00:02So IMAX is the highest quality imaging format ever invented. It was invented the year before
00:07I was born. It's been used for documentaries for many years, things like Everest, To Fly,
00:12these great movies. And I first saw them when I was 16 at the Museum of Science and Industry
00:16in Chicago. And at that point, I said to myself, if I could ever have the opportunity to direct
00:21a Hollywood film, I want to do the whole thing on IMAX. What did it do for you at 16
00:25that you
00:25thought, wow. It takes you, it immerses you. The image is so sharp. The color is so clear. It's
00:31so much the way your eyes sees the world. It fills your peripheral vision when it's on the biggest
00:34screen possible. And I want to do the whole film that way. On the dark night, I went to IMAX
00:41and
00:41said, can I borrow your cameras? Can we start using it for the action sequences? So the introduction
00:47of Heath Ledger's Joker, truck flip, things like that, those scenes we did on IMAX. But the cameras
00:52are incredibly noisy. So we've never been able to do dialogue that way. And coming to the
00:58Odyssey, I called them up and I said, look, if ever there was a film that deserved to be
01:01every frame in IMAX, it's this. So can we find a way to silence these cameras? And they built
01:07this giant box, this kind of high-tech blooping system. You put the camera in it and it silences
01:14the camera. So then, yes, you're dealing with a very cumbersome camera system, but you can
01:20film a conversation. You can get the camera in close proximity to the actors and get their
01:24intimate moments. So now we can do the whole film that way.
01:27Yeah, but you also had to, didn't you have to stop every, is it three minutes?
01:31Well, that's the other problem. The film is huge.
01:33Yes.
01:35So after each sort of just under three minutes, you run out of film.
01:40Yeah.
01:40So you have to ask the actors on a longer scene to just stay in the emotional state that
01:45they're in, however intense that is. And then you quietly reload the camera, keep everybody
01:49focused and then start the scene again. It was a big ask for the actors. But what they
01:53understood is, you know, if you shoot on this giant negative, every version of the film, yes,
01:58the big IMAX screens, but also, you know, anybody's local theater with the DCP, you know, the digital
02:04versions, they're all derived from this incredible information that you get on set.
02:08So we're able to put out all the different versions to all the different movie theaters,
02:12you know, across the world with the kind of maximum quality. And for me, what that means
02:20is people are close to the story. They're close to the characters. They're feeling the emotions
02:23of the characters and you're in this world. You escape to this world for a couple hours.
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