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When you have the third picture
in a franchise,
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there are several things that you can do
to make it more fun,
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make it bigger, make it better.
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Big, crazy, I mean, it's everything.
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It's a big, big logistical
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nightmare.
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This is like number one
and number two combined
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with the effects, with the stunts,
with the multiple states,
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the multiple locations,
the traveling circus.
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I don't think I'd have it any other way.
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It's like nothing you've ever seen.
It's really crazy.
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They must be thinking,
"Is that big enough?
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"Maybe that's not big enough.
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"We gotta go bigger.
We gotta think bigger."
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I've never been challenged like this
in my life,
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and I can't honestly say that I think
I ever would have been
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had I continued going the way I was.
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Everything's much better in this movie.
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It feels magical.
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I think we've learned from the first two.
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This time, we worked our butts off
to make this the best of the three.
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Transformers!
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I think the reaction to the second movie
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played a large part
in the development of the third movie.
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Michael was very aware,
as was the studio and Lorenzo.
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Everyone was aware
that the reaction to number two
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was not as favorable
as it had been to number one.
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The second movie was just
like a lot of second movies,
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it's an introduction of new characters.
"How do we keep this exciting?
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"How do we keep the discovery?"
New people, new faces.
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But we overdid that,
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and I think there were
too many new characters to pay off
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and we didn't have the time.
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I'm thrilled.
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I'm sorry. Transformers 2.
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Was I proud of the movie?
Yeah, there are things
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that are great in the movie,
things that are fun.
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It wasn't my best movie.
I knew we could've done better.
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We were slogging through the ending.
It got sloppy,
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and that's just because
too little writing time.
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The movie was written
during a writers' strike.
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The strike happened,
we were still prepping the movie,
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and I said, "We're already into this."
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It's not the best way,
this is totally not the way to do a movie,
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I would never recommend it again,
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but we're gonna get this movie going,
hell or high water.
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Some of the flaws in it can be traced
to the Guild strike
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and not having enough time
to really develop a story
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that might get to a deeper
character level.
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But I think that movie came out
of criticism of the first
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that, "Wow, these robots
are so amazing,
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"and what you can do
with the effects is so amazing."
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We wanted to see
so much more of that.
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And so I think the design
of Revenge of the Fallen
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became about spectacle first,
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as opposed to starting with
a stronger narrative throughline
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and finding the action scenes
that would fit that.
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It was a yeoman's effort, I guess,
for being under the circumstances.
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Michael wasn't sure
that he wanted to make a third movie.
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He wasn't sure, certainly,
that he wanted to jump into it right away.
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Michael first thought
he'd take a break between
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Transformers 2 and Transformers 3.
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Go off, do a little movie or something.
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But he realized that
you might lose some of your key crew.
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And Michael Bay is a very loyal person,
above and beyond everything,
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which is pretty cool.
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And once he has a team assembled,
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he's got people he's worked with
for years,
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he loves working with the same people.
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I certainly enjoy working with him,
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and he realized we probably
should roll into the next movie
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and keep all the same team
so we know what we're doing
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and build upon what we already know.
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What we did first was design robots.
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Dozens of robots, literally.
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Some got face-lifts,
some got new weapons,
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some got new armaments.
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That was the priority.
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So the marching orders were,
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"Get these robots together
and get going."
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One of the nice things about
the evolution of this franchise
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is that with each successive movie,
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we've had more liberty
to create characters for the robots.
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On the second one,
what we ended up doing
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was venturing into more
personality-driven robots,
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and also into more unique anatomy.
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And on the third one,
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I 'd say it probably just continued
along the same lines
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in that we've now transitioned fully
into a creature realm
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of organic motion and organic design,
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but still within our Transformers
mechanical language of materials
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and shapes and all that stuff.
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And then I would say that on the third,
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we went even more
into specific characterization,
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personality explorations.
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We'd done some of that
in the second,
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but on the third, it was even more so.
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I think we wanted to introduce
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some exciting new Autobot
and Decepticon characters,
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but only a few, so that we really
got to know them as characters
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and they each got their moments
to really register
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and make an impression.
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Bumblebee!
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In previous movies, Bumblebee
was Sam's guardian, first and foremost.
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And in this movie,
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we felt like Bumblebee should graduate
from that role.
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So we wanted Bumblebee
to be one of the fighting ranks.
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He's gone from an up-and-coming
member of the Autobots
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to a real leader of the Autobots.
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He had cosmetic changes to the car
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that would then influence and show up
in the robot in subtle ways.
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But fundamentally his face
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and all the things that really make him
identifiable haven't changed.
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The car was the same
for the first two movies.
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And we just needed to freshen it,
update it a little bit,
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use the newer model,
incorporate a lot of GM's new ideas
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to get just a fresher, sharper car.
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In this movie, Optimus now has a trailer.
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It's a 53-foot Great Dane
refrigerated trailer
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It's just the most beautiful semi-trailer
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if there was a beautiful semi-trailer,
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which turns into
some type of flying apparatus.
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We had a power-up idea
on the second one
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that when the SR-71 character dies,
or sacrifices himself,
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he takes on a lot of that guy's
actual body matter,
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which, if you think of it
in literal human terms, is disgusting,
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but he takes his power and his paneling
and all this stuff
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and turns himself into a flying,
powered-up Optimus.
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Maybe that idea was lingering
in Michael's mind
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and other people's minds.
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For the third one was, "Let's do it again,
a power-up Optimus, but let's,
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"number one, explain,
'Whatever happened with the trailer
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"'from the original series?'
Let's do something with that.
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"And number two, the idea
of uber-Optimus is just cool. "
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The concept Corvette that we have
is so cool-looking.
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It's definitely a Corvette
and yet it feels completely different.
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It's essentially the same car
as the second film,
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but the second film, it was a hardtop.
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We sent it back to GM,
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and cut the top of it and made it
the roadster that it is today.
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He is Enzo, as in Enzo Ferrari.
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Early on,
Enzo was modeled on a character
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from the mythology called Mirage.
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And in an early draft of the script,
he had some powers of invisibility,
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the ability to cloak other objects.
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And as we pulled those out,
we left the Mirage name behind.
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But, in that case,
it was really important to Michael
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that this character have the personality
of a Ferrari,
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so we really wanted that car
in the movie.
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So we gave him an Italian accent
and an Italian name.
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Que was initially modeled
on a character
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from the mythology named Wheeljack,
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who was an inventor
and a technical specialist.
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Initially, it was,
"Okay, it's Q from James Bond,
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"and he's gonna be an old Rolls-Royce."
It's like, "Okay, that's cool."
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So I've got a little retro vibe to play with.
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I remember Q being kind of tall
and scrawny in the old movies,
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and so maybe
he's a slightly bumbling character.
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And the first take I did on it,
Michael, rightly so, said,
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"That's a Pixar design.
That's not our movie.
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"It's too cartoon-y and it's too cute
and I don't like it."
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But then a mandate came down,
honestly, I think it was from Spielberg,
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"Why don't you make him look
like Albert Einstein, literally?"
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The Wreckers are three new vehicles.
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The interesting thing
is they're partially transformed
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and they're equipped with Gatling guns.
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I just think they're the coolest
invention ever. Race cars with guns?
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What more could a boy ask for?
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I don't even know how to call them.
They're not cars, though.
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They're war machines,
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they're speed war machines.
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Combining sheer firepower and speed,
how cool is that?
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In the mythology, they had
a very mercenary personality to them
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and couldn't always be trusted,
but ultimately would show up
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and get the job done.
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So for the movie rendition of them,
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we saw them as a pit crew,
and thus the NASCAR disguises
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and the brash,
rough-and-tumble attitudes.
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That was a neat attempt to do
a real mash-up of alien aesthetics
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with hardcore nuts and bolts,
NASCAR space frames
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and all the cool stuff
that's underneath those cars.
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I felt like that was an example
of where we...
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Rather than a new Transformer thing
that was harsh, spiny
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and threatening
and all that sort of thing,
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it was actually a fun,
colorful take on robots.
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Megatron has fallen on
horribly hard times in our movie,
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and it's almost sad to see the bad guy
laid so low as that.
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As much as he's a terrible guy,
you almost hate to see him like that.
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We just wanted to make him
pathetic, ugly.
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That's why we had the sheet,
the cloak, with his ripped-off face,
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trying to plan his sinister little plan.
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He's taken on a very earthy,
organic tone
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in terms of him as the truck vehicle,
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and his venue, when we see him
in Africa and all that.
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So that was a new thing to explore.
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Shockwave was a big deal
in the Transformers mythology.
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He was a character who had remained
on Cybertron for the Decepticons
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and was leading the battalions there.
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He really represents brute force
and military tactics.
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And what we wanted for the movie,
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and we chose Shockwave
to represent it,
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was a character that,
as soon as he appeared on screen,
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you knew he was a fearsome foil
for Optimus.
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When Michael and I first started
discussing how to present Shockwave,
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I pitched him the notion of a steed
or a mount,
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a horse for Shockwave,
as if he could enter with this chariot.
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And for story purposes,
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we needed something
that would tunnel underground
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to reach this engine part
in the Chernobyl sequence.
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So I pitched this Driller idea
as a snake or a worm
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and it was fairly straightforward
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It took us a while to figure out
what the Driller was exactly,
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in relationship to Shockwave.
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It was clearly a vehicle,
but at the same time,
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it's its own entity on some level,
and the way that he drives it,
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is he sitting in a cockpit or is he more
like Spartacus on a chariot?
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There were different kinds of postures
and relationships to him.
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At one point, it was almost as if,
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"ls the Driller a bunch
of almost independent worm entities
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"that he has lashed together
with a saddle or a harness, if you will,
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"and he's riding them?
Is he riding worms on some level?"
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So ultimately it ended up being
more like a cockpit, I would say,
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but there were still
some visual elements that suggested
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a riding-like way of using your hands.
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What I pitched is basically
a straightforward drilling snake.
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But, of course,
in true Michael Bay fashion,
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once it went through his imagination
and the artists at ILM,
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it became this multi-tendriled Hydra
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of a huge thing
the size of three city blocks,
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and the first time he showed me
the visuals for that, I said,
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"Yeah, that'll work."
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The Dreads were characters that
Michael brought to the table early on,
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as he has done in these movies.
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There are some characters
that he wakes up with a vision of
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in the middle of the night
and comes to a meeting and says,
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00:13:46,327 --> 00:13:49,455
"I see these guys.
I don't know how they fit into the story,
237
00:13:49,538 --> 00:13:51,248
"but they're gonna be animalistic
238
00:13:51,332 --> 00:13:53,375
"and it's gonna be awesome
if we use them
239
00:13:53,459 --> 00:13:58,172
"in this car chase we 're talking about.
I just want these guys to be scary."
240
00:13:58,255 --> 00:14:01,675
Decepticons, usually, they're flying,
they're some kind of spaceships
241
00:14:01,759 --> 00:14:03,552
or jet fighters.
242
00:14:03,635 --> 00:14:05,971
But now they brought them
into vehicle mode.
243
00:14:06,263 --> 00:14:09,725
And they don't exist
in the Transformers mythology.
244
00:14:09,808 --> 00:14:12,394
That's a Michael Bay special.
245
00:14:31,455 --> 00:14:37,795
We have a new arch-villain in the movie
under the name of Sentinel Prime.
246
00:14:37,878 --> 00:14:41,965
Sentinel is the key character
for this movie.
247
00:14:42,549 --> 00:14:45,552
In my initial drafting of the story,
248
00:14:45,636 --> 00:14:49,681
I'd talked about this notion
of finding in the mythology
249
00:14:50,599 --> 00:14:53,310
a father figure for Optimus,
250
00:14:53,394 --> 00:14:57,481
someone that
he had apprenticed under.
251
00:14:57,648 --> 00:15:01,902
And there's not a lot
about Sentinel Prime in the mythology,
252
00:15:02,277 --> 00:15:06,907
so I felt that it gave us a lot of license
to take a character
253
00:15:06,990 --> 00:15:12,079
who existed in Transformers lore,
but do something new with him
254
00:15:12,162 --> 00:15:14,456
and do something surprising with him,
255
00:15:14,540 --> 00:15:17,209
and find an Autobot whose betrayal
256
00:15:17,292 --> 00:15:20,838
could really
emotionally impact Optimus.
257
00:15:20,921 --> 00:15:23,006
I always wanted somewhere
in the Transformers universe
258
00:15:23,090 --> 00:15:26,135
to do what I would consider a proper
259
00:15:26,218 --> 00:15:30,597
Gundam, L-Gaim, Japanese knight
warrior robot,
260
00:15:30,681 --> 00:15:33,183
because there's such a huge,
great library of influences out there
261
00:15:33,267 --> 00:15:36,103
to choose from, and I said,
"I know this is not gonna fly.
262
00:15:36,186 --> 00:15:38,397
"I'm just gonna do it 'cause I wanna see
263
00:15:38,480 --> 00:15:42,359
"how much of a slightly more traditional,
cleaner design I can sneak in."
264
00:15:42,443 --> 00:15:45,070
And to my surprise,
it actually went through.
265
00:15:45,154 --> 00:15:48,323
Ultimately, it had to be articulated
into a more Transformer-y language,
266
00:15:48,407 --> 00:15:50,075
but the basic shapes and gestures
267
00:15:50,159 --> 00:15:54,371
ended up largely as clean
as I had originally sketched them.
268
00:15:54,621 --> 00:15:57,124
It got articulated
with extra negative spaces
269
00:15:57,207 --> 00:15:59,334
and lots of mechanical parts
and all that,
270
00:15:59,418 --> 00:16:03,422
but fundamentally there's some large,
contiguous flat surfaces on him
271
00:16:03,505 --> 00:16:05,382
that ordinarily
would never have made the cut
272
00:16:05,466 --> 00:16:07,759
and I was happily surprised
to see that it did.
273
00:16:07,843 --> 00:16:10,137
Some of the experiments we did
where the face mask
274
00:16:10,220 --> 00:16:12,598
was extremely clean-looking
and sort of techie-looking,
275
00:16:12,681 --> 00:16:14,266
I actually really like those,
276
00:16:14,349 --> 00:16:16,810
but I think when you think of him
as an older character,
277
00:16:16,894 --> 00:16:18,812
and obviously
he has a huge story component
278
00:16:18,896 --> 00:16:20,564
and there's history behind him
and all that,
279
00:16:20,647 --> 00:16:22,232
the decision to go with a more wizened
280
00:16:22,316 --> 00:16:25,569
and ultimately, obviously,
a little bit pirate-y look
281
00:16:25,652 --> 00:16:27,321
was probably the appropriate way to go.
282
00:16:27,404 --> 00:16:32,367
He needed to be something as big,
if not bigger,
283
00:16:32,451 --> 00:16:33,827
than Optimus.
284
00:16:33,911 --> 00:16:35,746
And there was something
about the fire truck
285
00:16:35,829 --> 00:16:38,665
that suggested ability,
coming to the rescue,
286
00:16:38,749 --> 00:16:43,170
being on the side of right that
could subvert our true designs with him,
287
00:16:43,712 --> 00:16:47,424
and Michael found
a really cool-looking firetruck.
288
00:17:06,693 --> 00:17:11,573
I wrote the script all the way up
until we started shooting
289
00:17:11,657 --> 00:17:14,535
for the Mikaela Banes character,
290
00:17:14,618 --> 00:17:18,497
with the assumption that Megan Fox
was gonna play that part again.
291
00:17:18,580 --> 00:17:22,459
She was in rehearsals
a few weeks before we started shooting.
292
00:17:22,543 --> 00:17:24,878
And then, for one reason or another,
293
00:17:24,962 --> 00:17:27,464
it just became clear
that it wasn't gonna work out.
294
00:17:27,589 --> 00:17:30,968
I had not seen Megan
about eight months or so
295
00:17:31,051 --> 00:17:32,553
since Transformers 2.
296
00:17:32,636 --> 00:17:36,682
And when I saw her,
she just didn't look like Mikaela.
297
00:17:39,476 --> 00:17:44,314
I guess Hollywood sometimes has a way
of casting a spell on women
298
00:17:44,398 --> 00:17:48,193
that they have to change their look,
299
00:17:49,361 --> 00:17:55,117
change their appearance, I guess,
to satisfy something, I'm not sure.
300
00:17:55,492 --> 00:17:59,830
But Megan's
a stunningly beautiful woman,
301
00:17:59,913 --> 00:18:03,250
and we decided to go our own ways.
302
00:18:03,417 --> 00:18:07,379
I guess we were all hoping
that the family didn't break up.
303
00:18:07,462 --> 00:18:11,258
But it did,
and we just had to pick up the pieces
304
00:18:11,341 --> 00:18:12,718
and keep going-
305
00:18:12,801 --> 00:18:16,263
It was difficult because
we were a week away from shooting
306
00:18:16,346 --> 00:18:17,764
and then we were a week into shooting,
307
00:18:17,848 --> 00:18:21,018
and we kept moving the Mikaela stuff
later and later.
308
00:18:21,101 --> 00:18:23,604
We decided basically right away
309
00:18:23,687 --> 00:18:28,233
that we weren't going to throw out
the rest of the plot of the movie
310
00:18:28,317 --> 00:18:30,152
and come up with a new plot
311
00:18:30,235 --> 00:18:34,948
that involved a new female love interest
312
00:18:35,032 --> 00:18:37,451
for Sam.
313
00:18:37,534 --> 00:18:40,787
But that we would maintain the idea
314
00:18:40,871 --> 00:18:45,417
that he was going to experience
this adventure with a girlfriend character
315
00:18:45,500 --> 00:18:47,961
and it would just need to be
a new girlfriend.
316
00:18:48,045 --> 00:18:52,049
Michael sent me a text message saying,
317
00:18:53,050 --> 00:18:55,719
"You should really go to the audition
for Transformers,"
318
00:18:55,802 --> 00:18:59,139
and I assumed it would
just be a small part in the movie.
319
00:18:59,848 --> 00:19:00,932
Just a walk-on part.
320
00:19:01,016 --> 00:19:02,517
Rosie came in,
321
00:19:02,601 --> 00:19:05,937
it was 400 or 500 women
that auditioned,
322
00:19:06,021 --> 00:19:08,190
and there was a spark about Rosie
that I really liked,
323
00:19:08,273 --> 00:19:11,443
and she said,
324
00:19:12,235 --> 00:19:14,529
"Hello, good morning, thank you,"
to the crew,
325
00:19:14,613 --> 00:19:17,366
my crew very much appreciated it,
so it was a breath of fresh air.
326
00:19:17,491 --> 00:19:20,327
A few more e-mails went back and forth
from me and Michael,
327
00:19:20,410 --> 00:19:23,163
and I honestly thought he was joking.
It was like,
328
00:19:23,246 --> 00:19:26,541
"You were good, and this movie
might be coming your way."
329
00:19:26,625 --> 00:19:28,335
And I was like,
"Yeah, whatever, whatever."
330
00:19:28,418 --> 00:19:29,711
And then
there was a couple of phone calls
331
00:19:29,795 --> 00:19:32,756
and then it was like, "Okay,
this could be going somewhere."
332
00:19:32,839 --> 00:19:38,387
And still I was unaware of the part.
333
00:19:38,470 --> 00:19:41,640
With the audition,
it was a serious audition.
334
00:19:41,723 --> 00:19:46,645
She did multiple auditions in New York
and then we just put her with Shia,
335
00:19:46,728 --> 00:19:49,106
with a full crew, with a full set,
336
00:19:51,024 --> 00:19:52,275
and we put her through the paces.
337
00:19:52,359 --> 00:19:53,360
It's just not fair, you know.
338
00:19:53,443 --> 00:19:56,988
I feel like I'm not working
with the Autobots. I feel worthless.
339
00:19:57,072 --> 00:20:00,033
Well, getting a good job's hard
for everyone.
340
00:20:00,117 --> 00:20:02,035
Don't go into that little dark place
that you go to.
341
00:20:02,119 --> 00:20:04,538
- I'm not going to a place.
- Yeah, you are.
342
00:20:04,788 --> 00:20:06,039
- Place that you go to...
- Hard for everyone?
343
00:20:06,123 --> 00:20:08,041
- How many interviews did it take you?
- It took me one.
344
00:20:08,125 --> 00:20:10,544
- That's what I mean.
- Well, one of us has got to work.
345
00:20:10,627 --> 00:20:12,295
- I would like to work.
- You would?
346
00:20:12,379 --> 00:20:14,172
- Yeah.
- Then get off your ass and go get a job.
347
00:20:14,256 --> 00:20:17,008
I'm in the midst, I'm in the midst.
348
00:20:17,092 --> 00:20:20,178
I was at home on the weekend
watching this test,
349
00:20:20,303 --> 00:20:23,432
and I asked my wife to come over
and watch her,
350
00:20:23,515 --> 00:20:27,853
and her reaction was,
"I wanna watch her more. "
351
00:20:28,854 --> 00:20:33,358
And that's a chemistry thing,
that's not an acting thing.
352
00:20:33,442 --> 00:20:36,069
You can teach a person to act.
You can't teach a person that.
353
00:20:36,153 --> 00:20:37,738
You either have that
or you don't have that.
354
00:20:37,821 --> 00:20:39,823
It's a magnetism, it's an energy,
355
00:20:39,906 --> 00:20:43,577
it's something that makes you go,
"I wanna watch some more of that. "
356
00:20:43,660 --> 00:20:46,121
And when you see somebody
who's never acted,
357
00:20:46,204 --> 00:20:49,082
and they can project that,
you know you got something special.
358
00:20:49,166 --> 00:20:53,003
Michael called me the next day and then
it was like, "Okay, right, you're in."
359
00:20:53,128 --> 00:20:58,425
What it did do is it opened up
some story possibilities
360
00:20:58,508 --> 00:21:01,595
that didn't exist
with the Mikaela character.
361
00:21:01,678 --> 00:21:05,056
Over the two movies,
the Shia/Megan relationship
362
00:21:05,140 --> 00:21:06,349
had progressed quite far.
363
00:21:06,850 --> 00:21:09,102
And it was gonna progress
a little bit more
364
00:21:09,186 --> 00:21:10,437
if Megan had been in the movie,
365
00:21:10,520 --> 00:21:13,940
but the truth is
we got to restart, in a way,
366
00:21:14,024 --> 00:21:19,905
and it brings a freshness and a vitality
that really serves the story
367
00:21:19,988 --> 00:21:22,741
and Shia's character and her character,
368
00:21:22,824 --> 00:21:25,744
and it's an unexpected thing
that we've witnessed.
369
00:21:25,827 --> 00:21:27,579
I think it was
Sydney Pollack who once said,
370
00:21:27,662 --> 00:21:29,122
"it's great to watch people
falling in love,
371
00:21:29,206 --> 00:21:31,917
"but it's really boring
when they're in love."
372
00:21:32,000 --> 00:21:35,629
And I never quite understood that quote
until I saw this happen,
373
00:21:35,712 --> 00:21:38,757
which was, "Wow, there's a whole
other level of energy
374
00:21:38,840 --> 00:21:40,967
"and excitement that has been brought
to the project
375
00:21:41,051 --> 00:21:42,469
"that is reminiscent of the first movie."
376
00:21:42,552 --> 00:21:44,471
I think that change is always good.
377
00:21:44,554 --> 00:21:48,058
And though it is hard
to let go of the past
378
00:21:48,141 --> 00:21:50,936
and choices that have become familiar,
379
00:21:51,019 --> 00:21:56,024
that sometimes it's okay
to do new things
380
00:21:56,107 --> 00:21:57,901
and to go down a different road.
381
00:21:57,984 --> 00:22:02,030
So we certainly all wish Megan well
in her ongoing career.
382
00:22:02,113 --> 00:22:07,202
It was time for us at this time
to have a new choice,
383
00:22:07,285 --> 00:22:10,288
and Rosie has stepped in
extremely well,
384
00:22:10,455 --> 00:22:14,167
and is also beautiful and fun,
385
00:22:14,251 --> 00:22:17,712
and I think that the audience
will respond to her in the same way
386
00:22:17,796 --> 00:22:20,423
that they did in the first two movies
with Megan.
387
00:22:41,521 --> 00:22:43,482
First shot of the movie.
388
00:22:45,150 --> 00:22:46,735
It's the foot landing on the Moon.
389
00:22:46,818 --> 00:22:48,153
It's kind of appropriate.
390
00:22:48,236 --> 00:22:49,905
And action!
391
00:22:52,032 --> 00:22:53,700
Okay.
392
00:22:54,785 --> 00:22:55,869
Good.
393
00:22:55,953 --> 00:23:00,040
Feels familiar.
Still exciting, still nerve-racking.
394
00:23:04,044 --> 00:23:06,296
See, I got the shakes. You see that?
395
00:23:07,339 --> 00:23:09,132
That's just called the directing jitters.
396
00:23:09,216 --> 00:23:12,552
Three, two, one, jump!
397
00:23:16,890 --> 00:23:22,854
The decision to shoot 3D was made
fairly late in our pre-production process.
398
00:23:22,938 --> 00:23:26,149
But I think the benefit to shooting in 3D
399
00:23:26,233 --> 00:23:28,402
and releasing in 3D is a good one.
400
00:23:28,777 --> 00:23:31,279
This is day one.
We look ridiculous, don't we?
401
00:23:31,363 --> 00:23:34,032
3D. 3D.
402
00:23:37,285 --> 00:23:40,122
Wait, I have to put my iced coffee down.
Here, hold that.
403
00:23:40,247 --> 00:23:42,124
3D.
404
00:23:42,290 --> 00:23:44,459
Ready and action! Move it around.
405
00:23:44,543 --> 00:23:47,254
Jim Cameron was the one
who really told me
406
00:23:47,337 --> 00:23:49,464
I should really consider
doing this movie in 3D,
407
00:23:49,548 --> 00:23:52,384
really take a jump at it,
so we did a lot of research.
408
00:23:52,467 --> 00:23:56,054
I brought in a 3D camera system
and a crew.
409
00:23:57,931 --> 00:23:59,474
I didn't wanna know
much about the camera.
410
00:23:59,558 --> 00:24:01,143
I want to just play a game like,
411
00:24:01,226 --> 00:24:03,645
"Okay, I'm gonna pretend
like I'm on a shoot.
412
00:24:03,854 --> 00:24:05,063
"I'm gonna time it,
413
00:24:05,147 --> 00:24:07,858
"and I'm gonna go from here
to here to here to here to here.
414
00:24:07,941 --> 00:24:10,318
"Okay, I wanna see how fast
they can leapfrog."
415
00:24:11,111 --> 00:24:12,446
That wasn't going so smooth.
416
00:24:12,529 --> 00:24:16,533
It has affected the way we shoot
because it's much slower.
417
00:24:16,616 --> 00:24:17,617
It's clunky, it's heavy.
418
00:24:19,286 --> 00:24:21,204
To set up those shots,
it is a different thing.
419
00:24:21,580 --> 00:24:23,749
When you got a 3D camera
that's as big as an RV,
420
00:24:24,458 --> 00:24:25,917
it does change the pace.
421
00:24:26,001 --> 00:24:30,047
The amount of cables,
the amount of crew, the amount of shit,
422
00:24:30,547 --> 00:24:33,717
it was just like,
"This is gonna be a nightmare."
423
00:24:33,800 --> 00:24:37,637
But what was going smooth
was me looking through the camera,
424
00:24:37,721 --> 00:24:40,557
and I'm watching it on the TV,
and seeing 3D right then and there.
425
00:24:40,640 --> 00:24:42,642
And I'm like, "This is very cool."
426
00:24:43,143 --> 00:24:45,479
Neil, turn towards camera a little bit!
427
00:24:46,313 --> 00:24:48,565
Most of the times
when people shoot 3D,
428
00:24:48,648 --> 00:24:50,567
they'll shoot 15 days of 3D.
429
00:24:50,650 --> 00:24:53,653
We shot almost every day
430
00:24:53,737 --> 00:24:56,448
with a 3D camera, which is a lot.
431
00:24:56,990 --> 00:24:58,992
They budgeted two weeks of 3D.
432
00:24:59,659 --> 00:25:03,705
But, you know me, I told Ian, day one,
433
00:25:03,914 --> 00:25:06,083
three hours in, I said,
Ian, I'm keeping this the whole shoot
434
00:25:06,166 --> 00:25:07,501
"I hope you know that."
435
00:25:13,673 --> 00:25:17,302
We put this camera through more paces
than it's ever been put through,
436
00:25:17,385 --> 00:25:19,888
in terms of the car rigs, the Cablecams,
437
00:25:19,971 --> 00:25:23,350
and the craziness
that we put this camera through.
438
00:25:24,142 --> 00:25:27,604
And learned a lot about it.
It really helped the movie.
439
00:25:27,687 --> 00:25:30,982
It's a much different movie
when you see it fully in 3D.
440
00:25:31,733 --> 00:25:34,194
I like it. It's a pain in the ass,
441
00:25:34,778 --> 00:25:37,656
but who said something being
a pain in the ass is not fun?
442
00:25:46,039 --> 00:25:47,290
What you see in the background...
443
00:25:48,917 --> 00:25:53,213
...is part of a building that, in the movie,
will be falling over.
444
00:25:55,882 --> 00:25:57,801
When I saw the previs of the thing,
445
00:25:57,884 --> 00:25:59,928
I thought
it was the most incredible sequence.
446
00:26:02,389 --> 00:26:05,559
Once again,
Michael Bay has outdone himself.
447
00:26:05,892 --> 00:26:08,353
I don't think I've seen
a more clever action scene ever.
448
00:26:08,687 --> 00:26:10,981
I think that thing
is gonna blow people's minds,
449
00:26:11,064 --> 00:26:13,483
'cause it takes a gag you've seen before
450
00:26:13,567 --> 00:26:15,318
and turns it into something
you've never seen before.
451
00:26:15,402 --> 00:26:16,820
And that's really hard to do.
452
00:26:16,903 --> 00:26:20,240
I'm sure they've had something tilted
before in a movie,
453
00:26:20,740 --> 00:26:22,826
probably like Inception or something,
I don't know,
454
00:26:22,909 --> 00:26:26,371
but they don't have any robots
walking around the building.
455
00:26:26,580 --> 00:26:29,166
We're always a step above the rest
456
00:26:29,583 --> 00:26:30,750
'cause we got robots.
457
00:26:30,834 --> 00:26:33,003
When I say, "Right," he's over here,
458
00:26:33,086 --> 00:26:34,963
and then I'll say, "Left,"
coming back left.
459
00:26:35,755 --> 00:26:38,133
Then I'll say, "Real right,"
go back way over there.
460
00:26:41,011 --> 00:26:42,012
Right!
461
00:26:44,264 --> 00:26:46,516
Good job.
All right, let's bring our thing down.
462
00:26:46,600 --> 00:26:48,185
We're done for the night.
463
00:26:48,268 --> 00:26:50,478
The engineering feat
of the building sequence
464
00:26:50,604 --> 00:26:52,272
was a major challenge.
465
00:26:52,355 --> 00:26:56,193
And it all had to be engineered,
done, built within four months.
466
00:26:56,276 --> 00:26:58,278
The gimbal was actually built
a different way.
467
00:26:58,361 --> 00:27:01,072
It wasn't just like a teeter-totter,
it was hinged,
468
00:27:01,156 --> 00:27:02,532
so it lifted from one side.
469
00:27:02,616 --> 00:27:06,328
Now, in order to achieve that,
we had to build a special platform
470
00:27:06,620 --> 00:27:09,998
using hydraulics that would be able
to lift the building up
471
00:27:10,081 --> 00:27:14,878
and be able to move that platform
anywhere from zero to 45 degrees,
472
00:27:14,961 --> 00:27:18,340
depending on what that building is doing
at the time in the movie.
473
00:27:18,465 --> 00:27:22,302
We used an iPhone app
to figure out where a human can't stand.
474
00:27:22,385 --> 00:27:26,389
We found that 24, 25 degrees
was very hard to stand.
475
00:27:26,973 --> 00:27:30,101
At 25, 26, 27, you slip, you're gone.
476
00:27:30,185 --> 00:27:31,311
You cannot stop.
477
00:27:31,394 --> 00:27:34,147
We're gonna go
from zero to 27 degrees.
478
00:27:34,231 --> 00:27:35,690
I still think we need it a little steeper.
479
00:27:35,774 --> 00:27:37,817
There's still two degrees left
in this shot.
480
00:27:37,943 --> 00:27:40,320
I think we should go 22.
481
00:27:40,403 --> 00:27:43,990
That platform
is one-third of a football field.
482
00:27:44,324 --> 00:27:46,785
We put five or six different sets in it.
483
00:27:46,910 --> 00:27:49,913
We'd go away for a couple days,
and set dressers would come in
484
00:27:49,996 --> 00:27:52,832
and redress it for a different scene
and for a different floor.
485
00:27:52,958 --> 00:27:58,129
We had the cafeteria, the lobby,
and all the offices on the different floors.
486
00:27:58,672 --> 00:28:01,049
It took quite a few weeks of doing that.
487
00:28:01,174 --> 00:28:02,467
- You been in there?
- No.
488
00:28:02,550 --> 00:28:05,428
It's a mind...
You get in there, it's...dizzy.
489
00:28:05,512 --> 00:28:07,013
It's like the movie Inception.
490
00:28:07,097 --> 00:28:08,932
It was bizarre. You walked into it.
491
00:28:09,557 --> 00:28:12,894
It's a square box,
but your equilibrium is off.
492
00:28:13,019 --> 00:28:14,729
When you're standing in there
the first time
493
00:28:14,813 --> 00:28:18,566
and suddenly something flat
goes to 26 degrees,
494
00:28:18,775 --> 00:28:21,278
then everything is leaning.
495
00:28:21,528 --> 00:28:23,780
It's a fantastic phenomenon.
496
00:28:23,863 --> 00:28:26,741
It's like being in Titanic
when you're standing in there, isn't it?
497
00:28:27,200 --> 00:28:28,285
It's fantastic.
498
00:28:28,410 --> 00:28:31,037
It's nauseous, that's what it's like.
499
00:28:31,246 --> 00:28:32,455
The tilted building was a nightmare.
500
00:28:33,915 --> 00:28:38,920
It's a very hard thing to work in,
in 30 degrees, 20 degrees.
501
00:28:39,004 --> 00:28:40,297
It's not normal.
502
00:28:40,380 --> 00:28:43,091
Go, go, go...you. Come on, guys!
503
00:28:43,633 --> 00:28:45,385
This is gonna be...hard.
504
00:28:45,510 --> 00:28:48,555
Ready, and three, two, one, action!
505
00:28:51,558 --> 00:28:53,893
When it was all the way up,
you couldn't stand.
506
00:28:53,977 --> 00:28:57,147
You could crawl down it.
If you stood up, you're gone.
507
00:28:57,230 --> 00:28:58,440
The interior stuff was rough.
508
00:28:58,523 --> 00:29:00,650
Rosie went right into the action stuff.
509
00:29:00,900 --> 00:29:02,777
The most intense part
of the action stuff.
510
00:29:03,236 --> 00:29:05,822
I really enjoyed
the physical aspect of this film.
511
00:29:05,905 --> 00:29:10,076
I'm quite a physical person.
I love that I got to do that.
512
00:29:10,243 --> 00:29:11,828
It was good.
513
00:29:12,579 --> 00:29:14,914
It's like being at the funfair.
514
00:29:21,296 --> 00:29:24,466
I said to Shia, I said, "I really want to
bring the acting game up on this movie."
515
00:29:28,219 --> 00:29:29,637
Run!
516
00:29:33,433 --> 00:29:35,810
This is the Michael Bay acting class.
517
00:29:42,275 --> 00:29:44,736
He said, "On this one, I wanna try...
518
00:29:44,819 --> 00:29:46,613
"Shia, think about a pet bird.
519
00:29:46,696 --> 00:29:49,199
"You have a pet bird,
and that pet bird dies.
520
00:29:49,282 --> 00:29:50,533
"Think about that on the way down."
521
00:29:50,617 --> 00:29:51,743
And I did and it helped.
522
00:29:51,826 --> 00:29:52,994
Action!
523
00:29:57,082 --> 00:29:59,459
- Thank you, Michael Bay.
- Thank you.
524
00:29:59,542 --> 00:30:02,045
- Where would we be?
- Where would we be?
525
00:30:02,128 --> 00:30:06,674
Once we're done with it in this phase,
it becomes the exterior of a building,
526
00:30:07,092 --> 00:30:09,052
which becomes what we call
"the glass slide."
527
00:30:14,766 --> 00:30:16,726
We sheeted that with glass,
528
00:30:16,810 --> 00:30:20,647
and we were able to wax it
and slide the actors down it
529
00:30:20,730 --> 00:30:22,565
into pads and stop.
530
00:30:22,649 --> 00:30:27,320
To speed them coming down the slide,
this 110-foot glass slide,
531
00:30:27,404 --> 00:30:30,615
he had them sprinkle baby powder
on their rear ends
532
00:30:30,698 --> 00:30:33,827
so that they would
scoot down even faster.
533
00:30:42,752 --> 00:30:45,880
I find Detroit to be, in many ways,
a very beautiful city,
534
00:30:45,964 --> 00:30:47,549
but an incredibly melancholy city,
535
00:30:47,632 --> 00:30:51,136
because of the history that's here
that is no longer here.
536
00:30:51,219 --> 00:30:52,637
There's a great deal of sadness.
537
00:30:58,726 --> 00:31:00,895
Detroit is definitely feeling it right now.
538
00:31:00,979 --> 00:31:05,108
I mean, of all of the cities,
especially out there
539
00:31:05,191 --> 00:31:07,569
where they make so many cars
in that city,
540
00:31:07,652 --> 00:31:09,154
they're feeling it right now.
541
00:31:15,160 --> 00:31:18,204
The Packard
is an empty industrial facility.
542
00:31:18,288 --> 00:31:20,790
And obviously the train station
is an abandoned train station
543
00:31:20,874 --> 00:31:22,792
that's defunct, it's not used any more,
544
00:31:22,876 --> 00:31:25,211
'cause it was built
on the outskirts of Detroit
545
00:31:25,295 --> 00:31:27,630
in the anticipation
that Detroit was gonna grow
546
00:31:27,714 --> 00:31:31,384
and eventually get to the train station,
but it never did.
547
00:31:31,718 --> 00:31:33,678
Pretty much
all these buildings are derelict,
548
00:31:33,761 --> 00:31:36,473
and we have to make them habitable
and safe.
549
00:31:36,556 --> 00:31:39,809
Detroit allows you a lot of that stuff.
It's got a lot of destruction there.
550
00:31:39,893 --> 00:31:43,062
It's very dilapidated.
551
00:31:43,354 --> 00:31:45,148
It's sad, it's very sad
552
00:31:45,231 --> 00:31:48,902
when you've got one that was
a jewel of a city in America.
553
00:31:48,985 --> 00:31:54,824
It's just kind of fighting to stay relevant.
554
00:31:55,617 --> 00:31:57,994
Sadly, there's a lot of urban blight here,
555
00:31:58,077 --> 00:32:00,038
which, of course,
makes for great film locations.
556
00:32:00,121 --> 00:32:02,916
I mean, the art department
did an amazing job.
557
00:32:02,999 --> 00:32:06,461
They turned the look of decay
into a look of post-battle.
558
00:32:16,596 --> 00:32:21,768
The biggest dress for us
was to produce five railcars,
559
00:32:22,143 --> 00:32:25,355
and get one of them coming out
of a third-floor window
560
00:32:25,438 --> 00:32:26,523
of one of these buildings.
561
00:32:26,606 --> 00:32:29,567
And then the rest, you know,
as though they'd crashed.
562
00:32:30,068 --> 00:32:31,945
I think you walk into the Packard plant
with train cars
563
00:32:32,070 --> 00:32:34,030
laying upside down
and sticking out of buildings,
564
00:32:34,113 --> 00:32:35,990
and you think World War Ill just started
565
00:32:36,616 --> 00:32:38,368
I've been doing this job
about 18 years now,
566
00:32:38,451 --> 00:32:41,079
and I never get tired of the ingenuity
of the art department.
567
00:32:41,162 --> 00:32:44,415
And Nigel Phelps and Jennifer Williams
have done an amazing job on this.
568
00:32:44,499 --> 00:32:48,461
They've turned a really great location
into a magnificent location.
569
00:32:50,296 --> 00:32:53,132
See this?
I gave her the gray hair, she says.
570
00:32:53,633 --> 00:32:55,301
He gave me the gray hair.
571
00:32:55,426 --> 00:32:58,012
One of the delicious things
was when he actually walked on the set
572
00:32:58,096 --> 00:32:59,806
and he walked under the railcar,
573
00:32:59,889 --> 00:33:02,016
he looked up and he said, "Is that real?�/i>
574
00:33:02,100 --> 00:33:06,187
And I thought, "if you only knew how
difficult it was to get those railcars."
575
00:33:25,081 --> 00:33:27,041
We're at the GM Heritage Collection,
576
00:33:27,125 --> 00:33:29,752
which is one of every car
that GM's ever made.
577
00:33:29,836 --> 00:33:31,421
Amazing, isn't it? Car heaven.
578
00:33:39,846 --> 00:33:42,348
Have you heard
his Optimus Prime impression?
579
00:33:42,432 --> 00:33:44,517
It's... It's good.
580
00:33:44,851 --> 00:33:46,394
- Just give them that top line.
-l got you.
581
00:33:46,477 --> 00:33:48,855
This is solid. This is really solid.
Give them the top line.
582
00:33:51,649 --> 00:33:53,943
"Things just got a lot worse.
583
00:33:54,027 --> 00:33:57,280
"We have no weapons
that can match Shockwave's.
584
00:33:57,363 --> 00:34:00,283
"We've got to outflank
and get behind them.
585
00:34:00,366 --> 00:34:04,454
"Autobots, transform and roll out!"
586
00:34:39,572 --> 00:34:41,824
We're gonna shoot
on Pennsylvania Avenue.
587
00:34:41,908 --> 00:34:43,493
There's the Capitol in the background.
588
00:34:43,576 --> 00:34:49,040
And the logistics of working
in Washington D.C. are so challenging
589
00:34:49,207 --> 00:34:52,335
because of all the different permitting
processes that you have to go through,
590
00:34:52,418 --> 00:34:54,170
and all the different governing bodies.
591
00:34:54,253 --> 00:34:55,672
Washington D. C. was by far
592
00:34:55,755 --> 00:34:58,466
the worst city I've ever shot
in my entire life.
593
00:34:58,549 --> 00:35:01,344
It's easier to shoot
under a space shuttle
594
00:35:01,427 --> 00:35:05,932
than to shoot on some grass
in a roundabout in our capital.
595
00:35:06,015 --> 00:35:10,186
Just an amazing labyrinth
that you had to navigate
596
00:35:10,269 --> 00:35:12,855
to get all these permits done
in the first place.
597
00:35:12,939 --> 00:35:17,193
And we're going to blow up five cars.
598
00:35:17,276 --> 00:35:19,362
We're gonna flip them, as it
599
00:35:19,445 --> 00:35:22,740
"Here comes the Decepticons
flying down the street."
600
00:35:22,824 --> 00:35:25,201
The President lives
a half a block down there,
601
00:35:25,284 --> 00:35:27,829
and we're flipping cars
almost in his front yard.
602
00:35:34,210 --> 00:35:39,716
And we did a four-car flip there.
Four cars flying, it was quite interesting.
603
00:35:40,091 --> 00:35:41,134
Basically what it is
604
00:35:41,217 --> 00:35:43,344
is Decepticons are coming
through the trees.
605
00:35:43,428 --> 00:35:46,556
It's as if the bad guys are running up
and overwhelming.
606
00:35:46,639 --> 00:35:48,891
It's like a swarm of them. They're
coming and they're going this way,
607
00:35:48,975 --> 00:35:50,059
and they're running down that way.
608
00:35:50,143 --> 00:35:52,395
There's five propane poppers out there.
609
00:35:52,478 --> 00:35:53,855
There's gonna be Willie Petes
610
00:35:53,938 --> 00:35:56,649
and sparks
and propane bombs back in here.
611
00:35:56,733 --> 00:35:58,985
We have three or four
of the large sparks
612
00:35:59,068 --> 00:36:00,319
that shoot up into the air.
613
00:36:00,403 --> 00:36:02,238
This car's a flipper, that car's a flipper.
614
00:36:02,321 --> 00:36:04,699
You're gonna react to that one
'cause a robot comes by and hits it.
615
00:36:04,782 --> 00:36:06,868
There, that stuff is a flipper,
that's a flipper.
616
00:36:06,951 --> 00:36:09,787
That thing's gonna be hit,
that thing gets hit, and this car gets hit.
617
00:36:09,871 --> 00:36:12,248
This car's going that way.
This car's gonna be hitting this car.
618
00:36:12,331 --> 00:36:14,083
It's like...
619
00:36:14,167 --> 00:36:16,377
Flash, flash, spark, spark...
620
00:36:16,461 --> 00:36:17,795
- Okay, guys?
- All right?
621
00:36:17,879 --> 00:36:18,880
- All right?
- All right?
622
00:36:18,963 --> 00:36:20,089
- Okay?
- All right?
623
00:36:20,173 --> 00:36:21,382
- All right, guys?
- Okay.
624
00:36:21,466 --> 00:36:24,093
Any questions? Okay.
625
00:36:24,177 --> 00:36:27,221
John Frazier and Jim Schwalm
are physical special effects,
626
00:36:27,305 --> 00:36:29,307
and Kenny Bates
is the stunt coordinator.
627
00:36:29,390 --> 00:36:32,602
They have to coordinate
a lot of huge events
628
00:36:32,685 --> 00:36:36,022
on a weekly basis, if not daily basis.
629
00:36:36,105 --> 00:36:39,901
A lot of coordination that has to go
into what the human beings are doing
630
00:36:39,984 --> 00:36:44,447
with the fireballs, with the flying cars,
with the flippers, with the drivers.
631
00:36:44,530 --> 00:36:47,408
All these things have to come together
and they have to be seamless,
632
00:36:47,492 --> 00:36:50,953
and quite often
there's not an opportunity for a take two,
633
00:36:51,037 --> 00:36:53,790
because something is going
to be damaged beyond repair.
634
00:36:53,873 --> 00:36:57,543
Ready, guys? Rolling cameras!
Ready, and...
635
00:36:57,877 --> 00:37:03,049
A lot of coordination, a lot of discussion
and we get it done.
636
00:37:03,257 --> 00:37:06,928
Ready and... Fire!
637
00:37:31,452 --> 00:37:33,079
Jim, we okay?
638
00:37:33,162 --> 00:37:36,040
We were told, "You can't really shoot
the Lincoln Memorial,"
639
00:37:36,123 --> 00:37:37,667
but we got it.
640
00:37:39,544 --> 00:37:42,421
There were certain requirements
that we wanted to shoot there,
641
00:37:42,505 --> 00:37:44,006
that we needed and
we were shooting at night,
642
00:37:44,090 --> 00:37:48,344
and first ask was,
"Can we have a Porsche Cayenne
643
00:37:48,427 --> 00:37:50,555
"on the Mall grass?�/i>
644
00:37:50,638 --> 00:37:54,016
And there's a ranger there
and she says no.
645
00:37:54,433 --> 00:37:55,518
Okay.
646
00:37:55,601 --> 00:37:58,187
Then we said,
"Well, we need to light the Memorial."
647
00:37:58,271 --> 00:37:59,230
She said no.
648
00:37:59,313 --> 00:38:02,316
I said, "Well, we can't shoot at night
if we don't have light. "
649
00:38:02,400 --> 00:38:04,277
She says,
"The light will damage the Memorial."
650
00:38:06,112 --> 00:38:07,071
Okay.
651
00:38:07,154 --> 00:38:10,366
So then,
I wanted to shoot in the Memorial.
652
00:38:10,449 --> 00:38:12,201
And I understand
that they don't close the Memorial,
653
00:38:12,285 --> 00:38:14,036
and I'm willing to work with it.
654
00:38:14,120 --> 00:38:17,415
But when I went in there,
I did a little ploy. I sent Josh out,
655
00:38:17,498 --> 00:38:19,375
and we made a distraction down below.
656
00:38:19,458 --> 00:38:23,254
So all the crowd funneled out,
went down, surrounded around.
657
00:38:23,337 --> 00:38:25,548
Josh was giving autographs,
taking pictures, whatnot,
658
00:38:25,631 --> 00:38:28,342
while we were in there by ourselves
with Lincoln, shooting.
659
00:38:28,843 --> 00:38:31,512
We needed to take photographs, 360,
660
00:38:31,596 --> 00:38:36,017
so that we could digitally map
the entire Lincoln Memorial.
661
00:38:36,767 --> 00:38:41,147
She said, "No, there are no tripods
allowed in the Memorial."
662
00:38:41,814 --> 00:38:45,318
Okay, but the tripod weighs
less than two pounds.
663
00:38:45,401 --> 00:38:47,570
It's a 35-millimeter camera.
664
00:38:47,653 --> 00:38:50,281
"No, you can't have a tripod." Okay.
665
00:38:50,364 --> 00:38:53,242
K.C., my AD, brilliant suggestion.
666
00:38:53,326 --> 00:38:56,913
He goes,
"Okay, what if we take our shoes off
667
00:38:56,996 --> 00:38:59,123
"and you put the tripod leg
in each shoe?�/i>
668
00:38:59,206 --> 00:39:02,668
She's like, tired, 3:00, "Okay, okay."
669
00:39:05,338 --> 00:39:07,673
Jack, back to work.
670
00:39:08,257 --> 00:39:10,801
That Maybach is like a $1.7 million car.
671
00:39:11,427 --> 00:39:14,847
I heard $1.5 million
and I heard $1.6 million.
672
00:39:14,931 --> 00:39:19,268
$1.3, $1.4 million convertible car.
673
00:39:19,352 --> 00:39:21,020
One of a kind.
674
00:39:21,687 --> 00:39:23,522
Although I heard
there were two of them in the world.
675
00:39:23,606 --> 00:39:26,692
There are only three or four of them
in existence, currently.
676
00:39:26,776 --> 00:39:29,612
And then at some point,
it became one of a kind.
677
00:39:29,904 --> 00:39:31,989
I don't know. It's just sort of ridiculous.
678
00:39:34,408 --> 00:39:38,120
Michael Bay actually put cones
and caution tape around them
679
00:39:38,204 --> 00:39:40,957
because he was nervous about
the grips walking by with stands
680
00:39:41,040 --> 00:39:43,042
and electricians with lights.
681
00:39:43,125 --> 00:39:46,295
And so he cordoned the car off
until it was actually going to be shot.
682
00:39:46,379 --> 00:39:47,755
Watch out, watch out! Mike, Mike, Mike.
683
00:39:47,838 --> 00:39:48,798
Yes, sir.
684
00:39:48,881 --> 00:39:49,924
You're wearing your...belt
around this car.
685
00:39:50,007 --> 00:39:53,094
-...Very, very expensive car.
- I'm not getting near it.
686
00:39:53,177 --> 00:39:55,388
- Copy that, sir.
- A million six.
687
00:39:55,471 --> 00:39:57,390
I don't like those things by it.
688
00:39:57,473 --> 00:39:59,183
- Okay, I'm not going near it.
- All right, thank you.
689
00:39:59,266 --> 00:40:00,351
You want this on someone's lap?
690
00:40:00,434 --> 00:40:01,602
Which you gotta respect him,
691
00:40:01,686 --> 00:40:05,898
because he's so much into cars
that he really presses the point
692
00:40:05,982 --> 00:40:09,026
that we gotta cover the seats,
we gotta cover the carpets,
693
00:40:09,110 --> 00:40:10,111
we can't mess up the car.
694
00:40:10,194 --> 00:40:15,324
So he's a little irate
if anything does get messed up,
695
00:40:15,408 --> 00:40:17,618
'cause he really, you know,
he likes cars.
696
00:40:18,953 --> 00:40:21,914
And we did have one minor setback.
697
00:40:29,797 --> 00:40:33,718
I mean, that was the day
that Michael just...
698
00:40:33,801 --> 00:40:36,345
I mean, of all the cars?
699
00:40:36,429 --> 00:40:39,598
But, I mean,
there's a lot of really expensive cars.
700
00:40:39,682 --> 00:40:42,518
You know, I looked at that driver
when I saw him,
701
00:40:42,601 --> 00:40:45,396
and I'm like, "That guy looks familiar.
702
00:40:45,479 --> 00:40:48,941
"That's the guy who just does falls.
You're not a driver."
703
00:40:49,984 --> 00:40:53,070
But you know what?
I held my tongue, I said,
704
00:40:53,154 --> 00:40:55,031
"No, he must be a driver. He must.
705
00:40:55,114 --> 00:40:57,158
-"He must...
- Hey, Steve...
706
00:40:57,616 --> 00:40:59,410
"No one would be so stupid."
707
00:40:59,493 --> 00:41:01,871
So when we lose
a half a million dollars in a day,
708
00:41:01,954 --> 00:41:05,833
I eat a Big Mac, basically.
That's what I do.
709
00:41:18,304 --> 00:41:19,889
Transformers 3 was the first feature
710
00:41:19,972 --> 00:41:22,892
to shoot at Kennedy Space Center
post 9/11.
711
00:41:22,975 --> 00:41:27,646
So their security rules
and their protocols
712
00:41:27,730 --> 00:41:31,817
were much, much stronger
and much stricter than they were
713
00:41:31,901 --> 00:41:34,153
when Michael shot Armageddon there.
714
00:41:36,989 --> 00:41:39,325
On our first meeting
with Kennedy Space Center,
715
00:41:39,408 --> 00:41:42,745
it was, "You'll not be able to film
beyond the gate."
716
00:41:42,828 --> 00:41:45,206
And then you kind of accept it,
717
00:41:45,289 --> 00:41:48,751
but you keep going back, keep asking,
you keep bargaining,
718
00:41:48,834 --> 00:41:50,461
and keep twisting the arm,
719
00:41:50,544 --> 00:41:55,800
and eventually, yeah, on the day, where
you're right up underneath the shuttle.
720
00:41:58,344 --> 00:42:02,556
I think Michael wanted to be
the only director who shot there twice,
721
00:42:02,640 --> 00:42:05,059
and we did some amazing things.
722
00:42:05,726 --> 00:42:09,522
We got to shoot on Pad A
with the shuttle right behind us.
723
00:42:09,605 --> 00:42:12,525
To be standing so close to the shuttle
where normally
724
00:42:12,608 --> 00:42:15,694
even NASA employees don't get
to go as close as we got to go.
725
00:42:15,778 --> 00:42:18,030
So we were honored. It was fantastic.
726
00:42:21,867 --> 00:42:24,703
The other great thing about the shuttle
is that,
727
00:42:24,787 --> 00:42:26,497
the day before we started shooting,
728
00:42:26,580 --> 00:42:29,542
the whole gantry system had to open up
for some maintenance,
729
00:42:29,625 --> 00:42:33,212
which revealed the shuttle
in its absolute glory.
730
00:42:33,295 --> 00:42:36,006
And it wasn't scheduled, it wasn't
planned, and we were just lucky.
731
00:42:36,090 --> 00:42:38,425
It's serendipity.
I don't know what you call it.
732
00:42:38,509 --> 00:42:40,136
How does it all work out?
733
00:42:40,219 --> 00:42:43,430
That they had to keep
the doors closed an extra day,
734
00:42:43,514 --> 00:42:45,558
so when we were going down there
to shoot,
735
00:42:45,641 --> 00:42:49,770
instead of it being enveloped
by this big superstructure,
736
00:42:49,854 --> 00:42:54,191
the doors were open and revealing
the Discovery on the platform.
737
00:42:54,275 --> 00:42:56,610
I mean, it was unbelievable.
738
00:42:57,153 --> 00:42:59,113
Well, it's a special day
'cause it's opened up.
739
00:42:59,196 --> 00:43:00,823
When we were doing Armageddon,
it was usually closed,
740
00:43:00,906 --> 00:43:02,283
not as cool-looking.
741
00:43:02,366 --> 00:43:05,786
Mike likes to portray
this very masculine character
742
00:43:06,662 --> 00:43:08,581
all the time.
743
00:43:09,415 --> 00:43:12,001
And sometimes when
we have to do emotion,
744
00:43:12,084 --> 00:43:14,003
I need a different guy.
745
00:43:14,086 --> 00:43:15,588
I need the sensitive Bay.
746
00:43:15,671 --> 00:43:19,300
So, for me, those scenes get difficult.
747
00:43:19,383 --> 00:43:21,177
If it's MOS or something,
then that's great for me
748
00:43:21,260 --> 00:43:22,887
'cause then I can play my music.
749
00:43:22,970 --> 00:43:26,265
There was one time where we were
underneath a space shuttle in NASA,
750
00:43:26,348 --> 00:43:27,683
but what we 're filming is,
751
00:43:27,766 --> 00:43:29,685
I'm losing my best friend
who's now leaving me,
752
00:43:29,768 --> 00:43:30,769
and I may never see him again,
753
00:43:30,853 --> 00:43:33,480
and he's leaving because
I threw him under the bus, essentially.
754
00:43:33,564 --> 00:43:36,275
Which is a big deal
and Sam's conflicted.
755
00:43:36,358 --> 00:43:38,694
And I was like,
"Mike, I need to play this song, "
756
00:43:38,777 --> 00:43:42,198
which was a song
by a person called Feist,
757
00:43:42,281 --> 00:43:45,743
which is a woman who sings,
so it's feminine, right?
758
00:43:45,826 --> 00:43:47,203
Mike's not having it.
759
00:43:47,286 --> 00:43:50,873
And I play my song, we do the first take,
he's like, "No, not gonna happen."
760
00:43:50,956 --> 00:43:53,334
And he takes my iPod out
and he puts in his iPod.
761
00:43:54,627 --> 00:43:58,088
He puts this orchestral, symphonic
march-up-the-hill music,
762
00:43:58,172 --> 00:43:59,924
and I'm like... "Man, this isn't it for me.
763
00:44:00,007 --> 00:44:02,051
"The marching-up-the-hill music
is not what I need right now.
764
00:44:02,134 --> 00:44:03,844
"I need this, this is what I need."
765
00:44:03,928 --> 00:44:05,221
He didn't want the orchestra music
766
00:44:05,304 --> 00:44:07,973
that would be appropriate for the scene
in the movie.
767
00:44:08,057 --> 00:44:09,892
You know, I'm looking
at the whole picture here,
768
00:44:10,142 --> 00:44:14,939
and Shia's got a very kind of
harder-edged music.
769
00:44:15,022 --> 00:44:16,649
It wouldn't work.
770
00:44:16,732 --> 00:44:18,108
For me to judge the scene
771
00:44:18,192 --> 00:44:23,072
with something so counter-intuitive
to what would be in the scene,
772
00:44:23,155 --> 00:44:26,116
that music would just take me out
of watching his performance.
773
00:44:27,451 --> 00:44:30,746
But he kept harping me
about the music choice,
774
00:44:30,829 --> 00:44:35,417
and I was like, "Mike, the whole reason
we have the iPod speaker out here
775
00:44:35,501 --> 00:44:37,336
"is so that I can work myself up
776
00:44:37,419 --> 00:44:40,422
"while you sit behind the camera
and devise the shot.
777
00:44:40,506 --> 00:44:42,049
"So this is what I need right now, Mike,
778
00:44:42,132 --> 00:44:44,593
"and I know it's weird and strange,"
and we got into it,
779
00:44:44,677 --> 00:44:45,928
and it became an explosive...
780
00:44:46,011 --> 00:44:49,181
One of our worst fights ever,
underneath a spaceship,
781
00:44:49,265 --> 00:44:50,641
which is pretty silly.
782
00:44:50,724 --> 00:44:52,434
I mean, we made up right,
like, two days later,
783
00:44:52,518 --> 00:44:55,396
but me and Mike wrestle.
784
00:44:55,479 --> 00:44:58,023
That's our relationship.
We get in there and wrestle.
785
00:45:15,082 --> 00:45:16,583
The roof of the VAB,
786
00:45:16,667 --> 00:45:20,546
less than 5% of the NASA employees
have ever been up there.
787
00:45:20,629 --> 00:45:25,384
It's just an incredible privilege
to be able to stand up there on that roof,
788
00:45:25,467 --> 00:45:27,344
see the launch pad
from that perspective,
789
00:45:27,428 --> 00:45:31,473
see the entire Space Coast region
from up there.
790
00:45:31,557 --> 00:45:33,767
'Cause it's one of the largest buildings
in the country.
791
00:45:33,851 --> 00:45:36,812
To be able to stand up on that roof
and actually film a scene up there
792
00:45:36,895 --> 00:45:39,732
was a true privilege.
793
00:45:46,989 --> 00:45:51,327
The SSPF is the
Space Station Processing Facility.
794
00:45:51,410 --> 00:45:55,539
So they pack all the clothes, the food,
the research materials,
795
00:45:55,622 --> 00:45:57,833
everything that goes up
to the space station.
796
00:45:58,042 --> 00:46:00,586
So those folks are working
in bunny suits,
797
00:46:00,669 --> 00:46:02,504
and here we come with a film crew,
798
00:46:02,588 --> 00:46:04,882
and our guys
had to wipe down the cable.
799
00:46:04,965 --> 00:46:10,179
I've never seen cleaner cable
than the cable we had inside the SSPF.
800
00:46:10,262 --> 00:46:14,016
Because if you were to get
some bacteria from some cable
801
00:46:14,099 --> 00:46:17,311
that we had laying in an alley
in the city of Chicago,
802
00:46:17,394 --> 00:46:19,855
I mean, those people's lives
are at stake,
803
00:46:19,938 --> 00:46:23,817
so they can't have any bacteria
or anything go wrong up there.
804
00:46:24,735 --> 00:46:27,363
It was really amazing.
This crew has been so great.
805
00:46:27,446 --> 00:46:31,033
They wiped down everything,
not one complaint.
806
00:46:31,116 --> 00:46:33,786
I was very impressed
and very proud of this film crew.
807
00:46:33,869 --> 00:46:38,374
Michael has a top-notch,
world-class crew.
808
00:46:38,457 --> 00:46:40,209
He readily admits that.
809
00:46:41,668 --> 00:46:42,669
They're pros.
810
00:46:42,753 --> 00:46:45,297
There's a reason why Michael
brings all these people back.
811
00:46:45,381 --> 00:46:47,800
A, they're the best in the world
at what they do,
812
00:46:47,883 --> 00:46:51,678
and B, they have this crazy ability
to put up with Michael Bay.
813
00:46:51,845 --> 00:46:54,139
This has to be "all grips on-hand"
with this thing.
814
00:46:54,223 --> 00:46:56,141
It is not to move under the tail,
do you understand me?
815
00:46:56,225 --> 00:46:58,644
- Yes, sir.
- All right, am I very...clear? Good.
816
00:46:58,727 --> 00:46:59,853
He has to be General Patton.
817
00:46:59,937 --> 00:47:01,397
It's the only way
to get these movies done,
818
00:47:01,480 --> 00:47:02,648
is to have that mentality.
819
00:47:02,731 --> 00:47:04,733
I don't think you could be
a sensitive, sweet guy
820
00:47:04,817 --> 00:47:06,652
and get all the cogs moving.
You couldn't.
821
00:47:06,735 --> 00:47:08,070
Working with Michael is tough.
822
00:47:08,153 --> 00:47:10,531
Working with Michael Bay,
it's not a picnic.
823
00:47:10,614 --> 00:47:13,575
Working with Michael Bay is difficult
because when you arrive to the set,
824
00:47:13,659 --> 00:47:16,620
as soon as my feet hit the cement,
I'm off and running,
825
00:47:16,703 --> 00:47:18,455
and we don't stop till we wrap.
826
00:47:20,749 --> 00:47:26,755
He's not someone who's sort of
interested in contemplating or reflecting
827
00:47:27,339 --> 00:47:30,175
or, let's just say, goofing around.
828
00:47:30,467 --> 00:47:32,594
This pace, I love it.
829
00:47:33,429 --> 00:47:36,557
Michael may not be
the most punctual person on the planet.
830
00:47:36,682 --> 00:47:38,559
I'll say that much, okay.
831
00:47:38,767 --> 00:47:42,146
But when he does show up,
he wants to go, go, go, go, go.
832
00:47:42,229 --> 00:47:45,649
So everybody has to strap it on
and just run to catch up
833
00:47:45,732 --> 00:47:46,775
'cause the man's amazing.
834
00:47:46,859 --> 00:47:48,735
He's got his own name
on his tennis shoes,
835
00:47:50,112 --> 00:47:53,198
and he's "all go, no quit"
until it's time to stop.
836
00:47:53,282 --> 00:47:56,201
Or I guess,
as Michael's tennis shoe says...
837
00:47:56,368 --> 00:47:58,036
Bayhem!
838
00:47:58,537 --> 00:47:59,830
I can't see...
839
00:47:59,913 --> 00:48:01,457
That's the commercial.
That's the Nike commercial.
840
00:48:01,540 --> 00:48:02,875
Here we go. Ready?
Ready? Go one more time.
841
00:48:02,958 --> 00:48:04,710
Ready, Mike. One, two, three.
842
00:48:05,669 --> 00:48:06,962
Bayhem!
843
00:48:21,518 --> 00:48:25,481
Being in NASA, there's history here,
and it's American history.
844
00:48:25,689 --> 00:48:29,651
It's certainly some place that
you've always been aware of since...
845
00:48:29,735 --> 00:48:31,236
At least since I was a kid.
846
00:48:31,320 --> 00:48:35,407
And so many things in our lives
came from NASA.
847
00:48:35,699 --> 00:48:37,117
I've got one of those
Tempur-Pedic beds.
848
00:48:37,201 --> 00:48:38,577
That came from NASA.
849
00:48:40,162 --> 00:48:41,497
There were several fun things
that we did
850
00:48:41,580 --> 00:48:43,165
in our association with NASA.
851
00:48:43,248 --> 00:48:45,667
One of which was that
Mike got to go downstairs
852
00:48:45,751 --> 00:48:47,836
into the shuttle control room
853
00:48:47,920 --> 00:48:50,380
and talk to the astronauts
in the space station.
854
00:48:50,464 --> 00:48:53,926
Guys, we were just filming a thing
from Apollo 11, basically.
855
00:48:54,009 --> 00:48:58,347
We're recreating Mission Control,
so that's why we're here at NASA.
856
00:48:58,430 --> 00:49:00,849
That's great. I loved the first two movies
857
00:49:00,933 --> 00:49:03,018
and I look forward
to seeing the third one
858
00:49:03,101 --> 00:49:06,104
- When is that supposed to come out?
- That comes out July 4th.
859
00:49:06,188 --> 00:49:07,856
And this one's the best of them all.
860
00:49:07,940 --> 00:49:10,275
It actually focuses
on the space program
861
00:49:10,359 --> 00:49:12,152
and why we really went up to space.
862
00:49:13,153 --> 00:49:17,115
To protect Earth
from the evil Transformers?
863
00:49:20,118 --> 00:49:22,037
I think one of the great things for me
864
00:49:22,120 --> 00:49:26,625
about having NASA and a Moon
theme in the film
865
00:49:27,125 --> 00:49:30,546
was that we got exposed to NASA.
866
00:49:30,629 --> 00:49:33,840
And, for me,
growing up as a kid in the '60s
867
00:49:33,924 --> 00:49:36,218
and watching man land on the Moon,
868
00:49:36,301 --> 00:49:40,931
there was something epic, historically,
that touched all of us.
869
00:49:41,014 --> 00:49:44,268
And to have that
become a part of our film,
870
00:49:44,351 --> 00:49:48,230
and to meet Buzz Aldrin
and to meet all the folks at NASA,
871
00:49:48,313 --> 00:49:51,525
both at Cape Canaveral and the
Johnson Space Center that we met,
872
00:49:51,608 --> 00:49:53,569
and to see first-hand
873
00:49:53,652 --> 00:49:58,198
what it is that those folks do
to send astronauts into space
874
00:49:58,532 --> 00:50:03,579
is mind-boggling and just
an enormous human accomplishment
875
00:50:03,662 --> 00:50:07,124
that really made a mark on me
and our entire crew.
876
00:50:33,493 --> 00:50:35,912
Once we got to Chicago,
every day was big.
877
00:50:36,788 --> 00:50:38,331
This is an American city,
878
00:50:38,414 --> 00:50:42,168
and they gave it to Bay
like, "Play, it's your sandbox."
879
00:50:44,128 --> 00:50:47,256
We're doing stuff in downtown Chicago
that's never been allowed before.
880
00:50:49,092 --> 00:50:52,261
This is the biggest thing
to film in Chicago, ever.
881
00:50:54,681 --> 00:50:57,392
How they are able to do that
blows my mind.
882
00:50:59,894 --> 00:51:02,313
It's like, "That doesn't happen!"
883
00:51:04,732 --> 00:51:06,192
I knew Chicago was gonna get it.
884
00:51:06,275 --> 00:51:08,194
I know they do fireworks here
twice a week,
885
00:51:08,277 --> 00:51:10,863
but, boy, we have a whole
different kind of fireworks.
886
00:51:15,201 --> 00:51:16,619
We were looking at different cities
887
00:51:16,703 --> 00:51:19,580
just to see a different look,
other than Los Angeles.
888
00:51:19,747 --> 00:51:21,624
'Cause he loves Los Angeles
and filming here,
889
00:51:21,708 --> 00:51:23,626
but he wanted something different.
890
00:51:23,710 --> 00:51:25,878
So I think when he saw Chicago...
891
00:51:25,962 --> 00:51:28,464
And it's a pretty spectacular
looking city.
892
00:51:28,548 --> 00:51:31,134
So once he saw it, he was like,
"This is it. "
893
00:51:31,217 --> 00:51:35,304
Chicago was the most amazing city
in terms of what they gave us,
894
00:51:35,388 --> 00:51:37,598
in the amount of access,
the amount of closures.
895
00:51:37,682 --> 00:51:42,770
Michigan Avenue is a street that
they said they've only closed twice
896
00:51:42,854 --> 00:51:44,564
in the history of Michigan Avenue.
897
00:51:44,647 --> 00:51:48,317
They closed the bridge once for
Oprah Winfrey and once for me.
898
00:51:48,401 --> 00:51:51,821
We shut Chicago down
for a good month and a half.
899
00:51:52,113 --> 00:51:53,573
Six weeks we were in Chicago
900
00:51:53,656 --> 00:51:55,700
and we didn't leave
anything unturned, really.
901
00:51:55,783 --> 00:51:57,326
We did Chicago.
902
00:52:00,246 --> 00:52:02,331
We turned the streets
of Michigan Avenue
903
00:52:02,415 --> 00:52:07,837
into a 9/11-esque, World War Ill
eruptions all down the streets,
904
00:52:07,920 --> 00:52:10,590
with rubble and falling buildings
and burning cars,
905
00:52:10,673 --> 00:52:13,634
and crashed light poles,
and that sort of thing.
906
00:52:13,843 --> 00:52:15,136
We could only get the streets,
907
00:52:15,219 --> 00:52:18,347
the big destruction scenes
on the weekend,
908
00:52:18,431 --> 00:52:22,018
and in a very limited amount of time,
and it was usually all night,
909
00:52:22,101 --> 00:52:23,478
is when we had to set up
910
00:52:23,561 --> 00:52:26,939
these massive scenes of mayhem
and debris and destruction.
911
00:52:29,692 --> 00:52:31,360
We had all the larger pieces on wheels,
912
00:52:31,444 --> 00:52:34,071
so we could tow them in at night,
tow them out the next morning.
913
00:52:34,447 --> 00:52:35,948
A lot of it's polystyrene,
914
00:52:36,032 --> 00:52:38,201
and we made it as light
because we had to maneuver them.
915
00:52:38,284 --> 00:52:41,996
So we certainly made everything
as light as possible for maneuverability.
916
00:52:42,079 --> 00:52:47,251
Then my team came in
with mobile rubble and smaller rubble.
917
00:52:49,295 --> 00:52:52,590
There was another team that came in
and placed cars and burning cars.
918
00:52:52,673 --> 00:52:55,510
Some of those scenes have
80 and 90 cars in them,
919
00:52:55,635 --> 00:52:58,763
and they all have to be prepared
in certain ways.
920
00:52:59,514 --> 00:53:02,225
Some of the cars that they wanted
burning on set
921
00:53:02,308 --> 00:53:06,103
have to be stripped of all interior,
all upholstery, all plastic,
922
00:53:06,187 --> 00:53:08,898
anything that would give off toxic fume
if you burned them.
923
00:53:08,981 --> 00:53:11,067
So those are stripped completely,
924
00:53:11,150 --> 00:53:13,569
and burn bars are put in,
so the special effects
925
00:53:13,653 --> 00:53:16,906
could bring flames up
and take them down as necessary.
926
00:53:16,989 --> 00:53:18,407
Anything that's gonna be flipped over,
927
00:53:18,491 --> 00:53:21,118
we have to pull motors,
transmissions, gas tanks,
928
00:53:21,202 --> 00:53:23,746
so you can burn them
without any danger.
929
00:53:23,830 --> 00:53:25,957
Other cars would be wrecked on scene.
930
00:53:26,040 --> 00:53:29,710
Three, two, one and go!
931
00:53:38,135 --> 00:53:41,055
It was a massive coordinated effort that,
932
00:53:41,138 --> 00:53:42,932
given the scope of what we were doing,
933
00:53:43,015 --> 00:53:44,642
it went surprisingly well.
934
00:53:44,725 --> 00:53:47,436
But then there was one night
when it rained
935
00:53:47,520 --> 00:53:49,856
and rained, and rained, and rained.
936
00:53:49,939 --> 00:53:51,941
And we had eight inches of rain.
937
00:53:52,024 --> 00:53:54,986
And I thought,
"We're never gonna make 6:00. "
938
00:53:55,069 --> 00:53:58,281
But then the sun came out
and everyone thought nothing of it,
939
00:53:58,364 --> 00:54:00,950
but it was, actually, a horrendous night.
940
00:54:01,033 --> 00:54:02,785
It was horrible.
941
00:54:03,536 --> 00:54:06,622
The first weekend,
we were dressing LaSalle,
942
00:54:06,706 --> 00:54:08,249
and we had two blocks to dress
943
00:54:08,666 --> 00:54:10,501
which we started at 8:00.
944
00:54:10,585 --> 00:54:14,422
And then we finished that at 6:00,
the crew came in,
945
00:54:14,505 --> 00:54:19,468
and then we moved up two more blocks
to do the next section in daylight.
946
00:54:20,052 --> 00:54:22,597
But Michael decided that he wanted
a lot more than that,
947
00:54:22,722 --> 00:54:26,976
and, in fact, I think at the end of the day,
we had dressed about eight blocks.
948
00:54:27,059 --> 00:54:30,646
The question is never if Michael
decides to change his mind,
949
00:54:30,730 --> 00:54:34,317
it's when he's gonna change his mind,
'cause it's gonna happen.
950
00:54:34,400 --> 00:54:35,610
How about we do this?
951
00:54:35,693 --> 00:54:37,236
We're changing.
952
00:54:37,945 --> 00:54:41,407
Now the bombs go off... No...it.
953
00:54:42,241 --> 00:54:43,326
- Changing back.
- Changing back.
954
00:54:43,409 --> 00:54:44,577
We're not changing.
955
00:54:44,660 --> 00:54:46,871
Michael would change things
on the day.
956
00:54:46,954 --> 00:54:50,374
He would dream up other sets
that we had to do in the afternoon.
957
00:54:50,458 --> 00:54:53,002
It's been difficult.
958
00:54:53,085 --> 00:54:56,380
There's beauty in the fact that
everything is a bit malleable here.
959
00:54:56,464 --> 00:54:58,090
It's the way that Mike works.
960
00:54:58,215 --> 00:55:01,510
You ask Mike how deeply
he storyboards, it's not that heavy.
961
00:55:01,594 --> 00:55:04,472
He gets on set and sort of creates.
962
00:55:04,555 --> 00:55:06,098
Once he arrives at some place...
963
00:55:06,182 --> 00:55:08,643
'Cause Michael's such a visualist.
964
00:55:08,893 --> 00:55:13,606
That when he sees it, then he sculpts
how he wants to shoot it.
965
00:55:13,773 --> 00:55:16,233
I'd love to...come up over this car.
966
00:55:16,442 --> 00:55:18,778
Get me something that
Tyrese could step on this,
967
00:55:18,861 --> 00:55:21,072
he could jump over this,
you know, boom!
968
00:55:22,615 --> 00:55:23,699
This is slippery, here,
969
00:55:23,783 --> 00:55:26,118
so we gotta be careful here,
all right, guys?
970
00:55:26,202 --> 00:55:28,537
And we should move this up a little bit.
Okay, guys?
971
00:55:28,621 --> 00:55:32,792
Not many directors have the confidence
to not prepare the way Mike does.
972
00:55:33,459 --> 00:55:36,712
He's super prepared,
but not in a "to a T" way.
973
00:55:36,963 --> 00:55:40,257
Michael's always improvising,
he's always adding things.
974
00:55:40,341 --> 00:55:43,511
He'd come in on the day
and be very inspired by this or that,
975
00:55:43,594 --> 00:55:47,014
and all of a sudden, we're turning left
when we thought we were going right.
976
00:55:47,098 --> 00:55:49,600
Why is your timing so different
on these two cars?
977
00:55:49,684 --> 00:55:51,894
I think this event should go together.
978
00:55:51,978 --> 00:55:53,980
Anything you want, but that's what
you gave me a half hour ago.
979
00:55:54,063 --> 00:55:55,898
Well, I gave it to you...wrong, Jim.
980
00:55:55,982 --> 00:55:57,775
I don't care. I'll just go unplug it.
981
00:55:57,858 --> 00:55:59,568
- All right.
- But we gotta tell everybody.
982
00:55:59,652 --> 00:56:01,320
I know, so let's figure it out.
983
00:56:01,404 --> 00:56:05,199
He prepares enough to be able to have
a malleable environment on set.
984
00:56:05,282 --> 00:56:06,784
And that's why this crew is incredible,
985
00:56:06,867 --> 00:56:09,704
is they need to adapt to whatever
Mike's thinking when he's on set.
986
00:56:09,787 --> 00:56:11,831
- Art department. Help us out, man.
- Right here.
987
00:56:11,914 --> 00:56:13,457
I think what I'd like to do is push in.
988
00:56:13,541 --> 00:56:14,750
Move all this shit, guys.
989
00:56:14,834 --> 00:56:16,502
Give me some fires by this truck,
right here.
990
00:56:16,585 --> 00:56:17,670
Give me some stuff, all right?
991
00:56:17,753 --> 00:56:19,588
Clear all those other cars.
Put them on the other side,
992
00:56:19,672 --> 00:56:21,882
-so Optimus can zip around fast.
- Sure.
993
00:56:21,966 --> 00:56:26,178
We just came up with a little motto,
and our motto was A-T-T-A-T-T.
994
00:56:26,345 --> 00:56:28,305
That's, "All the toys, all the time."
995
00:56:28,389 --> 00:56:29,932
'Cause we never knew what we
were gonna shoot.
996
00:56:30,016 --> 00:56:31,642
I mean, we have Technocranes here
every day,
997
00:56:31,726 --> 00:56:33,769
regardless if we 're doing
hand inserts or not
998
00:56:33,853 --> 00:56:35,646
because Mike might want
to do a hand insert
999
00:56:35,730 --> 00:56:37,356
through the roof of the building.
1000
00:56:37,440 --> 00:56:39,275
You have to have an A, B and a C plan,
1001
00:56:39,734 --> 00:56:42,945
and be prepared that there might be
a D plan that you don't know about.
1002
00:56:43,029 --> 00:56:44,864
Three, two, one, go!
1003
00:56:48,325 --> 00:56:49,952
Hit it again. And go!
1004
00:56:50,036 --> 00:56:51,245
Three, two...
1005
00:56:59,295 --> 00:57:01,672
- Okay, stop.
- One more time, hit it.
1006
00:57:01,756 --> 00:57:04,383
- One more time. Hit it again.
- We're gonna hit it on this one, guys.
1007
00:57:04,842 --> 00:57:06,385
Go, go, go. Go.
1008
00:57:08,220 --> 00:57:09,263
Cut.
1009
00:57:09,346 --> 00:57:12,016
And we've cut the head.
1010
00:57:12,099 --> 00:57:13,726
And this is the way the man works.
1011
00:57:14,101 --> 00:57:16,562
And the reason his movies
look the way they do
1012
00:57:16,687 --> 00:57:18,272
is because he works that way.
1013
00:57:18,355 --> 00:57:20,816
You just gotta be able to swing with it
or you're doomed.
1014
00:57:20,900 --> 00:57:22,568
Art department, help us out here!
1015
00:57:22,651 --> 00:57:25,279
Where is art department?
Art department!
1016
00:57:25,362 --> 00:57:28,115
I need people following me around
when we're doing this shit, okay?
1017
00:57:28,240 --> 00:57:29,492
One of the things that Michael wanted
1018
00:57:29,575 --> 00:57:32,536
was to try to do
a lot less in the computer
1019
00:57:33,037 --> 00:57:34,789
when it comes to all the destruction
1020
00:57:34,872 --> 00:57:37,625
and all of the action
that's gonna happen.
1021
00:57:37,708 --> 00:57:39,877
Michael Bay loves special effects.
1022
00:57:43,255 --> 00:57:44,590
He likes to do it real...
1023
00:57:47,093 --> 00:57:48,928
...and on film, right there.
1024
00:57:51,430 --> 00:57:54,517
He loves what we do
and he's constantly calling for us,
1025
00:57:54,600 --> 00:57:55,726
and calling for me.
1026
00:57:56,060 --> 00:57:57,019
Okay, Schwalm.
1027
00:57:57,103 --> 00:57:59,105
Schwalm. Schwalm! Schwalm?
1028
00:57:59,188 --> 00:58:00,189
Schwalmy!
1029
00:58:00,272 --> 00:58:02,691
Hey, Schwalm, can we burn anything
around here or no?
1030
00:58:02,775 --> 00:58:04,527
Schwalm, start the fires.
1031
00:58:04,610 --> 00:58:07,571
Hey, Schwalm, I wanna see you
start rigging that over here, right now.
1032
00:58:07,655 --> 00:58:10,199
Schwalmy, let's talk about the cues!
1033
00:58:10,282 --> 00:58:14,370
When we first got there, we had two
or three cases of 3F black powder,
1034
00:58:14,453 --> 00:58:16,664
which we'd wrap our own bombs
and make it up.
1035
00:58:38,811 --> 00:58:43,107
We just kept ordering more and more.
We had boxes of black powder.
1036
00:58:43,482 --> 00:58:46,068
We went through so much powder
on that movie,
1037
00:58:46,152 --> 00:58:48,654
we were worried about
running out again.
1038
00:59:07,339 --> 00:59:08,841
And how was that?
1039
00:59:12,678 --> 00:59:16,098
I've never seen more people turned out
to watch the shooting of a film.
1040
00:59:16,182 --> 00:59:19,476
A lot of times, people show up,
there's really very little payoff.
1041
00:59:19,560 --> 00:59:24,023
But they had plenty of great stuff to see.
There was mobs and mobs of people.
1042
00:59:24,190 --> 00:59:26,775
They estimated something like
25,000 or 30,000 people
1043
00:59:26,859 --> 00:59:28,652
were around watching,
not to mention all the people
1044
00:59:28,736 --> 00:59:31,322
that were up on the top of
the buildings around watching that.
1045
00:59:31,405 --> 00:59:34,742
I thought it would be a nightmare,
but what we did, Gabriela, the publicist,
1046
00:59:34,825 --> 00:59:38,329
took our actors in a golf cart,
blocks away, to the fans,
1047
00:59:38,412 --> 00:59:40,497
'cause it looked
like Universal Studios there.
1048
00:59:40,581 --> 00:59:43,042
Every day you would show up,
it was like being a rock star.
1049
00:59:43,125 --> 00:59:44,919
It was like a concert.
1050
00:59:47,671 --> 00:59:50,841
The fact that the fans are out there
while we 're blowing up all of this stuff
1051
00:59:50,925 --> 00:59:54,470
and doing all of these big action scenes,
it gives us energy.
1052
00:59:54,553 --> 00:59:58,307
We got more cheers from those
Chicago tourists, you wouldn't believe it.
1053
00:59:58,390 --> 01:00:01,310
It was great. It makes you feel good
they appreciate what we 're doing.
1054
01:00:01,393 --> 01:00:03,479
We'd do a little thing and they'd cheer,
1055
01:00:03,562 --> 01:00:05,940
and then we'd do a giant thing
and they'd just come roaring.
1056
01:00:06,023 --> 01:00:09,193
And the challenge is to try and get them
to be quiet until we're done.
1057
01:00:09,860 --> 01:00:11,654
It was fun to be a part of that
1058
01:00:11,737 --> 01:00:14,448
and to know that they were
as excited as we were making it.
1059
01:00:14,573 --> 01:00:18,994
- One, two, three!
- Transformers 3!
1060
01:00:21,580 --> 01:00:24,541
I think, one of the ways that the third
movie was different than the second,
1061
01:00:24,625 --> 01:00:26,126
and particularly the first movie,
1062
01:00:26,210 --> 01:00:30,339
was being the first two, we tried
really hard to protect the content,
1063
01:00:30,422 --> 01:00:33,801
and not to show the cars,
not to let the characters be seen.
1064
01:00:34,260 --> 01:00:37,846
And when you shoot a day exterior
movie in the center of a city,
1065
01:00:37,930 --> 01:00:40,349
it's impossible. It's literally impossible.
1066
01:00:40,432 --> 01:00:43,227
So, conversely, we just embraced it.
1067
01:00:43,394 --> 01:00:45,479
It was almost like
Universal Studios there.
1068
01:00:45,562 --> 01:00:48,649
It was like a tour, seeing the explosions
and the stuff going on
1069
01:00:48,732 --> 01:00:50,734
and there were thousands of people
who were watching.
1070
01:00:50,943 --> 01:00:52,861
So we tried to involve them.
1071
01:00:53,070 --> 01:00:55,781
Thank you, everybody.
Go watch the movie.
1072
01:00:56,615 --> 01:00:57,866
Good job, everybody.
1073
01:00:57,950 --> 01:01:00,744
Good job, everybody.
Lucas, we gotta talk.
1074
01:01:01,954 --> 01:01:03,414
I loved being in Chicago.
1075
01:01:03,497 --> 01:01:07,793
I thought our crew and cast
had a really good time there
1076
01:01:08,002 --> 01:01:11,422
because it's a big city,
there's lots going on there,
1077
01:01:11,547 --> 01:01:17,553
and I think everybody sort of
reveled in the moment that we had
1078
01:01:17,636 --> 01:01:22,725
of making that size film
in a major metropolitan city.
1079
01:01:37,156 --> 01:01:38,824
- Shia! Shia!
- Yup!
1080
01:01:41,327 --> 01:01:43,704
You said they were gonna transform,
I didn't know!
1081
01:01:44,663 --> 01:01:45,664
Let's go.
1082
01:01:45,748 --> 01:01:49,376
I'm not sure of where else
we could have done what we did,
1083
01:01:49,460 --> 01:01:52,004
as successfully as we did in Chicago,
1084
01:01:52,087 --> 01:01:54,256
just because of the level
of cooperation we had.
1085
01:01:54,506 --> 01:01:58,302
Mayor Daley, I'm sorry.
We're gonna clean it up, I promise.
1086
01:01:58,594 --> 01:02:00,429
You gotta stay here. You gotta be here
for the next 15 minutes.
1087
01:02:00,512 --> 01:02:02,598
- I will. I will. Thank you.
- It's great stuff.
1088
01:02:02,681 --> 01:02:06,560
Ready. Here we go. And one, two,
1089
01:02:06,643 --> 01:02:09,188
three, four, five!
1090
01:02:15,861 --> 01:02:18,197
Keep going. Sweep around this.
Sweep around.
1091
01:02:23,035 --> 01:02:24,286
All right, good and cut!
1092
01:02:24,370 --> 01:02:26,205
Okay, same everything.
Same everything.
1093
01:02:26,288 --> 01:02:28,791
- Good?
- Yeah, I think it's good.
1094
01:02:29,750 --> 01:02:32,920
I think the reason that they did
allow us to do a lot of the stuff
1095
01:02:33,003 --> 01:02:36,465
was because of our reputation,
that we do care,
1096
01:02:36,548 --> 01:02:38,884
and that we're not
just a bunch of cowboys
1097
01:02:38,967 --> 01:02:41,011
coming in and blowing up your city.
1098
01:02:41,095 --> 01:02:42,262
The thing that was really cool was
1099
01:02:42,346 --> 01:02:45,432
we shot a scene on LaSalle Street
at the Board of Trade
1100
01:02:45,516 --> 01:02:47,267
for five city blocks,
1101
01:02:47,893 --> 01:02:51,021
and the next day,
you'd never know we were there.
1102
01:02:53,941 --> 01:02:55,317
It was really a great experience.
1103
01:02:55,401 --> 01:02:57,820
We can't thank
the Chicago Police Department enough,
1104
01:02:57,903 --> 01:03:00,948
and the Fire Department,
and everyone in Chicago.
1105
01:03:01,031 --> 01:03:03,742
The people as well,
for all the support of the film.
1106
01:03:03,826 --> 01:03:07,121
It was just such a great experience
and I look forward to going back.
1107
01:03:22,719 --> 01:03:26,265
It was the best city experience
I've ever had in my life.
1108
01:03:26,598 --> 01:03:29,268
A lot of really good memories
with the fire and the police.
1109
01:03:29,351 --> 01:03:31,895
Everyone was in a happy mood.
They're nice there.
1110
01:03:31,979 --> 01:03:34,773
They all say hello. They're really polite.
1111
01:03:35,274 --> 01:03:37,443
It made it a good city experience.
1112
01:03:51,039 --> 01:03:53,083
They don't get much more beautiful
than this, do they?
1113
01:04:01,347 --> 01:04:02,681
Just when you thought Michael Bay
1114
01:04:02,765 --> 01:04:05,101
couldn't throw anything
more wacky at you,
1115
01:04:05,184 --> 01:04:07,812
he throws wingsuits
and skydivers at you.
1116
01:04:09,688 --> 01:04:12,441
When people see it, I think
there's going to be a natural tendency
1117
01:04:12,525 --> 01:04:16,070
to believe that it's fake and, in fact,
it's not, it was all done real.
1118
01:04:20,616 --> 01:04:25,121
They got to have the biggest set of
brass balls I've ever seen in my life.
1119
01:04:25,329 --> 01:04:27,373
I mean, those dudes are crazy.
1120
01:04:36,257 --> 01:04:39,301
I mean, it's really crazy.
1121
01:04:43,430 --> 01:04:47,226
I saw on 60 Minutes, The Birdmen
with J.T. Holmes
1122
01:04:47,309 --> 01:04:50,229
jumping off Norway y cliffs,
or something like that.
1123
01:04:50,312 --> 01:04:53,357
Michael saw J. T. Holmes
and Julian Boulle,
1124
01:04:53,440 --> 01:04:55,651
and it was a piece on these guys
and what they do.
1125
01:04:55,734 --> 01:04:58,612
They jump off of mountains
in these wingsuits
1126
01:04:58,696 --> 01:05:00,656
and they look like flying squirrels.
1127
01:05:01,031 --> 01:05:03,242
So he saw that and said,
"I want that in the movie."
1128
01:05:03,325 --> 01:05:05,744
I literally called Ian Bryce.
1129
01:05:05,828 --> 01:05:08,873
I said, "lan, find those guys,
wherever they are,
1130
01:05:08,956 --> 01:05:11,709
"get them in the office
'cause I want to put them in this movie."
1131
01:05:11,792 --> 01:05:14,587
To my surprise,
the phone rang and it was Ian Bryce,
1132
01:05:15,129 --> 01:05:18,215
and he spoke humbly
about a movie project,
1133
01:05:18,299 --> 01:05:22,303
and told me what it was,
and I was, like, "Sweet, I'm in."
1134
01:05:22,386 --> 01:05:24,388
J.T. Holmes was our main person.
1135
01:05:24,471 --> 01:05:26,724
He was coordinating that unit
1136
01:05:26,807 --> 01:05:29,727
and he got a team
of four other guys together,
1137
01:05:29,810 --> 01:05:31,770
one of them being a cameraman.
1138
01:05:31,854 --> 01:05:33,814
He was really the perfect person
1139
01:05:33,898 --> 01:05:37,735
because he is very skilled
at this type of thing,
1140
01:05:38,360 --> 01:05:41,322
yet, at the same time, he's very calm.
Like he will say no.
1141
01:05:41,405 --> 01:05:43,991
And he knew that he needed to pick
a team of people
1142
01:05:44,074 --> 01:05:48,037
that obviously were skilled,
but also weren't daredevils.
1143
01:05:48,120 --> 01:05:51,332
And three of the guys
are on the Red Bull team
1144
01:05:51,415 --> 01:05:53,334
and they fly together all the time.
1145
01:05:53,417 --> 01:05:56,128
And then he and Julian
had flown a lot together,
1146
01:05:56,212 --> 01:05:58,088
who was our cameraman.
1147
01:06:00,257 --> 01:06:03,010
My first meeting was
I just sat there with Michael
1148
01:06:03,093 --> 01:06:07,514
and we talked about possibilities,
and basically it was like,
1149
01:06:07,598 --> 01:06:11,185
"Well, there's not that much to talk
about until we choose a city
1150
01:06:11,268 --> 01:06:12,603
"and go there and find some lines."
1151
01:06:18,776 --> 01:06:21,862
We scouted with J. T.
and we went through the previs,
1152
01:06:21,946 --> 01:06:24,156
and figured out what Michael wanted.
1153
01:06:24,240 --> 01:06:26,784
Then we went and saw the different
buildings and different areas,
1154
01:06:26,867 --> 01:06:30,663
whether it was the river
or near the Willis Tower in Chicago,
1155
01:06:30,829 --> 01:06:34,667
and tried to figure out how best
to give Michael what he wanted.
1156
01:06:40,839 --> 01:06:42,716
This is like Disneyland for us.
1157
01:06:42,800 --> 01:06:46,303
If you really think,
like, Euro Disney and Disney combined.
1158
01:06:46,387 --> 01:06:49,682
We are going around
from building to building
1159
01:06:49,765 --> 01:06:54,061
and asking whether we can do things
like BASE jump off their building,
1160
01:06:54,144 --> 01:06:56,397
because all of the shots
that have been storyboarded
1161
01:06:56,480 --> 01:07:00,150
can't be done
by jumps from helicopters.
1162
01:07:00,234 --> 01:07:04,196
So we've got to use a number of
buildings, like the Trump Tower,
1163
01:07:04,280 --> 01:07:07,366
Hancock Tower,
and maybe the Sears Tower,
1164
01:07:07,449 --> 01:07:08,909
to achieve some of these shots,
1165
01:07:08,993 --> 01:07:12,454
because they'll be
very useful jumping platforms.
1166
01:07:12,538 --> 01:07:14,123
And we've also been
looking at a bunch of
1167
01:07:14,206 --> 01:07:19,336
other tall buildings as camera platforms,
from which to show these skydivers
1168
01:07:19,420 --> 01:07:21,714
whizzing past at improbable speeds.
1169
01:07:22,423 --> 01:07:24,008
Oh, my God.
1170
01:07:24,591 --> 01:07:27,052
It came down to four locations.
1171
01:07:27,177 --> 01:07:30,431
Two BASE jumps, one in wingsuits
off the Sears Tower,
1172
01:07:30,514 --> 01:07:32,433
which is now called the Willis Tower,
1173
01:07:32,516 --> 01:07:36,437
and then the regular BASE jump
off the Trump Tower
1174
01:07:36,520 --> 01:07:39,940
and then other wingsuit jumps
out of helicopters along the river
1175
01:07:40,024 --> 01:07:42,318
and through other buildings in the city.
1176
01:07:42,401 --> 01:07:44,737
The reason we're doing
two different types of jumps
1177
01:07:44,820 --> 01:07:46,405
is because Trump Tower,
1178
01:07:46,488 --> 01:07:48,907
if you jumped off there with a wingsuit,
it's just not that high.
1179
01:07:48,991 --> 01:07:51,910
You wouldn't get that much flying
out of it.
1180
01:07:51,994 --> 01:07:55,122
We're able to get more moments
of useable footage,
1181
01:07:55,205 --> 01:07:57,833
more flying in the urban terrain,
if we jump out of the helicopter.
1182
01:07:57,916 --> 01:08:00,294
So the helicopter's a huge advantage.
1183
01:08:00,377 --> 01:08:02,421
At the same time, it's a variable.
1184
01:08:02,504 --> 01:08:04,631
So it makes it a little trickier
in some ways
1185
01:08:04,715 --> 01:08:06,467
for engaging the line
1186
01:08:06,550 --> 01:08:08,761
and telling people
where we're gonna be.
1187
01:08:08,844 --> 01:08:12,431
If we're standing on the Sears Tower,
we can tell all the camera operators,
1188
01:08:12,514 --> 01:08:14,975
"We're gonna be standing
shoulder to shoulder, right there.
1189
01:08:15,059 --> 01:08:16,643
"For sure, 100%. "
1190
01:08:16,727 --> 01:08:20,356
And they can get framed in and dialed,
so it makes it easy for them.
1191
01:08:20,439 --> 01:08:24,234
Plus, BASE jumping is kind of
the purist form of our sport.
1192
01:08:24,318 --> 01:08:26,737
And we like to jump off of things.
1193
01:08:34,745 --> 01:08:37,164
I like to get into the landing areas
when there's nobody around
1194
01:08:37,247 --> 01:08:38,916
and ask a bunch of questions.
1195
01:08:38,999 --> 01:08:41,418
Just kind of take it all in.
1196
01:08:42,586 --> 01:08:44,046
Okay. What if I open here?
1197
01:08:44,129 --> 01:08:46,882
What am I gonna do?
Where am I gonna go?
1198
01:08:48,217 --> 01:08:51,387
I can make a diagonal entrance
into this parking lot. It's open.
1199
01:08:51,470 --> 01:08:55,933
If I overshoot the parking lot,
there's a street that's still good to go.
1200
01:08:56,266 --> 01:09:00,020
A line here that works.
Watch out for the fence.
1201
01:09:01,647 --> 01:09:05,234
The film company might have thought
that these guys were a little crazy,
1202
01:09:05,317 --> 01:09:09,446
when in reality, they are
the most level-headed, intelligent...
1203
01:09:10,030 --> 01:09:13,909
Every thought, every variable
is processed and talked about.
1204
01:09:13,992 --> 01:09:17,079
It's definitely not kids jumping
off of buildings.
1205
01:09:17,287 --> 01:09:19,415
We plan what we're gonna do
and we stick to the plan.
1206
01:09:19,498 --> 01:09:20,833
And I can say no.
1207
01:09:20,916 --> 01:09:22,376
And when I chose the guys,
1208
01:09:22,459 --> 01:09:25,337
I only would choose people
that I know would say no.
1209
01:09:25,421 --> 01:09:27,923
People that could put their ego in check
and just say,
1210
01:09:28,006 --> 01:09:30,843
"Look, I know there's hundreds
of thousands of dollars invested
1211
01:09:30,926 --> 01:09:34,805
"in this morning of work,
and sorry, it's not gonna happen."
1212
01:09:34,888 --> 01:09:36,849
That's really important.
1213
01:09:52,322 --> 01:09:55,534
Ground to chopper. Ground to chopper.
Do you copy?
1214
01:09:56,243 --> 01:09:57,244
Yes, go ahead.
1215
01:09:57,327 --> 01:10:00,831
We're green light on the ground.
Green light on the ground.
1216
01:10:00,914 --> 01:10:03,000
Copy that. One minute away.
1217
01:10:03,417 --> 01:10:04,543
One minute!
1218
01:10:05,878 --> 01:10:07,045
Ready?
1219
01:10:07,337 --> 01:10:08,755
Yeah, everybody's ready
when you guys are ready.
1220
01:10:08,839 --> 01:10:11,425
We have five cameras rolling
anytime on the stuff.
1221
01:10:11,508 --> 01:10:13,010
There are three ground cameras.
1222
01:10:13,093 --> 01:10:15,512
Although, they're typically
on the tops of buildings.
1223
01:10:15,596 --> 01:10:18,724
It's been pretty tough for us
with the land-based cameras
1224
01:10:18,807 --> 01:10:22,102
because what we have to do
is get to a high enough altitude
1225
01:10:22,186 --> 01:10:25,481
where we can shoot them and get
some interesting backgrounds going by.
1226
01:10:25,564 --> 01:10:28,609
And in addition to that,
we 're using really big lenses,
1227
01:10:28,692 --> 01:10:30,944
so it's hard to find them when
they're getting out of the helicopter.
1228
01:10:31,028 --> 01:10:32,988
So there's all the stress
of missing a shot.
1229
01:10:33,071 --> 01:10:35,782
In addition to that, there's
communication with the helicopter.
1230
01:10:35,866 --> 01:10:37,993
We have SpaceCam going,
we have so many cameras going
1231
01:10:38,076 --> 01:10:40,996
that it's really like a military operation,
1232
01:10:41,079 --> 01:10:43,457
in terms of understanding
when they're gonna jump,
1233
01:10:43,540 --> 01:10:46,043
rolling cameras, having a shot,
knowing where they're going.
1234
01:10:46,126 --> 01:10:47,419
There's just a lot of logistics.
1235
01:10:47,503 --> 01:10:50,714
So we'll work all day long
to get maybe four shots.
1236
01:10:51,632 --> 01:10:54,676
There's three or four guys on tripods
on different parts of the city shooting.
1237
01:10:54,760 --> 01:10:56,803
They're at the disadvantage.
1238
01:10:56,887 --> 01:11:01,141
The most exciting stuff potentially,
will come from the helicopter,
1239
01:11:01,225 --> 01:11:02,893
and from Julian's air-to-air.
1240
01:11:02,976 --> 01:11:05,270
It's actually a 3D camera
mounted on his head.
1241
01:11:05,354 --> 01:11:07,773
So it's two lenses on his head
and he's flying with the boys.
1242
01:11:07,856 --> 01:11:11,276
And that footage
is going to be really stunning.
1243
01:11:11,360 --> 01:11:13,320
That's really the camera to do the POV.
1244
01:11:13,403 --> 01:11:15,572
When he really jumps out with his guys
J
1245
01:11:15,656 --> 01:11:18,784
he has the camera
and he's right on their tails.
1246
01:11:18,867 --> 01:11:20,994
That's a great vantage point
1247
01:11:21,078 --> 01:11:22,829
to see their close proximity
to the buildings.
1248
01:11:22,913 --> 01:11:25,374
Ten seconds, guys. Ten seconds.
1249
01:11:25,457 --> 01:11:26,959
Go ahead and start rolling.
1250
01:11:27,960 --> 01:11:30,462
Jump. And jump.
1251
01:12:01,368 --> 01:12:03,912
- How'd it go?
- That was awesome. That was sweet.
1252
01:12:05,956 --> 01:12:08,166
Coming round that corner,
it swings you out pretty wide,
1253
01:12:08,250 --> 01:12:12,296
but that's a pretty cool building
right there and a pretty nice river.
1254
01:12:12,379 --> 01:12:13,880
This is fun.
1255
01:12:16,258 --> 01:12:17,843
We're doing a really strange form
of skydiving
1256
01:12:17,926 --> 01:12:20,762
where we get out really low,
we get out at about 1,800 feet,
1257
01:12:21,138 --> 01:12:24,516
and we're pulling at 400 feet.
1258
01:12:24,600 --> 01:12:26,393
Even sometimes a little bit less.
1259
01:12:26,476 --> 01:12:28,228
And we would choose
reference points of buildings.
1260
01:12:28,312 --> 01:12:30,897
"Okay, that's a 400-foot building,
so when we get to that level, pull. "
1261
01:12:34,401 --> 01:12:35,611
People look at this and they think,
1262
01:12:35,694 --> 01:12:38,155
"Okay, now that the parachute's open,
the danger's off. "
1263
01:12:38,238 --> 01:12:39,406
But really it's...
1264
01:12:39,489 --> 01:12:41,408
We're deploying
right next to each other.
1265
01:12:41,491 --> 01:12:43,493
And that's really technical stuff.
1266
01:12:43,577 --> 01:12:45,621
'Cause you're opening,
you're avoiding your friends,
1267
01:12:45,704 --> 01:12:48,123
you're avoiding hazards like
buildings and light poles,
1268
01:12:48,206 --> 01:12:50,626
you're dealing with the wind,
and you're landing on concrete.
1269
01:12:50,709 --> 01:12:53,420
You're making these
split second decisions.
1270
01:12:53,503 --> 01:12:55,047
"Open, where am I going to land?"
1271
01:12:55,130 --> 01:12:56,423
We have emergency outs.
1272
01:12:56,506 --> 01:13:00,177
We walk all over every landing area,
and just...
1273
01:13:00,802 --> 01:13:02,804
You kind of pay your respects
to the little light poles,
1274
01:13:02,888 --> 01:13:03,889
and little hazards.
1275
01:13:03,972 --> 01:13:07,392
And then, when you come in
at 110 miles an hour,
1276
01:13:07,476 --> 01:13:10,103
and you have 10 seconds
to land your parachute,
1277
01:13:10,187 --> 01:13:13,482
you've seen it before.
1278
01:13:18,362 --> 01:13:19,363
Good morning. How you feeling?
1279
01:13:20,572 --> 01:13:24,409
Morning. Great. Fantastic.
Ready to jump off this building.
1280
01:13:26,453 --> 01:13:28,955
The concept of BASE jumping
off of tall buildings
1281
01:13:29,039 --> 01:13:32,584
is always a sensitive one
for those tall buildings
1282
01:13:32,668 --> 01:13:34,503
and the people who own
and manage them.
1283
01:13:34,586 --> 01:13:35,962
I mean, to get to the top
of these buildings,
1284
01:13:36,046 --> 01:13:38,882
Willis Tower, the security,
there's just no way.
1285
01:13:39,007 --> 01:13:40,300
Here, we 're spoiled.
1286
01:13:40,384 --> 01:13:45,389
I mean, we 're putting our wingsuits on
in the lobby of the Willis Tower,
1287
01:13:45,889 --> 01:13:49,685
getting in the elevator, being escorted,
pressing the 106th floor,
1288
01:13:49,935 --> 01:13:51,520
all the way to the top,
1289
01:13:51,603 --> 01:13:55,190
climb up some stairs,
go out to a custom-made platform,
1290
01:13:55,399 --> 01:13:57,693
and bail off at your leisure.
1291
01:13:58,068 --> 01:14:02,114
You know, we had all day to
session Willis Tower, that's huge.
1292
01:14:02,197 --> 01:14:04,157
To put all this stuff together
and to be able to do this,
1293
01:14:04,241 --> 01:14:07,786
and the permissions and everything,
it's a big deal to get this type of stuff.
1294
01:14:08,036 --> 01:14:11,665
Logistically, it's a pretty big deal.
There's a lot of elements to coordinate.
1295
01:14:11,748 --> 01:14:14,334
You have to coordinate look-offs
with the police department.
1296
01:14:14,418 --> 01:14:17,921
We've got a lot of production assistants
who are helping us coordinate people.
1297
01:14:18,004 --> 01:14:21,133
So when the helicopter's flying over
the area where they're jumping,
1298
01:14:21,216 --> 01:14:23,927
that is cordoned off so it's safe.
1299
01:14:24,010 --> 01:14:26,930
We follow all the strict FAA regulations.
1300
01:14:27,013 --> 01:14:28,932
Cameras on two separate buildings.
1301
01:14:29,224 --> 01:14:31,727
There's all kinds of stuff going on.
1302
01:14:31,810 --> 01:14:33,603
It's beautiful chaos.
1303
01:14:37,107 --> 01:14:40,360
Being on the top there,
on the corner jump,
1304
01:14:40,444 --> 01:14:44,030
that takes a lot of emotional strength
to gather the courage and jump there.
1305
01:14:44,114 --> 01:14:45,949
It's just really, visually, overwhelming
1306
01:14:46,032 --> 01:14:48,452
They're very quiet
before they do a jump.
1307
01:14:48,535 --> 01:14:49,953
They're very serious.
1308
01:14:50,078 --> 01:14:54,458
When they do their jump,
their mental focus is off the charts.
1309
01:14:54,541 --> 01:14:55,959
What it is when you're focused
1310
01:14:56,042 --> 01:15:00,255
is you're analyzing
what is making you scared.
1311
01:15:01,131 --> 01:15:03,258
What is it?
Is it the line of flight I'm worried about?
1312
01:15:03,341 --> 01:15:06,219
Is it not being able to fly far enough
1313
01:15:06,303 --> 01:15:07,554
to not be able to
reach the landing zone?
1314
01:15:07,637 --> 01:15:08,805
Is it the wind conditions?
1315
01:15:08,889 --> 01:15:09,890
And if you go through like,
1316
01:15:09,973 --> 01:15:11,933
"Okay, there's eight things
that I'm concerned about,
1317
01:15:12,017 --> 01:15:13,310
"that are making me scared. "
1318
01:15:13,393 --> 01:15:18,607
And each one of them is not actually
bothering you enough to say no.
1319
01:15:18,690 --> 01:15:21,318
Each one of them is like,
"No, actually, that's within my abilities."
1320
01:15:21,401 --> 01:15:23,612
And you go through
each one objectively and think,
1321
01:15:23,695 --> 01:15:27,032
"All right, this goes, this goes.
I got this."
1322
01:15:27,157 --> 01:15:29,284
All right, we're giving
30-second warning.
1323
01:15:29,367 --> 01:15:31,161
We're giving 30-second warning.
1324
01:15:31,244 --> 01:15:35,081
So let's just harness that fear
and turn it into focus,
1325
01:15:35,165 --> 01:15:37,584
and now you focus on the task at hand.
1326
01:15:38,293 --> 01:15:40,670
All this stuff's within our skillset,
1327
01:15:40,754 --> 01:15:43,340
but you got to perform at least okay.
1328
01:15:43,507 --> 01:15:45,675
Ten seconds. Ten seconds.
1329
01:15:45,884 --> 01:15:48,220
This is not a gimme.
1330
01:15:48,303 --> 01:15:51,306
This was pretty advanced
skill level stuff for us.
1331
01:15:52,641 --> 01:15:55,519
Three, two, one, go.
1332
01:16:26,883 --> 01:16:27,968
It was a really special day.
1333
01:16:28,051 --> 01:16:30,345
We jumped off the Willis Tower
with wingsuits.
1334
01:16:30,428 --> 01:16:32,639
The building's never been
jumped before.
1335
01:16:32,722 --> 01:16:36,226
And not a lot of buildings
have been wingsuited before.
1336
01:16:36,393 --> 01:16:39,729
No buildings in the United States,
that I know of, have been wingsuited.
1337
01:16:39,813 --> 01:16:42,148
It was cool to jump an iconic building,
1338
01:16:42,232 --> 01:16:44,442
and we got some great shots
for our scene
1339
01:16:44,526 --> 01:16:45,819
and we had a great experience.
1340
01:16:45,902 --> 01:16:47,487
J.T. and the guys
are really happy and lucky
1341
01:16:47,571 --> 01:16:48,989
because they are living a dream.
1342
01:16:49,072 --> 01:16:52,993
I think for BASE jumpers
and for wingsuit people, particularly,
1343
01:16:53,076 --> 01:16:54,744
it's always been a fantasy to,
1344
01:16:54,828 --> 01:16:56,997
"Wow, wouldn't it be cool to
fly between two buildings?
1345
01:16:57,080 --> 01:16:59,833
"Wouldn't it be cool to go down
a city avenue and deploy?"
1346
01:16:59,916 --> 01:17:02,460
They get to jump off a lot of
natural terrain, a lot of mountains,
1347
01:17:02,544 --> 01:17:05,755
but doing jumps
and proximity flying in a city area,
1348
01:17:05,839 --> 01:17:07,674
it's always been
an unattainable fantasy,
1349
01:17:07,757 --> 01:17:08,925
and they're getting to live their dream.
1350
01:17:09,009 --> 01:17:12,345
They're getting paid for it
and Transformers has made it possible.
1351
01:17:12,429 --> 01:17:16,892
But it's just nice to see that...
Since the advent of wingsuit flying,
1352
01:17:16,975 --> 01:17:18,977
people have always wanted to do this,
and now it's happening.
1353
01:17:19,060 --> 01:17:22,188
It's pretty rewarding to be able to
go and do something like this
1354
01:17:22,272 --> 01:17:24,733
and know that there's nobody else
in the world
1355
01:17:24,816 --> 01:17:27,485
that is actually capable of doing this.
1356
01:17:27,569 --> 01:17:30,280
And yeah,
that makes you feel pretty cool.
1357
01:17:30,947 --> 01:17:34,159
We're capturing something
that's new, special,
1358
01:17:34,242 --> 01:17:36,870
and just got to wait
and let the memories come back.
1359
01:17:36,953 --> 01:17:38,830
And they do.
1360
01:17:45,462 --> 01:17:47,797
I always thought I was gonna
be relieved once it was over,
1361
01:17:47,881 --> 01:17:51,092
'cause there's stress,
and there's anticipation and nerves.
1362
01:17:51,176 --> 01:17:53,470
It's a bit of a nerves rollercoaster,
1363
01:17:53,553 --> 01:17:56,264
but yesterday,
when we made our last jump
1364
01:17:56,348 --> 01:17:58,433
flying wingsuits through the city,
I was like...
1365
01:17:58,516 --> 01:18:00,685
My heart sank. I was really bummed.
1366
01:18:00,769 --> 01:18:04,022
It's like it's Christmas
and you're six years old,
1367
01:18:04,105 --> 01:18:06,274
you wake up the next day
and Christmas is over,
1368
01:18:06,358 --> 01:18:10,403
and it feels like an eternity
before there 'll be another Christmas,
1369
01:18:10,487 --> 01:18:12,614
and there may never be
another Christmas for us.
1370
01:18:12,697 --> 01:18:14,741
And it just felt just like that.
You're just like,
1371
01:18:14,824 --> 01:18:17,452
"it's over. It was rad, but it's over. "
1372
01:18:18,787 --> 01:18:21,373
And you just hope you get
another taste of it sometime.
1373
01:18:23,667 --> 01:18:26,044
They could have done
this whole thing fake,
1374
01:18:26,169 --> 01:18:27,921
and it would've looked good,
but not real.
1375
01:18:28,004 --> 01:18:31,257
And I think Michael Bay's movies
are rad
1376
01:18:31,341 --> 01:18:32,968
because he has real action.
1377
01:18:33,051 --> 01:18:35,845
And when you see stuff
and you say, "Holy cow!"
1378
01:18:35,929 --> 01:18:37,931
Well, that did just happen.
1379
01:18:38,014 --> 01:18:42,644
Somebody, like me, just went out there
and did something rad for a camera.
1380
01:18:43,103 --> 01:18:46,398
It's cool that Michael has that attitude
and he places value on that
1381
01:18:46,481 --> 01:18:50,568
and he went and spent
half a million dollars
1382
01:18:50,652 --> 01:18:52,862
to get all of this stuff green-lighted
1383
01:18:52,946 --> 01:18:55,824
and to put every damn cop
on the street corner,
1384
01:18:55,907 --> 01:18:58,743
ensuring safety
and the safety of the city.
1385
01:18:58,827 --> 01:19:01,788
And paying location fees.
1386
01:19:01,871 --> 01:19:04,457
All because he wants it to be real.
1387
01:19:04,541 --> 01:19:06,042
He wants real action.
1388
01:19:06,126 --> 01:19:08,336
And, you know, thank you.
1389
01:19:13,717 --> 01:19:14,926
I'm proud of it, yeah.
1390
01:19:15,010 --> 01:19:18,096
I mean, it's tough to be proud
until you see a finished product,
1391
01:19:18,179 --> 01:19:20,056
but I'm proud of the flying we did.
1392
01:19:20,140 --> 01:19:22,976
I'm proud of myself
'cause I grew a lot as a flyer
1393
01:19:23,059 --> 01:19:25,603
and earned the trust
of the whole Red Bull Air Force,
1394
01:19:25,687 --> 01:19:28,064
those are the best flyers in the world.
1395
01:19:28,148 --> 01:19:30,775
It was cool. You come to the city
and stomp some lines,
1396
01:19:30,859 --> 01:19:33,611
and make your little artistic impression
on the city.
1397
01:19:33,695 --> 01:19:36,114
I'll never look at Chicago
the same again.
1398
01:19:36,197 --> 01:19:38,783
Looking forward to see
Matt Butler and Michael Bay
1399
01:19:38,867 --> 01:19:40,744
put their touch on the sequence.
1400
01:19:40,827 --> 01:19:42,495
It was really cool to have Matt
1401
01:19:42,579 --> 01:19:45,498
come out to the skydive zones
that we went to.
1402
01:19:45,582 --> 01:19:48,251
And he and I had a beer yesterday,
and he was excited.
1403
01:19:48,334 --> 01:19:51,004
He was like,
"I am confident. I'm going to be able to
1404
01:19:51,087 --> 01:19:53,006
"take this and add the special effects,
1405
01:19:53,089 --> 01:19:55,842
"and make buildings blow up
and collapse behind you."
1406
01:19:55,925 --> 01:20:00,138
He has what he needs to do his job,
so that means we've done our job.
1407
01:20:06,198 --> 01:20:08,075
So, you'll fix it in post,
is what you're saying?
1408
01:20:08,284 --> 01:20:09,827
No,no,no.
1409
01:20:14,498 --> 01:20:18,419
With Michael's features, you're sprinting
for the entire time you're on it.
1410
01:20:19,253 --> 01:20:21,422
I kept cutting and more footage
kept coming in.
1411
01:20:21,505 --> 01:20:24,091
So you constantly have to be
reworking it and reworking it.
1412
01:20:24,175 --> 01:20:26,344
For the tilted building sequence,
he told us that
1413
01:20:26,427 --> 01:20:28,512
he thought of it while
he was doing stomach crunches.
1414
01:20:28,596 --> 01:20:30,514
Which is funny,
because it gives us stomach aches.
1415
01:20:31,182 --> 01:20:34,185
We were digging that sound
so we went with it.
1416
01:20:35,561 --> 01:20:37,938
Often what you hear
is not what you'd expect it actually is.
1417
01:20:38,022 --> 01:20:39,023
Let's roll.
1418
01:20:41,859 --> 01:20:43,444
You know you've made it
in this business
1419
01:20:43,527 --> 01:20:45,488
when Michael Bay is sitting with you
1420
01:20:45,571 --> 01:20:48,491
and you're rushing
to get something done
1421
01:20:48,574 --> 01:20:51,035
because Steven Spielberg
is two minutes away,
1422
01:20:51,118 --> 01:20:53,788
and he's coming in any second
to look at your cut.
1423
01:20:53,871 --> 01:20:55,247
I think that's good.
1424
01:20:55,331 --> 01:20:57,958
Joel had been on the second movie.
1425
01:20:58,042 --> 01:21:00,378
Roger had been on the first two movies.
1426
01:21:01,128 --> 01:21:03,464
And Billy, this was his first time.
1427
01:21:03,547 --> 01:21:07,760
We just hit it hard, very quickly,
going into complicated scenes
1428
01:21:07,843 --> 01:21:12,139
and trying to build sections
so that we could start feeding the beast,
1429
01:21:12,223 --> 01:21:14,141
which is the effects pipeline.
1430
01:21:14,475 --> 01:21:17,895
Whatever scenes come in, we just
take them and start working on it.
1431
01:21:17,978 --> 01:21:20,147
And we show them to Michael
and then he looks at them,
1432
01:21:20,231 --> 01:21:22,525
gives us notes,
and he may send it to another editor,
1433
01:21:22,608 --> 01:21:25,319
or he may keep the same editor on it
for a while.
1434
01:21:25,403 --> 01:21:28,656
But the reason
why Michael likes more editors
1435
01:21:28,739 --> 01:21:32,910
is to get a fresh eye on the sequences.
1436
01:21:32,993 --> 01:21:36,122
He'll give the same sequence
to two editors and he'll take...
1437
01:21:36,205 --> 01:21:37,665
"That part's pretty good
in that sequence,
1438
01:21:37,748 --> 01:21:38,833
"that part's pretty good
in that sequence.
1439
01:21:38,916 --> 01:21:41,001
"Let's mix them up.
Let's look at it again."
1440
01:21:41,085 --> 01:21:44,547
He had me and Joel
cut the same scene at the same time.
1441
01:21:44,630 --> 01:21:47,716
It took four or five days to out it,
there was so much footage.
1442
01:21:47,800 --> 01:21:50,928
Instead of one brain working on it,
you've got three brains.
1443
01:21:51,011 --> 01:21:54,723
He uses our editorial perspective
the best way he can.
1444
01:21:54,807 --> 01:21:58,060
So did you guys do anything
different here with the...
1445
01:21:58,144 --> 01:22:01,063
In editorial, you immerse yourself
to the point sometimes
1446
01:22:01,147 --> 01:22:06,068
where you can fool yourself
that something is working,
1447
01:22:06,152 --> 01:22:09,530
because you know
the geography of where everything is
1448
01:22:09,613 --> 01:22:12,366
and who is who,
and what robots are what robots.
1449
01:22:12,450 --> 01:22:16,078
But it's really important
to step outside of that
1450
01:22:16,162 --> 01:22:19,373
and try to get fresh eyes on it.
1451
01:22:19,457 --> 01:22:21,250
The best thing a director can give you
as an editor
1452
01:22:21,333 --> 01:22:23,252
is the ability to make a wrong choice,
1453
01:22:23,335 --> 01:22:27,339
because you don't wanna get so tied up
in knots about getting it perfect
1454
01:22:27,423 --> 01:22:29,467
that you don't think outside the box.
1455
01:22:29,550 --> 01:22:31,469
I mean, I've done
other visual effects movies before
1456
01:22:31,552 --> 01:22:33,220
but never as big as this,
1457
01:22:33,304 --> 01:22:35,181
and never with as many empty plates.
1458
01:22:35,264 --> 01:22:36,724
You cut these scenes together
1459
01:22:36,807 --> 01:22:39,977
and Michael shoots just hours of plates
for each scene.
1460
01:22:40,060 --> 01:22:42,897
And sometimes you literally don't know
whether it's a camera reset,
1461
01:22:42,980 --> 01:22:44,148
or it's supposed to be a shot.
1462
01:22:44,857 --> 01:22:49,069
I worked together with Digital Domain,
cutting sequences together,
1463
01:22:49,153 --> 01:22:51,947
and one example is the scene
in Dylan's mansion
1464
01:22:52,031 --> 01:22:55,534
where Dylan reveals that he works
for the Decepticons.
1465
01:22:55,618 --> 01:22:59,330
There's a scene in there
where one of the Decepticons
1466
01:22:59,413 --> 01:23:04,668
grabs Carly and pulls her into the car,
but he's a robot and he turns into a car.
1467
01:23:04,752 --> 01:23:07,087
All that scene is just... When it's shot,
1468
01:23:07,171 --> 01:23:10,090
it's just her on a rope
being grabbed and pulled up,
1469
01:23:10,174 --> 01:23:15,054
then there's a shot of a blank street
and the mansion in the background.
1470
01:23:15,137 --> 01:23:17,932
What I do is I build it all
just with the plates.
1471
01:23:18,015 --> 01:23:23,270
I consult with them, they tell me
a little bit about where things go.
1472
01:23:23,354 --> 01:23:26,273
And it's just a constant back and forth,
just kind of putting it together
1473
01:23:26,357 --> 01:23:29,109
and making it the most exciting
that it can be.
1474
01:23:30,361 --> 01:23:31,529
- Roll 3D.
- Rolling.
1475
01:23:31,612 --> 01:23:35,407
When people said Transformers 3
in 3D,
1476
01:23:35,491 --> 01:23:39,495
everyone thought, "Oh, my God,
that's the movie I wanna see. "
1477
01:23:39,578 --> 01:23:42,498
And then we all said,
"How the...are we gonna do that?"
1478
01:23:42,581 --> 01:23:46,585
The amazing thing about 3D is
it actually focuses the audience
1479
01:23:46,710 --> 01:23:49,797
on what action do you want them
to actually see.
1480
01:23:49,880 --> 01:23:51,966
It does change the cutting pattern a lot.
1481
01:23:52,049 --> 01:23:53,467
3D is very bad when you do this.
1482
01:23:53,551 --> 01:23:56,178
It strobes,
it's got a lot of problems there.
1483
01:23:56,262 --> 01:23:59,181
I 'd slow down my style,
I did a lot of master shots.
1484
01:23:59,265 --> 01:24:00,975
You have to hold shots a little bit longer,
1485
01:24:01,058 --> 01:24:02,268
there's a lot to look at.
1486
01:24:02,351 --> 01:24:05,646
Not only the kinetic imagery
that Michael shoots,
1487
01:24:05,729 --> 01:24:10,568
but it's the kinetic energy
of the animation within the frame.
1488
01:24:10,651 --> 01:24:13,862
As editors,
we're cutting lengths of shots,
1489
01:24:13,946 --> 01:24:20,286
but we've got a whole company or two
of visual effects artists
1490
01:24:20,369 --> 01:24:22,496
who are editing within the frame,
1491
01:24:22,580 --> 01:24:24,623
and it's all that editing within the frame
1492
01:24:24,707 --> 01:24:27,626
that makes pulling off the 3D
really challenging.
1493
01:24:27,710 --> 01:24:29,461
Just because
we lock down a shot length
1494
01:24:29,545 --> 01:24:31,088
doesn't mean the work is done.
1495
01:24:31,171 --> 01:24:34,341
All we 're doing is saying,
"We want this shot from here to here.
1496
01:24:34,425 --> 01:24:38,262
"lLM, go to it. We like the
human performances in the shot. "
1497
01:24:38,429 --> 01:24:42,600
And then, once they start working
on the robot animation,
1498
01:24:42,725 --> 01:24:46,562
there is a process
where that animation is temp
1499
01:24:46,645 --> 01:24:49,148
and then it gets finer and finer
until it's locked.
1500
01:24:49,231 --> 01:24:50,608
It's a lot to figure out.
1501
01:24:52,443 --> 01:24:54,320
There's a lot of scenes
everybody's gonna be talking about.
1502
01:24:54,403 --> 01:24:58,282
The bat suits is a huge sequence.
I mean, that's amazing.
1503
01:24:58,365 --> 01:25:01,076
The Birdmen dailies are just sick.
1504
01:25:01,160 --> 01:25:03,495
I mean, it's insane
what these guys are doing.
1505
01:25:03,746 --> 01:25:07,041
I'll never forget in looking at the dailies,
some of the scariest stuff, for me,
1506
01:25:07,124 --> 01:25:10,878
is these shots when they jumped
both out of helicopters
1507
01:25:10,961 --> 01:25:13,922
and off the top of some of
the tallest buildings in Chicago.
1508
01:25:14,256 --> 01:25:18,719
And they had these cameras
looking off the face of the building,
1509
01:25:18,802 --> 01:25:20,888
where these guys wearing
these helmet cams
1510
01:25:20,971 --> 01:25:22,181
would peer over the edge,
1511
01:25:22,264 --> 01:25:26,268
and that gave you this perspective shift
that just made your stomach churn.
1512
01:25:26,352 --> 01:25:28,562
And it was really fun to cut that stuff.
1513
01:25:28,646 --> 01:25:31,899
I remember the very first test screening.
There was a kid, he goes,
1514
01:25:31,982 --> 01:25:34,068
"You got to take that scene out."
1515
01:25:34,151 --> 01:25:35,277
This was when it was a rough cut.
1516
01:25:35,361 --> 01:25:38,072
I'm like, "Why?"
He says, "You can't do that."
1517
01:25:38,155 --> 01:25:41,241
I said, "Well, let me just tell you,
all but two of those shots are real."
1518
01:25:41,325 --> 01:25:46,080
Michael does not like to lean on CG
any more than he has to.
1519
01:25:46,163 --> 01:25:48,957
Even though we're talking about
a Transformers movie,
1520
01:25:49,041 --> 01:25:51,877
with 60-foot tall robots running around,
1521
01:25:53,170 --> 01:25:58,092
the magic of these movies is that
it's all meant to be photo real.
1522
01:25:58,175 --> 01:26:03,972
And so, anytime we can avoid
creating something in the computer,
1523
01:26:04,056 --> 01:26:05,557
Mike is gonna wanna do that.
1524
01:26:05,641 --> 01:26:06,850
Those guys are real, man.
1525
01:26:06,934 --> 01:26:09,186
And when they're flying around
inside Chicago,
1526
01:26:09,269 --> 01:26:10,396
especially the helmet cam stuff,
1527
01:26:10,479 --> 01:26:12,773
really gives you the sense
of being up there
1528
01:26:12,856 --> 01:26:15,359
and seeing it in 3D
is pretty mind-blowing.
1529
01:26:15,734 --> 01:26:17,778
It looks sick. I've skydived before,
1530
01:26:17,861 --> 01:26:20,948
but this is nothing.
I mean, what I've done is...
1531
01:26:21,740 --> 01:26:22,991
...stupid.
1532
01:26:23,283 --> 01:26:27,204
One thing that we joke about,
Roger and Billy and I,
1533
01:26:27,287 --> 01:26:28,455
is when you work on a movie,
1534
01:26:28,539 --> 01:26:30,999
usually there's about four
money sequences.
1535
01:26:31,083 --> 01:26:32,793
And this movie's got 12.
1536
01:26:32,876 --> 01:26:34,545
I'm not kidding, it's huge.
1537
01:26:38,882 --> 01:26:40,384
All right. Let's go.
1538
01:26:40,467 --> 01:26:45,347
In a lot of ways, as effects artists, you
couldn't ask for more than Michael Bay.
1539
01:26:45,431 --> 01:26:47,891
While I respect him and he is brilliant,
1540
01:26:47,975 --> 01:26:48,976
it's exhausting.
1541
01:26:49,059 --> 01:26:51,854
He's always thinking a few steps ahead,
'cause you'll be doing animation,
1542
01:26:51,937 --> 01:26:54,189
and we're thinking,
"Animation," and he'll be like,
1543
01:26:54,273 --> 01:26:56,859
"We're gonna get light kicks over here,
and I can do a sound cue for that."
1544
01:26:56,942 --> 01:26:59,987
And then he's thought the shot through
further than you have.
1545
01:27:00,070 --> 01:27:02,573
'Cause you're just like, blinders on,
"Animation. Animation."
1546
01:27:02,656 --> 01:27:03,782
He has a fantastic eye.
1547
01:27:03,866 --> 01:27:06,243
He sees stuff so quickly.
1548
01:27:06,326 --> 01:27:08,412
I think his pacing
is different to most people.
1549
01:27:08,495 --> 01:27:11,081
You pull up a shot, and he looks at it,
he'll be like, "That's soft."
1550
01:27:11,165 --> 01:27:12,249
And you're like, "How does he do that?"
1551
01:27:12,332 --> 01:27:13,459
He's my pain in the ass.
1552
01:27:13,542 --> 01:27:16,253
But he's an F-ing genius.
1553
01:27:16,336 --> 01:27:17,671
Review sessions with Michael
are very interesting
1554
01:27:17,755 --> 01:27:19,214
'cause you never quite know
what you're going to get.
1555
01:27:19,298 --> 01:27:22,801
The transmissions would go every day
and it's laborious.
1556
01:27:22,885 --> 01:27:28,015
It's just shot by shot, pixel by pixel,
1557
01:27:28,098 --> 01:27:29,975
light, light, light, you know.
1558
01:27:30,058 --> 01:27:33,353
He's looking at the shot and he's either
maybe biting on his shirt,
1559
01:27:33,437 --> 01:27:36,690
and you're like, "What's he thinking?
He's not saying anything."
1560
01:27:36,774 --> 01:27:38,525
And then, "Okay."
1561
01:27:38,609 --> 01:27:40,402
That's as close as you're gonna get to
"Looks great, guys."
1562
01:27:40,486 --> 01:27:41,862
So, boom, next shot, bring it up.
1563
01:27:41,945 --> 01:27:43,655
The next shot comes up,
he's looking at it,
1564
01:27:43,739 --> 01:27:45,616
and the one word you don't wanna hear
is the "G" word.
1565
01:27:45,908 --> 01:27:48,076
"Guys." Like, "Oh, God, here we go."
1566
01:27:48,160 --> 01:27:49,536
And if it's one "guys" you're okay.
1567
01:27:49,620 --> 01:27:50,829
It's terrible looking, guys.
1568
01:27:50,913 --> 01:27:53,207
Guys... You guys...
Guys, I don't like all the blue.
1569
01:27:53,290 --> 01:27:56,710
We can deal with that.
Then it's "Guys, guys, guys."
1570
01:27:56,794 --> 01:27:58,962
And your head just keeps going down
with every "guys."
1571
01:27:59,046 --> 01:28:02,090
It's just, like, you get the 21-guys salute
and you're back to blocking.
1572
01:28:02,174 --> 01:28:04,885
Guys, guys, guys. Is that what I do?
1573
01:28:04,968 --> 01:28:07,805
He's really great about interacting
with the artists.
1574
01:28:07,888 --> 01:28:09,139
And they love it as well.
1575
01:28:09,223 --> 01:28:11,600
What are those little things coming by?
Like fireflies?
1576
01:28:11,683 --> 01:28:13,644
- Little bugs.
- I love them.
1577
01:28:13,727 --> 01:28:17,606
Give that guy, that woman, 25 bucks.
1578
01:28:17,689 --> 01:28:18,982
This is beautiful.
1579
01:28:19,066 --> 01:28:20,442
Who is that?
1580
01:28:20,526 --> 01:28:23,195
Wayne, I'll pay you back.
Just give the money, all right?
1581
01:28:23,278 --> 01:28:24,404
Simon Twine.
1582
01:28:24,488 --> 01:28:26,740
- All right. All right, $25.
- Simon Twine.
1583
01:28:26,824 --> 01:28:27,991
I'll pay him.
1584
01:28:29,284 --> 01:28:31,411
You send me a bill when you're done.
1585
01:28:31,495 --> 01:28:33,622
That's good shit.
1586
01:28:33,705 --> 01:28:36,375
"Shit" is a very descriptive word.
1587
01:28:39,795 --> 01:28:42,673
They understand
all different iterations of it.
1588
01:28:42,840 --> 01:28:46,176
That's bullshit.
You know, it's just some more shit.
1589
01:28:46,343 --> 01:28:50,514
...Shit. Just adds a little more shit to it.
1590
01:28:50,597 --> 01:28:51,723
I don't give a shit.
1591
01:28:51,807 --> 01:28:54,768
I have a very good rapport
with the ILM guys.
1592
01:28:54,852 --> 01:28:56,436
So we've known each other for so long.
1593
01:28:56,520 --> 01:29:00,607
We're firing on all cylinders right now.
This is a finely-honed team.
1594
01:29:01,859 --> 01:29:04,820
He's great with really pushing
the realism of the characters.
1595
01:29:04,987 --> 01:29:06,321
We don't like fake CG.
1596
01:29:06,405 --> 01:29:09,575
I love how you did the gun.
The gun has really come a...long way.
1597
01:29:09,658 --> 01:29:10,993
It looks amazingly real.
1598
01:29:11,076 --> 01:29:14,705
Do we wanna do some skidding stuff?
Let's talk about that.
1599
01:29:17,541 --> 01:29:18,750
Smoke.
1600
01:29:18,834 --> 01:29:22,880
I know. But the wheels would try to...
Let's talk animation of the wheels.
1601
01:29:23,881 --> 01:29:27,009
He'll definitely tell you if something's
not working right to your face.
1602
01:29:27,092 --> 01:29:28,302
No BS about it.
1603
01:29:28,385 --> 01:29:30,262
Well, Bumblebee looks...up.
1604
01:29:30,345 --> 01:29:32,014
The Ferrari still looks so...up.
1605
01:29:32,097 --> 01:29:34,391
Sideswipe is a little lame.
1606
01:29:34,558 --> 01:29:36,018
Something we've learned
from the first two
1607
01:29:36,101 --> 01:29:37,311
is not to challenge him.
1608
01:29:37,394 --> 01:29:38,812
Where are the bricks?
1609
01:29:38,896 --> 01:29:40,522
Come on, you're telling me
that's where they all land?
1610
01:29:40,856 --> 01:29:42,566
I don't think we've turned any off.
1611
01:29:42,691 --> 01:29:43,817
Am I missing something?
1612
01:29:43,901 --> 01:29:46,653
He remembers it all.
And it's kind of insane.
1613
01:29:46,737 --> 01:29:48,739
I know in the plate
we can see him sooner than that.
1614
01:29:48,822 --> 01:29:51,533
His hair, didn't he have
a different look of his hair?
1615
01:29:51,617 --> 01:29:53,911
Don't we have to make it
go all the way up?
1616
01:29:53,994 --> 01:29:55,287
No, not yet. Not in this shot.
1617
01:29:55,370 --> 01:29:58,999
Yeah, I got you. Okay. Okay. All right.
Just testing you.
1618
01:29:59,416 --> 01:30:00,709
- You passed.
- Yeah.
1619
01:30:00,792 --> 01:30:03,045
I give them a lot of creative freedom.
1620
01:30:03,128 --> 01:30:05,547
Show me." DD did exactly that
1621
01:30:05,631 --> 01:30:10,093
He actually helps me, helps us,
improve our work and I appreciate that.
1622
01:30:10,177 --> 01:30:11,929
I'm really pleased with the work
we've done on this movie.
1623
01:30:12,012 --> 01:30:15,933
It's taken a lot out of me,
but at the end of the day,
1624
01:30:16,016 --> 01:30:18,560
I'm very proud to be associated
with those images
1625
01:30:18,644 --> 01:30:21,188
and the work that everyone here's done.
The Moon in particular.
1626
01:30:21,271 --> 01:30:23,190
In the Moon sequence,
we got pretty accurate data.
1627
01:30:23,273 --> 01:30:25,567
Japan sent up a probe
and basically laser-scanned the Moon.
1628
01:30:25,651 --> 01:30:27,778
We're doing a lot of shots on the Moon,
1629
01:30:27,945 --> 01:30:31,239
so we're trying to figure out
what the look of the actual Moon surface
1630
01:30:31,323 --> 01:30:32,574
is supposed to be.
1631
01:30:32,658 --> 01:30:33,951
That's kind of what this is.
1632
01:30:34,034 --> 01:30:39,164
How to take it from more of a
gray-shaded, low-res model
1633
01:30:39,247 --> 01:30:43,043
of the Moon surface to trying to apply
a look that actually works.
1634
01:30:43,126 --> 01:30:47,714
We start out at sixth gravity, Moon silt,
and robots and such.
1635
01:30:47,798 --> 01:30:50,968
As these ships pull themselves out
of the Moon's crust,
1636
01:30:51,051 --> 01:30:54,554
and all the silt's around them,
and break things free,
1637
01:30:54,638 --> 01:30:58,725
we get to have
that elegant ballet of motion
1638
01:30:58,809 --> 01:31:00,519
that we're not used to down on Earth.
1639
01:31:00,602 --> 01:31:03,897
Protoforms, Michael liked them
when they ran at a certain rate.
1640
01:31:03,981 --> 01:31:05,857
We had a bunch of different speeds.
1641
01:31:05,941 --> 01:31:07,776
Mike also wanted this quad run.
1642
01:31:07,859 --> 01:31:11,405
So we took our biped and, fortunately,
he had very long gorilla-arms
1643
01:31:11,488 --> 01:31:12,864
and very long fingers.
1644
01:31:12,948 --> 01:31:14,616
The speed of the run is tricky.
1645
01:31:14,700 --> 01:31:16,660
The Moon men,
they all move kind of slow,
1646
01:31:16,743 --> 01:31:20,080
so they don't launch themselves
for a football field's length.
1647
01:31:20,163 --> 01:31:23,333
But they looked better
when they weren't running so slowly.
1648
01:31:23,417 --> 01:31:27,504
And we had to work that out
so that the speed was good looking,
1649
01:31:27,587 --> 01:31:30,173
but not so fake.
1650
01:31:34,219 --> 01:31:37,431
So the whole Cybertron
being pulled through space to the Earth,
1651
01:31:37,514 --> 01:31:39,016
I think originally
we were forming a lattice
1652
01:31:39,099 --> 01:31:41,059
that kind of formed
the planet of Cybertron.
1653
01:31:41,143 --> 01:31:43,145
So we started working in that direction.
1654
01:31:43,228 --> 01:31:47,441
Early on, there's this beam that's
feeding the pillars with energy
1655
01:31:47,524 --> 01:31:52,487
and the pillars themselves here
are projecting some energy,
1656
01:31:52,571 --> 01:31:54,197
and then we're transforming
everything into...
1657
01:31:54,281 --> 01:31:56,950
We're actually
materializing the planet out of it.
1658
01:31:57,034 --> 01:31:59,077
But then the further we got into this,
1659
01:31:59,161 --> 01:32:03,248
then Michael Bay didn't seem to really
like the idea of materializing the planet.
1660
01:32:03,331 --> 01:32:05,792
And that's when we got
the change of direction from,
1661
01:32:05,876 --> 01:32:08,170
I think, when he had a meeting
with Spielberg,
1662
01:32:08,253 --> 01:32:10,630
and we got these awesome drawings.
1663
01:32:10,714 --> 01:32:13,800
Steven Spielberg came over to Michael
1664
01:32:13,884 --> 01:32:16,636
and did a drawing on a piece of paper.
It's very scribble-y.
1665
01:32:17,387 --> 01:32:18,472
But Marten kept it.
1666
01:32:18,555 --> 01:32:22,559
So I think the idea was,
instead of materializing the planet,
1667
01:32:22,642 --> 01:32:25,187
there was some kind of portal in space
1668
01:32:25,270 --> 01:32:27,230
that the planet
was being pulled through.
1669
01:32:27,314 --> 01:32:30,567
So he really wanted to show the ring,
1670
01:32:30,650 --> 01:32:33,320
the interface where the planet is
either materializing
1671
01:32:33,403 --> 01:32:34,404
or being pulled through.
1672
01:32:34,488 --> 01:32:36,990
So you can clearly feel that
it's being transported
1673
01:32:37,074 --> 01:32:39,534
from a different dimension
or a different place.
1674
01:32:39,618 --> 01:32:43,205
This is an early concept frame of
1675
01:32:43,288 --> 01:32:47,250
showing a little bit more of
an orange, glow-y portal.
1676
01:32:47,334 --> 01:32:52,005
This is the first shot where the planet
is actually starting to pull through.
1677
01:32:52,089 --> 01:32:56,843
So the effects team started coming up
with all these solar flare looking things.
1678
01:32:56,927 --> 01:33:01,014
We still had a beam
feeding the energy of the portal,
1679
01:33:01,098 --> 01:33:03,600
so there's kind of energy
traveling across.
1680
01:33:03,683 --> 01:33:05,102
It's kind of neat.
1681
01:33:08,980 --> 01:33:11,191
We've done little phones
and little kitchen appliances,
1682
01:33:11,274 --> 01:33:12,526
and that stuff was great,
1683
01:33:12,609 --> 01:33:14,694
but we've been wanting to get our hands
on big, giant robots
1684
01:33:14,778 --> 01:33:16,404
ever since this thing started.
1685
01:33:16,488 --> 01:33:19,950
Getting a chance to work on big,
giant robots walking around,
1686
01:33:20,033 --> 01:33:22,953
just blasting people with extreme
prejudice was very therapeutic.
1687
01:33:23,078 --> 01:33:25,997
It's amazing. It's a whole different
mindset, different animation style.
1688
01:33:26,081 --> 01:33:28,500
You don't really appreciate it
till you have to go ahead and do them.
1689
01:33:28,583 --> 01:33:30,335
How much work ILM puts into them.
1690
01:33:30,418 --> 01:33:33,547
The good thing about them is
they're just more impressive.
1691
01:33:33,630 --> 01:33:35,882
As soon as you put them up there
and they're towering over everyone
1692
01:33:35,966 --> 01:33:39,094
and shadowing people,
you're like, "They're awesome."
1693
01:33:39,177 --> 01:33:41,304
I mean, that's why
everyone wants to do Transformers
1694
01:33:45,267 --> 01:33:47,227
The bad boy on this one was Driller,
1695
01:33:47,310 --> 01:33:50,730
and in many ways, Driller was
even harder than Devastator.
1696
01:33:50,814 --> 01:33:53,024
We had just finished Transformers 2.
1697
01:33:53,108 --> 01:33:56,069
We built Devastator, most complicated
thing we had ever done.
1698
01:33:56,153 --> 01:33:58,488
We were pretty sure Michael
had broken us with that one.
1699
01:33:58,572 --> 01:34:01,116
And when we started this movie,
we went down to the art department,
1700
01:34:01,199 --> 01:34:02,951
we're looking through the robots.
1701
01:34:03,034 --> 01:34:05,745
"Optimus is getting a few upgrades,
great. Bumblebee is getting a few. "
1702
01:34:05,829 --> 01:34:10,208
Then we get to this piece of art
and it's spanning three boards.
1703
01:34:10,292 --> 01:34:13,378
It was this massive, massive, massive
complex robot.
1704
01:34:13,503 --> 01:34:17,465
- A big worm...
- Octopus, snake, Cuisinart...
1705
01:34:17,549 --> 01:34:20,427
- Three football fields long...
- Turning and rotating...
1706
01:34:20,510 --> 01:34:24,097
And one of the hardest things for an
animator to do is animate tentacles.
1707
01:34:24,181 --> 01:34:26,933
This thing is just a huge tentacle
with tentacles coming off of it.
1708
01:34:27,017 --> 01:34:28,810
And the tentacles don't just
slither and move,
1709
01:34:28,894 --> 01:34:30,270
but they're also spinning.
1710
01:34:30,353 --> 01:34:32,898
He's got thousands and thousands
and thousands of parts.
1711
01:34:33,148 --> 01:34:35,942
On the scale of,
really, eight Optimus Primes.
1712
01:34:36,026 --> 01:34:38,403
Optimus Prime had
about 17,000 pieces.
1713
01:34:38,570 --> 01:34:41,781
He's so complicated that it just takes
massive amounts of patience
1714
01:34:41,865 --> 01:34:44,117
and computer power
to get the scenes with him done.
1715
01:34:44,201 --> 01:34:47,245
And it took us several months to
actually get something functioning
1716
01:34:47,329 --> 01:34:50,081
where animators had control
over how to pose it,
1717
01:34:50,207 --> 01:34:51,583
how to put the whole package together.
1718
01:34:51,708 --> 01:34:55,253
We've managed to make
different resolutions of him.
1719
01:34:55,503 --> 01:34:58,131
The high is extremely slow to work with.
1720
01:34:58,215 --> 01:35:00,300
It crashed my machine earlier today.
1721
01:35:00,383 --> 01:35:03,845
We had to have all of their machines
upgraded to the latest, greatest,
1722
01:35:03,929 --> 01:35:06,306
state-of-the-art 64 gigs of memory.
1723
01:35:06,389 --> 01:35:09,893
I think average home computers
have between two and four gigs.
1724
01:35:09,976 --> 01:35:12,729
The most computing power
they've ever had to do for any shots
1725
01:35:12,812 --> 01:35:14,606
ever at Lucasfilm.
1726
01:35:14,689 --> 01:35:18,944
So already, we're barely able to
animate and render this character
1727
01:35:19,027 --> 01:35:23,031
because he's such a difficult asset,
and then we get to the sequence where,
1728
01:35:23,114 --> 01:35:25,659
"Okay, now he needs to be
crushing a building."
1729
01:35:25,951 --> 01:35:29,913
Getting Driller to interact with it
at every stage is just
1730
01:35:30,538 --> 01:35:33,500
an enormous, enormous, enormous feat.
1731
01:35:33,583 --> 01:35:36,836
The skyscraper in this movie is
as much a character as anything.
1732
01:35:36,920 --> 01:35:40,840
We started modeling the building
while we were still shooting.
1733
01:35:40,924 --> 01:35:44,636
It's a big, involved, complex model
that has to perform in a lot of ways.
1734
01:35:44,719 --> 01:35:45,887
It breaks in the middle,
1735
01:35:45,971 --> 01:35:48,807
pieces of it break out,
Driller tears through it.
1736
01:35:48,890 --> 01:35:52,185
When you look at the events
happening in a shot like this,
1737
01:35:52,269 --> 01:35:55,522
a lot of it was the individual artists
going in and saying,
1738
01:35:55,605 --> 01:35:59,526
"Okay, these floors are getting
squeezed here in the middle,
1739
01:35:59,609 --> 01:36:01,861
"so I'm gonna crush those up,"
1740
01:36:01,945 --> 01:36:05,407
and that would then, for the next artist,
drive their glass simulation.
1741
01:36:05,532 --> 01:36:08,034
The physical dynamics involved
with something like that
1742
01:36:08,118 --> 01:36:09,869
are incredibly complex.
1743
01:36:09,953 --> 01:36:13,707
Both from the modeling standpoint,
and then we get into rigid simulations
1744
01:36:13,790 --> 01:36:18,628
with computers running simulations
based on force and gravity
1745
01:36:18,712 --> 01:36:21,214
to make all that glass pour out
and all that concrete pour out.
1746
01:36:21,298 --> 01:36:24,551
And the sides bowing out and flexing
and then the last step is...
1747
01:36:24,634 --> 01:36:27,387
- All the debris and...
- Paper, concrete, glass...
1748
01:36:27,470 --> 01:36:31,141
Destruction. That was just an
enormous undertaking on itself.
1749
01:36:31,308 --> 01:36:35,228
This gives you a few examples, too,
of the different layers that go into here.
1750
01:36:35,312 --> 01:36:39,441
You see bits of rebar, bits of concrete,
here's a couch that falls.
1751
01:36:39,858 --> 01:36:42,944
And we have libraries of things like
couches and rebar and concrete.
1752
01:36:43,028 --> 01:36:45,113
- Window blinds.
- And the people working on these shots
1753
01:36:45,196 --> 01:36:46,573
can pull from those libraries.
1754
01:36:46,656 --> 01:36:50,201
It really is a layer cake
of items to put together.
1755
01:36:50,285 --> 01:36:53,246
If you were to sit down
and read the script and go,
1756
01:36:53,330 --> 01:36:55,623
"How are you gonna do that?"
1757
01:36:55,707 --> 01:36:58,501
And then seeing the way it is in the film,
it's just like,
1758
01:36:58,585 --> 01:37:03,465
"Man, we did it. I can't believe it
but there it is and it looks pretty cool."
1759
01:37:05,300 --> 01:37:09,304
It's a struggle for us to find the
characters in these cool bits of metal.
1760
01:37:09,387 --> 01:37:10,430
With the case of Sentinel Prime,
1761
01:37:10,513 --> 01:37:12,349
Michael had always latched on
to Sean Connery.
1762
01:37:12,432 --> 01:37:16,936
He had a beard. We modeled him
with one eyebrow lifted up like this.
1763
01:37:17,020 --> 01:37:21,024
He was meant to seem regal,
he's even got this little tassel thing
1764
01:37:21,524 --> 01:37:24,194
hanging down
and big shoulder epaulets.
1765
01:37:24,361 --> 01:37:30,075
He's this ultimate badass warrior
who's also an older general type.
1766
01:37:30,158 --> 01:37:33,495
Well, Leonard Nimoy, he married
Susan Bay, who's a cousin of mine.
1767
01:37:33,578 --> 01:37:35,789
I finally got the cojones up to email him.
1768
01:37:35,872 --> 01:37:39,709
I said, "Leonard, I'm just wondering
if you would ever be interested
1769
01:37:39,793 --> 01:37:43,171
"to be a voice character
in Transformers?
1770
01:37:43,254 --> 01:37:46,966
"And I've got this great role,
it's a pivotal role in this movie.
1771
01:37:47,592 --> 01:37:51,137
"Would you be interested?�
And he's like, "I'd love to.
1772
01:37:51,221 --> 01:37:55,308
"I'm glad to be back. I was on
the very first movie." And it was great.
1773
01:37:55,392 --> 01:37:57,977
With the voice sessions, what we do
is we get a bunch of it...
1774
01:37:58,061 --> 01:38:00,522
- Yeah.
-...and then we put it in,
1775
01:38:00,605 --> 01:38:02,440
and then we'll come back
and we'll touch up certain lines.
1776
01:38:02,524 --> 01:38:04,651
- You know what I'm saying?
- Okay. Yeah. Okay. All right.
1777
01:38:05,151 --> 01:38:08,488
Let's just attack some stuff
and see what it sounds like.
1778
01:38:08,571 --> 01:38:11,658
He gave us this great,
old man performance
1779
01:38:11,741 --> 01:38:13,618
with a really gravelly voice.
1780
01:38:13,701 --> 01:38:16,037
He really talked... It was great.
1781
01:38:16,121 --> 01:38:17,205
We couldn't have been happier
1782
01:38:17,288 --> 01:38:19,624
when we started hearing
some of the voiceovers coming in
1783
01:38:19,707 --> 01:38:21,084
for us to be able to animate to.
1784
01:38:21,167 --> 01:38:24,879
Always the bravest of us, Optimus.
1785
01:38:25,296 --> 01:38:28,091
But you could never make
the hard decisions!
1786
01:38:28,800 --> 01:38:31,094
Our planet will survive!
1787
01:38:31,428 --> 01:38:35,432
It was really a lot of fun to animate to.
Our animators had a great time.
1788
01:38:35,557 --> 01:38:38,601
We watched the ADR session
of Leonard Nimoy
1789
01:38:38,685 --> 01:38:42,397
to see how he uses his mouth
when he speaks, so we have those
1790
01:38:42,522 --> 01:38:45,108
up on our monitor while we 're animating
the Sentinel Prime character.
1791
01:38:45,275 --> 01:38:50,280
I am no longer your teacher, Optimus.
You are mine.
1792
01:38:51,865 --> 01:38:54,033
Did they tell you how
they broke the Pro Tools?
1793
01:38:54,451 --> 01:38:57,287
Apparently it only goes to 32,000 fades.
1794
01:38:57,454 --> 01:39:00,123
And we had one reel with 32,000 fades
and it locked up.
1795
01:39:00,290 --> 01:39:02,917
The software that we work in
is called Pro Tools.
1796
01:39:03,293 --> 01:39:05,879
And for the first time ever,
1797
01:39:05,962 --> 01:39:09,883
I found that we couldn't create
any more fade files.
1798
01:39:09,966 --> 01:39:11,676
They had to call the engineers
that invented it
1799
01:39:11,759 --> 01:39:12,802
and they realized they broke it.
1800
01:39:12,886 --> 01:39:14,721
It never went to 32,000 fades.
1801
01:39:14,804 --> 01:39:17,140
- Never imagined.
- Never imagined.
1802
01:39:17,223 --> 01:39:21,853
Why would you ever need to
go beyond 32,000 fades?
1803
01:39:21,936 --> 01:39:23,688
On reel seven of this movie,
1804
01:39:23,771 --> 01:39:26,649
which happens to be the reel
with the tilted building,
1805
01:39:26,733 --> 01:39:29,819
the skyscraper coming down,
all of that action,
1806
01:39:29,903 --> 01:39:32,447
we maxed out the technology
on that reel.
1807
01:39:32,530 --> 01:39:34,949
We couldn't add one more track.
1808
01:39:35,033 --> 01:39:40,580
And this is a system that is so powerful,
yet we maxed it out.
1809
01:39:40,663 --> 01:39:44,918
It took Transformers 3 to tell us
that there was a maximum limit.
1810
01:39:45,001 --> 01:39:46,294
That's an absolute first.
1811
01:39:46,377 --> 01:39:50,089
And we've all done big movies,
and never heard of that before.
1812
01:39:50,715 --> 01:39:55,053
The most important thing for us to do is,
with our sounds, tell the story.
1813
01:39:55,136 --> 01:39:57,347
We wanted to elevate the picture
1814
01:39:57,430 --> 01:40:01,309
and create this alchemy between
what you see and what you hear
1815
01:40:01,392 --> 01:40:04,687
that brings the experience
to another level.
1816
01:40:06,356 --> 01:40:07,565
That's a great sound.
1817
01:40:07,649 --> 01:40:09,609
One of the beautiful things
about sound work
1818
01:40:09,692 --> 01:40:12,862
is that it really helps
to ground the pictures,
1819
01:40:12,946 --> 01:40:14,989
especially in a big visual effects film.
1820
01:40:15,073 --> 01:40:17,617
Michael gave us
a ton of creative freedom.
1821
01:40:17,700 --> 01:40:20,078
He wanted us to keep things
very specific,
1822
01:40:20,161 --> 01:40:22,747
not have a lot of flab on the track.
1823
01:40:22,830 --> 01:40:25,667
But that said, he let us go.
1824
01:40:25,750 --> 01:40:30,463
As long as it was cool and worthy
of the picture, it could go in.
1825
01:40:30,547 --> 01:40:33,383
Now, the enchilada.
1826
01:40:41,849 --> 01:40:45,770
So that mother ship coming down
is an elephant.
1827
01:40:45,853 --> 01:40:49,065
An elephant vocal as he's diving down.
1828
01:40:49,649 --> 01:40:54,153
If anybody out there wants to make
a mother ship crashing sound.
1829
01:40:54,237 --> 01:40:55,655
Can't find a better sound team.
1830
01:40:55,738 --> 01:40:59,284
What I love about them is
that they create so many sounds.
1831
01:40:59,367 --> 01:41:00,785
They try to do things so different.
1832
01:41:00,868 --> 01:41:02,579
In the very beginning of the process,
1833
01:41:02,662 --> 01:41:06,207
we started recording sounds,
collecting sounds.
1834
01:41:06,291 --> 01:41:09,669
A lot of sounds, we didn't even know
what they'd be used for,
1835
01:41:09,752 --> 01:41:11,921
but they were just good sounds.
1836
01:41:12,005 --> 01:41:16,843
If you just keep an open mind to
what's out there in the world,
1837
01:41:17,927 --> 01:41:20,680
you can make some happy discoveries.
1838
01:41:20,763 --> 01:41:24,642
For all of these movies, I've had a lot of
fun recording sounds in my kitchen.
1839
01:41:24,726 --> 01:41:27,895
For the first movie, the sound of Frenzy
1840
01:41:27,979 --> 01:41:30,148
was the sound of
my kitchen cabinet squeaking
1841
01:41:30,231 --> 01:41:33,318
and chopped up
to sound like a little vocal.
1842
01:41:37,155 --> 01:41:40,325
In the second movie,
some of the sounds of Jetfire
1843
01:41:40,408 --> 01:41:43,828
were my broiler door
on my stove creaking
1844
01:41:43,911 --> 01:41:47,457
for his old, rusty joints and parts.
1845
01:41:47,540 --> 01:41:51,377
And on the third movie,
I got to use my fridge.
1846
01:41:51,461 --> 01:41:54,881
My fridge has a great...
When you kind of just let it go,
1847
01:41:54,964 --> 01:42:01,304
it's got a great groaning sound.
1848
01:42:01,387 --> 01:42:04,974
And mic'd really closely
and then slowed down a little bit,
1849
01:42:05,058 --> 01:42:08,770
and enhanced a little bit,
that became the big sound
1850
01:42:08,853 --> 01:42:12,357
for the building leaning down
as it's crashing.
1851
01:42:14,317 --> 01:42:16,110
- Yeah!
- And that's a baboon.
1852
01:42:16,194 --> 01:42:21,115
When we recorded this baboon,
the baboon trainer told us,
1853
01:42:21,324 --> 01:42:25,411
"When you're recording,
take your keys out of your pocket
1854
01:42:25,495 --> 01:42:26,579
"and just put it on the ground
1855
01:42:26,663 --> 01:42:29,666
"and pretend like you don't see
what I'm about to do."
1856
01:42:29,874 --> 01:42:31,542
And so, I'm there
under my headphones,
1857
01:42:31,626 --> 01:42:34,253
with my microphone,
I've put my keys on the ground,
1858
01:42:34,337 --> 01:42:38,925
and the trainer sneaks up behind me
and steals the keys and runs off.
1859
01:42:39,008 --> 01:42:42,428
So the baboon is looking at me
and looking at the trainer,
1860
01:42:42,512 --> 01:42:46,265
who's run off with my keys,
and he starts flipping out.
1861
01:42:46,349 --> 01:42:50,311
He's upset by the injustice of
my keys getting stolen.
1862
01:42:50,395 --> 01:42:55,274
So that's when he starts vocalizing,
and really emotional kind of...
1863
01:42:55,358 --> 01:42:58,569
Yeah, he's trying to let me know
that my keys have just gotten stolen.
1864
01:42:58,653 --> 01:43:02,907
So that sound of him trying to warn me,
1865
01:43:02,990 --> 01:43:06,619
that emotional vocal,
became the sound for the Driller
1866
01:43:06,703 --> 01:43:09,706
as he's tearing through Chicago
and destroying the city.
1867
01:43:11,833 --> 01:43:15,586
Driller is really one of my favorites
in all of the series.
1868
01:43:15,753 --> 01:43:16,921
There was a big party here,
1869
01:43:17,004 --> 01:43:20,258
and the caterers dumped
this block of ice on the ground,
1870
01:43:20,341 --> 01:43:21,551
outside of our cutting rooms.
1871
01:43:21,718 --> 01:43:23,970
And we went outside, saw it,
it was kind of melting
1872
01:43:24,053 --> 01:43:26,222
and we started sliding it around
on the pavement.
1873
01:43:26,389 --> 01:43:29,934
And it was making this guttural...
kind of sound
1874
01:43:30,017 --> 01:43:31,978
that almost sounded animalistic.
1875
01:43:32,061 --> 01:43:34,856
And something we totally
weren't planning,
1876
01:43:34,939 --> 01:43:37,024
but it just happened
to be an awesome sound
1877
01:43:37,108 --> 01:43:40,862
that became the main element
for the Driller's body sliding.
1878
01:43:41,362 --> 01:43:44,073
I like the thing that's on nine and 10.
It's a good sound.
1879
01:43:44,240 --> 01:43:49,036
Every scene is an opportunity
to experiment and learn
1880
01:43:49,120 --> 01:43:50,997
and try out something new.
1881
01:43:51,080 --> 01:43:52,707
- That's cool.
- That's good shit.
1882
01:43:52,790 --> 01:43:56,461
By the third movie now,
we don't wanna just go literal with it.
1883
01:43:56,544 --> 01:44:00,423
And it's a lot more fun
and I think the product is a lot better
1884
01:44:00,590 --> 01:44:03,259
to just try to take things
that you'd never expect
1885
01:44:03,342 --> 01:44:05,178
and plug it into something.
1886
01:44:05,303 --> 01:44:07,597
For a lot of the alien guns,
1887
01:44:07,680 --> 01:44:10,725
we used sounds
that have nothing to do with guns.
1888
01:44:10,975 --> 01:44:14,645
Like a water drop.
And then you take the...
1889
01:44:14,729 --> 01:44:16,522
And just repeat it.
1890
01:44:17,273 --> 01:44:21,235
We always say, and we've been told,
that this is his happy place.
1891
01:44:21,527 --> 01:44:23,404
These guys are the best.
1892
01:44:23,488 --> 01:44:25,990
Been in this room for three months.
1893
01:44:28,826 --> 01:44:30,536
It's been a bit crazy.
1894
01:44:30,620 --> 01:44:32,872
- Is this our first fight?
- Yes.
1895
01:44:33,623 --> 01:44:35,291
Yeah, crunchy.
1896
01:44:51,015 --> 01:44:52,475
- Bubbly.
- Do you know what I'm saying?
1897
01:44:52,683 --> 01:44:55,770
Certainly the most ambitious sound job
we've ever done.
1898
01:44:55,853 --> 01:44:58,272
I hope the people get out there
and just dig it.
1899
01:44:58,356 --> 01:44:59,649
Because we have.
1900
01:45:06,572 --> 01:45:09,450
We're in Russia.
This is the biggest premiere
1901
01:45:09,534 --> 01:45:11,160
in the history of the world.
1902
01:45:11,244 --> 01:45:13,246
Well, we have the green carpet,
1903
01:45:13,329 --> 01:45:14,914
not the red carpet, which is fun.
1904
01:45:14,997 --> 01:45:17,750
This has been a whirlwind,
it's been a rollercoaster.
1905
01:45:17,834 --> 01:45:21,295
I'm so thrilled to be here with everybody
after all our hard work.
1906
01:45:21,379 --> 01:45:23,548
The fans are definitely gonna see
stuff they have not seen before.
1907
01:45:23,631 --> 01:45:26,676
I thought the premieres we did for
the last two were pretty spectacular.
1908
01:45:26,759 --> 01:45:29,679
I kind of wanna do a fourth one just to
see what the premiere's gonna be like.
1909
01:45:29,762 --> 01:45:30,805
Where do we go, to the Moon?
1910
01:45:30,888 --> 01:45:33,641
I can't wait for the Linkin Park concert
tonight in Red Square.
1911
01:45:33,724 --> 01:45:36,978
I couldn't imagine building a better
backdrop for a live performance.
1912
01:45:37,186 --> 01:45:41,274
Red Square, Russia, Linkin Park, crazy.
1913
01:45:49,490 --> 01:45:51,200
I am very proud of Transformers.
1914
01:45:51,534 --> 01:45:54,829
Including all the things I've ever
said bad about Transformers.
1915
01:45:54,912 --> 01:45:56,622
Because I think that those things
needed to be said,
1916
01:45:56,706 --> 01:45:59,959
so that we could be the Transformers 3
that we became, honestly.
1917
01:46:00,042 --> 01:46:01,836
And it is the best movie we've made.
1918
01:46:01,919 --> 01:46:03,963
I had a blast working on this movie,
1919
01:46:04,046 --> 01:46:06,215
and I feel very grateful to Mike
1920
01:46:06,549 --> 01:46:11,345
and to everybody that believed in me
and took a chance on me.
1921
01:46:11,596 --> 01:46:15,683
And Michael, I've never been around
anyone that works as hard as him.
1922
01:46:15,766 --> 01:46:18,436
He's totally dedicated to these movies.
1923
01:46:18,519 --> 01:46:22,565
He spent six years of his life
working on them every single day.
1924
01:46:22,940 --> 01:46:24,400
He works really hard
1925
01:46:24,483 --> 01:46:27,486
and the only way I felt like I could
thank him for giving me this opportunity
1926
01:46:27,570 --> 01:46:30,281
was by working really hard for him,
which I hope I did.
1927
01:46:30,406 --> 01:46:33,200
This crew and this cast,
we've become pretty tight.
1928
01:46:33,284 --> 01:46:36,412
This is now the third movie that
I've worked with Tyrese and Shia.
1929
01:46:36,495 --> 01:46:38,831
But I think, especially,
you see it in Shia.
1930
01:46:38,915 --> 01:46:41,167
When we shot the first one,
he was just a kid.
1931
01:46:41,751 --> 01:46:44,295
And he's grown up.
1932
01:46:44,462 --> 01:46:46,923
Watching Shia grow up
on these movies,
1933
01:46:47,298 --> 01:46:49,759
I've had to be kind of a father
and a big brother to him.
1934
01:46:50,092 --> 01:46:52,011
You watch him become a man.
1935
01:46:52,094 --> 01:46:54,805
I know it sounds kind of trite,
but that's the truth.
1936
01:46:54,931 --> 01:46:57,016
He was a teenager and now he's a man.
1937
01:46:57,099 --> 01:47:00,937
He's a great actor
and I think the world of the kid.
1938
01:47:02,438 --> 01:47:05,816
I've worked with a great crew.
We were really a well-oiled machine.
1939
01:47:05,900 --> 01:47:08,527
It was kind of like a big, gigantic
Transformer family,
1940
01:47:08,611 --> 01:47:10,613
and they've worked their hearts out
on this one,
1941
01:47:10,947 --> 01:47:12,239
and it really shows.
1942
01:47:15,868 --> 01:47:19,956
One of the great and lucky things
about working on films like this
1943
01:47:20,039 --> 01:47:23,125
is that you get to travel
and you get to see things
1944
01:47:23,209 --> 01:47:25,628
that most folks don't get to see.
1945
01:47:25,753 --> 01:47:29,548
With Michael, doors open.
Pyramids and space shuttles
1946
01:47:29,632 --> 01:47:30,716
and Lincoln Memorials.
1947
01:47:30,800 --> 01:47:35,179
There is so many things
that we get access to as a film crew
1948
01:47:35,262 --> 01:47:38,057
that are really, really special.
1949
01:47:38,140 --> 01:47:39,767
For instance,
I've never been to Chicago.
1950
01:47:39,850 --> 01:47:42,603
I think Chicago's one of
my favorite cities in the world now.
1951
01:47:42,937 --> 01:47:46,357
And you get a chance to see places
and live in places that you haven't been.
1952
01:47:46,440 --> 01:47:48,526
I don't know if I ever would have
gotten those opportunities
1953
01:47:48,609 --> 01:47:50,444
had I not been in this movie.
1954
01:47:50,528 --> 01:47:52,363
I think at the end of the day,
I'm just very grateful
1955
01:47:52,446 --> 01:47:54,907
for Michael giving me the opportunity
early on
1956
01:47:54,991 --> 01:47:58,285
and for letting me continue
my character in these movies.
1957
01:47:59,787 --> 01:48:03,165
I've had a blast. I really have.
1958
01:48:05,710 --> 01:48:09,171
It's hard to sound bite
my six years with Michael.
1959
01:48:09,255 --> 01:48:12,091
And it's very difficult, man. It's hard to
encapsulate all these memories.
1960
01:48:12,174 --> 01:48:14,552
I have six years of memories.
It's hard to pick one.
1961
01:48:14,927 --> 01:48:17,430
Yeah! That's good!
1962
01:48:17,972 --> 01:48:20,433
This has been six and a half
or seven years.
1963
01:48:20,516 --> 01:48:21,976
It feels like we never stopped.
1964
01:48:22,059 --> 01:48:24,895
We've all been this crazy family
for seven years.
1965
01:48:24,979 --> 01:48:30,609
It's been a magical ride
working with 3,000, 4,000 artists
1966
01:48:30,693 --> 01:48:34,780
and remembering the very first day
when I had the very first test screening
1967
01:48:34,864 --> 01:48:37,533
in Arizona, with 400 people.
1968
01:48:37,616 --> 01:48:41,120
I'm saying to myself,
"This is a dumb robot movie."
1969
01:48:41,203 --> 01:48:44,540
I'm sure Paramount, Hasbro
and all of us involved
1970
01:48:44,623 --> 01:48:46,208
will want to do another one.
1971
01:48:46,876 --> 01:48:50,379
My guess is we're gonna do a lot of
reimagining when we get there.
1972
01:48:50,463 --> 01:48:52,506
You know there are gonna have to be
more of these movies.
1973
01:48:52,798 --> 01:48:56,052
It's one of those
uber-successful franchises
1974
01:48:56,135 --> 01:48:59,430
and it's grown in its potential
instead of gotten weaker.
1975
01:49:00,264 --> 01:49:02,308
That's a sign that people
wanna see more of it.
1976
01:49:02,391 --> 01:49:07,104
And I think there can be more of them.
It's very tempting to go back.
1977
01:49:07,188 --> 01:49:10,316
When I see Bumblebee's face
and it's just...
1978
01:49:11,192 --> 01:49:14,278
To think I'm handing it off
to somebody else.
1979
01:49:14,445 --> 01:49:17,073
But I'm really in need
of doing another movie right now.
1980
01:49:17,156 --> 01:49:23,454
I need something, creatively,
to do something different.
1981
01:49:23,537 --> 01:49:25,456
Maybe I just need to recharge
my batteries,
1982
01:49:25,539 --> 01:49:27,124
and you ask me the question again.