[RVC.] Fire and Water Making the Avatar Films Ep2 #FullMovie RF

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[RVC.] Fire and Water Making the Avatar Films Ep2 #FullMovie RF    #emportuguês #cdrama #drama #filmecurtocompleto #EngSub

Transcript

00:00Transcribed by ESO, translated by —

00:30So you go down to do a two- or three-minute scene, and you have to do a full breathe-up.

00:37The actors are breathing up, the camera operators are breathing up, and we do a countdown.

00:41And everybody's getting ready, they're getting calm, they're slowing down their heartbeat,

00:46they're blowing off their CO2, they're saturating their capillaries with oxygen,

00:51getting ready for the dive, and they go into this kind of zen state.

00:55And then I'm doing, over the PA, a countdown.

00:57And we count down to zero, okay, let's drop down.

01:07You've got to be very, very calm.

01:09Any kind of tension will cause the heart rate to speed up.

01:12So I keep my voice very soothing, I get everybody underwater.

01:16There you go, just get two depths.

01:19Nice and chill.

01:20Now the camera operators are down there.

01:22They're underwater holding their breath, and we just hope the whole scene can play within two minutes.

01:28The longest we did was maybe two and a half or three minutes.

01:31You may have a record for holding your breath for six or seven minutes,

01:33but once you start swimming around and using up oxygen, that number comes way down really fast.

01:45Some of the first scenes we captured were when the silly kids jump in.

01:49And when Kiri was reacting to all the beautiful fish, seeing the kind of octopus that changes color very quickly and jets off.

02:00It was one of the first scenes we did for Kiri.

02:07The time on land had been frustrating for her.

02:12And then as soon as she dove in, and she was with all these remarkable beings underwater,

02:21she felt such a connection to them.

02:23I felt so at home for Kiri.

02:26I had so much energy built up in me as an actor, so much need to feel at home somewhere,

02:33that when I got down there and I felt so at home, I just was like,

02:38this is going to be okay, I can do this film.

02:41But also, oh, Kiri's going to be okay, because she's found herself in this new place on Pandora.

02:48I think that's one of the more magical scenes in the movie,

02:51and people just kind of take a deep breath just at the beauty and the wonder of what they're seeing.

03:02At one point, there's a scene where Sigourney's character, Kiri, is underwater,

03:07and there's like a school of these squid coming around her,

03:11and she's sort of orchestrating them.

03:14And she went down and really got in that zone, and she did like a three-minute breath hold.

03:18And she like outheld her breath to her safety team, and it was pretty amazing.

03:24Well, I was down there and summoning them.

03:27It's sort of my favorite thing I ever got to do in the water,

03:30and I just stayed down there a long time, more than they expected.

03:34But I really hated stopping, because even though there were no squid,

03:39there were divers representing different creatures in the water,

03:45and, gosh, it was such a treat to do all that.

03:47I was making it last as long as I could.

04:06Here we go.

04:07Here we go, and action.

04:25Ronald Tolkoun, when she dies, it's an extraordinary sequence to watch,

04:31but you would not believe what I was acting to.

04:36And even I couldn't believe it, and I was thinking,

04:39okay, I've got to dig deep here.

04:40Dig deep, use your imagination.

04:50There are times where I just am in awe at the performers

04:53of what they can pull off.

04:54We try and give as much as we can,

04:55but she's emoting about the loss of her spirit sister

04:58to a minimally sculpted eye.

05:01She was the composer of songs.

05:04Much revered.

05:06We would sing together.

05:08She waited many breeding cycles to have this gaffe.

05:14That's very memorable to me.

05:16That's the most extreme version of imagining.

05:17It was easier imagining an iceberg passing by.

05:21What is this?

05:24Don't worry.

05:27What is this?

05:33There are many important relationships in the film, clearly,

05:35but one could argue that when Payakan meets Loak,

05:38that's the place where the film really tells you

05:42what it's trying to be.

05:43Because everything that happens from that moment on

05:46happens because of that.

05:47It's also a joyful experience to see that relationship developing.

05:51They can barely communicate with each other,

05:53but you get it.

05:54You go on that journey, and you see it.

05:59Hearing how people feel about the relationship between them,

06:03that just moves me.

06:06And I can only speak to what Loak is feeling.

06:09Loak is alone.

06:10He is feeling outcast.

06:11But you know when the right person comes into your life

06:13at the right time?

06:15That's what Payakan was for Loak.

06:17It's like a spirit.

06:18He's the most loyal, understanding, best friend

06:21that I think we all wish we had.

06:23You get lost in that scene.

06:24You get lost in the moment of watching the beauty of Loak

06:28and Payakan.

06:29Friends?

06:34For Payakan specifically,

06:36we had more or less a surfboard sideways,

06:39a little bit of a metal screen and an eyeline for an eye,

06:41and that was moved around and adjusted

06:44until Jim found the right relationship that he wanted.

06:47And once that was locked, those became hard points.

06:50Those were fixed points that we designed to,

06:52knowing that that worked.

06:54Also, Payakan was so large,

06:56you know, he's not only a creature,

06:56he was a set.

06:57So we had to build a large, fully sculpted back

07:01that corresponded to his anatomy,

07:03including blowholes and plates for the armor

07:06so that as the kids climb up,

07:08they know that their fingers are reaching over.

07:09There is a plate to have purchase on,

07:11and to don't step on the air hole,

07:13you're going to get blasted.

07:16We had a version of our tank

07:20that we called the wind tunnel

07:21where the form would be static

07:23and there's a constant oncoming current.

07:26We built a giant fin,

07:28and in action scenes,

07:30we would take the fin

07:31and we'd push it underwater

07:33so it felt like he was swimming fast through the water,

07:35and I'd hold on to it,

07:36and we'd do all those different amazing, cool scenes.

07:52It occurred to us,

07:53hey, we can have the actors

07:54on these motorized creatures that we created

07:58and race them around the tank,

08:00but that might be kind of dangerous

08:01if they run into something

08:02or run into the wall of the tank

08:03or hit a camera or something like that.

08:10I said, wait a minute,

08:11we've got these giant motors

08:12and these giant propellers

08:13that can create this flow.

08:15Why don't we make an underwater wind tunnel?

08:18So when you're testing a jet fighter

08:20when you're designing one,

08:21you put it in a wind tunnel

08:23to see how it behaves.

08:25So you don't move the aircraft

08:26through the atmosphere,

08:28you move the atmosphere past the aircraft.

08:30We just did the same thing,

08:32and we just filmed people

08:33in situ in the current.

08:35So for the jetivator creatures,

08:46they were tethered on a long cable

08:48in a flow that's coming at them,

08:50and that gave us total control.

08:51It was great for capture.

08:53It was great for our reference cameras,

08:54and it was great for the actors.

08:56Jetivator is great.

09:03It's just money underwater,

09:05but at the same token,

09:06it's not just like these little DPVs.

09:09You can have them in your hands

09:10and just switch them around

09:11right underneath your body,

09:13and it will come back on itself really fast

09:15and snap you around,

09:16which is great.

09:16But we needed to be able to maneuver better,

09:18and that's why Jim decided

09:20to design little wings for them.

09:22So now when you're flying this thing along,

09:24you could actually use these wings

09:26to make it corkscrew,

09:28cut back on itself,

09:29whatever it is.

09:31It was so cool to see

09:32how the stunt team would drive the C-bobs,

09:34and everything was there,

09:35but the stunt team and troop members

09:37and the fellow actors,

09:39that's what made it real

09:40when we were all in that together.

09:42And that's when imagination

09:43definitely came into play.

09:49Fire! Fire!

09:50It's coming!

09:55Back! Back!

10:01No!

10:03Tuk!

10:04Hold on!

10:05Hold on!

10:05Tuk! Tuk!

10:07So in this Militude tank,

10:09we are testing something

10:11we call High Hinge,

10:12and it is the scene

10:14where Natiri and Tuk

10:15are trying to make their way

10:18through the hold

10:20of the sea dragon.

10:23It's a massive cage,

10:25about 60 feet long,

10:26and we're vectoring the thrust

10:27right into a twisting corridor.

10:30It's going to be

10:31a hell of a ride.

10:32Mom!

10:33Run!

10:33Ah!

10:35Move it!

10:37Open it!

10:38Open it!

10:39Move back!

10:40Come!

10:41Tuk!

10:42You have to hold yourself

10:50to an unbelievable standard

10:51of knowledge.

10:52You might propose something

10:53or there may be a situation

10:54where a character

10:55has to do something,

10:56and Jim will intuitively

10:57understand the point

10:58at which Natiri,

10:59who weighs 450 pounds

11:01and is incredibly strong,

11:02can no longer hold open

11:04a door because of the head pressure,

11:05and that door is going to slam close

11:07so that now she and Tuk

11:08can no longer escape

11:09in that direction

11:11as they're fighting

11:11for survival

11:12in the flooding ship.

11:13Literally, Jim sat down

11:14and did some pressure calculations

11:15to figure out the volume of water

11:17that would generate that moment

11:18so he could tell us

11:19how far up her body

11:21the water ought to be visually.

11:22No!

11:23Ah!

11:24Ah!

11:25Ah!

11:26Ah!

11:27For the scenes

11:28when the ship is sinking

11:30and Natiri and I

11:31are trying to find our way out,

11:32trying to find our way

11:33to our family,

11:34and so there's

11:35that emotional factor of it,

11:36but there's also

11:37the panic

11:38as the ship is going down

11:40and not even being able

11:41to balance

11:42as we're trying

11:42to make our way through.

11:43It's like sinking

11:45too fast for comfort.

11:48All right,

11:48so let's try this.

11:49And action!

11:50Ah!

11:51Ah!

11:52Ah!

11:53Ah!

11:54Ah!

11:55Ah!

11:56Ah!

11:57Ah!

11:58Ah!

11:59Ah!

12:00Ah!

12:01Ah!

12:02Ah!

12:03Ah!

12:04Ah!

12:05Ah!

12:06Ah!

12:07Ah!

12:08Ah!

12:09Ah!

12:10Ah!

12:11Ah!

12:11But actually,

12:11I felt very safe.

12:12I felt very safe

12:13with all the crew members

12:15and trusting them,

12:16but I also felt very safe

12:18with Zoe

12:18because she's so caring

12:20and not only the best mom

12:22to her kids,

12:23but an amazing on set mom

12:24because she's right there

12:25with you

12:25and there for you.

12:26So it was fun

12:27to get to be in that scene

12:28with her

12:28and improvise together.

12:31It was scary.

12:32It was definitely an escape.

12:35There's a lot at stake, but you know you're safe

12:37and you trust the process, and you use it.

12:41You use it all.

12:42So if you're feeling fear,

12:43I'm pretty sure that's what Nateri is feeling.

12:46If you're feeling claustrophobic,

12:47if you can't breathe, all of those things.

12:50Oh, great mother!

12:51Oh, great mother, help us!

12:52Oh, God, I wish Nateri would have had more scenes underwater

12:56because it was so great just to see what everybody did.

12:58It was quite beautiful.

13:02It's a very big tank.

13:05And very big and scary.

13:11Once you put all those lessons into practice,

13:15it became such a rewarding experience

13:18to be in that tank all day.

13:20For whatever journey your character was gonna go through

13:23in the water, it was quite beautiful.

13:32It was a really big tank.

13:34It was a really big tank for you.

13:36Woo-hoo!

13:37Woo-hoo!

13:38Woo-hoo!

13:39Woo-hoo!

13:40Woo-hoo!

13:41Woo-hoo!

13:42Woo-hoo!

13:43Woo-hoo!

13:44Woo-hoo!

13:44This is our family, or a small tribe from Janawa.

13:49We're here to surprise Jim and others, with a karakia,

13:55with a blessing.

13:56And this is what we call he koha aroha.

14:00So this is our gift of love to you all,

14:02to wish you all your best on the continued adventures

14:06to make something great and something beautiful

14:08for the world that we can all be proud of.

14:12Tēnā togokaiatu, we welcome you to our country.

14:21I see a lot of faces I know from the last one,

14:23so welcome back.

14:24I see a lot of new faces, so welcome to our crazy journey here.

14:29We got a wonderful kickoff from Cliff's cousins.

14:34And so to me that's the spirit of the film.

14:39This is a New Zealand-based film in my heart.

14:44New Zealand is my new home.

14:46One thing we know working on these new movies

14:49is they're harder technically than the first film.

14:53We know a lot more.

14:55So far that's about been balancing out.

14:58But every single day we encounter new things

15:01we've never seen before.

15:03And they kind of bite us on the ass.

15:04We think we've been preparing this for years.

15:06They kind of sneak up on us.

15:08So every once in a while we'll all just kind of stop

15:10and pull our chins and figure it out.

15:12We've got a lot of smart people on the movie.

15:14So far we haven't found anything that we weren't able to solve.

15:17We shoot our live action in New Zealand and so you can imagine there were many, many enormous

15:34things that we built down there that would interface with water in some way.

15:37We came to Auckland because of the water work on the film and the stages up in Auckland

15:46is the only purpose-built dive tank in New Zealand.

15:49We built an actual 30-foot boat that was a fully functional boat, which is kind of crazy.

15:57Nobody ever does that, doing it from the ground up, precisely to our science fiction interpretation

16:02of reality design.

16:03But our art director down there, Alistair Baxter, is a naval architect it turns out.

16:07And there's a huge boat building industry in New Zealand that we could tap into.

16:11So we built the boat from scratch and it was a thousand horsepower, 45-knot wicked boat

16:16that could jump waves and all kinds of stuff.

16:21We shot it out in the ocean to do testing.

16:27Wow, that's awesome.

16:32The amazing thing is when you watch the movie, it looks like we were out at sea.

16:37There is not one shot of an actual boat at sea in the entire movie.

16:42People aren't CG, the boat's not CG, but the water or the ocean is CG.

16:47And to do that, we actually captured the true motion of a real boat.

16:52And they got real motion in a real swell.

16:57We applied it to our models.

16:59Then we applied it to the motion base.

17:01Action.

17:08The physics were all based on that initial capture.

17:10And we took that capture that was done with that 10-meter rib

17:13and blew it up to a 20-meter, what we call the kill boat, the Matador.

17:17The Matador is a massive ship that can navigate as well as destroy.

17:22It's kind of a fun ride boat.

17:24You know, it's wind in the hair stuff. It's fast.

17:26I like being on boats when they're kind of docked.

17:34It's kind of cool because I like the boat scene.

17:36I just don't like being out in the water.

17:38So it's definitely all acting.

17:41Three, two, one, face.

17:44And action.

17:46We, of course, built a bunch of boats and water vehicles that we're having to flood.

18:06As Jim says, the rule of these kind of movies is you have to see the bad guys die horribly.

18:23I didn't write the rule.

18:25And then he said, actually, I kind of did write the rule.

18:27But anyway, we're going to do it.

18:29In the case of the Mako, we had to figure out how to dramatically flood these guys out from the cracked canopy.

18:39Freeze! Ass off!

18:42And so it turned out the best way to do that was not to involve tanks of water at all,

18:46but to create basically watertight canopy glass.

18:49All right, guys, let's get ready to go. Wall, please.

18:54All right.

18:56Pull the hose.

18:58Close the hatch.

18:59And three, two, one, action.

19:06Freeze!

19:11Freeze!

19:12Freeze!

19:13Freeze!

19:14Freeze!

19:15Freeze!

19:16Freeze!

19:17Freeze!

19:19Freeze!

19:21Freeze!

19:22Freeze!

19:23Freeze!

19:24Freeze!

19:25Jack Champion, a spider, has several scenes where he had to go in on a breathing mask, not on a breath hold,

19:36that we had to build and design and make safe for him to swim underwater.

19:41Real underwater diving masks that exist today would, first of all, be too obvious.

19:45And secondly, we wanted it to be better, at least better for cinematic purposes.

19:50So John Garvin took the reins of that problem.

19:53One of the challenges was, of course, you know, we had to provide a mask that would allow the audience to see his full face.

19:59That caused problems with carbon dioxide buildup.

20:02So every time Jack was breathing into the mask, he couldn't re-inhale that CO2.

20:07We decided not to go for the obvious lights inside the dive mask, which no diver would ever consider using because you wouldn't be able to see anything.

20:16We thought in the future a heads-up display system would be scrolled across the front lens that would illuminate the actor's face.

20:25So there's a lot of sophistication that went into that mask.

20:29Check your mask. Make sure it's tight.

20:30I'm good, dumbass.

20:31So this is the real, like, full face mask that I wore for pretty much, like, hours every single day.

20:39Underwater in the tank, I could just be fully in character underwater and have a real full face mask that worked perfectly.

20:47And I had a wig on. I had the dreadlocked wig, so they'd have to, like, put it over my wig and everything.

20:52And if it ever got a little bit of water in it, I could just press down on here.

20:55And I don't know the science, but it would get rid of the water and make my face dry and everything else.

21:00This was a microphone, so whenever Jim was talking to us underwater, I could say whatever and he could hear it.

21:06And there's a hose for the air to travel to the mask, and it was always connected to an oxygen tank.

21:13So, yeah, it's pretty cool.

21:17So here's Jack Champion, 15 years old, in a breathing mask, grabbing this giant tummy, dragging it.

21:25And he did it. He did it. And it feels real because he did it.

21:29Pantomime is your enemy. You want them to have real behavior, real effort, require real strength, really be tired.

21:35The more the world pushes back against the actor, the more the environment or the other creatures pushes back against the actor,

21:42then it starts to feel real to them.

21:44And it doesn't take a great leap of imagination from that point to feel the fear or the effort or the fury that it would take in battle

21:52to be able to be able to do the things that we ask our characters to do.

21:58You really look at what the actor is bringing to the performance emotionally.

22:12And then you look at what they're bringing to it physically, what's happening with their body, what's happening with their faces.

22:20It's a multi-dimensional problem, but it's worth the effort because we see such great performances.

22:28Are you alright?

22:38You're too fast! Wait for us!

22:41Just breathe. Breathe.

22:44You are not good divers. Maybe good at swinging through trees, but...

22:48Come on, bro. We don't speak this finger talk, guys. We don't know what you're saying.

22:53I will teach you.

22:54Everybody in this film just brought so much to it that we feel like, okay, it's on us now to make sure that that's what audiences are getting as well.

23:02For Jim, capturing Wet for Wet was one of the most important things about this film.

23:11He wanted to ensure that people swimming felt like people swimming.

23:16Do you see the right movement? Do you see the right muscles flexing? Do you see the right detail in everything they do underwater?

23:24I was skeptical at first, and to be honest, after seeing the underwater scenes, it was well worth it.

23:31Just seeing the swell of the water moving their bodies around just a little bit, those little bit of detail, just makes all the difference in the world.

23:38As long as I've been in this industry, water's been hard.

23:44One of the things that really impressed me was the performance capture and the levels that they went to to get these amazing performances that really do just leap off the screen.

23:53The actors are basically feeling all the same emotions that we want the characters to feel.

23:57They're responding to real inputs, real danger, and we're capturing all this at the same time.

24:03We're capturing their face, we're capturing their bodies, we're capturing what happens under the water as well as over the water.

24:08Shake them up! Come on! Hurry, please!

24:11Seeing the result of underwater capture, I'm sold.

24:19I don't think there's any way that we could have done the things we did and have it be plausible in terms of the physics of the resistance of the water for the actors to do what they did, and our stunt people underwater either.

24:38We get that weightlessness, we get that buoyancy, we get the movement that's struggling against the current.

24:45The changes in speed as you're going up or down, as you're breaking the water or diving in.

24:53It was something that had never been done, but that's never stopped Jim from doing something.

25:02As much as we use computers and technology, the heart of the film is the heart of the actor and the heart of the character.

25:11So we have to get to the emotional truth. In some cases that emotional truth is taking place underwater, so we have to get all that stuff out of the way.

25:19Everything's going to be alright, little sister. Mom, I'm going to give this to you. It'll help you.

25:32It drives me nuts when people say, oh, Sigourney voiced Kiri. Like on an animated film, you sit at a podium, you do the script, takes you a day, maybe two days to voice a character.

25:44Sigourney worked on these two films for 18 months. She did everything. It's about the physicality. It's the entire face, body, voice, breath performance. It's everything.

25:55And Sigourney, she's not 15 years old. She was game for everything.

26:04We try to honor the actors. We try to never get creative and make an expression into something that it wasn't.

26:10They're not a human character, but we try to take the humanity from the actor and implant it into that CG character.

26:18I think people think you just wave a magic wand. We don't use generative AI. It's all performance capture.

26:25So we're not just making up images out of nothing. People work for years on the design, on the fabrication of the clothing,

26:33the fabrication of the props, and the performers, whether they're the stunt players or the actors themselves,

26:39are doing everything that you see a character in the movie doing. The kind of emotional reaction that you get watching these scenes,

26:48you're not going to get that unless the actors bring their top game.

26:52It's very physical, really hard, immersive work. And I can imagine how people would think,

26:59well, there's cartoons, or it's not really them, or something.

27:04But it is really those actors putting life and blood into every single one of those characters,

27:12creating that energy, creating that environment, heightened, passionate, fiery people.

27:20Everyone's really doing it, like, more than you could possibly imagine.

27:25Nice breath.

27:29Everything that we developed for land and everything we developed for water continues into fire and ash.

27:37We have underwater scenes. We have surface scenes. We have a lot of the things that we pioneered for movie two.

27:42In fact, actually, they were all kind of shot at the same time. So it was solve it once, and then you've solved it for all the sequels.

27:59Jim spent many, many years trying to find a way to recreate water with technology, but coming down to the conclusion that he needed to build technology around performances.

28:14It's not about the recreation of water, it's about creating technology that allows you to work in water, with water.

28:23Once he figured that out, then the rest, I guess, was a piece of cake for James Cameron.

28:29And I'm grateful for that because it gave us the ability to work with an element that is interacting with you at all times.

28:36Water interacts with you. So you need it.

28:39Get down.

28:51Thank you, Grandpa.

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