven months pregnant.
And a lot of this fight was shot
-on the very last day of shooting. - That's true.
It was late at night, we started late in the day,
because we'd been shooting nights just before this.
So, everyone was exhausted.
And she is tied in that chair. She is seven months pregnant
and was determined to do as much of her own action
-as she possibly could. - Yeah.
And this intercutting, we were constantly experimenting with,
how much was too much?
- How much was not enough? - Yeah.
And when did it feel like the action in the helicopter
was related to the action on the ground?
Because there were certain times, if you cut away to Ethan too much,
it just felt like what Ethan's doing
-is not affecting what they're doing. - Yes.
Simon, who we have not spoken about a whole lot in this commentary,
is the secret weapon.
He's so extraordinary. He's such a great storyteller.
And what he's able to do,
the emotions that he's able to convey are really incredible.
So, here's Rebecca...
I mean, everything that she's doing is incredibly physically exhausting
when you're not seven months pregnant.
Getting up and down off the floor like that
is not the most comfortable thing.
Yeah, this used to be quite a bit longer,
but we effectively managed to get to this crash moment
-a lot quicker and earlier. - Yes.
And people were like, "How long is this helicopter on fire?"
That was real, by the way, that shot of the two helicopters
that close together,
-that was actually Tom and Mark flying. - Yeah, that was the last thing.
And there's a lot of great Double Negative work here...
Yes. All the things we couldn't...
- That's practical. - Yeah.
I mean, Tom's really rolling around in a helicopter there,
which is astonishing.
That shot before, it was Double Negative,
which I thought looked great.
And again, what helps you with these CG shots
is filling it with so much information
that your eye isn'tjust locking on anything...
- Yeah. -...for too long.
Everything is done with specific storytelling in mind.
What we've done is, we've got Ethan crashed.
Now we can afford to spend time away from him
and now we're gonna let the rest of the fight
play out between these guys.
And that shot to the timer was originally to allow me
-to cut away. - Yeah.
But it ended up being...
- Just a useful reminder... -...quite the opposite.
...of how much time is left.
And shooting up through the two of them
-to Benji... - Yeah.
-...gave us these cut points. - Was incredibly effective.
Very, very great idea.
Then there is this terrific bit of choreography here
-where Benji's in trouble. - Yes.
And again, we accelerated this quite a lot.
- It used to be quite a bit longer. - Yes.
But the music is playing, it's getting exciting...
And you remember, we...
You feel it when you're with a test audience
like when they want stuff to be.
- Yeah, and we added the bottle later. - Yeah.
- Dropping in that shot. - Yeah.
That's a digital bottle there.
But people understand... Now, interestingly,
they are people in the audience who think that Benji might be dead
because we've killed Alec Baldwin
-earlier in the film. - Yes.
There are people in the test screenings who said...
That was the last shot of principal photography, by the way.
- It was that shot of Benji waking up. - Fantastic. Okay.
This was shot, you know, at midnight on the last possible day.
Yeah, and this, this was such a genius idea,
having the helicopter roll down the hill.
I remember when you first pitched this to me,
I was like, "if you can pull it off, it's going to be so much fun."
- It's great visual effects work. - Yeah.
- It's great. - It's fantastic,
-this idea that it's not over. - It's special effects work,
-the buck helicopter. - It's so good.
It's fun. And Henry and Tom are so good.
- They really sell it. - Yeah.
All of this, when I saw it pre-vised, I thought, "How are we ever gonna..."
A pre-vis is a... We do an animation
of a sequence so everybody can understand what we're after.
All of this was stuff I just thought, "How are we ever gonna do it?"
And it's very, very effective.
Henry's performance here, I just...
I find it so satisfying every time.
He was a trouper. He just had all that stuff sprayed in his face.
Yes.
And the amount of physical punishment...
This stuff, they did for real at Leavesden.
You know, Ethan is falling through and grabbing Henry. It's astonishing.
- And again, all with his broken foot. - Yeah.
This was all after his broken ankle, rather, all after his injury.
Yeah, all this stuff...
So when he's flailing around in there,
we have to be very careful that he doesn't catch his ankle on anything.
Yeah, yeah.
All of that, that's him jumping off of a rostrum
and just falling face-first on that rock surface.
This is Pulpit Rock in Norway.
So we've traveled geographically all the way from New Zealand to Norway
-doubling as Kashmir. Yeah. - In the blink of an eye.
We needed a mountain that Tom could fall off, not down.
- There's a very big distinction. - Yes.
Everything in New Zealand is a sloping mountain.
- There wasn't really a straight drop. - Yeah.
And I asked Ben Piltz, our location coordinator, to find me something.
He brought me a picture of Pulpit Rock
and I thought, "That's where we're going."
Now this, this is 15 minutes to midnight.
Like, if we went past midnight, we went into another day...
- Yeah. - Which was...
The energy in the performances here...
They're both exhausted, they've been filming all day,
and this is the very last setup.
- And the clock is literally running out. - Yeah.
And I'm shouting from off-camera and they're shouting back at me.
Benji's like, "Let's just... Let me get a rhythm! Just stop talking!"
And I was like, "You know, you didn't say the line right.
"You gotta do this..."
We're yelling at each other and of course,
the whole time the clock is ticking away.
And I had three cameras. One pointed at him,
one pointed at her, and one between their feet pointed at Sean
so I could shoot all of their coverage at the same time.
But what's great here is that, you know, we've got them now,
in the background, in the story.
They're breaking... They're getting the bomb
and they're getting through to the fuse at the end
and so we can just allow this whole sequence
to play out until Henry's death.
And originally, we were thinking we would intercut it more but...
- Again, amazing music from Lorne. - Great music.
- An incredible, incredible... - Such a great...
The shots of green screen versus practical here.
It goes from one shot to another
because when we were shooting at Pulpit Rock,
there was only so much time.
We couldn't shoot all the details of the sequence.
We had to pick what shots were most important to shoot practically,
-knowing we would shoot the rest... - Exactly.
I mean, like a shot like this coming up now, you know, like...
- And this one here... - And what's most important...
- Yeah, this is real. - This one is real.
And what was most important is you couldn't... That's rock.
You couldn't have them fighting on it without risking injury.
We built a set, we replicated the entire top of Pulpit Rock
and padded it so that they wouldn't kill themselves
-when they were falling on the ground. - Yeah.
This is a real shot. My word, look at that.
And then...
- That's at the back lot... - Yeah.
- And that's real. - And that's a real shot there.
They're literally hanging off that rock for real.
Yea. And everything was chosen by...
Anything we could do here we did do here.
Yeah.
And that created parameters for us.
I love this stuff. It's so epic.
And a lot of these hook shots we didn't get until very, very...
These were pickups. These were things
we didn't shoot them until months and months later.
So three audiences watched this movie without any of the hook shots in it.
Here's some stuff that's real, that one there.
Tom just hanging, this is real.
- It's real. - It's astonishing.
The one thing that isn't real is the helicopter because there was no...
There was no way we could haul the helicopter up there
and hang it off the cliff.
If there was we would've done it.
But all of that requires incredible work from DNEG.
- And this was... - This shot was one of the last,
-the last things Tom did months later. - Yeah.
We went back to get all of his close-up work on the rock.
- Immensely satisfying with a smudge. - Goodbye, Walker.
And it was so funny watching as that evolved,
hearing the audience's reaction to each iterative.
- Yeah. - And this is Tom's first day
-back at work after breaking his ankle. - Yeah.
And his right ankle is shattered six weeks prior,
-and he is climbing that mountain. - Yeah.
And that's real. That is a real shot, and you see him doing it for real.
And again, wonderful music cue from Lorne.
We keep talking about the score but it is just terrific.
But it is as important a part of editing as anything else.
I mean, Lorne really is the third man.
And now we're back with Benji and Ilsa
with literally five minutes of filming left in the shoot clay,
and you've got all three...
You're filming with three cameras simultaneously
and you're just racing through
but the energy that that gives their performance here,
and that was shot months before in New Zealand with Ving,
and then here they are...
And these little shots of the close-ups of the wires
are shot in a box that we built, you know, but months later.
We just said, "We feel like we need something closer
"and tighter," and so they built a box.
All of these things had to be very carefully constructed in time.
Editorially, these sequences where you're doing countdowns
are incredibly difficult to get the balance
and all this was like, "Wait, wait, wait! Can we just get a..."
You know, we're counting down.
It's like, "We're cutting on one, we're cutting on one.
-"Okay, standby." - No rehearsal, no time to even just...
Each actor's working at their absolute peak.
Yeah. It's terrific.
And then all those shots there get one frame shorter
so you're feeling like...
And then this... I remember I pitched this idea...
No, you pitched me the idea of cutting to white and not seeing Ethan.
And then I remember one of Lorne's pieces of music I found
and I stuck it on there and it just had this incredible effect.
When we cut to white, everyone's just leaning in going...
The silence in the audience when you watch it,
they're all going, "What's happened? What's happened?"
And then, of course, this wonderful piece of music here playing out.
I'd love to say...
Yeah, I'd love to say it was some divine inspiration.
It was an absolutely practical decision that the only way to really do it
was to cut to white, otherwise you would just see...
There was no exciting way for Ethan
to grab the thing and pull it outwith his teeth.
Even though you filmed it but, yeah, you're right.
- It just wasn't exciting. - I remember when you pitched that idea
I was like, "Wow, that is pretty ballsy."
Not showing Ethan actually get the thing until afterwards
but it works like a charm.
It's fantastic.
I'll tell you where it's one.
It was the very first time I saw it, your editing of it was brilliant.
Look how lucky we got.
- The sun came out. - That's for real.
It was clouded in and the sun just came out,
to match the shot we hadn't even created yet.
We needed the sun in the shot, and we got it.
- We were so lucky. - Yeah.
But this music was music that Lorne had written
-before we'd shot a frame of film. - Yeah.
And you played it for me and I said, "It's beautiful,
"but I don't know where the hell that's gonna go in our movie.
"There's nothing like that in Mission: Impossible."
And then I saw this out together and I had completely forgotten
-that we had heard the cue... - Yeah.
-...a long time before. - We heard it in New York.
Do you remember we were working in New York and he had sent it to us?
- Yes. - After... Yeah, anyway.
And that shot of, you know, Ethan's point of view,
those shots were the quickest way we could transition into this
and what we did is put a remote head on a stretcher.
Yeah.
And so that the camera could pan and tilt.
And we just had the actors just carry the camera into a tent.
- Yeah. - It was again something we did
-on one of the very last days. - Now this was filmed...
I remember coming to set to watch you film this,
the very last scene in the movie
because I wanted to be there
and it was a freezing cold Saturday morning
in the New Zealand winter,
and everyone got there at 6:00 a.m. and then the sun rises
and then you're rolling camera the moment there's sun outside.
Props to Wes Bentley. This line here where he says,
"See you later."
- He goes, "See you later, Doc." -"Doc."
And he does that little wink.
And the fact that you can see it in a wide,
in a profile that you can track it.
- It's really good acting. - And the audience totally get it
that basically he's fully aware of what's going on
and he's just like part of it, he's just playing along, it's brilliant.
- And now... - Go ahead.
Yeah. No, I was just gonna just, you know,
give enormous, huge props to Michelle for this scene because she's...
- Michelle and Tom. - Michelle and Tom.
They're both so good, and again, talk about time pressure.
The opening scene of the movie was shot the same day...
- That's true. -...an hour away by helicopter
with that limited daylight.
So we had to finish this by a specific time,
run down and take photographs of the cast,
because it was the only time they were all together.
We had Vanessa Kirby there to put her in this scene
in case we had to resolve her character another way.
So everyone was there.
We had to get in helicopters and fly to Milford Sound
and shoot the opening scene in one hour.
Yeah.
So the last scene in the movie and the first scene in the movie
were filmed on the same day.
Were filmed on the same day out of sequence.
And with these performances from these actors,
with all of this chaos going on around them, that there was no...
Normally, you would shoot this in a tent, at a studio,
and we only had Michelle for these days so we had...
Because you see this, this could easily be recreated anywhere.
But what it lent to them, and now you get these shots,
it lent it an authenticity and it lent it an energy,
and they're so good together
and it was a little bit of a reunion for them.
Very much so.
I remember when I put this scene together
just feeling the emotion and just
feeling the end of the movie and how it was gonna work, and...
But there was another scene?
- This was not gonna be the end. - There was, although...
I'm gonna confess to you in the back of my mind when I saw that and I...
I remember thinking, "The movie could end here,"
a bit like I felt on Rogue Nation with the movie ending on
Alec and Jeremy walking out.
That was your idea and it was antithetical
to everything we thought Mission was.
Yeah, yeah, but what this scene...
- This was a four-minute... - This was the end of the movie.
This was a four-minute coda
that was shot in Battersea Park in London by Albert Bridge.
Again, a terrific scene, everyone's here.
Shot it over two nights, but...
- We never put it in the film. - We never put it in the film.
But we discovered that
audiences really wanted to resolve the White Widow.
- And Lane. - And Lane.
And we just did this in like 20 seconds.
You wrote this great voiceover for Angela.
Well, Angela's voiceover was what was in the scene.
It was in the scene, but you tweaked it a bit and we got it working.
I basically woke up in the middle of the night and went,
"What in the scene is important?"
And I was able to take about 30 seconds of information
and I suddenly realized as I was playing it in my head
that these lines would be landing on these shots.
"We need the IMF, we need people like you who care about the one life..."
That's it and I suddenly realized, "My God, how did we ever show it otherwise?"
And this tender stuff between these two.
It was so good. They were just playing all these moments beautifully.
And then we do the...
The music starts, and we find ourselves in this kind of little team moment here.
And I asked you to extend the last shot of Tom.
- Yeah, that's right. - And when he says,
"Please don't make me laugh." And you extended it.
And I said, "Why did you cut when you did?"
"Chris, we've run out of footage. The camera rolled out
"like, one more second later." Watch.
That's the camera running out of...
That's the camera running out of film, so we didn't actually have any more.
So he said "Hey, leave the roll-out.
"Leave the flash and the roll-out in the movie, it'll be great."
It's also quintessential Mission.
It tells you everything about the making of these films.
It's like the camera rolled out literally
-12 frames after he delivered his line. - Tom Cruise nails the last line
of the film and then we run out of film.
Another beautiful piece of work from Aaron and Seth at Filmograph.
- Yeah, our Filmograph guys... - Those guys just nailed it.
This is again another concept they pitched us.
This is incredibly difficult. Incredibly difficult.
Look at the detail in the backdrop of the notice board.
And the way the fuse moves and all the...
It's just beautiful work, guys, well done.
- Really well done, guys, you killed it. - Yeah, yeah.
Well, that went quickly.
I hope the movie goes that quickly
-when people watch it. - Yeah, yeah.
But that's... I gotta say, this is the second film I've made with Eddie.
I hope there will be a third.
- That's very kind. - I don't know what you're off to do now.
We'll see what happens, but it's been a pleasure working on this.
It's been... You know, it takes about a year and a half
to edit a movie like this and...
- In a little dark room. - In a little dark room.
But we...
There were very unique challenges with this film,
as there appear to be with all these movies,
but because Tom broke his ankle, we had a 12-week hiatus.
But the release date of the movie did not actually move.
So we stayed with our July release date.
And we ended up finishing filming at the end of February.
And then we had our first friends and family screening
about four days after the end, if you remember.
We were editing on a Thursday, and we were screening on Thursday night.
And we finished editing.
You had not actually watched the entire movie from beginning to end.
I finished editing at 6:30 in the evening,
and we pressed play on the movie at 7:30.
And that was the first time you'd watched the movie.
There's my assistant editors, by the way, guys.
- Massive props to all of them. - And music editor
- Cecile Tournesac. - Cecile Tournesac, he was fantastic.
There's the sound team in there, as well, great guys.
And...
So we had four days.
You watched the movie, with an audience, for the first time,
which is an incredibly scary thing to do.
And there was only about half the film had music,
the rest of it was bare.
And it was really long. It was like two hours and 50...
- Two hours and 43 minutes. - Two hours and 43 minutes, yeah.
And the first time we tested it for a test audience,
-not friends and family... - Yeah.
...it was only two... We had only cut four minutes out.
- It was 2:39. - Yeah, that's true.
And we could not imagine what else could come out of the movie.
It was that feeling you have when you
put your foot in a trash can and you're just packing it down.
- That's true. - And Edgar Wright watched the movie.
- That's true, yeah. - We had Edgar come and watch it.
And Edgar said, "Yeah, the movie's all there,
"you just need to take 20 more minutes out."
- Yeah. - And we thought, "You're insane, Edgar."
And sure enough, we cut 18 minutes out.
- Yeah, we did. He nailed it. - He was that spot-on.
- We did test screenings. - Thank you, Edgar.
- We did test screenings every two weeks. - Yes.
Basically we did four tests and then we locked picture.
So, it was around about nine weeks
from the end of principal photography to when we locked.
To understand, for people who don't know,
when you make a movie like this,
you have what's called the Director's Cut.
And that is the cut of the movie... That's the first cut of the movie
the studio sees, that the producers see...
The director has 10 weeks in the editing room to do his thing.
We finished the movie.
We finished editing the movie with four test screenings in 11 weeks.
I guess, yeah. It was pretty nuts. But...
But, only because we had that time in the middle where Tom...
Exactly, and we could dial it in and focus and,
everyone, when there's so little time in post-production,
everyone has to be laser-focused on getting to the finish line.
Decisions get made quickly and there's a lot of parallel processing.
The sound team are working, the music's working,
the visual effects are working.
Everyone's going full tilt to get the film ready.
And as we're recording this,
we're still, you know, putting the finishing touches to the movie,
as I said, and we are 10 days away from the premier.
As with all things Mission,
we are always just...
Just about to cut the last wire,
in that we have two visual effects shots left.
- Yeah. - So when you...
When you watch this movie and you're watching the HALO jump,
know that the two of us sitting here have not seen the finished film
that you've just watched.
We're still putting some finishing touches on it.
And that was very similar to the last time.
- Yeah. - The last movie, we finished it
-five days before the premier. - Yeah.
That's not because we're crazy brinksmen and we enjoy that.
That's the nature of scheduling and release dates and things like that.
- And we like a challenge, yeah. - Yeah.
Well, thanks to everybody that's credited right here.
But especially thank you to you, Eddie, because you...
You put this whole thing together and it was not an easy task.
It's still not an easy task.
No, but it's a pleasure, it's a great... It's a privilege to work on...
To work on a film like this
and to contribute to the legacy of this franchise.
And, you know, everyone working on the film on my team
loves these movies and understands,
you know, how dear they are to audiences around the world
and how much people enjoy
watching these movies and hopefully will be watching...
Watching these movies for many years to come.
And we all take that very seriously.
We're very passionate about the end result.
And we want it to be great for everyone out there watching the film.
And we really hope you've enjoyed it, you know.
- Thank you. - Thank you very much.