- 1 day ago
The Odyssey co-stars Matt Damon (Odysseus), Tom Holland (Telemachus) and Robert Pattinson (Antinous) sit down for a chat surrounded by the deep Aegean blues of the nautical adventure in RSH Studios in Los Angeles, California. The Odyssey trio talk through the demands and intricacies of shooting Nolan’s epic.Credits:Director: Kristen DeVoreDirector of Photography: Grant BellEditor: Phil CeconiTalent: Matt Damon; Tom Holland; Robert PattinsonProducer: Sam DennisSenior Producer: Michael BeckertLine Producer: Jen SantosProduction Manager: Evie RoopTalent Booker: Dana MathewsCamera Operator: Jon Corum; Lucas VilicichSound Mixer: Glo HernandezProduction Assistant: Hollie Ortiz; Fernando BarajasPost Production Supervisor: Jess DunnPost Production Coordinator: Stella ShortinoSupervising Editor: Rob LombardiAssistant Editor: Fynn LithgowGlobal Head of Video: Leo FernandezExecutive Producer: Cara MarceanteDirector, Creative: Nick CollettAssociate Director, Programming: Jeremy Clowney
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LifestyleTranscript
00:00For me, this movie came, it feels like it came at the exact perfect time in my career, in my
00:05life.
00:06It felt almost nostalgic, like the first movie I ever got.
00:17Favorite movie?
00:17Favorite movie of each other's?
00:19Well, okay, I'll start with Rob.
00:21I would say, there's a huge body of work, but I would say Josh and Benny's movie, A Good Time.
00:27Oh yeah, that is amazing.
00:28Because I think you came on everybody's radar in those kind of those huge movies and you were in the
00:33middle of that firestorm of paparazzi and, you know, you were the heartthrob and all of that stuff.
00:40And then suddenly it was like, come on.
00:43No, but I mean, but it feels like you curated that and really kind of deftly and beautifully and made
00:50the career you wanted to have.
00:51I think meeting Josh and Benny, I saw this little picture from their previous movie.
00:55I was always kind of looking for kind of interesting new directors and stuff and the image they'd chosen to
01:00promote it, I was certain they were going to say it was going to be an Eastern European director or
01:06something.
01:07I meant to find out they're from New York.
01:08I was like, oh, I just know.
01:09And then meeting them, I could just, there was such a palpable energy around them that I think, I just
01:16remember thinking, I think you just got to kind of hitch your horse to this.
01:22Is that the expression?
01:23Hitch your horse to the wagon?
01:24Yeah, hitch your wagon, hitch your wagon to the horse.
01:25You can just feel it.
01:26It's like the train is about to leave the station.
01:28That's so, because you talk about like buying a stock low.
01:31You look at those guys now, right, and they're just extraordinary, you know, and everybody knows it, but you were
01:37kind of the first on board.
01:38The way they write dialogue, it just immediately makes you want to say it out loud and like, it's so
01:44rare to do it and I kept wanting to read it to people and parties and stuff.
01:49Right, right, that's a very good sign.
01:51Yeah, and it was like, everyone else was like, yeah, cool.
01:54You don't understand.
01:56What was that story you told where you like read a cab driver?
02:00Didn't you read a cab driver, a section from a movie you were doing?
02:04Yeah.
02:05You've definitely told me, it was like, I think I'd done that a few times.
02:09Oh, I did, it was the end of Remember Me.
02:10Yes, that is what it was.
02:12You've read the monologue.
02:13Yeah.
02:14You're just like, I want to just workshop this for you.
02:17What do you think about this?
02:19Listen, we got another 20 minutes in the car, I just want to run this a few times.
02:23But yeah, it was such an exciting thing.
02:25Have you guys ever had that experience when you kind of, you find a director who like, you just personally
02:30believe in?
02:31Yeah, Chris Nolan actually.
02:32Yeah, but not, I'm trying to think if it's, if it, that early on in their careers, when I was
02:38younger,
02:39Doug Liman had already done two terrific movies when I signed up for the Bourne Identity.
02:43What had he done before Bourne?
02:44He did Swingers for like 250 grand and then he did Go, which I think was a few million bucks,
02:50but it's still one of my favorite movies of his.
02:52It's a, it's a really, I just watched it again a few months ago.
02:55It's, I showed my kids.
02:56It's fantastic.
02:57Still a really interesting choice for Bourne at that time as well.
02:59It's like really, really, really cool.
03:01Yeah, they were, you know, that, that to the studio's credit, they, they, they chose him and, and he created
03:06that whole, that whole franchise.
03:08That was, that was all Doug in response to James Bond, funnily enough.
03:11He was just like, because at that time it was like, I think Piers was doing it.
03:16It was the late nineties and, and, and Doug said, I just don't relate as an American to this guy.
03:21And I, I think we need our, our kind of, uh, guy and he's kind of going to be the
03:26opposite in all these ways.
03:27Yeah.
03:28I really feel like you shaped the genre with that film.
03:31Yeah.
03:31Doug did.
03:32Yeah.
03:32Yeah.
03:32Yeah.
03:33I mean, from the action, from the fact that when you watch those movies, there is a part of you
03:37that really believes that that stuff could be happening.
03:40Yeah.
03:40James Bond always kind of exists in the world of like, we know that this isn't real.
03:44That's the joy of it.
03:44Doug was trying to really ground it.
03:46I mean, it's still an elevated world, but he's, but he was trying to make it feel kind of more.
03:50We're kind of doing it like unglamorous settings as well.
03:52It's always like, yeah, it's like nice.
03:54And you get like a kind of shitty car.
03:56It's never, he has no gadgets.
03:59He's got to just figure it out.
04:00I read the script of that all the time.
04:03That's such an amazing script.
04:04Really?
04:05Where did you get that?
04:06Yeah, the first one.
04:06Yeah.
04:07Tony, Tony Gilroy.
04:08It's the easiest to read script and he can't put it down.
04:11As I remember it too, the story was that, that Tony never read the book.
04:16Like, seriously, like he, he just heard the premise and he was literally like, got it.
04:23And then he went, he kept the premise, which is kind of the engine for the movie, right?
04:27Like the guy's got amnesia and he doesn't know who he is.
04:29And he starts to realize he has this skillset and he doesn't know what the hell's going on.
04:32So you keep that, but like everything else that none of that's from, from the book.
04:37After years of war.
04:47No one could stand between my bed and home.
04:55For me, this movie came, it feels like it came at the exact perfect time in my, in my career,
05:01in my life.
05:01It felt almost nostalgic, like, like the first movie I ever got, you know, and everything was new and shooting
05:09on film, like learning all of this stuff and everything was in camera.
05:13Everything was, you know, it was all on IMAX.
05:16So it was this new technology that, you know, had never been done for a full film.
05:20It felt like my one chance in my life to kind of make a David Lean movie.
05:24Right.
05:24You know, and it's like when you, you screened Lawrence of Arabia for us in the middle.
05:28It was such a great kind of midway through the shoot to go to look at that and go like,
05:32you know, God, man, that's what.
05:33This is where we're at.
05:34And this is what people used to have to do and did and, and, and it's what made us all
05:39fall in love with cinema and we're getting a chance to try to do something at this incredible scale that
05:45is really, really ambitious and, and requires every single person to kind of max out on like no department had
05:52it easy on this movie.
05:53No, it was, I've never seen a movie that was more ambitious to try to, to, to, to, to try
06:00to, I mean, this for me was definitely kind of the mountaintop.
06:02So I'm glad it came so far into my, my, my career.
06:06Something I saw you do is when you did your big scene with Anne towards the end of the movie,
06:11it's like a nine minute scene.
06:13You're like lying there in tears.
06:15They cut, it takes five minutes to reload the camera and you stayed in it the whole time.
06:19And you were in that state for hours because of the nature of the way we had to shoot the
06:25stuff.
06:25I didn't have to be there that day, but I remember sort of being like, I can't, I can't leave.
06:30Like this is unprecedented stuff that's happening right now.
06:33And to credit to Anne too, like she did the same and they started on your coverage.
06:36She was bringing it on the other side before the, it was like, it was for me as a young
06:40actor to see two guys, like really at the top of their game operating like that.
06:45And also, you know, it's not easy circumstances to be working with that camera.
06:49That's cool.
06:50She was phenomenal.
06:51But it's also like when you did the fight, when they were shooting the background guys who were reacting to
06:55your fight.
06:55And you've been doing this fight to days, you've killed like 200 people by this point.
07:00And you're doing the full choreo, full out, hitting the ground.
07:04You guys really set the tone for us who were like working with Chris for the first time, working on
07:09a movie of this scale for the first time of like what is expected and what is the work ethic.
07:14I think Chris sets that tone.
07:15Like I remember the first time I worked with him was Interstellar and they were all up in Calgary and
07:20they were shooting.
07:21I think I shot four days on that movie.
07:24And there's a scene where Matthew and I, you know, wrestle on a glacier.
07:29And they said, we need you to fly up to Calgary for rehearsal and fittings and things like that.
07:34I said, great.
07:34So I flew up to Calgary and I got there.
07:36We went into this room and put on these spacesuits and he had Matthew and I like fully wrestling in
07:43this like months ahead of when.
07:45And I was like, okay, this is what this, this is how this guy rolls.
07:49Like he's very, he's demanding of himself and everybody.
07:52I mean, it's all about the thing that he's trying to make.
07:55And I actually just rewatched Tenet and I hadn't seen it except for the very first time I saw it.
07:59And I forgot how kind of emotional it is at the end of that movie is just, it's, I just
08:04love the, I mean, it's just really Walt.
08:06I was like, wow, I didn't, I forgot about that.
08:08He has this brand that's like very, very universally exciting to everybody, which is like, it's so difficult to maintain
08:16at that level.
08:17I think probably Batman McKean's was the first.
08:21I feel like they must have seen Memento before, but I remember the Batman movies having such a massive effect.
08:28And I remember watching Memento for the first time and it's actually, I've never directed anything and I would love
08:33to one day.
08:34But I remember thinking for the first time, like, wow, that must be so cool to take people on a
08:38ride like that.
08:39And for people to leave a theater and have different opinions on things or to, to be asking, like, did
08:44you understand what that was?
08:46And then obviously the Batmans.
08:47I remember taking my grandparents to watch the Batmans because I would have been about 13 maybe when they came
08:52out.
08:52And obviously I love those movies.
08:54I remember I was doing the Twilight movies when they were coming out.
08:57I mean, a little bit afterwards, I think, I should know, maybe the Batman Begins is probably 2006, maybe.
09:04Yeah, probably somewhere in there.
09:05I remember, like, when I was doing press for Twilight, being so full of, like, hope, like, when seeing those
09:13movies.
09:13Because, like, it was just when every movie was starting to be a superhero movie.
09:17And it's like, oh, there's this kind of sort of outlier where it's like, you can kind of have these
09:23kind of operatic performances that no one is discounting, like, at all.
09:29They're just saying that they're really amazing performances in it.
09:33And the movies are, they're really cool.
09:36It's kind of a before and after Chris Noe, I think, for, for superhero movies.
09:40And the weird thing is, it's always impossible to, to replicate them.
09:45Yeah.
09:45They sort of feel dark, but they're actually really fun, which is almost impossible to do.
09:53I remember talking to Chris when I first got the job.
09:55Like, I was supposed to be very, very secret.
09:57His first question was, like, so what did they make the cape out of?
10:01And I was like, just so curious.
10:03He's like, and I was like, oh, it's kind of, like, messed up looking at it.
10:05No, no, no, no.
10:06It should always look like a superhero, like, pristine, no matter if you're blown up or anything.
10:10I was like, oh, interesting.
10:12I had never even thought about it.
10:13Like, the rules, right?
10:14Yeah, yeah, yeah.
10:14And I was like, oh, I'm sort of doing the opposite.
10:17Right.
10:17I remember, too, I did a movie where I had this kind of exoskeleton on, and we had these
10:23fight scenes, and we brought in Lee Smith, who had edited the Batman movies, and I was
10:27talking to Chris about it.
10:28I said, but Lee came in and really helped with the action.
10:30He goes, yeah, because we had the same problem with the Batsuit, because it was actually
10:34so cumbersome.
10:35He's like, you take out the windup of the punch.
10:38Oh, interesting.
10:39So you're just cutting, just, it's like, dum-dum-dum-dum.
10:42It's like you never see him actually pull his fist back and cock, and I'm like, oh, that
10:46makes a lot of sense.
10:47Like, if you're in this giant rubber suit, it's impossible to play an extended, extended
10:52wide in, you know, because it's kind of...
10:55They're doing that in the wide, like cutting out the...
10:57No, no, I mean, they're just cutting in and out of the wides, and then in the close,
11:01they're just taking out the chambering of the punch.
11:04Yeah.
11:05It's always the most embarrassing thing, when you're just doing something.
11:08And I always notice that the more takes I do, I get louder and louder and louder with
11:13my noises, and slower and slower.
11:15Like, you're just like, ah!
11:18Just one punch, you're done.
11:21And I think sometimes when I've been making superhero movies, you sit in the meetings
11:26before the script has been written, and they have these big set pieces already that they
11:31want to try and somehow squeeze into the movie.
11:35And it always damages the character arc, because the set pieces feel unnecessary, and I feel
11:40like Chris does the opposite of that, which is like, let's figure out the story and the
11:44arc of the characters first, and then the scale can be additive to that.
11:48And also, the way he shoots, it really feels like an independent movie, when you're shooting.
11:53It doesn't have any of that machinery, like you're saying, kind of overpowering it.
11:57It's, you know, he has all the elements that he needs, and then he trusts his heads of department
12:03to...
12:03He doesn't know where the camera's going to go with Hoytta.
12:05They know what the grammar of the film is, right?
12:09And then they find the shot based on the rehearsal, and then the camera's there, and then you see
12:13like Neil with the Marine unit, like, get the boats in the box, you know, and suddenly these
12:17sailboats just come into the...
12:19And so, like, by take two, you've kind of got, like, all of these things coordinated and
12:24working together.
12:25Yeah.
12:25And it's not prescriptive.
12:26He lets it be, kind of, organically grow out of the...
12:30And it feels very, kind of, run and gun and indie.
12:32Yeah.
12:33Yeah, I found that in that fight scene that we did in the cave, that was the first kind
12:37of big day that I'd had on set, and we shot this fight scene, and I'd been rehearsing
12:41it for weeks, and he shot my side and your side in a complete take.
12:46There was no, like, picking up little sections of the fight, which, in my world, when you
12:51do superheroes, you might do, like, a one-second beat and cut, and then do it again and watch
12:55it and cut.
12:56And it just...
12:56You're right.
12:57It creates the most organic kind of setting.
13:00And he had to slow you down, because you were going to...
13:02Yeah, because I was getting too excited.
13:03No, not even...
13:04Your choreography was, like, too good.
13:06Yeah, because he wants it to be messy, and he doesn't want you to look like this, kind
13:09of, seasoned vet.
13:10Like, my character's supposed to be, kind of, winging it for most of the time, and, yeah,
13:14I found that to be really difficult day one.
13:16I just always notice, as well, that there's something...
13:19He just has...
13:19His capacity for concentration is just insane.
13:23I don't think I've ever seen another director who...
13:26You don't see him leave set.
13:28You don't see him leave, like, next to the camera.
13:29Like, effort.
13:30No, with as much black tea as he drinks, too, which is incredible.
13:33It's incredible.
13:34You never really see him leave.
13:36Not at all.
13:36And I think the thing I admired about him the most, you know, beyond his talent and his
13:41leadership skills, is that this is the hardest job I've ever had in terms of, like, the workload.
13:46And I can only imagine what it was like for you.
13:48But he's there every day.
13:49He looks so fresh.
13:50He wouldn't ask you to do anything that he wouldn't do himself.
13:52Like, when we were hiking up that mountain...
13:54No, he doesn't ask anybody to do anything that he's not going to do, too.
13:57No, not at all.
13:58Saying that, he did come and tell me to hold this dog, which I was like, that dog is going
14:03to bite me.
14:04Like, you hold it.
14:05Like, he doesn't know what to be held.
14:08Yeah, I remember that.
14:08Like, that was one of the scariest stunts I think I've ever done.
14:11It wasn't even a stunt.
14:15I think I said to Ben Affleck when I got back that every location on this movie would have been
14:21the hardest location on any other movie I've ever done.
14:24And any day of work would have been harder than any other day of work on any movie I'd ever
14:27done.
14:28I remember, like, pulling up in the ferry in Favignana and him pointing to the top of the mountain.
14:32He's like, we're shooting.
14:33And I just, you just start laughing.
14:35You're like, of course we are.
14:36And there's no, you know, oh, we got to walk up.
14:38Yeah, that totally makes sense.
14:40And walk down at the end of the day, you know, all together.
14:42And, you know, the grips are...
14:44Building platforms, like, outside Zeus's cave in Pilos, like, you know, in the middle of a trail.
14:50Like, we had no business shooting in these places.
14:53And everybody knew it.
14:54And that was kind of this weird exhilaration that we all had was, at the end of every day, you'd
15:00be like, man, we made our day.
15:01Yeah.
15:02Like, great job, everybody.
15:03It was an adventure.
15:04Yeah.
15:05Every day.
15:05What do you think was your hardest day?
15:08That's funny.
15:09I remember Himesh said to me, we were in Iceland, and it was night, and it was like raining sideways
15:14on us.
15:15I mean, it was just drilling us.
15:16We were walking back to this ship that wasn't even a ship.
15:21It wasn't seaworthy.
15:22It was an art department creation that we just needed to be able to get on and off, all the
15:26guys.
15:27And it was like, it felt like it could go at any minute.
15:29But we're walking back, we're resetting, and Himesh said, do you think today is the hardest day of filming you've
15:34ever had in your career?
15:35And I said, I don't know, Himesh.
15:38I go, but if it wasn't, it was another day on this movie, and you were there, so you tell
15:44me about it.
15:45Because we were in some crazy places.
15:48I remember turning up the first day I turned up in Favignano, and I was like, oh, this is going
15:53to be nice, nice hotel in Italy, and no one was around.
15:57And I suddenly started seeing the crew and actors come back, and it literally looked like people were coming back
16:03from the trenches.
16:04I mean, I've never seen light.
16:06By Friday afternoons, you could see, and everybody needed, like, and the weekends were just, people just went, they got
16:12a bite to eat, and they went to bed.
16:13And it was just, everybody was just crawling home.
16:17Yeah.
16:18I think the crew, like, really, I've never seen a group of people work as hard as they did.
16:24No way.
16:24And come together and be elite.
16:26And they're really experienced crew, too.
16:28Totally, yeah.
16:28And I had that conversation with all of them at various times throughout the shoot.
16:33Like, hardest movie you've ever done, they were like, oh, fuck yeah.
16:36Like, not even close.
16:38Like, there's nothing that comes close to this.
16:39And I remember Nilo, the first AD, saying to me one day, we were sitting there probably halfway through, and
16:45we're out in the ocean somewhere, and they're setting up a shot.
16:47And Nilo goes, you know, you look around, every single one of these people could be on an easier movie
16:54and making more money.
16:55Yeah, totally.
16:56Wow, yeah.
16:57And like, every single person was like a repeat customer.
17:00Like, they'd done movies with Chris, they knew exactly what they were signing up for, and they wanted to be
17:04a part of it.
17:05And that you could really feel in every day shooting.
17:09I think the thing I love the most about our jobs is learning something new.
17:16You know, on the Odyssey, it's sword fighting.
17:18I've never done anything like that before.
17:20So for me, you know, finding something where you can sit down with, you know, one of the best in
17:25the world in a very specific field.
17:27It's like James on the Odyssey.
17:28Yeah, yeah.
17:29Like, learning how to shoot bow and arrows with this, like, absolute legend was so fun.
17:34Yeah, I agree.
17:34It's that research part where, because you get this access that you would just never otherwise get.
17:40Totally.
17:40Like, who would let you just into their life?
17:43Yeah.
17:43You know, like, when you're researching someone.
17:45I remember on Spider-Man 1, you know, in the UK, we really romanticize what the American high school life
17:52is like.
17:52You know, we watch movies and we see how fun it is and all that sort of stuff.
17:56And I secretly enrolled in the Bronx School of Science and went for, like, two weeks at this school.
18:03Did you really?
18:04I had, like, a fake accent.
18:05My chaperone pretended to be my dad and would, like, drop me off at school every day.
18:10And, like, they're, like, the smartest kids in America.
18:12They're, like, genius kids.
18:14And I'm thick as shit when it comes to science.
18:17And, yeah, I took all the classes.
18:19I was great in gym.
18:20Like, gym was, like, my class I really excelled at.
18:23But, like, in what other line of work would you get to do something like that, you know?
18:28So, you went to school for two weeks.
18:30Yeah, the Bronx School of Science, yeah.
18:31And none of the kids knew?
18:32Like, would you go eat lunch with the kids?
18:34Yeah, I made friends.
18:35I was, like, a new exchange student.
18:37I had a backstory.
18:38I have videos on my phone.
18:39I actually have a video on my phone of a teacher throwing chalk at me because I was on my
18:45phone.
18:45Because I was trying to document it all.
18:47I'll show you afterwards.
18:48It's actually nuts.
18:50But, yeah, like, that research stuff, like, there's no world in where you could do something like that.
18:53I bartended down in Knoxville, Tennessee, to pick up an accent.
18:56Nice.
18:57And did that for, like, a month.
18:59Did it for a month?
18:59Yeah.
19:00Yeah.
19:01It was a big break for me.
19:02It was in a Francis Ford Coppola movie.
19:04Yeah.
19:04And I had a month to kill.
19:06And then we were gonna have three weeks of rehearsals at, you know, in Napa Valley, where he lived.
19:10And so I went, I moved to Knoxville.
19:12And I just told this, the manager, this woman, I just told her what I was doing.
19:16And so it was an extra bartender for her at no charge, right?
19:20Oh, wow.
19:20I was like, I'll give all my tips to these guys.
19:22And I just, I just need, I just need to be here.
19:25Because if you're serving drinks to people, and the guy was a bartender in the movie.
19:28But if so, but if you're serving drinks to people, they talk to you.
19:31And so you can...
19:31Do you find, if you immerse yourself that much into an accent, that you find it harder to shake it?
19:37I don't know.
19:38It's weird for me, like, accents, I have a really easy time with accents in America.
19:42Okay.
19:42They just come very naturally to me.
19:44I think because I have a pretty neutral starting place to jump off into these different directions.
19:50And then, and then going abroad is much harder for me.
19:52The guy's still for the life of me, all the movies I've done in England, I still can't hear.
19:56Like, you know, I have friends, English friends who go like, I can tell you not only where a person's
20:01from,
20:01but where they're trying to make you think they're from.
20:03And like, like you guys understanding of all of that is so deeply ingrained.
20:07And, and I just, I can't really hear it.
20:10That's the thing, I always struggle with regional English accents, especially regional London accents,
20:16mainly because like, exactly because of that, because there's so much kind of,
20:20so much of who you are as an English person is purely accent based.
20:25I mean, I guess it's the same as American as well, but it's like...
20:27It's very nuanced too.
20:29The movie that I quote the most, probably in my life I've quoted the most is probably Midnight Run.
20:33That was always a favorite.
20:34We used to quote Ben and I.
20:36You got him!
20:36You got him!
20:37You got him!
20:38You got him!
20:39A little more time.
20:40Yeah.
20:41So that one.
20:42And then with my kids, I definitely, oh, with my dad, Three Amigos was one with my brother and my
20:47dad.
20:48And with my kids, definitely a lot of Will Ferrell's movies, definitely Step Brothers, Talladega Nights.
20:54And we always say as a Will Ferrell quote, like, hey, lady in the red hat, from out and ever,
21:00that that's not like one of the quotes.
21:02I was like, you know that thing, that moment?
21:05Have you ever seen the thing when he's on Eastbound and down, my plums?
21:08oh my god i what like when i'm on the road and just movie bloopers make me laugh i think
21:14yeah
21:14more than any like i just start i get a contact high and i start giggling um we didn't have
21:20any
21:20of that on this not really no but i am i lose i am i am the least professional person
21:25when it comes
21:25to that because once i get going it's hard to stop you'd listen to the imax film like rolling
21:31through the camera and you suppress your laughter you're like that that film is so expensive i think
21:37i think i went up on one line in this movie i think i went up on one line i
21:40was like i'm never
21:41going to go up on a line like i it's just the producer in me yeah you hear that two
21:46and a half
21:47minute you know mag just ripping and it sounds like a blender and the way they dialed in reloading the
21:53camera well keith yeah those guys are amazing yeah him and emily i remember being on a boat one day
21:58and
21:59chris was like chris was doing the clap aboard and you know it was just us and him on the
22:04boat like he
22:04he really gets stuck in and i think at one point the camera jammed and it was raining sideways and
22:10the boat is tipping like this and keith and emily like i thought to the untrained eye like oh that's
22:15a bust like the camera's broken we're two miles off the coast like we're gonna have to go back to
22:19to land and they just figured it out it was amazing to see
22:23to be
22:23to be
22:23to be
22:23to be
22:24You
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