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captain philips 2013

nano31 Apr 20th, 2019 166 Never
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  6. 1
  7. 00:00:37,371 --> 00:00:39,665
  8. My name's Paul Greengrass...
  9.  
  10. 2
  11. 00:00:39,874 --> 00:00:44,170
  12. ...and this is the director's commentary
  13. for Captain Phillips.
  14.  
  15. 3
  16. 00:00:45,963 --> 00:00:50,843
  17. The story starts in a small
  18. farming community, Underhill, Vermont...
  19.  
  20. 4
  21. 00:00:52,219 --> 00:00:53,763
  22. ...where Richard Phillips...
  23.  
  24. 5
  25. 00:00:53,971 --> 00:00:59,310
  26. ...a Merchant Marine captain
  27. working for Maersk Line...
  28.  
  29. 6
  30. 00:00:59,518 --> 00:01:02,563
  31. ...gets ready to go on a trip...
  32.  
  33. 7
  34. 00:01:02,772 --> 00:01:07,151
  35. ...something he's done
  36. many, many times before.
  37.  
  38. 8
  39. 00:01:10,196 --> 00:01:12,698
  40. There are lots of reasons
  41. why you make a film.
  42.  
  43. 9
  44. 00:01:12,907 --> 00:01:18,162
  45. With this one, it was the compelling
  46. story, for me, of two captains.
  47.  
  48. 10
  49. 00:01:18,371 --> 00:01:21,249
  50. One from Vermont...
  51.  
  52. 11
  53. 00:01:21,457 --> 00:01:24,919
  54. ...in charge of a large modern
  55. container ship...
  56.  
  57. 12
  58. 00:01:25,127 --> 00:01:28,422
  59. ...and the other, a young Somali...
  60.  
  61. 13
  62. 00:01:28,631 --> 00:01:31,217
  63. ...in charge of a pirate skiff.
  64. And their collision...
  65.  
  66. 14
  67. 00:01:31,425 --> 00:01:35,888
  68. ...their trial of strength,
  69. their test of wills was really the film.
  70.  
  71. 15
  72. 00:01:36,222 --> 00:01:37,473
  73. But also, another reason...
  74.  
  75. 16
  76. 00:01:37,682 --> 00:01:40,935
  77. ...was that my father was
  78. in the Merchant Marine, at sea all his life.
  79.  
  80. 17
  81. 00:01:41,143 --> 00:01:45,648
  82. So I felt I knew about these men
  83. and what their life was.
  84.  
  85. 18
  86. 00:01:46,941 --> 00:01:48,859
  87. You all right?
  88.  
  89. 19
  90. 00:01:50,194 --> 00:01:53,781
  91. The first scene
  92. is a very important scene, I think...
  93.  
  94. 20
  95. 00:01:55,157 --> 00:01:57,618
  96. ...between Richard Phillips and his wife...
  97.  
  98. 21
  99. 00:01:58,327 --> 00:02:02,790
  100. ...in which they really lay out
  101. the thematic ground of the film...
  102.  
  103. 22
  104. 00:02:02,999 --> 00:02:04,333
  105. ...which is unease.
  106.  
  107. 23
  108. 00:02:06,252 --> 00:02:07,503
  109. When we started the film...
  110.  
  111. 24
  112. 00:02:07,712 --> 00:02:10,256
  113. ...we talked a lot about
  114. the dominant question being:
  115.  
  116. 25
  117. 00:02:10,756 --> 00:02:12,508
  118. Are we going to be okay?
  119.  
  120. 26
  121. 00:02:14,051 --> 00:02:16,470
  122. I think all of us,
  123. no matter what our professions...
  124.  
  125. 27
  126. 00:02:16,679 --> 00:02:19,807
  127. ...no matter what our circumstances,
  128. have that sense of unease...
  129.  
  130. 28
  131. 00:02:20,016 --> 00:02:26,397
  132. ...that the future is not necessarily
  133. going to go as well as the past.
  134.  
  135. 29
  136. 00:02:26,605 --> 00:02:29,984
  137. And I wanted that sense...
  138.  
  139. 30
  140. 00:02:30,192 --> 00:02:33,988
  141. ...of a fast-moving, fast-changing world.
  142.  
  143. 31
  144. 00:02:34,196 --> 00:02:36,907
  145. The globalizing economy
  146. that drives all of our lives...
  147.  
  148. 32
  149. 00:02:37,116 --> 00:02:39,493
  150. ...and drives all of our choices,
  151. wherever we are...
  152.  
  153. 33
  154. 00:02:42,038 --> 00:02:45,291
  155. ...to really underpin the film.
  156.  
  157. 34
  158. 00:02:47,335 --> 00:02:50,004
  159. In fact, when we first started the film....
  160.  
  161. 35
  162. 00:02:51,464 --> 00:02:55,134
  163. The-- It was based
  164. on Richard Phillips' book...
  165.  
  166. 36
  167. 00:02:56,052 --> 00:02:59,513
  168. ...which was really the account
  169. of his first-person experiences...
  170.  
  171. 37
  172. 00:02:59,722 --> 00:03:02,016
  173. ...and his wife's experiences
  174. back in Vermont.
  175.  
  176. 38
  177. 00:03:02,433 --> 00:03:04,143
  178. And that was
  179. one of the reasons why...
  180.  
  181. 39
  182. 00:03:04,310 --> 00:03:07,938
  183. ...we cast that wonderful actress,
  184. Catherine Keener.
  185.  
  186. 40
  187. 00:03:08,689 --> 00:03:11,484
  188. As the story-- Or as the development
  189. process unfolded...
  190.  
  191. 41
  192. 00:03:11,692 --> 00:03:15,029
  193. ...it became clear to me
  194. that our story really lay on the water.
  195.  
  196. 42
  197. 00:03:15,237 --> 00:03:18,866
  198. And so we ended up
  199. just with this one scene...
  200.  
  201. 43
  202. 00:03:19,033 --> 00:03:21,660
  203. ...and I'm forever
  204. in Catherine's debt. She--
  205.  
  206. 44
  207. 00:03:21,869 --> 00:03:24,914
  208. I said, "Do you really wanna do this?
  209. It's a very small part now."
  210.  
  211. 45
  212. 00:03:25,122 --> 00:03:29,293
  213. And she said, "No, no. I really do."
  214. And she believed in the film.
  215.  
  216. 46
  217. 00:03:29,877 --> 00:03:33,964
  218. And she graced us with her presence.
  219.  
  220. 47
  221. 00:03:34,173 --> 00:03:36,592
  222. And as I say, I'm forever in her debt.
  223.  
  224. 48
  225. 00:03:36,801 --> 00:03:38,135
  226. She's a wonderful actress.
  227.  
  228. 49
  229. 00:03:42,848 --> 00:03:46,519
  230. I just wanted these scenes
  231. to be everyday.
  232.  
  233. 50
  234. 00:03:46,727 --> 00:03:49,647
  235. Nothing loaded in the farewell.
  236.  
  237. 51
  238. 00:03:49,855 --> 00:03:50,856
  239. Just ordinary.
  240.  
  241. 52
  242. 00:03:51,023 --> 00:03:53,109
  243. -Have a safe trip.
  244. -I'll call you from there.
  245.  
  246. 53
  247. 00:03:53,275 --> 00:03:56,070
  248. A big danger in these sorts of stories
  249. is to play the end...
  250.  
  251. 54
  252. 00:03:56,278 --> 00:03:58,781
  253. ...to play every scene
  254. with the knowledge of the end...
  255.  
  256. 55
  257. 00:03:58,989 --> 00:04:00,658
  258. ...so it becomes kind of doom-laden.
  259.  
  260. 56
  261. 00:04:00,866 --> 00:04:03,077
  262. But, of course,
  263. there would have been nothing...
  264.  
  265. 57
  266. 00:04:03,285 --> 00:04:06,872
  267. ...in Richard Phillips' mind
  268. or his wife's mind...
  269.  
  270. 58
  271. 00:04:07,081 --> 00:04:10,292
  272. ...to suggest that this was anything
  273. other than a routine trip.
  274.  
  275. 59
  276. 00:04:12,670 --> 00:04:17,216
  277. And then we cut
  278. to a very different part of the world.
  279.  
  280. 60
  281. 00:04:18,134 --> 00:04:19,426
  282. Eyl, Somalia.
  283.  
  284. 61
  285. 00:04:22,304 --> 00:04:23,556
  286. A pirate community...
  287.  
  288. 62
  289. 00:04:25,141 --> 00:04:27,434
  290. ...financed by--
  291.  
  292. 63
  293. 00:04:27,643 --> 00:04:29,228
  294. From far away.
  295.  
  296. 64
  297. 00:04:29,436 --> 00:04:31,814
  298. --by organized criminals.
  299.  
  300. 65
  301. 00:04:32,231 --> 00:04:34,483
  302. Because the truth
  303. about modern day piracy...
  304.  
  305. 66
  306. 00:04:34,692 --> 00:04:39,113
  307. ...is it's organized crime
  308. on the high seas.
  309.  
  310. 67
  311. 00:04:39,405 --> 00:04:40,823
  312. Hurry, Muse!
  313.  
  314. 68
  315. 00:04:42,158 --> 00:04:44,702
  316. And, of course, like organized crime
  317. through history...
  318.  
  319. 69
  320. 00:04:44,910 --> 00:04:49,832
  321. ...its roots lie in poverty and desperation
  322. and lack of choices.
  323.  
  324. 70
  325. 00:04:50,833 --> 00:04:54,587
  326. And we meet a young man, Muse...
  327.  
  328. 71
  329. 00:04:55,463 --> 00:04:58,215
  330. ...who's a skiff captain.
  331.  
  332. 72
  333. 00:05:00,426 --> 00:05:03,846
  334. And I wanted to portray
  335. in these scenes...
  336.  
  337. 73
  338. 00:05:05,264 --> 00:05:09,435
  339. ...the context
  340. in which criminal choices are made.
  341.  
  342. 74
  343. 00:05:11,270 --> 00:05:14,773
  344. And that context, of course,
  345. is the desperate, lawless...
  346.  
  347. 75
  348. 00:05:16,150 --> 00:05:19,111
  349. ...warlord-dominated,
  350. gangster-dominated...
  351.  
  352. 76
  353. 00:05:20,696 --> 00:05:23,073
  354. ...impoverished world of Somalia.
  355.  
  356. 77
  357. 00:05:25,534 --> 00:05:30,748
  358. And also to set up the rivalry
  359. between Muse...
  360.  
  361. 78
  362. 00:05:30,956 --> 00:05:34,585
  363. ...and the other pirate-skiff captain,
  364. Asad.
  365.  
  366. 79
  367. 00:05:36,378 --> 00:05:38,881
  368. Stay out of my way today.
  369.  
  370. 80
  371. 00:05:41,717 --> 00:05:43,969
  372. And to say a little bit...
  373.  
  374. 81
  375. 00:05:44,178 --> 00:05:49,808
  376. ...about the brutal world...
  377.  
  378. 82
  379. 00:05:50,017 --> 00:05:51,352
  380. ...of modern piracy.
  381.  
  382. 83
  383. 00:05:51,560 --> 00:05:54,438
  384. Muse, take me with you.
  385.  
  386. 84
  387. 00:05:54,605 --> 00:05:56,857
  388. These scenes were all shot in Morocco...
  389.  
  390. 85
  391. 00:05:57,274 --> 00:06:02,863
  392. ...but it was uncannily close
  393. to the coast of Somalia.
  394.  
  395. 86
  396. 00:06:04,156 --> 00:06:06,242
  397. And we meet the other pirates.
  398.  
  399. 87
  400. 00:06:08,869 --> 00:06:12,039
  401. The young--
  402. The youngest of the four, Bilal...
  403.  
  404. 88
  405. 00:06:12,248 --> 00:06:14,124
  406. ...carrying the khat...
  407.  
  408. 89
  409. 00:06:14,333 --> 00:06:19,546
  410. ...which is chewed ubiquitously
  411. by people in Somalia.
  412.  
  413. 90
  414. 00:06:20,548 --> 00:06:23,550
  415. It's also considered an antidote
  416. for seasickness...
  417.  
  418. 91
  419. 00:06:23,759 --> 00:06:27,054
  420. ...which is why a lot
  421. of these young pirates use it.
  422.  
  423. 92
  424. 00:06:28,180 --> 00:06:29,431
  425. It's a sort of--
  426.  
  427. 93
  428. 00:06:29,640 --> 00:06:32,351
  429. It's the drug of choice in Somalia.
  430.  
  431. 94
  432. 00:06:35,562 --> 00:06:38,691
  433. Next time bring me something
  434. if you want to work.
  435.  
  436. 95
  437. 00:06:43,028 --> 00:06:46,699
  438. I wanted this scene to carry echoes...
  439.  
  440. 96
  441. 00:06:46,907 --> 00:06:50,703
  442. ...of that famous scene,
  443. start of On the Waterfront...
  444.  
  445. 97
  446. 00:06:52,538 --> 00:06:59,211
  447. ...where you see that ruthless people
  448. choose who's to work and who's not.
  449.  
  450. 98
  451. 00:07:00,838 --> 00:07:04,925
  452. And that creates
  453. a whole system of control.
  454.  
  455. 99
  456. 00:07:07,094 --> 00:07:11,015
  457. But, of course,
  458. you know from this first scene...
  459.  
  460. 100
  461. 00:07:13,309 --> 00:07:18,981
  462. ...that Muse is going to come into conflict
  463. and collision with Phillips.
  464.  
  465. 101
  466. 00:07:20,607 --> 00:07:23,944
  467. The two men whose journeys
  468. are going to meet.
  469.  
  470. 102
  471. 00:07:25,404 --> 00:07:27,281
  472. I want him.
  473.  
  474. 103
  475. 00:07:28,157 --> 00:07:29,283
  476. That's Najee.
  477.  
  478. 104
  479. 00:07:33,162 --> 00:07:35,039
  480. Why did he pick him?
  481.  
  482. 105
  483. 00:07:36,040 --> 00:07:38,625
  484. The hard man of the four,
  485. I suppose you'd call him.
  486.  
  487. 106
  488. 00:07:41,962 --> 00:07:43,964
  489. So now we know the four of them.
  490.  
  491. 107
  492. 00:07:46,759 --> 00:07:48,635
  493. Muse in command, Bilal...
  494.  
  495. 108
  496. 00:07:48,844 --> 00:07:50,554
  497. ...Najee and Elmi the driver...
  498.  
  499. 109
  500. 00:07:51,013 --> 00:07:53,932
  501. ...there with the blue fuel bucket...
  502.  
  503. 110
  504. 00:07:54,516 --> 00:07:56,310
  505. ...and, of course, the ladder.
  506.  
  507. 111
  508. 00:08:05,903 --> 00:08:07,905
  509. This was a very difficult scene
  510. to shoot...
  511.  
  512. 112
  513. 00:08:08,113 --> 00:08:09,948
  514. ...because the swell was very big.
  515.  
  516. 113
  517. 00:08:10,491 --> 00:08:12,868
  518. And those boats are quite dangerous.
  519.  
  520. 114
  521. 00:08:14,620 --> 00:08:17,706
  522. You know, when they pitch
  523. into the waves...
  524.  
  525. 115
  526. 00:08:18,165 --> 00:08:22,419
  527. ...there were a lot of safety issues
  528. actually, funnily enough, with that.
  529.  
  530. 116
  531. 00:08:22,669 --> 00:08:26,674
  532. As many the-- As with many
  533. of the other scenes on the water...
  534.  
  535. 117
  536. 00:08:26,882 --> 00:08:28,884
  537. ...safety is always paramount.
  538.  
  539. 118
  540. 00:08:29,093 --> 00:08:32,054
  541. Faster, move faster!
  542.  
  543. 119
  544. 00:08:32,888 --> 00:08:37,142
  545. And I wanted to show
  546. the relationship...
  547.  
  548. 120
  549. 00:08:37,351 --> 00:08:41,438
  550. ...between the pressure...
  551.  
  552. 121
  553. 00:08:41,647 --> 00:08:45,317
  554. ...that a Maersk captain feels under...
  555.  
  556. 122
  557. 00:08:47,027 --> 00:08:50,155
  558. ...and the way that same pressure
  559. is translated...
  560.  
  561. 123
  562. 00:08:50,739 --> 00:08:55,911
  563. ...into a vessel off the coast of Somalia.
  564. A pirate vessel off the coast of Somalia.
  565.  
  566. 124
  567. 00:08:56,704 --> 00:08:58,956
  568. It's the pressure
  569. of a fast-globalizing world...
  570.  
  571. 125
  572. 00:08:59,164 --> 00:09:00,582
  573. ...but, of course...
  574.  
  575. 126
  576. 00:09:01,375 --> 00:09:06,797
  577. ...it's a harsher, a more brutal world
  578. down at the bottom.
  579.  
  580. 127
  581. 00:09:15,806 --> 00:09:19,017
  582. And I very much
  583. liked Henry Jackman's score there...
  584.  
  585. 128
  586. 00:09:19,226 --> 00:09:23,147
  587. ...which was a cello...
  588.  
  589. 129
  590. 00:09:23,647 --> 00:09:27,192
  591. ...with a variety of pans...
  592.  
  593. 130
  594. 00:09:27,401 --> 00:09:30,237
  595. ...and metal objects...
  596.  
  597. 131
  598. 00:09:30,404 --> 00:09:36,118
  599. ...used to create percussive sounds
  600. of tension.
  601.  
  602. 132
  603. 00:09:39,079 --> 00:09:42,040
  604. So now we come back to Richard
  605. Phillips at Salalah Port, Oman...
  606.  
  607. 133
  608. 00:09:42,249 --> 00:09:45,586
  609. ...where he joins the Maersk Alabama.
  610.  
  611. 134
  612. 00:09:46,295 --> 00:09:48,130
  613. This scene was actually shot...
  614.  
  615. 135
  616. 00:09:48,338 --> 00:09:51,008
  617. ...on a harbor in Malta.
  618.  
  619. 136
  620. 00:09:51,216 --> 00:09:53,802
  621. And we used some small visual effects,
  622. set extensions...
  623.  
  624. 137
  625. 00:09:55,179 --> 00:09:59,475
  626. ...just to create
  627. the additional sense of scale.
  628.  
  629. 138
  630. 00:09:59,767 --> 00:10:01,101
  631. Sign right there, sir.
  632.  
  633. 139
  634. 00:10:01,852 --> 00:10:04,271
  635. But it worked really well, I think.
  636.  
  637. 140
  638. 00:10:04,646 --> 00:10:07,608
  639. I totally believed
  640. we were in Salalah Port.
  641.  
  642. 141
  643. 00:10:10,402 --> 00:10:13,489
  644. One of the big decisions we made
  645. early in this film...
  646.  
  647. 142
  648. 00:10:13,697 --> 00:10:17,201
  649. ...was to shoot as much
  650. as we possibly could on the water...
  651.  
  652. 143
  653. 00:10:17,409 --> 00:10:18,535
  654. ...on the ocean...
  655.  
  656. 144
  657. 00:10:18,744 --> 00:10:20,537
  658. ...and as much as we possibly could...
  659.  
  660. 145
  661. 00:10:20,746 --> 00:10:24,041
  662. ...on the actual vessels.
  663.  
  664. 146
  665. 00:10:24,249 --> 00:10:26,502
  666. This vessel was actually
  667. the Maersk Alexandra...
  668.  
  669. 147
  670. 00:10:26,710 --> 00:10:28,170
  671. ...an identical sister ship...
  672.  
  673. 148
  674. 00:10:28,378 --> 00:10:31,590
  675. ...the only sister ship
  676. of the Maersk Alabama.
  677.  
  678. 149
  679. 00:10:31,799 --> 00:10:33,258
  680. So it was an identical ship...
  681.  
  682. 150
  683. 00:10:33,467 --> 00:10:38,180
  684. ...and we were able to hire it
  685. and bring it to Malta.
  686.  
  687. 151
  688. 00:10:38,931 --> 00:10:42,142
  689. And it just brought to life...
  690.  
  691. 152
  692. 00:10:43,811 --> 00:10:47,147
  693. ...the piece in a way that shooting on set
  694. would never have been able to.
  695.  
  696. 153
  697. 00:10:47,314 --> 00:10:50,567
  698. Just the detail
  699. of the pirate cages unlocked...
  700.  
  701. 154
  702. 00:10:50,776 --> 00:10:53,820
  703. ...the engine-room doors unlocked...
  704.  
  705. 155
  706. 00:10:54,780 --> 00:10:56,907
  707. ...the corridors, the compression...
  708.  
  709. 156
  710. 00:10:57,115 --> 00:11:00,077
  711. ...the claustrophobia of it all.
  712.  
  713. 157
  714. 00:11:00,410 --> 00:11:04,122
  715. It became an adventure for all of us
  716. who made the film too.
  717.  
  718. 158
  719. 00:11:04,331 --> 00:11:07,459
  720. Phillips comes
  721. into his captain's quarters...
  722.  
  723. 159
  724. 00:11:07,668 --> 00:11:09,962
  725. ...and then he starts
  726. by coming up to the bridge.
  727.  
  728. 160
  729. 00:11:10,587 --> 00:11:13,715
  730. -Hey, good to see you, Cap.
  731. -Shane. Good to see you.
  732.  
  733. 161
  734. 00:11:13,882 --> 00:11:16,385
  735. -Good to see you.
  736. -Hey. Carry on.
  737.  
  738. 162
  739. 00:11:16,552 --> 00:11:17,845
  740. -Hey, bos?
  741. -Yeah?
  742.  
  743. 163
  744. 00:11:18,804 --> 00:11:21,431
  745. And he meets his chief mate,
  746. Shane Murphy...
  747.  
  748. 164
  749. 00:11:22,307 --> 00:11:23,725
  750. ...played by Michael Chernus.
  751.  
  752. 165
  753. 00:11:23,892 --> 00:11:26,061
  754. --grab Jimmy, get on the Lodestar.
  755.  
  756. 166
  757. 00:11:27,396 --> 00:11:29,481
  758. It's a tremendous challenge, I think...
  759.  
  760. 167
  761. 00:11:29,690 --> 00:11:31,358
  762. ...for an actor...
  763.  
  764. 168
  765. 00:11:32,401 --> 00:11:34,236
  766. ...talking about Tom Hanks here...
  767.  
  768. 169
  769. 00:11:34,444 --> 00:11:37,948
  770. ...to come in
  771. and be a believable captain...
  772.  
  773. 170
  774. 00:11:38,156 --> 00:11:39,533
  775. ...of a modern container ship.
  776.  
  777. 171
  778. 00:11:39,741 --> 00:11:42,953
  779. There's a huge skill set
  780. that you have to have...
  781.  
  782. 172
  783. 00:11:43,161 --> 00:11:46,206
  784. ...to be in charge of a ship.
  785.  
  786. 173
  787. 00:11:47,416 --> 00:11:50,878
  788. And Tom spent a lot of time
  789. on the Alexandra.
  790.  
  791. 174
  792. 00:11:51,086 --> 00:11:55,549
  793. In fact, he took a passage himself
  794. on the ship alone with the crew...
  795.  
  796. 175
  797. 00:11:55,757 --> 00:12:01,972
  798. ...so that he could see how the ship
  799. was captained by Captain Larsen.
  800.  
  801. 176
  802. 00:12:03,599 --> 00:12:05,893
  803. And by the time we started shooting...
  804.  
  805. 177
  806. 00:12:06,101 --> 00:12:08,312
  807. ...it was amazing to all of us, I think...
  808.  
  809. 178
  810. 00:12:08,520 --> 00:12:11,648
  811. ...how absolutely believably he slipped...
  812.  
  813. 179
  814. 00:12:11,857 --> 00:12:15,611
  815. ...into the role of the captain.
  816.  
  817. 180
  818. 00:12:15,819 --> 00:12:17,904
  819. --all the way down to Mombasa.
  820.  
  821. 181
  822. 00:12:18,071 --> 00:12:20,157
  823. We need five minutes
  824. on that reefer bow.
  825.  
  826. 182
  827. 00:12:23,327 --> 00:12:25,871
  828. We should be able
  829. to unload the containers around 0800.
  830.  
  831. 183
  832. 00:12:25,996 --> 00:12:28,707
  833. Always a difficult judgment
  834. to make in a film like this...
  835.  
  836. 184
  837. 00:12:28,915 --> 00:12:31,126
  838. ...how hard to hit...
  839.  
  840. 185
  841. 00:12:32,586 --> 00:12:36,340
  842. ...the idea of the dangerous waters.
  843.  
  844. 186
  845. 00:12:36,548 --> 00:12:38,383
  846. You have to do it because it's....
  847.  
  848. 187
  849. 00:12:39,426 --> 00:12:41,803
  850. Your audience knows
  851. that's where the piece is going.
  852.  
  853. 188
  854. 00:12:42,012 --> 00:12:44,389
  855. But you don't want it
  856. to be too heavy-handed...
  857.  
  858. 189
  859. 00:12:44,598 --> 00:12:50,312
  860. ...and again, I thought
  861. that Henry's score was perfectly judged...
  862.  
  863. 190
  864. 00:12:50,520 --> 00:12:54,358
  865. ...because you move
  866. from just a little sense of unease...
  867.  
  868. 191
  869. 00:12:54,691 --> 00:13:00,113
  870. ...into this brass chord...
  871.  
  872. 192
  873. 00:13:00,781 --> 00:13:03,283
  874. ...that becomes the basis for the score
  875. as we develop.
  876.  
  877. 193
  878. 00:13:06,578 --> 00:13:07,663
  879. Tighten it up.
  880.  
  881. 194
  882. 00:13:07,829 --> 00:13:09,831
  883. Hey, slow down.
  884.  
  885. 195
  886. 00:13:10,540 --> 00:13:16,296
  887. So then we move
  888. into the departure of the Alabama.
  889.  
  890. 196
  891. 00:13:17,047 --> 00:13:18,715
  892. We had to use visual effects...
  893.  
  894. 197
  895. 00:13:18,924 --> 00:13:22,469
  896. ...to change the Alexandra
  897. to the Alabama in that previous shot.
  898.  
  899. 198
  900. 00:13:22,678 --> 00:13:25,138
  901. There was little visual-effects work
  902. in the film...
  903.  
  904. 199
  905. 00:13:25,347 --> 00:13:29,267
  906. ...but most of it was in that shot...
  907.  
  908. 200
  909. 00:13:29,476 --> 00:13:32,980
  910. ...again, changing the Alabama--
  911. The Alexandra to the Alabama.
  912.  
  913. 201
  914. 00:13:33,188 --> 00:13:34,231
  915. Dead slow ahead.
  916.  
  917. 202
  918. 00:13:41,363 --> 00:13:45,575
  919. Again, this scene's important
  920. because you need to sell...
  921.  
  922. 203
  923. 00:13:45,784 --> 00:13:50,330
  924. ...the technological power
  925. of the modern container ship...
  926.  
  927. 204
  928. 00:13:50,539 --> 00:13:51,873
  929. ...with its huge engines...
  930.  
  931. 205
  932. 00:13:52,082 --> 00:13:58,964
  933. ...its very full cargo of containers...
  934.  
  935. 206
  936. 00:14:00,090 --> 00:14:04,928
  937. ...and the high-tech equipment
  938. that Phillips has at his disposal.
  939.  
  940. 207
  941. 00:14:07,055 --> 00:14:11,184
  942. And also to sell its fragility.
  943. I always think as you see these shots...
  944.  
  945. 208
  946. 00:14:11,393 --> 00:14:14,980
  947. ...you feel it's a sort of delicate machine
  948. as well...
  949.  
  950. 209
  951. 00:14:15,188 --> 00:14:17,983
  952. ...as it cuts its way through the ocean...
  953.  
  954. 210
  955. 00:14:18,191 --> 00:14:23,071
  956. ...and out towards the Somali Basin.
  957.  
  958. 211
  959. 00:14:27,909 --> 00:14:29,828
  960. We talked a lot, Tom and I...
  961.  
  962. 212
  963. 00:14:30,036 --> 00:14:33,457
  964. ...about trying to get
  965. as authentically as we could...
  966.  
  967. 213
  968. 00:14:33,665 --> 00:14:39,212
  969. ...to capture the ordinary procedures
  970. of a captain's life.
  971.  
  972. 214
  973. 00:14:40,213 --> 00:14:44,801
  974. The three times daily, four times daily,
  975. walking around the deck...
  976.  
  977. 215
  978. 00:14:45,010 --> 00:14:47,262
  979. ...just to check who's doing what...
  980.  
  981. 216
  982. 00:14:47,471 --> 00:14:49,556
  983. ...how the cargo is...
  984.  
  985. 217
  986. 00:14:49,765 --> 00:14:51,600
  987. ...how the ship is.
  988.  
  989. 218
  990. 00:14:51,808 --> 00:14:57,064
  991. And in a film like this, the temptation
  992. often is to cut these pieces.
  993.  
  994. 219
  995. 00:14:57,272 --> 00:15:00,025
  996. But actually, very often...
  997.  
  998. 220
  999. 00:15:00,233 --> 00:15:04,196
  1000. ...if you take time to set up the world,
  1001. to explore the world...
  1002.  
  1003. 221
  1004. 00:15:04,613 --> 00:15:05,947
  1005. ...it pays dividends later...
  1006.  
  1007. 222
  1008. 00:15:06,156 --> 00:15:09,534
  1009. ...because you've become invested,
  1010. as an audience, in it...
  1011.  
  1012. 223
  1013. 00:15:09,743 --> 00:15:13,747
  1014. ...as a believable world
  1015. with believable characters.
  1016.  
  1017. 224
  1018. 00:15:15,290 --> 00:15:20,879
  1019. Again, we had to pick the world
  1020. of a modern Merchant Marine crew.
  1021.  
  1022. 225
  1023. 00:15:21,088 --> 00:15:22,214
  1024. It's a hard life.
  1025.  
  1026. 226
  1027. 00:15:23,465 --> 00:15:25,675
  1028. As I know from my father,
  1029. it's a hard life...
  1030.  
  1031. 227
  1032. 00:15:25,884 --> 00:15:30,013
  1033. ...and people who go to sea go to sea
  1034. because it's a choice. It's a calling.
  1035.  
  1036. 228
  1037. 00:15:39,648 --> 00:15:42,776
  1038. And now I think we know
  1039. the rhythm of the film.
  1040.  
  1041. 229
  1042. 00:15:42,984 --> 00:15:45,195
  1043. We're gonna cut
  1044. between these two worlds.
  1045.  
  1046. 230
  1047. 00:15:47,322 --> 00:15:49,574
  1048. Captain Phillips...
  1049.  
  1050. 231
  1051. 00:15:49,866 --> 00:15:52,953
  1052. ...and the young pirate, Captain Muse.
  1053.  
  1054. 232
  1055. 00:15:53,662 --> 00:15:56,248
  1056. And this is obviously the moment...
  1057.  
  1058. 233
  1059. 00:15:57,457 --> 00:16:00,001
  1060. ...where he sees the Alabama.
  1061.  
  1062. 234
  1063. 00:16:00,210 --> 00:16:04,464
  1064. He doesn't, of course, know it's that ship
  1065. then, but he just knows it as a blip...
  1066.  
  1067. 235
  1068. 00:16:04,673 --> 00:16:06,675
  1069. ...on its own in the ocean.
  1070.  
  1071. 236
  1072. 00:16:07,551 --> 00:16:09,970
  1073. We know now the collision
  1074. we've been waiting for...
  1075.  
  1076. 237
  1077. 00:16:10,178 --> 00:16:14,141
  1078. ...almost from the first moment
  1079. of the film, is not far away.
  1080.  
  1081. 238
  1082. 00:16:27,112 --> 00:16:29,865
  1083. Again, this is another scene that....
  1084.  
  1085. 239
  1086. 00:16:30,073 --> 00:16:32,158
  1087. You don't want to hurry your audience.
  1088.  
  1089. 240
  1090. 00:16:32,367 --> 00:16:37,163
  1091. They know where you're going. In many
  1092. ways, you want to lean against it.
  1093.  
  1094. 241
  1095. 00:16:37,372 --> 00:16:40,500
  1096. Phillips receives the warnings.
  1097.  
  1098. 242
  1099. 00:16:40,709 --> 00:16:44,170
  1100. There were a lot of warnings issued
  1101. at that time.
  1102.  
  1103. 243
  1104. 00:16:46,047 --> 00:16:49,301
  1105. A problem that a Merchant Marine
  1106. captain like Phillips had...
  1107.  
  1108. 244
  1109. 00:16:49,509 --> 00:16:52,345
  1110. ...was that they were under instructions
  1111. from the company...
  1112.  
  1113. 245
  1114. 00:16:52,888 --> 00:16:57,392
  1115. ...to continue on their route...
  1116.  
  1117. 246
  1118. 00:16:57,601 --> 00:17:01,354
  1119. ...and the warnings were unspecific.
  1120.  
  1121. 247
  1122. 00:17:01,563 --> 00:17:05,317
  1123. Pirates were attacking hundreds, if not
  1124. thousands of miles out into the ocean.
  1125.  
  1126. 248
  1127. 00:17:05,525 --> 00:17:07,611
  1128. There was no safe distance.
  1129.  
  1130. 249
  1131. 00:17:08,737 --> 00:17:12,115
  1132. The only way you could get through
  1133. was to move as quickly as you could...
  1134.  
  1135. 250
  1136. 00:17:12,324 --> 00:17:14,618
  1137. ...through dangerous waters
  1138. and hope for the best.
  1139.  
  1140. 251
  1141. 00:17:15,410 --> 00:17:16,786
  1142. Ken, you're the duty officer?
  1143.  
  1144. 252
  1145. 00:17:16,953 --> 00:17:18,413
  1146. -Yeah, Cap.
  1147. -Right.
  1148.  
  1149. 253
  1150. 00:17:18,580 --> 00:17:21,458
  1151. Boat with two armed men is approaching
  1152. on your starboard beam.
  1153.  
  1154. 254
  1155. 00:17:21,625 --> 00:17:24,920
  1156. Phillips was a very diligent...
  1157.  
  1158. 255
  1159. 00:17:26,171 --> 00:17:28,632
  1160. ...and professional captain.
  1161.  
  1162. 256
  1163. 00:17:28,840 --> 00:17:34,179
  1164. And in the end,
  1165. he came to face an enormous challenge.
  1166.  
  1167. 257
  1168. 00:17:35,305 --> 00:17:40,352
  1169. An unimaginable challenge that--
  1170. No U.S. flag carrier...
  1171.  
  1172. 258
  1173. 00:17:40,560 --> 00:17:44,606
  1174. ...had been attacked by pirates
  1175. for 200 years.
  1176.  
  1177. 259
  1178. 00:17:45,106 --> 00:17:49,903
  1179. But through it all, by the end
  1180. of this entire sequence of events...
  1181.  
  1182. 260
  1183. 00:17:50,111 --> 00:17:51,488
  1184. ...thanks to his courage...
  1185.  
  1186. 261
  1187. 00:17:52,906 --> 00:17:55,575
  1188. ...his ship was safe,
  1189. got to Mombasa safely--
  1190.  
  1191. 262
  1192. 00:17:55,784 --> 00:18:00,288
  1193. The crew got to Mombasa
  1194. safely, unhurt...
  1195.  
  1196. 263
  1197. 00:18:00,497 --> 00:18:02,874
  1198. ...and so did his cargo.
  1199.  
  1200. 264
  1201. 00:18:03,500 --> 00:18:06,252
  1202. And in that sense,
  1203. he fulfilled the three prime duties...
  1204.  
  1205. 265
  1206. 00:18:06,461 --> 00:18:08,421
  1207. ...of a Merchant Marine captain...
  1208.  
  1209. 266
  1210. 00:18:08,630 --> 00:18:11,383
  1211. ...but he did it at risk of his own life.
  1212.  
  1213. 267
  1214. 00:18:11,591 --> 00:18:14,344
  1215. -Watch it, man.
  1216. -Ready with number six.
  1217.  
  1218. 268
  1219. 00:18:14,511 --> 00:18:15,637
  1220. All right.
  1221.  
  1222. 269
  1223. 00:18:16,304 --> 00:18:17,389
  1224. You tied up?
  1225.  
  1226. 270
  1227. 00:18:17,597 --> 00:18:20,934
  1228. So here we are
  1229. in the middle of a security drill.
  1230.  
  1231. 271
  1232. 00:18:22,060 --> 00:18:24,020
  1233. Crew affixed the hoses...
  1234.  
  1235. 272
  1236. 00:18:24,229 --> 00:18:26,898
  1237. ...which are really in the absence
  1238. of any armed guards...
  1239.  
  1240. 273
  1241. 00:18:27,107 --> 00:18:30,360
  1242. ...because, of course, in those days,
  1243. armed guards weren't carried...
  1244.  
  1245. 274
  1246. 00:18:30,568 --> 00:18:34,322
  1247. ...on Merchant Marine ships
  1248. principally for three reasons.
  1249.  
  1250. 275
  1251. 00:18:34,531 --> 00:18:38,952
  1252. Firstly, you couldn't carry weapons
  1253. into many international ports...
  1254.  
  1255. 276
  1256. 00:18:39,160 --> 00:18:41,162
  1257. ...and secondly...
  1258.  
  1259. 277
  1260. 00:18:42,914 --> 00:18:45,250
  1261. ...shipping companies weren't prepared
  1262. to pay...
  1263.  
  1264. 278
  1265. 00:18:45,458 --> 00:18:49,462
  1266. ...the additional costs of security details
  1267. on ships...
  1268.  
  1269. 279
  1270. 00:18:49,671 --> 00:18:51,631
  1271. ...as they do now since these events.
  1272.  
  1273. 280
  1274. 00:18:51,840 --> 00:18:54,551
  1275. And thirdly,
  1276. captains weren't very keen...
  1277.  
  1278. 281
  1279. 00:18:55,343 --> 00:18:59,097
  1280. ...on having weapons onboard,
  1281. you know.
  1282.  
  1283. 282
  1284. 00:18:59,305 --> 00:19:02,183
  1285. A Saturday-night dispute onboard
  1286. being settled with firearms...
  1287.  
  1288. 283
  1289. 00:19:02,392 --> 00:19:04,519
  1290. ...wouldn't have been their choice.
  1291.  
  1292. 284
  1293. 00:19:05,770 --> 00:19:08,189
  1294. But it left, of course, these ships...
  1295.  
  1296. 285
  1297. 00:19:08,398 --> 00:19:11,401
  1298. ...perilously vulnerable
  1299. on the high seas...
  1300.  
  1301. 286
  1302. 00:19:12,235 --> 00:19:15,864
  1303. ...as Phillips discovers now.
  1304.  
  1305. 287
  1306. 00:19:16,072 --> 00:19:18,742
  1307. What's up, Cap? Everything okay?
  1308.  
  1309. 288
  1310. 00:19:18,908 --> 00:19:21,119
  1311. I don't like the look of that.
  1312.  
  1313. 289
  1314. 00:19:25,707 --> 00:19:29,419
  1315. This was the first attack,
  1316. we used to call it.
  1317.  
  1318. 290
  1319. 00:19:30,128 --> 00:19:31,588
  1320. The first of two attacks.
  1321.  
  1322. 291
  1323. 00:19:31,796 --> 00:19:33,548
  1324. A long sequence.
  1325.  
  1326. 292
  1327. 00:19:33,757 --> 00:19:37,052
  1328. And the key in sequences like these
  1329. is to sort of....
  1330.  
  1331. 293
  1332. 00:19:37,260 --> 00:19:43,475
  1333. Is to be very clear up front
  1334. what the pieces are that you want.
  1335.  
  1336. 294
  1337. 00:19:43,683 --> 00:19:46,019
  1338. And you've gotta hone
  1339. and work at it on the page...
  1340.  
  1341. 295
  1342. 00:19:46,644 --> 00:19:49,022
  1343. ...to be sure
  1344. that every single beat is right.
  1345.  
  1346. 296
  1347. 00:19:50,273 --> 00:19:53,109
  1348. And then when you shoot it,
  1349. you've got to try and shoot it...
  1350.  
  1351. 297
  1352. 00:19:53,318 --> 00:19:56,696
  1353. ...as freely as you can
  1354. so you get it to live...
  1355.  
  1356. 298
  1357. 00:19:56,905 --> 00:20:01,409
  1358. ...and rather than just be a sequence
  1359. of beats or points.
  1360.  
  1361. 299
  1362. 00:20:02,035 --> 00:20:03,995
  1363. And then...
  1364.  
  1365. 300
  1366. 00:20:04,537 --> 00:20:08,792
  1367. ...when that material is shot,
  1368. it goes into the cutting room...
  1369.  
  1370. 301
  1371. 00:20:09,000 --> 00:20:13,505
  1372. ...and I'm lucky enough
  1373. to have one of the world's great editors...
  1374.  
  1375. 302
  1376. 00:20:13,671 --> 00:20:14,798
  1377. ...Christopher Rouse...
  1378.  
  1379. 303
  1380. 00:20:17,634 --> 00:20:20,595
  1381. ...collaborating with me on these films.
  1382.  
  1383. 304
  1384. 00:20:21,012 --> 00:20:22,680
  1385. And the way he puts this together...
  1386.  
  1387. 305
  1388. 00:20:22,889 --> 00:20:24,766
  1389. ...the sense of architecture...
  1390.  
  1391. 306
  1392. 00:20:24,974 --> 00:20:28,895
  1393. ...and the sense of controlled pace...
  1394.  
  1395. 307
  1396. 00:20:29,104 --> 00:20:32,398
  1397. ...the precision of each shot...
  1398.  
  1399. 308
  1400. 00:20:33,983 --> 00:20:37,487
  1401. ...is a master class in editing, I think,
  1402. and storytelling.
  1403.  
  1404. 309
  1405. 00:20:42,117 --> 00:20:44,160
  1406. Now get me U.S. Maritime Emergency.
  1407.  
  1408. 310
  1409. 00:20:44,327 --> 00:20:46,746
  1410. And a lot of the things
  1411. that are being set up here...
  1412.  
  1413. 311
  1414. 00:20:46,955 --> 00:20:50,375
  1415. ...of course, are common
  1416. to the second attack.
  1417.  
  1418. 312
  1419. 00:20:50,583 --> 00:20:53,670
  1420. You've got to understand
  1421. how the ship works...
  1422.  
  1423. 313
  1424. 00:20:53,878 --> 00:20:56,339
  1425. ...what the control surfaces
  1426. and choices are...
  1427.  
  1428. 314
  1429. 00:20:56,548 --> 00:20:58,967
  1430. ...that are available to the captain...
  1431.  
  1432. 315
  1433. 00:21:01,386 --> 00:21:03,763
  1434. ...if you're to make an assessment
  1435. as an audience...
  1436.  
  1437. 316
  1438. 00:21:03,930 --> 00:21:06,141
  1439. ...as to the vulnerability
  1440. of their situation.
  1441.  
  1442. 317
  1443. 00:21:06,349 --> 00:21:08,184
  1444. And the more you understand it...
  1445.  
  1446. 318
  1447. 00:21:08,393 --> 00:21:12,355
  1448. ...the more you engage
  1449. with the scenario.
  1450.  
  1451. 319
  1452. 00:21:13,481 --> 00:21:15,233
  1453. And I think...
  1454.  
  1455. 320
  1456. 00:21:17,277 --> 00:21:19,487
  1457. ...you feel...
  1458.  
  1459. 321
  1460. 00:21:20,405 --> 00:21:22,991
  1461. ...in this performance
  1462. from Tom Hanks...
  1463.  
  1464. 322
  1465. 00:21:24,242 --> 00:21:29,539
  1466. ...the absolute concentration he has
  1467. in dealing with this unfolding crisis...
  1468.  
  1469. 323
  1470. 00:21:30,999 --> 00:21:33,001
  1471. ...in a very, very believable way.
  1472.  
  1473. 324
  1474. 00:21:33,835 --> 00:21:35,962
  1475. --with a possible mothership following.
  1476.  
  1477. 325
  1478. 00:21:36,129 --> 00:21:38,798
  1479. -Potential piracy situation.
  1480. -Copy, Alabama.
  1481.  
  1482. 326
  1483. 00:21:38,965 --> 00:21:41,759
  1484. Alert your crew,
  1485. get your fire hoses ready...
  1486.  
  1487. 327
  1488. 00:21:41,926 --> 00:21:44,053
  1489. ...and follow lockdown procedures.
  1490.  
  1491. 328
  1492. 00:21:45,346 --> 00:21:46,764
  1493. Yeah. Is that it?
  1494.  
  1495. 329
  1496. 00:21:46,931 --> 00:21:49,309
  1497. This is a scene
  1498. that if you wrote it as fiction...
  1499.  
  1500. 330
  1501. 00:21:49,475 --> 00:21:51,352
  1502. ...no one would believe you.
  1503.  
  1504. 331
  1505. 00:21:51,561 --> 00:21:53,438
  1506. The difference is, it actually happened.
  1507.  
  1508. 332
  1509. 00:21:53,771 --> 00:21:56,316
  1510. The more that he reached out...
  1511.  
  1512. 333
  1513. 00:21:56,524 --> 00:21:57,901
  1514. ...to the emergency numbers...
  1515.  
  1516. 334
  1517. 00:21:58,109 --> 00:22:00,653
  1518. ...the less help he had.
  1519.  
  1520. 335
  1521. 00:22:00,862 --> 00:22:03,865
  1522. The more you realize something
  1523. important in this film, I think...
  1524.  
  1525. 336
  1526. 00:22:04,073 --> 00:22:07,827
  1527. ...which is that unlike the movie world
  1528. where with--
  1529.  
  1530. 337
  1531. 00:22:08,036 --> 00:22:11,498
  1532. We're led to believe so often
  1533. that help can be summoned up...
  1534.  
  1535. 338
  1536. 00:22:11,706 --> 00:22:13,458
  1537. ...in a phone call, you know...
  1538.  
  1539. 339
  1540. 00:22:14,459 --> 00:22:18,671
  1541. ...that actually,
  1542. if you're a container ship...
  1543.  
  1544. 340
  1545. 00:22:18,880 --> 00:22:21,633
  1546. ...thousands of miles away
  1547. in the middle of the ocean...
  1548.  
  1549. 341
  1550. 00:22:21,841 --> 00:22:24,552
  1551. ...there's nothing anybody can do.
  1552. You're on your own.
  1553.  
  1554. 342
  1555. 00:22:28,056 --> 00:22:32,977
  1556. Now we get a sight of Muse
  1557. coming towards the vessel.
  1558.  
  1559. 343
  1560. 00:22:34,395 --> 00:22:36,940
  1561. He and his rival, Asad...
  1562.  
  1563. 344
  1564. 00:22:38,650 --> 00:22:41,110
  1565. ...riding what looked
  1566. like modern chariots.
  1567.  
  1568. 345
  1569. 00:22:41,444 --> 00:22:43,988
  1570. Very, very hard to get those shots.
  1571.  
  1572. 346
  1573. 00:22:45,073 --> 00:22:46,699
  1574. Hard from a safety point of view--
  1575.  
  1576. 347
  1577. 00:22:46,908 --> 00:22:50,745
  1578. Very hard for all the actors in the skiffs
  1579. to keep their balance...
  1580.  
  1581. 348
  1582. 00:22:50,954 --> 00:22:53,373
  1583. ...in those immense seas,
  1584. but very, very hard for us.
  1585.  
  1586. 349
  1587. 00:22:53,581 --> 00:22:59,128
  1588. We had to use a crane
  1589. on a cantilevered arm...
  1590.  
  1591. 350
  1592. 00:23:00,088 --> 00:23:04,050
  1593. ...to keep it steady enough
  1594. to get these shots.
  1595.  
  1596. 351
  1597. 00:23:04,259 --> 00:23:06,177
  1598. They're remarkable
  1599. and you really feel...
  1600.  
  1601. 352
  1602. 00:23:06,386 --> 00:23:08,680
  1603. ...the weight of water...
  1604.  
  1605. 353
  1606. 00:23:08,888 --> 00:23:11,724
  1607. ...and the power...
  1608.  
  1609. 354
  1610. 00:23:14,102 --> 00:23:17,105
  1611. ...of the skiff through the--
  1612. Through the swell.
  1613.  
  1614. 355
  1615. 00:23:24,988 --> 00:23:27,740
  1616. Another moment. I remember
  1617. reading Richard Phillips' book...
  1618.  
  1619. 356
  1620. 00:23:27,949 --> 00:23:33,788
  1621. ...when he gave the account
  1622. of making the fake emergency call.
  1623.  
  1624. 357
  1625. 00:23:34,372 --> 00:23:36,332
  1626. Again, one of those moments
  1627. in the story...
  1628.  
  1629. 358
  1630. 00:23:36,541 --> 00:23:40,461
  1631. ...where I thought, if you made that up,
  1632. no one would believe you. It's such a....
  1633.  
  1634. 359
  1635. 00:23:41,421 --> 00:23:44,465
  1636. An outrageous maneuver.
  1637.  
  1638. 360
  1639. 00:23:44,674 --> 00:23:46,134
  1640. But he did do it.
  1641.  
  1642. 361
  1643. 00:23:46,342 --> 00:23:48,094
  1644. And as you see, it almost worked.
  1645.  
  1646. 362
  1647. 00:23:48,261 --> 00:23:51,347
  1648. Our speed is 18.5 knots.
  1649.  
  1650. 363
  1651. 00:23:51,556 --> 00:23:54,309
  1652. We are being approached
  1653. by two pirate skiffs--
  1654.  
  1655. 364
  1656. 00:23:54,475 --> 00:23:55,518
  1657. The good thing is...
  1658.  
  1659. 365
  1660. 00:23:57,020 --> 00:24:00,440
  1661. ...you're starting to build connectivity
  1662. between the characters...
  1663.  
  1664. 366
  1665. 00:24:00,648 --> 00:24:02,567
  1666. ...between Phillips and Muse...
  1667.  
  1668. 367
  1669. 00:24:03,234 --> 00:24:05,320
  1670. ...between Muse and Asad...
  1671.  
  1672. 368
  1673. 00:24:05,528 --> 00:24:07,947
  1674. ...and between Muse and Asad
  1675. and the mothership.
  1676.  
  1677. 369
  1678. 00:24:08,156 --> 00:24:12,201
  1679. So your audience is clear all the time
  1680. about who the protagonists are...
  1681.  
  1682. 370
  1683. 00:24:12,410 --> 00:24:14,871
  1684. ...where they are, and what's occurring.
  1685.  
  1686. 371
  1687. 00:24:15,830 --> 00:24:19,876
  1688. And the truth of any action sequence is:
  1689.  
  1690. 372
  1691. 00:24:21,461 --> 00:24:25,089
  1692. The clearer you are about the characters
  1693. and what they want...
  1694.  
  1695. 373
  1696. 00:24:25,298 --> 00:24:28,509
  1697. ...the clearer you are
  1698. about the relationships between them...
  1699.  
  1700. 374
  1701. 00:24:28,718 --> 00:24:34,015
  1702. ...the clearer you are
  1703. about the physical spaces they inhabit...
  1704.  
  1705. 375
  1706. 00:24:34,223 --> 00:24:40,063
  1707. ...and the more precision you can give
  1708. each move and countermove--
  1709.  
  1710. 376
  1711. 00:24:40,521 --> 00:24:43,524
  1712. Each detail in the unfolding story.
  1713.  
  1714. 377
  1715. 00:24:43,900 --> 00:24:46,527
  1716. --the better your action will be.
  1717.  
  1718. 378
  1719. 00:24:46,736 --> 00:24:50,323
  1720. It's a great mistake, in my view,
  1721. to create generality...
  1722.  
  1723. 379
  1724. 00:24:50,531 --> 00:24:51,991
  1725. ...in an action sequence.
  1726.  
  1727. 380
  1728. 00:24:52,200 --> 00:24:53,826
  1729. Come on! Keep going!
  1730.  
  1731. 381
  1732. 00:24:56,287 --> 00:24:59,457
  1733. Cutting very fast
  1734. and waving the camera...
  1735.  
  1736. 382
  1737. 00:25:00,166 --> 00:25:03,628
  1738. ...does not give you true engagement
  1739. as an audience.
  1740.  
  1741. 383
  1742. 00:25:03,836 --> 00:25:06,964
  1743. Only precision and detail...
  1744.  
  1745. 384
  1746. 00:25:08,257 --> 00:25:12,178
  1747. ...painstakingly put together
  1748. in the right order...
  1749.  
  1750. 385
  1751. 00:25:12,387 --> 00:25:17,517
  1752. ...so that you feel an overall
  1753. building architecture in the sequence--
  1754.  
  1755. 386
  1756. 00:25:17,725 --> 00:25:20,812
  1757. That's what gives you great action,
  1758. in my view.
  1759.  
  1760. 387
  1761. 00:25:26,359 --> 00:25:27,694
  1762. So now we see the....
  1763.  
  1764. 388
  1765. 00:25:30,029 --> 00:25:34,659
  1766. The great advantage
  1767. that the modern container ship has.
  1768.  
  1769. 389
  1770. 00:25:35,159 --> 00:25:37,537
  1771. And you can say it in one word.
  1772. It's power.
  1773.  
  1774. 390
  1775. 00:25:39,831 --> 00:25:43,543
  1776. Those enormous--
  1777. The thrust of those enormous engines...
  1778.  
  1779. 391
  1780. 00:25:43,751 --> 00:25:45,169
  1781. ...powering them forward...
  1782.  
  1783. 392
  1784. 00:25:47,547 --> 00:25:49,590
  1785. ...creating an enormous wake...
  1786.  
  1787. 393
  1788. 00:25:49,799 --> 00:25:54,929
  1789. ...that it's very hard for the skiffs
  1790. to get through.
  1791.  
  1792. 394
  1793. 00:25:57,181 --> 00:26:03,771
  1794. And in the end,
  1795. when engine is pitted against engine in--
  1796.  
  1797. 395
  1798. 00:26:03,980 --> 00:26:05,523
  1799. As it is in this sequence...
  1800.  
  1801. 396
  1802. 00:26:05,731 --> 00:26:07,733
  1803. ...there's really only gonna be
  1804. one winner.
  1805.  
  1806. 397
  1807. 00:26:20,788 --> 00:26:24,417
  1808. Because at this stage
  1809. in this sequence now...
  1810.  
  1811. 398
  1812. 00:26:24,959 --> 00:26:27,670
  1813. ...we finally got Phillips and Muse...
  1814.  
  1815. 399
  1816. 00:26:27,879 --> 00:26:30,006
  1817. ...in a relationship with each other...
  1818.  
  1819. 400
  1820. 00:26:31,174 --> 00:26:32,550
  1821. ...where they're locked up...
  1822.  
  1823. 401
  1824. 00:26:33,050 --> 00:26:38,848
  1825. ...and that leads to this moment
  1826. through the binoculars coming up...
  1827.  
  1828. 402
  1829. 00:26:39,056 --> 00:26:43,811
  1830. ...which obviously is a profound stage
  1831. in their relationship.
  1832.  
  1833. 403
  1834. 00:26:44,020 --> 00:26:46,481
  1835. It's the point in their relationship...
  1836.  
  1837. 404
  1838. 00:26:46,689 --> 00:26:48,816
  1839. ...where both have seen each other.
  1840.  
  1841. 405
  1842. 00:26:54,530 --> 00:26:57,950
  1843. And, of course, we know
  1844. that they'll meet again.
  1845.  
  1846. 406
  1847. 00:27:01,621 --> 00:27:03,623
  1848. But for the moment...
  1849.  
  1850. 407
  1851. 00:27:04,540 --> 00:27:07,293
  1852. ...first round to Captain Phillips.
  1853.  
  1854. 408
  1855. 00:27:11,631 --> 00:27:15,176
  1856. And again,
  1857. you get those brass chords...
  1858.  
  1859. 409
  1860. 00:27:15,384 --> 00:27:18,262
  1861. ...which are beautifully judged
  1862. by Henry.
  1863.  
  1864. 410
  1865. 00:27:18,638 --> 00:27:21,390
  1866. Alternately reassuring...
  1867.  
  1868. 411
  1869. 00:27:21,808 --> 00:27:24,101
  1870. ...and disquieting.
  1871.  
  1872. 412
  1873. 00:27:25,102 --> 00:27:27,396
  1874. Complete paradox,
  1875. complete contradiction.
  1876.  
  1877. 413
  1878. 00:27:28,147 --> 00:27:29,774
  1879. But it's the way that score works.
  1880.  
  1881. 414
  1882. 00:27:29,982 --> 00:27:33,361
  1883. It offers you both at various times.
  1884.  
  1885. 415
  1886. 00:27:33,528 --> 00:27:35,655
  1887. --both with armed intruders.
  1888.  
  1889. 416
  1890. 00:27:35,821 --> 00:27:40,535
  1891. Now, we all know that's a hazard
  1892. in these waters, but you performed well.
  1893.  
  1894. 417
  1895. 00:27:41,953 --> 00:27:44,038
  1896. This was an important scene
  1897. in the film...
  1898.  
  1899. 418
  1900. 00:27:44,747 --> 00:27:48,334
  1901. ...when Phillips talks to his crew.
  1902.  
  1903. 419
  1904. 00:27:50,920 --> 00:27:53,339
  1905. And we can feel...
  1906.  
  1907. 420
  1908. 00:27:54,882 --> 00:27:58,219
  1909. ...how each reacts to what's occurred.
  1910.  
  1911. 421
  1912. 00:28:00,263 --> 00:28:03,432
  1913. How do you deal with the fact
  1914. that you've been attacked by pirates...
  1915.  
  1916. 422
  1917. 00:28:03,641 --> 00:28:06,936
  1918. ...when you're thousands of miles
  1919. from any safety?
  1920.  
  1921. 423
  1922. 00:28:07,103 --> 00:28:08,479
  1923. Cap.
  1924.  
  1925. 424
  1926. 00:28:10,523 --> 00:28:11,649
  1927. They're coming back.
  1928.  
  1929. 425
  1930. 00:28:11,816 --> 00:28:14,527
  1931. Amen. Yeah, that's right.
  1932. They're coming back.
  1933.  
  1934. 426
  1935. 00:28:14,694 --> 00:28:18,322
  1936. If they come back,
  1937. we'll follow procedure.
  1938.  
  1939. 427
  1940. 00:28:18,489 --> 00:28:21,742
  1941. We know when we see Phillips there
  1942. that he knows that too.
  1943.  
  1944. 428
  1945. 00:28:23,869 --> 00:28:27,748
  1946. We will follow the procedures even if
  1947. we have to shut down, lock down...
  1948.  
  1949. 429
  1950. 00:28:27,915 --> 00:28:29,750
  1951. ...go dead in the water
  1952. and wait for help.
  1953.  
  1954. 430
  1955. 00:28:29,917 --> 00:28:33,337
  1956. It's interesting this--
  1957. That was the state of mind...
  1958.  
  1959. 431
  1960. 00:28:33,546 --> 00:28:36,757
  1961. ...both of Merchant Marine crews...
  1962.  
  1963. 432
  1964. 00:28:36,966 --> 00:28:39,010
  1965. ...and captains,
  1966. and also shipping companies.
  1967.  
  1968. 433
  1969. 00:28:39,218 --> 00:28:43,681
  1970. They believed that ships
  1971. with a freeboard--
  1972.  
  1973. 434
  1974. 00:28:43,890 --> 00:28:46,726
  1975. That's to say a distance
  1976. from ocean to deck...
  1977.  
  1978. 435
  1979. 00:28:46,934 --> 00:28:48,436
  1980. ...of greater than 15 feet...
  1981.  
  1982. 436
  1983. 00:28:48,644 --> 00:28:51,439
  1984. ...and a speed through the water
  1985. of greater than 15 knots...
  1986.  
  1987. 437
  1988. 00:28:51,647 --> 00:28:53,399
  1989. ...both of which Maersk Alabama had.
  1990.  
  1991. 438
  1992. 00:28:53,608 --> 00:28:56,861
  1993. In other words, it was believed
  1994. that the biggest container ships...
  1995.  
  1996. 439
  1997. 00:28:57,445 --> 00:29:00,281
  1998. ...were not able to be attacked
  1999. by pirates...
  2000.  
  2001. 440
  2002. 00:29:00,489 --> 00:29:05,286
  2003. ...that they would prefer to go for tankers
  2004. that were lower in the water, small--
  2005.  
  2006. 441
  2007. 00:29:05,494 --> 00:29:08,456
  2008. Particularly smaller ones
  2009. that didn't have very much speed.
  2010.  
  2011. 442
  2012. 00:29:10,791 --> 00:29:14,503
  2013. And here, Phillips articulates
  2014. the central difficulty.
  2015.  
  2016. 443
  2017. 00:29:14,712 --> 00:29:17,715
  2018. There is no safe place to go.
  2019. There is no running away.
  2020.  
  2021. 444
  2022. 00:29:20,343 --> 00:29:22,720
  2023. In the months
  2024. before this particular attack...
  2025.  
  2026. 445
  2027. 00:29:23,387 --> 00:29:25,890
  2028. ...pirate attacks were recorded
  2029. in the Indian Ocean...
  2030.  
  2031. 446
  2032. 00:29:26,057 --> 00:29:29,185
  2033. ...as far as 1200 miles
  2034. from the Somali coast...
  2035.  
  2036. 447
  2037. 00:29:29,393 --> 00:29:32,021
  2038. ...because they had these
  2039. motherships...
  2040.  
  2041. 448
  2042. 00:29:32,229 --> 00:29:36,567
  2043. ...that they used to carry the skiffs out
  2044. hundreds and thousands of miles...
  2045.  
  2046. 449
  2047. 00:29:36,776 --> 00:29:41,364
  2048. ...out into the ocean
  2049. to look for unsuspecting shipping.
  2050.  
  2051. 450
  2052. 00:29:53,292 --> 00:29:57,838
  2053. I just wanted to remind the audience...
  2054.  
  2055. 451
  2056. 00:29:58,464 --> 00:30:01,717
  2057. ...that Phillips had a life
  2058. beyond the ship.
  2059.  
  2060. 452
  2061. 00:30:02,134 --> 00:30:04,512
  2062. A wife, a family.
  2063.  
  2064. 453
  2065. 00:30:04,804 --> 00:30:06,931
  2066. And also...
  2067.  
  2068. 454
  2069. 00:30:07,139 --> 00:30:08,891
  2070. ...that he was doing...
  2071.  
  2072. 455
  2073. 00:30:09,225 --> 00:30:12,979
  2074. ...what I think all Merchant Marine
  2075. captains would do...
  2076.  
  2077. 456
  2078. 00:30:13,187 --> 00:30:18,943
  2079. ...which is to keep their anxieties
  2080. well away from their family.
  2081.  
  2082. 457
  2083. 00:30:20,653 --> 00:30:24,615
  2084. Hufan, I'm telling you,
  2085. our boat couldn't take it.
  2086.  
  2087. 458
  2088. 00:30:25,199 --> 00:30:29,787
  2089. Now, we cut back to the inquest
  2090. on the pirate mothership.
  2091.  
  2092. 459
  2093. 00:30:31,288 --> 00:30:33,624
  2094. And we start to learn something
  2095. about Asad.
  2096.  
  2097. 460
  2098. 00:30:33,833 --> 00:30:35,251
  2099. What we know, of course...
  2100.  
  2101. 461
  2102. 00:30:35,459 --> 00:30:39,964
  2103. ...and Muse knows that Asad bailed
  2104. in the attack.
  2105.  
  2106. 462
  2107. 00:30:40,381 --> 00:30:43,509
  2108. So he's giving his excuses early...
  2109.  
  2110. 463
  2111. 00:30:43,968 --> 00:30:49,223
  2112. ...whereas young Muse is only interested
  2113. in trying to get a larger ladder...
  2114.  
  2115. 464
  2116. 00:30:49,432 --> 00:30:52,101
  2117. ...and more power to the engine.
  2118.  
  2119. 465
  2120. 00:30:53,394 --> 00:30:56,814
  2121. He's seen the big prize...
  2122.  
  2123. 466
  2124. 00:30:57,148 --> 00:30:59,191
  2125. ...and we know he's determined
  2126. to get it.
  2127.  
  2128. 467
  2129. 00:31:00,359 --> 00:31:02,987
  2130. But first, he has to deal with his rival.
  2131.  
  2132. 468
  2133. 00:31:05,656 --> 00:31:10,286
  2134. Shut up, Skinny. You talk too much.
  2135.  
  2136. 469
  2137. 00:31:10,953 --> 00:31:13,748
  2138. I may be skinny, but I'm not a coward.
  2139.  
  2140. 470
  2141. 00:31:20,421 --> 00:31:22,673
  2142. Muse's nickname...
  2143.  
  2144. 471
  2145. 00:31:22,882 --> 00:31:25,384
  2146. ...was Skinny Rat or Skinny.
  2147.  
  2148. 472
  2149. 00:31:27,803 --> 00:31:31,474
  2150. I loved it as a piece of detail
  2151. and so did Barkhad Abdi.
  2152.  
  2153. 473
  2154. 00:31:33,350 --> 00:31:34,393
  2155. And he used it...
  2156.  
  2157. 474
  2158. 00:31:35,936 --> 00:31:38,856
  2159. ...to build this particular moment
  2160. when he's--
  2161.  
  2162. 475
  2163. 00:31:39,064 --> 00:31:41,734
  2164. Stands up for himself
  2165. and becomes formidable.
  2166.  
  2167. 476
  2168. 00:31:46,197 --> 00:31:50,409
  2169. We know in this moment
  2170. that Phillips has a real adversary.
  2171.  
  2172. 477
  2173. 00:31:53,954 --> 00:31:56,290
  2174. One of the other important decisions
  2175. in our film...
  2176.  
  2177. 478
  2178. 00:31:56,499 --> 00:32:01,295
  2179. ...was to cast young Somali actors
  2180. to play the parts of the--
  2181.  
  2182. 479
  2183. 00:32:01,504 --> 00:32:03,631
  2184. Of all the pirates, in fact.
  2185.  
  2186. 480
  2187. 00:32:04,256 --> 00:32:06,842
  2188. We found those actors....
  2189.  
  2190. 481
  2191. 00:32:07,802 --> 00:32:11,680
  2192. Well, a lot of the smaller parts
  2193. were found in the U.K.
  2194.  
  2195. 482
  2196. 00:32:11,889 --> 00:32:15,017
  2197. But the four principal pirates
  2198. were found in Minneapolis...
  2199.  
  2200. 483
  2201. 00:32:15,226 --> 00:32:18,854
  2202. ...which is the largest
  2203. Somali community in the U.S.
  2204.  
  2205. 484
  2206. 00:32:19,146 --> 00:32:24,276
  2207. Obviously, there's no Somali acting
  2208. community in Los Angeles or New York.
  2209.  
  2210. 485
  2211. 00:32:24,485 --> 00:32:26,529
  2212. And Francine Maisler,
  2213. our casting director...
  2214.  
  2215. 486
  2216. 00:32:26,737 --> 00:32:32,660
  2217. ...and her colleagues
  2218. really had the job of finding them.
  2219.  
  2220. 487
  2221. 00:32:32,868 --> 00:32:34,954
  2222. And when they went there...
  2223.  
  2224. 488
  2225. 00:32:35,162 --> 00:32:38,958
  2226. ...they found that that community
  2227. was rich and vibrant...
  2228.  
  2229. 489
  2230. 00:32:39,166 --> 00:32:44,421
  2231. ...filled with storytellers and musicians
  2232. and writers and actors.
  2233.  
  2234. 490
  2235. 00:32:44,630 --> 00:32:48,759
  2236. And we were very lucky to have
  2237. these four young men play the parts.
  2238.  
  2239. 491
  2240. 00:32:48,968 --> 00:32:50,845
  2241. -Where are they?
  2242. -Port quarter.
  2243.  
  2244. 492
  2245. 00:32:51,011 --> 00:32:52,721
  2246. One-point-seven miles, captain.
  2247.  
  2248. 493
  2249. 00:32:54,098 --> 00:32:56,976
  2250. So now we begin the second attack.
  2251.  
  2252. 494
  2253. 00:32:57,184 --> 00:32:59,854
  2254. And the trick here
  2255. is to step the pace up...
  2256.  
  2257. 495
  2258. 00:33:00,062 --> 00:33:03,816
  2259. ...so you feel that
  2260. the throttle of the film...
  2261.  
  2262. 496
  2263. 00:33:05,609 --> 00:33:08,654
  2264. ...has just been pressed down
  2265. a little more.
  2266.  
  2267. 497
  2268. 00:33:11,699 --> 00:33:17,121
  2269. And I think it's at this stage in the film
  2270. that I always feel...
  2271.  
  2272. 498
  2273. 00:33:17,329 --> 00:33:20,124
  2274. ...that Tom's performance...
  2275.  
  2276. 499
  2277. 00:33:21,709 --> 00:33:25,921
  2278. ...starts to really
  2279. completely dominate the film.
  2280.  
  2281. 500
  2282. 00:33:26,130 --> 00:33:28,257
  2283. I want max revs. Take the limits off.
  2284.  
  2285. 501
  2286. 00:33:28,424 --> 00:33:34,722
  2287. You feel that somewhere in his eyes
  2288. is a kind of existential fear.
  2289.  
  2290. 502
  2291. 00:33:34,930 --> 00:33:40,477
  2292. It's not really just about
  2293. skiffs taking over the ships.
  2294.  
  2295. 503
  2296. 00:33:42,563 --> 00:33:47,151
  2297. It's some unimaginable crisis
  2298. that he's facing.
  2299.  
  2300. 504
  2301. 00:33:48,819 --> 00:33:55,075
  2302. And, of course,
  2303. that sense of crisis drives the film.
  2304.  
  2305. 505
  2306. 00:33:55,242 --> 00:33:57,202
  2307. U.S. Maritime Emergency line.
  2308.  
  2309. 506
  2310. 00:33:58,203 --> 00:34:01,665
  2311. This is the Maersk Alabama.
  2312. We are under pirate attack at a....
  2313.  
  2314. 507
  2315. 00:34:01,832 --> 00:34:04,585
  2316. -What's happening?
  2317. -Ken, get out here.
  2318.  
  2319. 508
  2320. 00:34:04,793 --> 00:34:07,796
  2321. -I need eyes on the wing. Skiff coming in.
  2322. -I'm on it.
  2323.  
  2324. 509
  2325. 00:34:07,963 --> 00:34:12,384
  2326. Now, it's become one tiny skiff
  2327. versus one large ship.
  2328.  
  2329. 510
  2330. 00:34:12,801 --> 00:34:14,845
  2331. And we're going
  2332. through those same gears...
  2333.  
  2334. 511
  2335. 00:34:15,054 --> 00:34:17,640
  2336. ...that we went through in first attack,
  2337. but--
  2338.  
  2339. 512
  2340. 00:34:17,848 --> 00:34:21,477
  2341. But quicker, with more urgency.
  2342.  
  2343. 513
  2344. 00:34:21,685 --> 00:34:24,188
  2345. More sense of desperation
  2346. under the surface.
  2347.  
  2348. 514
  2349. 00:34:26,273 --> 00:34:29,860
  2350. Somali coast guard.
  2351. This is a routine check.
  2352.  
  2353. 515
  2354. 00:34:30,069 --> 00:34:31,904
  2355. The score here is very, very clever.
  2356.  
  2357. 516
  2358. 00:34:32,112 --> 00:34:37,701
  2359. It's mixing pulse and tempo,
  2360. which is perfectly judged, incidentally...
  2361.  
  2362. 517
  2363. 00:34:37,910 --> 00:34:41,330
  2364. ...and the sort of plangent brass...
  2365.  
  2366. 518
  2367. 00:34:42,623 --> 00:34:48,045
  2368. ...lines that, as I say,
  2369. are both comforting...
  2370.  
  2371. 519
  2372. 00:34:48,254 --> 00:34:51,382
  2373. ...and disquieting all at the same time.
  2374.  
  2375. 520
  2376. 00:34:51,757 --> 00:34:53,842
  2377. Are they consolation
  2378. or are they warning?
  2379.  
  2380. 521
  2381. 00:34:55,844 --> 00:34:59,181
  2382. Very, very skillful scoring here
  2383. by Henry Jackman.
  2384.  
  2385. 522
  2386. 00:35:00,641 --> 00:35:02,017
  2387. Stop the ship.
  2388.  
  2389. 523
  2390. 00:35:03,769 --> 00:35:06,313
  2391. They're not stopping.
  2392.  
  2393. 524
  2394. 00:35:07,064 --> 00:35:08,983
  2395. Show them who we are, Muse.
  2396.  
  2397. 525
  2398. 00:35:12,111 --> 00:35:13,904
  2399. Shoot at them!
  2400.  
  2401. 526
  2402. 00:35:17,700 --> 00:35:20,536
  2403. Shots fired! Shots fired! Hit the hoses.
  2404.  
  2405. 527
  2406. 00:35:20,703 --> 00:35:23,956
  2407. Fateful moment in our story
  2408. when the shots are first fired.
  2409.  
  2410. 528
  2411. 00:35:24,999 --> 00:35:28,002
  2412. Obviously, the pace kicks up again.
  2413.  
  2414. 529
  2415. 00:35:28,460 --> 00:35:30,254
  2416. Turn!
  2417.  
  2418. 530
  2419. 00:35:31,505 --> 00:35:35,759
  2420. Now we see Phillips deploy,
  2421. really, the--
  2422.  
  2423. 531
  2424. 00:35:36,260 --> 00:35:38,220
  2425. The last line of defense.
  2426.  
  2427. 532
  2428. 00:35:38,429 --> 00:35:44,768
  2429. The sea hoses that can be used
  2430. to stop a small skiff getting alongside.
  2431.  
  2432. 533
  2433. 00:35:51,859 --> 00:35:55,362
  2434. I love the visual--
  2435. The visuals of this film.
  2436.  
  2437. 534
  2438. 00:35:55,571 --> 00:35:58,949
  2439. From first moment really,
  2440. when thinking about it...
  2441.  
  2442. 535
  2443. 00:35:59,158 --> 00:36:04,288
  2444. ...I loved the idea of the perfect
  2445. symmetry of the first half of the film...
  2446.  
  2447. 536
  2448. 00:36:05,039 --> 00:36:10,711
  2449. ...being about a large container ship
  2450. being chased by a very small skiff...
  2451.  
  2452. 537
  2453. 00:36:10,919 --> 00:36:14,882
  2454. ...and the large container ship
  2455. throwing out these hoses...
  2456.  
  2457. 538
  2458. 00:36:15,090 --> 00:36:19,636
  2459. ...and the relationship between the craft
  2460. and the water and the cargo.
  2461.  
  2462. 539
  2463. 00:36:19,845 --> 00:36:23,474
  2464. This all felt very visually interesting.
  2465. Then the second half of the film...
  2466.  
  2467. 540
  2468. 00:36:23,682 --> 00:36:25,434
  2469. ...being a complete mirror opposite.
  2470.  
  2471. 541
  2472. 00:36:25,642 --> 00:36:29,813
  2473. A tiny lifeboat chased
  2474. by these enormous warships.
  2475.  
  2476. 542
  2477. 00:36:35,652 --> 00:36:38,322
  2478. This was a very complicated sequence
  2479. to plan and shoot.
  2480.  
  2481. 543
  2482. 00:36:38,530 --> 00:36:43,160
  2483. There were a lot of safety issues
  2484. involved with bringing skiffs...
  2485.  
  2486. 544
  2487. 00:36:44,244 --> 00:36:46,663
  2488. ...up-close
  2489. to a speeding container ship.
  2490.  
  2491. 545
  2492. 00:36:46,872 --> 00:36:50,918
  2493. Obviously, the undertow from one
  2494. of those container ships is lethal.
  2495.  
  2496. 546
  2497. 00:36:52,920 --> 00:36:55,547
  2498. There were a lot of issues
  2499. with safe distances...
  2500.  
  2501. 547
  2502. 00:36:55,756 --> 00:36:59,051
  2503. ...and trying to make sure
  2504. we could do what we needed to.
  2505.  
  2506. 548
  2507. 00:37:01,845 --> 00:37:05,682
  2508. Marrying up all these different pieces
  2509. and the geography of the skiffs...
  2510.  
  2511. 549
  2512. 00:37:05,891 --> 00:37:09,395
  2513. ...and the firing of the-- Of the flare...
  2514.  
  2515. 550
  2516. 00:37:11,396 --> 00:37:13,357
  2517. ...all involved an awful lot of planning.
  2518.  
  2519. 551
  2520. 00:37:17,778 --> 00:37:20,989
  2521. But these four young actors
  2522. were very, very game.
  2523.  
  2524. 552
  2525. 00:37:21,198 --> 00:37:23,200
  2526. It was no joke to be out
  2527. in those skiffs...
  2528.  
  2529. 553
  2530. 00:37:23,409 --> 00:37:26,745
  2531. ...in the middle of swell
  2532. and not wearing much, incidentally...
  2533.  
  2534. 554
  2535. 00:37:28,705 --> 00:37:32,501
  2536. ...for hour after hour after hour,
  2537. day after day after day.
  2538.  
  2539. 555
  2540. 00:37:32,709 --> 00:37:35,337
  2541. It was a considerable feat
  2542. of physical endurance...
  2543.  
  2544. 556
  2545. 00:37:35,546 --> 00:37:38,799
  2546. ...and also of seamanship too.
  2547. They had several months of training...
  2548.  
  2549. 557
  2550. 00:37:39,007 --> 00:37:42,845
  2551. ...to be able to, you know,
  2552. drive those skiffs effectively.
  2553.  
  2554. 558
  2555. 00:37:46,932 --> 00:37:48,267
  2556. All crew! All crew!
  2557.  
  2558. 559
  2559. 00:37:48,434 --> 00:37:51,228
  2560. All crew to the engine room!
  2561. All crew to the engine room now!
  2562.  
  2563. 560
  2564. 00:37:51,395 --> 00:37:53,564
  2565. Well, actually,
  2566. they were incredibly game. It--
  2567.  
  2568. 561
  2569. 00:37:53,772 --> 00:37:56,900
  2570. Most of our time was spent
  2571. trying to stop them...
  2572.  
  2573. 562
  2574. 00:37:57,860 --> 00:38:00,112
  2575. ...doing things
  2576. that wouldn't have been safe.
  2577.  
  2578. 563
  2579. 00:38:01,822 --> 00:38:07,703
  2580. They were fantastically determined
  2581. and fantastically hardworking.
  2582.  
  2583. 564
  2584. 00:38:09,329 --> 00:38:11,874
  2585. -Port, 30 degrees.
  2586. -Port, 30 degrees.
  2587.  
  2588. 565
  2589. 00:38:15,294 --> 00:38:19,965
  2590. So now we're at the end
  2591. of the second attack.
  2592.  
  2593. 566
  2594. 00:38:20,591 --> 00:38:23,927
  2595. I think Phillips knows it's--
  2596. Time is running out.
  2597.  
  2598. 567
  2599. 00:38:25,637 --> 00:38:28,307
  2600. He tries to turn--
  2601. Twist and turn the ship...
  2602.  
  2603. 568
  2604. 00:38:28,515 --> 00:38:33,145
  2605. ...to create an impact
  2606. that can throw them off.
  2607.  
  2608. 569
  2609. 00:38:33,687 --> 00:38:36,356
  2610. But, of course,
  2611. the guys who drive these skiffs...
  2612.  
  2613. 570
  2614. 00:38:36,565 --> 00:38:39,193
  2615. ...are very, very skillful...
  2616.  
  2617. 571
  2618. 00:38:39,401 --> 00:38:44,990
  2619. ...at navigating the undertow
  2620. and the swell and the hoses...
  2621.  
  2622. 572
  2623. 00:38:45,199 --> 00:38:50,287
  2624. ...and keeping the skiff there
  2625. just long enough to get onboard.
  2626.  
  2627. 573
  2628. 00:38:53,832 --> 00:38:55,626
  2629. But even so, it's a--
  2630.  
  2631. 574
  2632. 00:38:55,834 --> 00:38:58,962
  2633. It's a very, very dangerous game.
  2634.  
  2635. 575
  2636. 00:38:59,171 --> 00:39:02,758
  2637. One slip and you're under that ship
  2638. and dead.
  2639.  
  2640. 576
  2641. 00:39:08,263 --> 00:39:10,891
  2642. -Starboard, 30 degrees.
  2643. -Starboard, 30.
  2644.  
  2645. 577
  2646. 00:39:15,354 --> 00:39:17,814
  2647. I love the way Tom sells...
  2648.  
  2649. 578
  2650. 00:39:20,108 --> 00:39:23,445
  2651. ...the sense of dread,
  2652. the sense of confusion.
  2653.  
  2654. 579
  2655. 00:39:24,530 --> 00:39:28,075
  2656. Because he suddenly realizes
  2657. that his ship has been taken.
  2658.  
  2659. 580
  2660. 00:39:28,784 --> 00:39:30,577
  2661. -Cronan. Cronan.
  2662. -Yeah.
  2663.  
  2664. 581
  2665. 00:39:31,912 --> 00:39:35,874
  2666. The crew are taken down
  2667. to the engine control room.
  2668.  
  2669. 582
  2670. 00:39:36,541 --> 00:39:40,629
  2671. Head count, and they're gonna try
  2672. and hide them down in the engine room.
  2673.  
  2674. 583
  2675. 00:39:41,046 --> 00:39:43,173
  2676. Meanwhile,
  2677. the chief engineer, Mike Perry...
  2678.  
  2679. 584
  2680. 00:39:45,050 --> 00:39:49,179
  2681. ...acting with fantastic professionalism
  2682. and dedication...
  2683.  
  2684. 585
  2685. 00:39:49,930 --> 00:39:55,310
  2686. ...is ensuring that the ship's engines
  2687. are turned off, disabling the ship.
  2688.  
  2689. 586
  2690. 00:39:57,854 --> 00:40:00,440
  2691. The roles played by the crew--
  2692.  
  2693. 587
  2694. 00:40:00,649 --> 00:40:05,153
  2695. One of the things I wanted to do
  2696. in this film was to pay proper regard...
  2697.  
  2698. 588
  2699. 00:40:05,362 --> 00:40:08,782
  2700. ...to the way that the crew,
  2701. independently of Phillips...
  2702.  
  2703. 589
  2704. 00:40:08,991 --> 00:40:15,497
  2705. ...worked towards the successful
  2706. resolution of this hosta-- Crisis.
  2707.  
  2708. 590
  2709. 00:40:16,248 --> 00:40:17,958
  2710. They weren't just passive bystanders.
  2711.  
  2712. 591
  2713. 00:40:18,166 --> 00:40:21,545
  2714. They worked together
  2715. and exhibited great courage...
  2716.  
  2717. 592
  2718. 00:40:21,753 --> 00:40:25,132
  2719. ...and particularly, I think,
  2720. Shane Murphy and Mike Perry.
  2721.  
  2722. 593
  2723. 00:40:26,341 --> 00:40:28,343
  2724. But they all did. They all did.
  2725.  
  2726. 594
  2727. 00:40:32,014 --> 00:40:33,849
  2728. Jesus.
  2729.  
  2730. 595
  2731. 00:40:34,057 --> 00:40:37,311
  2732. If the pirates find you, remember,
  2733. you know the ship.
  2734.  
  2735. 596
  2736. 00:40:38,020 --> 00:40:40,689
  2737. So now we're waiting
  2738. for the confrontation.
  2739.  
  2740. 597
  2741. 00:40:41,940 --> 00:40:44,359
  2742. We'd been shooting quite a while
  2743. when we shot this...
  2744.  
  2745. 598
  2746. 00:40:44,568 --> 00:40:48,196
  2747. ...but it was always my intention to
  2748. keep Tom away from the four pirates...
  2749.  
  2750. 599
  2751. 00:40:48,405 --> 00:40:50,490
  2752. ...away from Barkhad, so that they--
  2753.  
  2754. 600
  2755. 00:40:50,699 --> 00:40:52,868
  2756. The moment they would first
  2757. see each other...
  2758.  
  2759. 601
  2760. 00:40:53,076 --> 00:40:55,120
  2761. ...was the moment they came
  2762. through the door.
  2763.  
  2764. 602
  2765. 00:40:55,329 --> 00:40:57,414
  2766. They knew of each other,
  2767. knew they were there.
  2768.  
  2769. 603
  2770. 00:40:57,622 --> 00:40:59,666
  2771. We kept them in separate parts
  2772. of the ship.
  2773.  
  2774. 604
  2775. 00:40:59,875 --> 00:41:02,044
  2776. We rehearsed this scene separately...
  2777.  
  2778. 605
  2779. 00:41:02,252 --> 00:41:08,216
  2780. ...and then this take
  2781. was literally the first time they met.
  2782.  
  2783. 606
  2784. 00:41:10,469 --> 00:41:16,141
  2785. And it gave it a sense of drama
  2786. and a sense of anticipation...
  2787.  
  2788. 607
  2789. 00:41:16,350 --> 00:41:18,560
  2790. ...that it might not otherwise have had.
  2791.  
  2792. 608
  2793. 00:41:24,274 --> 00:41:26,985
  2794. -Hey! Don't move! Don't move!
  2795. -Okay, okay.
  2796.  
  2797. 609
  2798. 00:41:27,152 --> 00:41:30,030
  2799. -Don't move, I said! Don't move!
  2800. -All right. All right.
  2801.  
  2802. 610
  2803. 00:41:31,323 --> 00:41:34,117
  2804. When you cast
  2805. four young unknown actors...
  2806.  
  2807. 611
  2808. 00:41:34,326 --> 00:41:35,869
  2809. Don't move! We have four!
  2810.  
  2811. 612
  2812. 00:41:36,078 --> 00:41:39,206
  2813. ...starting on their careers
  2814. for the first time...
  2815.  
  2816. 613
  2817. 00:41:39,831 --> 00:41:42,250
  2818. ...you never know how it's gonna go...
  2819.  
  2820. 614
  2821. 00:41:43,126 --> 00:41:46,213
  2822. ...until you actually see them
  2823. face-to-face.
  2824.  
  2825. 615
  2826. 00:41:46,421 --> 00:41:50,759
  2827. Here is the moment when a young actor
  2828. Barkhad Abdi comes face-to-face...
  2829.  
  2830. 616
  2831. 00:41:50,967 --> 00:41:55,389
  2832. ...with two-time Academy Award-winner
  2833. Tom Hanks.
  2834.  
  2835. 617
  2836. 00:41:55,722 --> 00:42:01,436
  2837. Can he do it?
  2838. Has he got the desire and the ability...
  2839.  
  2840. 618
  2841. 00:42:01,770 --> 00:42:03,271
  2842. ...to dominate Tom?
  2843.  
  2844. 619
  2845. 00:42:03,480 --> 00:42:05,732
  2846. That was the question in my mind.
  2847.  
  2848. 620
  2849. 00:42:05,941 --> 00:42:07,609
  2850. And I suspect in Tom's too.
  2851.  
  2852. 621
  2853. 00:42:08,151 --> 00:42:10,904
  2854. When we get paid,
  2855. everything gonna be okay.
  2856.  
  2857. 622
  2858. 00:42:11,113 --> 00:42:14,658
  2859. But you could tell,
  2860. as soon as this scene started...
  2861.  
  2862. 623
  2863. 00:42:17,202 --> 00:42:18,662
  2864. ...that he was determined...
  2865.  
  2866. 624
  2867. 00:42:20,872 --> 00:42:25,252
  2868. ...to give Tom
  2869. a complete run for his money.
  2870.  
  2871. 625
  2872. 00:42:26,670 --> 00:42:29,214
  2873. To be his equal on-screen.
  2874.  
  2875. 626
  2876. 00:42:32,175 --> 00:42:35,679
  2877. To be the thing you most want
  2878. in a film.
  2879.  
  2880. 627
  2881. 00:42:36,054 --> 00:42:39,766
  2882. To be a formidable adversary.
  2883.  
  2884. 628
  2885. 00:42:41,143 --> 00:42:45,856
  2886. It's a remarkable piece of acting
  2887. by a young man from Minneapolis...
  2888.  
  2889. 629
  2890. 00:42:46,064 --> 00:42:48,692
  2891. ...who had never acted before,
  2892. professionally.
  2893.  
  2894. 630
  2895. 00:42:48,859 --> 00:42:50,861
  2896. TV and car--? No, no.
  2897. We just got the food--
  2898.  
  2899. 631
  2900. 00:42:51,027 --> 00:42:52,737
  2901. Dollars?
  2902.  
  2903. 632
  2904. 00:42:53,280 --> 00:42:56,908
  2905. We do. Kenny?
  2906. Kenny, what do we have in the safe?
  2907.  
  2908. 633
  2909. 00:42:57,075 --> 00:43:02,164
  2910. The way he laces the performance
  2911. with humor and self-doubt.
  2912.  
  2913. 634
  2914. 00:43:02,622 --> 00:43:07,752
  2915. He will let any one moment
  2916. to be incredibly menacing...
  2917.  
  2918. 635
  2919. 00:43:07,961 --> 00:43:13,008
  2920. ...but also oddly vulnerable.
  2921.  
  2922. 636
  2923. 00:43:19,347 --> 00:43:21,391
  2924. What's that?
  2925.  
  2926. 637
  2927. 00:43:25,395 --> 00:43:26,438
  2928. It's all right.
  2929.  
  2930. 638
  2931. 00:43:26,605 --> 00:43:28,940
  2932. Hey, calm down! Calm down.
  2933.  
  2934. 639
  2935. 00:43:29,107 --> 00:43:31,234
  2936. Get back there.
  2937.  
  2938. 640
  2939. 00:43:31,401 --> 00:43:34,488
  2940. So this sequence really begins the--
  2941.  
  2942. 641
  2943. 00:43:34,696 --> 00:43:39,034
  2944. The section of the film that deals
  2945. with what happened in that first day...
  2946.  
  2947. 642
  2948. 00:43:39,242 --> 00:43:40,785
  2949. ...when the pirates got onboard.
  2950.  
  2951. 643
  2952. 00:43:42,370 --> 00:43:43,997
  2953. Phillips was up on the--
  2954.  
  2955. 644
  2956. 00:43:45,415 --> 00:43:49,628
  2957. On the control, on the bridge,
  2958. with a couple of crew members...
  2959.  
  2960. 645
  2961. 00:43:50,045 --> 00:43:52,923
  2962. ...and the crew were hiding down below
  2963. in the engine room.
  2964.  
  2965. 646
  2966. 00:43:54,216 --> 00:43:59,930
  2967. And the problem the pirates had was
  2968. they needed to get the rest of the crew.
  2969.  
  2970. 647
  2971. 00:44:00,138 --> 00:44:05,227
  2972. Phillips was determined that the pirates
  2973. would not get any more hostages.
  2974.  
  2975. 648
  2976. 00:44:07,646 --> 00:44:08,980
  2977. Watch this ugly one.
  2978.  
  2979. 649
  2980. 00:44:18,573 --> 00:44:20,367
  2981. What are you doing?
  2982.  
  2983. 650
  2984. 00:44:20,534 --> 00:44:22,744
  2985. I'm going to fix it.
  2986.  
  2987. 651
  2988. 00:44:23,537 --> 00:44:27,249
  2989. I like this part of the scene
  2990. because it's asking the question:
  2991.  
  2992. 652
  2993. 00:44:29,000 --> 00:44:35,674
  2994. How much does a young Somali
  2995. pirate captain understand...
  2996.  
  2997. 653
  2998. 00:44:36,925 --> 00:44:40,053
  2999. ...a sophisticated
  3000. modern container ship?
  3001.  
  3002. 654
  3003. 00:44:41,638 --> 00:44:43,223
  3004. The answer is not very much.
  3005.  
  3006. 655
  3007. 00:44:44,808 --> 00:44:49,813
  3008. But out of that, you start to develop
  3009. the relationship between Muse...
  3010.  
  3011. 656
  3012. 00:44:50,856 --> 00:44:52,148
  3013. Where is the crew?
  3014.  
  3015. 657
  3016. 00:44:52,357 --> 00:44:54,859
  3017. I don't know. I don't know.
  3018. I'm here with you.
  3019.  
  3020. 658
  3021. 00:44:55,735 --> 00:44:56,862
  3022. ...and Najee.
  3023.  
  3024. 659
  3025. 00:44:59,406 --> 00:45:02,242
  3026. And that relationship, that...
  3027.  
  3028. 660
  3029. 00:45:02,868 --> 00:45:08,081
  3030. ...test of strength between the two
  3031. of them that goes on alongside the--
  3032.  
  3033. 661
  3034. 00:45:08,290 --> 00:45:11,042
  3035. The battle
  3036. between Phillips and Muse...
  3037.  
  3038. 662
  3039. 00:45:12,586 --> 00:45:16,423
  3040. ...is what comes to dominate
  3041. the second half of the film.
  3042.  
  3043. 663
  3044. 00:45:18,258 --> 00:45:21,177
  3045. Another minute, I kill somebody.
  3046.  
  3047. 664
  3048. 00:45:21,636 --> 00:45:25,223
  3049. I kill all your friends. One minute.
  3050.  
  3051. 665
  3052. 00:45:25,390 --> 00:45:27,475
  3053. I will no call again.
  3054.  
  3055. 666
  3056. 00:45:30,312 --> 00:45:33,273
  3057. Get that one
  3058. and put him against the wall.
  3059.  
  3060. 667
  3061. 00:45:33,857 --> 00:45:35,692
  3062. -I'm trying--
  3063. -You think we playing?
  3064.  
  3065. 668
  3066. 00:45:35,859 --> 00:45:38,278
  3067. -No, I'm doing the best--
  3068. -No play. No play.
  3069.  
  3070. 669
  3071. 00:45:39,654 --> 00:45:43,199
  3072. These must have been
  3073. desperate moments...
  3074.  
  3075. 670
  3076. 00:45:43,658 --> 00:45:45,702
  3077. ...on the bridge and in the engine room.
  3078.  
  3079. 671
  3080. 00:45:45,910 --> 00:45:47,579
  3081. -Come on.
  3082. -You play? You play?
  3083.  
  3084. 672
  3085. 00:45:47,746 --> 00:45:48,788
  3086. Who was to know...
  3087.  
  3088. 673
  3089. 00:45:50,665 --> 00:45:53,960
  3090. ...whether someone wasn't gonna get
  3091. a bullet in the head very soon?
  3092.  
  3093. 674
  3094. 00:45:54,711 --> 00:45:57,088
  3095. In a sense, there was no right
  3096. or wrong thing to do.
  3097.  
  3098. 675
  3099. 00:45:57,297 --> 00:46:00,842
  3100. To disclose where the crew were
  3101. might have made things worse.
  3102.  
  3103. 676
  3104. 00:46:01,051 --> 00:46:04,179
  3105. Not to disclose the crew
  3106. might have made things worse.
  3107.  
  3108. 677
  3109. 00:46:04,387 --> 00:46:08,808
  3110. It was the terrible choices...
  3111.  
  3112. 678
  3113. 00:46:10,560 --> 00:46:12,228
  3114. ...that people had to make that day.
  3115.  
  3116. 679
  3117. 00:46:12,395 --> 00:46:13,647
  3118. -You killing him.
  3119. -It's my ship.
  3120.  
  3121. 680
  3122. 00:46:13,813 --> 00:46:15,815
  3123. -Listen to me.
  3124. -You killing him.
  3125.  
  3126. 681
  3127. 00:46:15,982 --> 00:46:17,776
  3128. I'm the captain.
  3129.  
  3130. 682
  3131. 00:46:17,942 --> 00:46:19,110
  3132. But I think the--
  3133.  
  3134. 683
  3135. 00:46:20,570 --> 00:46:22,364
  3136. The acting in this scene...
  3137.  
  3138. 684
  3139. 00:46:22,572 --> 00:46:28,453
  3140. ...the company of actors
  3141. inhabiting, totally, this situation...
  3142.  
  3143. 685
  3144. 00:46:29,704 --> 00:46:30,914
  3145. ...I think, is exemplary.
  3146.  
  3147. 686
  3148. 00:46:31,122 --> 00:46:33,458
  3149. Corey Johnson there
  3150. with the gun to his head.
  3151.  
  3152. 687
  3153. 00:46:34,834 --> 00:46:36,961
  3154. He's done a number of films with me.
  3155.  
  3156. 688
  3157. 00:46:37,170 --> 00:46:38,797
  3158. Always...
  3159.  
  3160. 689
  3161. 00:46:39,881 --> 00:46:46,680
  3162. ...always absolutely beautifully accurate
  3163. in everything he does, and human.
  3164.  
  3165. 690
  3166. 00:46:53,103 --> 00:46:55,021
  3167. I want to search the ship.
  3168.  
  3169. 691
  3170. 00:46:56,564 --> 00:46:59,776
  3171. One of the things I tried to do
  3172. in this film...
  3173.  
  3174. 692
  3175. 00:46:59,985 --> 00:47:04,614
  3176. ...was create a rise and fall, a pitch,
  3177. a sort of--
  3178.  
  3179. 693
  3180. 00:47:07,534 --> 00:47:10,537
  3181. An undulating sense of tension...
  3182.  
  3183. 694
  3184. 00:47:10,954 --> 00:47:13,331
  3185. We better hope
  3186. the emergency power stays on.
  3187.  
  3188. 695
  3189. 00:47:14,708 --> 00:47:19,838
  3190. ...that sort of replicates
  3191. the structure of the ocean itself.
  3192.  
  3193. 696
  3194. 00:47:21,506 --> 00:47:26,094
  3195. And that's driven, of course, ultimately
  3196. by the tension...
  3197.  
  3198. 697
  3199. 00:47:26,302 --> 00:47:28,638
  3200. ...between the two characters,
  3201. Muse and Phillips...
  3202.  
  3203. 698
  3204. 00:47:28,847 --> 00:47:32,976
  3205. ...but also the tension
  3206. within the pirates...
  3207.  
  3208. 699
  3209. 00:47:33,184 --> 00:47:37,063
  3210. ...as the pitch of panic and--
  3211.  
  3212. 700
  3213. 00:47:37,272 --> 00:47:39,065
  3214. And relaxation ebbs and flows.
  3215.  
  3216. 701
  3217. 00:47:41,234 --> 00:47:44,612
  3218. And capturing that in the right way...
  3219.  
  3220. 702
  3221. 00:47:45,030 --> 00:47:49,868
  3222. ...so that you can vary the pace
  3223. in the film...
  3224.  
  3225. 703
  3226. 00:47:50,952 --> 00:47:55,039
  3227. ...dominated a lot of my thinking
  3228. in the run-up to the film.
  3229.  
  3230. 704
  3231. 00:47:55,248 --> 00:47:58,918
  3232. I'm gonna go to the mess, get water.
  3233. Get everyone on the lower level.
  3234.  
  3235. 705
  3236. 00:47:59,085 --> 00:48:00,879
  3237. All right. I'm on 2.
  3238.  
  3239. 706
  3240. 00:48:09,012 --> 00:48:11,848
  3241. There's Henry's brass chord again...
  3242.  
  3243. 707
  3244. 00:48:12,599 --> 00:48:14,726
  3245. ...just anchoring you...
  3246.  
  3247. 708
  3248. 00:48:18,188 --> 00:48:21,566
  3249. ...keeping the humanity
  3250. of the piece alive.
  3251.  
  3252. 709
  3253. 00:48:22,984 --> 00:48:25,153
  3254. Early on, we experimented...
  3255.  
  3256. 710
  3257. 00:48:25,361 --> 00:48:28,531
  3258. ...with more electronic versions
  3259. of the score, but--
  3260.  
  3261. 711
  3262. 00:48:28,740 --> 00:48:33,244
  3263. But I think we all agreed that the--
  3264.  
  3265. 712
  3266. 00:48:34,370 --> 00:48:36,372
  3267. You know...
  3268.  
  3269. 713
  3270. 00:48:36,956 --> 00:48:42,128
  3271. ...the human-scale instruments,
  3272. brass and wood...
  3273.  
  3274. 714
  3275. 00:48:42,545 --> 00:48:44,464
  3276. ...and cello...
  3277.  
  3278. 715
  3279. 00:48:46,132 --> 00:48:47,967
  3280. ...were where the score needs to sit...
  3281.  
  3282. 716
  3283. 00:48:48,176 --> 00:48:51,346
  3284. ...and that's ultimately the direction
  3285. we went in.
  3286.  
  3287. 717
  3288. 00:48:55,809 --> 00:48:58,228
  3289. This is a very important scene...
  3290.  
  3291. 718
  3292. 00:48:58,436 --> 00:49:02,440
  3293. ...as the relationship
  3294. between Phillips and Muse develops...
  3295.  
  3296. 719
  3297. 00:49:03,775 --> 00:49:07,153
  3298. ...and as you realize
  3299. that each is lying to the other...
  3300.  
  3301. 720
  3302. 00:49:08,363 --> 00:49:10,698
  3303. ...and each knows it.
  3304.  
  3305. 721
  3306. 00:49:10,907 --> 00:49:14,702
  3307. And that's a difficult story
  3308. for an actor to tell.
  3309.  
  3310. 722
  3311. 00:49:15,119 --> 00:49:18,748
  3312. --we're working our way down,
  3313. so we should try the cargo deck.
  3314.  
  3315. 723
  3316. 00:49:19,332 --> 00:49:23,878
  3317. You don't want to signpost it too much,
  3318. but it's got to be there.
  3319.  
  3320. 724
  3321. 00:49:24,087 --> 00:49:26,131
  3322. And I really think...
  3323.  
  3324. 725
  3325. 00:49:26,923 --> 00:49:31,427
  3326. ...that you start to really engage now
  3327. in this scene with the--
  3328.  
  3329. 726
  3330. 00:49:31,636 --> 00:49:34,639
  3331. With the battle of wits
  3332. between each character.
  3333.  
  3334. 727
  3335. 00:49:34,806 --> 00:49:37,559
  3336. Maybe we should get some water
  3337. from the mess down on A deck?
  3338.  
  3339. 728
  3340. 00:49:42,313 --> 00:49:45,567
  3341. -Then engine room. Go.
  3342. -Okay.
  3343.  
  3344. 729
  3345. 00:49:45,733 --> 00:49:49,654
  3346. He knows that he's lying
  3347. but he doesn't quite know how.
  3348.  
  3349. 730
  3350. 00:49:57,287 --> 00:49:59,164
  3351. This is A deck.
  3352.  
  3353. 731
  3354. 00:49:59,330 --> 00:50:04,252
  3355. Meanwhile, Shane Murphy
  3356. is coming down to look after the crew.
  3357.  
  3358. 732
  3359. 00:50:04,460 --> 00:50:10,383
  3360. Shane Murphy moved around the ship
  3361. a lot during those hours...
  3362.  
  3363. 733
  3364. 00:50:10,758 --> 00:50:12,844
  3365. ...with great courage
  3366. and risk to himself...
  3367.  
  3368. 734
  3369. 00:50:15,013 --> 00:50:18,641
  3370. ...to look after his crew
  3371. and try and find out what was going on.
  3372.  
  3373. 735
  3374. 00:50:20,810 --> 00:50:23,563
  3375. Obviously,
  3376. we've gotta compress the story...
  3377.  
  3378. 736
  3379. 00:50:23,771 --> 00:50:25,190
  3380. ...into two hours.
  3381.  
  3382. 737
  3383. 00:50:25,398 --> 00:50:29,736
  3384. When, in fact, this part of the story
  3385. went on for some eight or 10 hours.
  3386.  
  3387. 738
  3388. 00:50:29,944 --> 00:50:32,530
  3389. But I think we're very true
  3390. to the central things...
  3391.  
  3392. 739
  3393. 00:50:32,739 --> 00:50:37,160
  3394. ...that Perry and Murphy and the crew
  3395. are trying their best...
  3396.  
  3397. 740
  3398. 00:50:37,368 --> 00:50:42,665
  3399. ...to work independently
  3400. towards a resolution.
  3401.  
  3402. 741
  3403. 00:50:42,874 --> 00:50:44,876
  3404. As is Phillips.
  3405.  
  3406. 742
  3407. 00:50:45,043 --> 00:50:46,294
  3408. It's a vegetable room.
  3409.  
  3410. 743
  3411. 00:50:47,629 --> 00:50:50,632
  3412. And, again,
  3413. this is one of those moments that...
  3414.  
  3415. 744
  3416. 00:50:51,341 --> 00:50:53,468
  3417. ...if you made it up,
  3418. you wouldn't believe.
  3419.  
  3420. 745
  3421. 00:50:55,678 --> 00:51:01,851
  3422. Shane Murphy hiding in the kitchens,
  3423. almost caught by the pirates.
  3424.  
  3425. 746
  3426. 00:51:03,144 --> 00:51:08,316
  3427. Phillips, aware that he's there,
  3428. trying desperately to draw them away.
  3429.  
  3430. 747
  3431. 00:51:11,069 --> 00:51:15,323
  3432. Well, again, it deepens that sense
  3433. between Phillips and Muse.
  3434.  
  3435. 748
  3436. 00:51:17,283 --> 00:51:20,286
  3437. Something is going on between them.
  3438.  
  3439. 749
  3440. 00:51:21,704 --> 00:51:25,166
  3441. Muse knows he's lying
  3442. but he doesn't quite know how.
  3443.  
  3444. 750
  3445. 00:51:26,209 --> 00:51:28,670
  3446. Enough. Engine room.
  3447.  
  3448. 751
  3449. 00:51:28,836 --> 00:51:30,421
  3450. All right.
  3451.  
  3452. 752
  3453. 00:51:50,608 --> 00:51:53,361
  3454. -Cronan. Cronan. Do you read?
  3455. -Yeah, I got you.
  3456.  
  3457. 753
  3458. 00:51:53,528 --> 00:51:56,531
  3459. They're on their way to you.
  3460. They're on their way to you.
  3461.  
  3462. 754
  3463. 00:51:56,698 --> 00:51:57,740
  3464. One is barefoot.
  3465.  
  3466. 755
  3467. 00:51:57,907 --> 00:52:01,536
  3468. Is there glass you can break,
  3469. leave on the floor by the door?
  3470.  
  3471. 756
  3472. 00:52:02,620 --> 00:52:07,959
  3473. Cronan also did tremendous work
  3474. on the crew...
  3475.  
  3476. 757
  3477. 00:52:08,668 --> 00:52:11,421
  3478. ...of helping to thwart the attack.
  3479.  
  3480. 758
  3481. 00:52:16,217 --> 00:52:20,596
  3482. Now, we just musically introduce
  3483. a pulse...
  3484.  
  3485. 759
  3486. 00:52:21,139 --> 00:52:25,601
  3487. ...on that same distressed cello.
  3488.  
  3489. 760
  3490. 00:52:27,937 --> 00:52:32,233
  3491. It's a simple musical palette,
  3492. but I think very effective.
  3493.  
  3494. 761
  3495. 00:52:38,573 --> 00:52:44,871
  3496. Again, Mike Perry's journey that day
  3497. was extremely dangerous.
  3498.  
  3499. 762
  3500. 00:52:45,997 --> 00:52:48,583
  3501. He had to find a way
  3502. of turning off the power...
  3503.  
  3504. 763
  3505. 00:52:49,959 --> 00:52:51,711
  3506. ...of the emergency generator...
  3507.  
  3508. 764
  3509. 00:52:52,962 --> 00:52:56,174
  3510. ...to make it harder for the pirates
  3511. to find the crew.
  3512.  
  3513. 765
  3514. 00:52:57,550 --> 00:53:02,055
  3515. -Who did this?
  3516. -Nobody. It was just a dumb accident.
  3517.  
  3518. 766
  3519. 00:53:02,221 --> 00:53:05,558
  3520. We should get that looked at.
  3521. There's a kit in the control room.
  3522.  
  3523. 767
  3524. 00:53:05,725 --> 00:53:08,644
  3525. Quiet, Irish. You think I am stupid?
  3526.  
  3527. 768
  3528. 00:53:08,811 --> 00:53:10,438
  3529. I know what's going on.
  3530.  
  3531. 769
  3532. 00:53:10,605 --> 00:53:14,859
  3533. We're going to search this whole room.
  3534. All of it. Now go.
  3535.  
  3536. 770
  3537. 00:53:15,860 --> 00:53:17,445
  3538. Go.
  3539.  
  3540. 771
  3541. 00:53:19,655 --> 00:53:23,159
  3542. A lot of this film involves...
  3543.  
  3544. 772
  3545. 00:53:23,993 --> 00:53:27,413
  3546. ...delaying moments.
  3547.  
  3548. 773
  3549. 00:53:27,830 --> 00:53:29,749
  3550. I think you know with a film like this...
  3551.  
  3552. 774
  3553. 00:53:29,957 --> 00:53:33,336
  3554. ...that it's going to get
  3555. progressively more violent...
  3556.  
  3557. 775
  3558. 00:53:33,544 --> 00:53:36,506
  3559. ...progressively more tense.
  3560.  
  3561. 776
  3562. 00:53:36,714 --> 00:53:41,010
  3563. But you need to believably hold it up.
  3564.  
  3565. 777
  3566. 00:53:43,471 --> 00:53:46,808
  3567. I think part of the enjoyment
  3568. of the film...
  3569.  
  3570. 778
  3571. 00:53:47,975 --> 00:53:52,855
  3572. ...is in living those moments
  3573. when it is interrupted.
  3574.  
  3575. 779
  3576. 00:53:53,064 --> 00:53:57,193
  3577. When the conclusion is withheld
  3578. from you.
  3579.  
  3580. 780
  3581. 00:54:00,613 --> 00:54:02,615
  3582. Check the other side.
  3583.  
  3584. 781
  3585. 00:54:02,782 --> 00:54:05,159
  3586. There's no one here.
  3587.  
  3588. 782
  3589. 00:54:05,326 --> 00:54:07,495
  3590. Please, let's go back.
  3591.  
  3592. 783
  3593. 00:54:10,456 --> 00:54:12,250
  3594. I love the physicality of this space.
  3595.  
  3596. 784
  3597. 00:54:12,458 --> 00:54:14,877
  3598. The engine room
  3599. was an endlessly fascinating place.
  3600.  
  3601. 785
  3602. 00:54:15,086 --> 00:54:19,674
  3603. Immense cathedral of engineering.
  3604.  
  3605. 786
  3606. 00:54:21,259 --> 00:54:22,677
  3607. They're coming. Get ready.
  3608.  
  3609. 787
  3610. 00:54:22,885 --> 00:54:27,098
  3611. But brutal, brutal physical space.
  3612.  
  3613. 788
  3614. 00:54:39,277 --> 00:54:42,196
  3615. Keep going. Move.
  3616.  
  3617. 789
  3618. 00:54:42,405 --> 00:54:46,826
  3619. This is one of those moments when
  3620. the pace starts to step up a little bit.
  3621.  
  3622. 790
  3623. 00:54:47,827 --> 00:54:51,664
  3624. You don't wanna push it,
  3625. you don't wanna let it push.
  3626.  
  3627. 791
  3628. 00:54:52,081 --> 00:54:56,878
  3629. If anything,
  3630. the action is dragging the film with it...
  3631.  
  3632. 792
  3633. 00:54:57,086 --> 00:55:01,466
  3634. ...rather than the film pushing the action,
  3635. which I think is as it should be.
  3636.  
  3637. 793
  3638. 00:55:02,216 --> 00:55:05,178
  3639. -We just--
  3640. -Look at me, Irish. Look at me.
  3641.  
  3642. 794
  3643. 00:55:10,766 --> 00:55:14,854
  3644. Now, the removal of the power,
  3645. the emergency generator...
  3646.  
  3647. 795
  3648. 00:55:15,062 --> 00:55:16,397
  3649. ...creates another moment...
  3650.  
  3651. 796
  3652. 00:55:16,606 --> 00:55:19,192
  3653. ...another intimate moment
  3654. between Phillips and Muse...
  3655.  
  3656. 797
  3657. 00:55:19,400 --> 00:55:23,404
  3658. ...which is very important, I think,
  3659. for their unfolding relationship.
  3660.  
  3661. 798
  3662. 00:55:23,613 --> 00:55:25,489
  3663. -I don't know.
  3664. -Was that you?
  3665.  
  3666. 799
  3667. 00:55:25,656 --> 00:55:27,533
  3668. -I don't know what went wrong.
  3669. -No.
  3670.  
  3671. 800
  3672. 00:55:27,700 --> 00:55:31,495
  3673. You'll never find this crew,
  3674. not without any power on the ship.
  3675.  
  3676. 801
  3677. 00:55:31,662 --> 00:55:34,165
  3678. You'll never find them.
  3679. We'll never find them.
  3680.  
  3681. 802
  3682. 00:55:35,124 --> 00:55:36,709
  3683. Irish...
  3684.  
  3685. 803
  3686. 00:55:37,335 --> 00:55:39,003
  3687. ...I will find.
  3688.  
  3689. 804
  3690. 00:55:40,755 --> 00:55:42,298
  3691. Not with him.
  3692.  
  3693. 805
  3694. 00:55:43,216 --> 00:55:45,009
  3695. Look. He's gonna bleed to death.
  3696.  
  3697. 806
  3698. 00:55:45,176 --> 00:55:47,595
  3699. Look, man, get us out of here.
  3700.  
  3701. 807
  3702. 00:55:48,596 --> 00:55:51,057
  3703. The cinematographer on this film
  3704. was Barry Ackroyd.
  3705.  
  3706. 808
  3707. 00:55:51,265 --> 00:55:54,268
  3708. Barry and I have worked together
  3709. many times.
  3710.  
  3711. 809
  3712. 00:55:58,564 --> 00:56:02,902
  3713. I think the job he did was quite superb.
  3714.  
  3715. 810
  3716. 00:56:04,654 --> 00:56:10,451
  3717. I don't think I've ever put a DOP
  3718. in as many contorted positions...
  3719.  
  3720. 811
  3721. 00:56:10,660 --> 00:56:13,079
  3722. ...inside a skiff, inside the lifeboat...
  3723.  
  3724. 812
  3725. 00:56:14,288 --> 00:56:16,332
  3726. ...even in this engine room.
  3727.  
  3728. 813
  3729. 00:56:18,251 --> 00:56:22,547
  3730. But every problem that I threw at him,
  3731. he solved triumphantly.
  3732.  
  3733. 814
  3734. 00:56:22,755 --> 00:56:27,134
  3735. I mean, these are very,
  3736. very, very low-light conditions.
  3737.  
  3738. 815
  3739. 00:56:27,343 --> 00:56:30,012
  3740. Don't talk. Go.
  3741.  
  3742. 816
  3743. 00:56:30,221 --> 00:56:33,683
  3744. Trying to make it work
  3745. and keep it natural...
  3746.  
  3747. 817
  3748. 00:56:35,101 --> 00:56:37,812
  3749. ...is a very, very hard job.
  3750.  
  3751. 818
  3752. 00:56:42,483 --> 00:56:45,152
  3753. Your friend make fool of us?
  3754.  
  3755. 819
  3756. 00:56:45,319 --> 00:56:47,863
  3757. I love these faces there.
  3758.  
  3759. 820
  3760. 00:56:51,325 --> 00:56:54,954
  3761. I think the company of actors
  3762. were very, very focused.
  3763.  
  3764. 821
  3765. 00:56:55,162 --> 00:56:56,414
  3766. And I think...
  3767.  
  3768. 822
  3769. 00:56:58,624 --> 00:57:04,380
  3770. ...the actors who played the crew created
  3771. another whole character, I think.
  3772.  
  3773. 823
  3774. 00:57:06,340 --> 00:57:08,259
  3775. Collectively.
  3776.  
  3777. 824
  3778. 00:57:11,220 --> 00:57:13,347
  3779. Time for a bit more khat chewing.
  3780.  
  3781. 825
  3782. 00:57:20,980 --> 00:57:25,109
  3783. Once again,
  3784. very, very low-light conditions in here.
  3785.  
  3786. 826
  3787. 00:57:25,901 --> 00:57:29,238
  3788. And Chris Rouse built the tension up...
  3789.  
  3790. 827
  3791. 00:57:30,948 --> 00:57:33,701
  3792. ...trying to keep the geography clear.
  3793.  
  3794. 828
  3795. 00:57:54,930 --> 00:57:58,142
  3796. I love also the sound here.
  3797.  
  3798. 829
  3799. 00:57:58,768 --> 00:58:05,358
  3800. A ship down in the engine room
  3801. really does creak.
  3802.  
  3803. 830
  3804. 00:58:05,858 --> 00:58:08,944
  3805. They actually do sound
  3806. like ghost ships...
  3807.  
  3808. 831
  3809. 00:58:09,945 --> 00:58:12,114
  3810. ...eerie and menacing.
  3811.  
  3812. 832
  3813. 00:58:12,782 --> 00:58:15,368
  3814. A great place to stage a fight.
  3815.  
  3816. 833
  3817. 00:58:15,743 --> 00:58:17,244
  3818. Hey.
  3819.  
  3820. 834
  3821. 00:58:24,835 --> 00:58:26,712
  3822. We got a problem.
  3823.  
  3824. 835
  3825. 00:58:27,171 --> 00:58:29,090
  3826. Your buddy's hurt real bad.
  3827.  
  3828. 836
  3829. 00:58:29,298 --> 00:58:32,385
  3830. We actually didn't have a lot of money
  3831. on this film.
  3832.  
  3833. 837
  3834. 00:58:34,553 --> 00:58:38,474
  3835. It was a sort of modestly budgeted film,
  3836. but it--
  3837.  
  3838. 838
  3839. 00:58:38,683 --> 00:58:42,728
  3840. I think one of the things
  3841. that I'm most pleased about the film...
  3842.  
  3843. 839
  3844. 00:58:42,937 --> 00:58:46,816
  3845. ...is that I think we managed
  3846. to create sequences...
  3847.  
  3848. 840
  3849. 00:58:47,024 --> 00:58:52,321
  3850. ...that looked much bigger than that,
  3851. and we did it, I think, by being--
  3852.  
  3853. 841
  3854. 00:58:52,655 --> 00:58:55,991
  3855. Spending our money
  3856. by being very, very well-prepared...
  3857.  
  3858. 842
  3859. 00:58:56,450 --> 00:59:01,288
  3860. ...and I think by shooting
  3861. the action pieces very quickly.
  3862.  
  3863. 843
  3864. 00:59:03,374 --> 00:59:04,875
  3865. -Hey.
  3866. -No.
  3867.  
  3868. 844
  3869. 00:59:05,042 --> 00:59:06,419
  3870. We have your leader.
  3871.  
  3872. 845
  3873. 00:59:06,585 --> 00:59:09,714
  3874. We have your captain and his weapon.
  3875. We wanna trade.
  3876.  
  3877. 846
  3878. 00:59:09,880 --> 00:59:11,966
  3879. Captain for captain. We want a deal.
  3880.  
  3881. 847
  3882. 00:59:12,133 --> 00:59:15,469
  3883. Take that off of his head.
  3884. Cronan, take that off his head now.
  3885.  
  3886. 848
  3887. 00:59:15,636 --> 00:59:16,762
  3888. I no kill.
  3889.  
  3890. 849
  3891. 00:59:16,929 --> 00:59:18,264
  3892. Talk. Talk to your friends...
  3893.  
  3894. 850
  3895. 00:59:18,431 --> 00:59:20,433
  3896. One of the things
  3897. I remember most clearly...
  3898.  
  3899. 851
  3900. 00:59:20,641 --> 00:59:24,270
  3901. ...when I read Billy Ray's script...
  3902.  
  3903. 852
  3904. 00:59:25,271 --> 00:59:27,064
  3905. ...I didn't really remember the story.
  3906.  
  3907. 853
  3908. 00:59:27,273 --> 00:59:29,567
  3909. I mean, I vaguely remembered
  3910. that it happened...
  3911.  
  3912. 854
  3913. 00:59:29,775 --> 00:59:31,694
  3914. ...but I knew none of the details.
  3915.  
  3916. 855
  3917. 00:59:32,987 --> 00:59:35,072
  3918. I remember when I read this...
  3919.  
  3920. 856
  3921. 00:59:36,615 --> 00:59:41,746
  3922. ...that the crew had successfully taken
  3923. the pirate captain hostage...
  3924.  
  3925. 857
  3926. 00:59:44,206 --> 00:59:50,629
  3927. ...and then offered to trade,
  3928. which is such an amazing story point.
  3929.  
  3930. 858
  3931. 00:59:51,005 --> 00:59:52,047
  3932. And in fact...
  3933.  
  3934. 859
  3935. 00:59:53,591 --> 00:59:55,593
  3936. ...when we made the film...
  3937.  
  3938. 860
  3939. 00:59:55,801 --> 00:59:59,555
  3940. ...probably the biggest single challenge
  3941. of the film...
  3942.  
  3943. 861
  3944. 00:59:59,764 --> 01:00:03,058
  3945. ...was dealing
  3946. with just simply the amount of story.
  3947.  
  3948. 862
  3949. 01:00:03,392 --> 01:00:05,936
  3950. How to boil it down and compress it...
  3951.  
  3952. 863
  3953. 01:00:06,145 --> 01:00:11,108
  3954. ...in a way that felt believable
  3955. and coherent and consistent...
  3956.  
  3957. 864
  3958. 01:00:11,317 --> 01:00:13,903
  3959. ...and with good narrative shape.
  3960.  
  3961. 865
  3962. 01:00:14,111 --> 01:00:18,157
  3963. And Billy and I spent
  3964. an enormous amount of time...
  3965.  
  3966. 866
  3967. 01:00:18,365 --> 01:00:21,577
  3968. ...going back and forth,
  3969. with Chris Rouse.
  3970.  
  3971. 867
  3972. 01:00:21,785 --> 01:00:24,038
  3973. You know, one of the things I did...
  3974.  
  3975. 868
  3976. 01:00:24,246 --> 01:00:28,584
  3977. ...was sort of approach it all as a
  3978. collective effort from the beginning...
  3979.  
  3980. 869
  3981. 01:00:28,793 --> 01:00:33,005
  3982. ...to try and get the film
  3983. into the best possible shape...
  3984.  
  3985. 870
  3986. 01:00:33,214 --> 01:00:35,424
  3987. ...before we started shooting...
  3988.  
  3989. 871
  3990. 01:00:35,633 --> 01:00:38,260
  3991. ...and I think that really paid off.
  3992.  
  3993. 872
  3994. 01:01:00,908 --> 01:01:04,078
  3995. So now we move towards the lifeboat...
  3996.  
  3997. 873
  3998. 01:01:06,247 --> 01:01:08,958
  3999. ...which comes to dominate
  4000. the last half of the film.
  4001.  
  4002. 874
  4003. 01:01:13,087 --> 01:01:16,757
  4004. And as I say, the symmetry of the film,
  4005. it's almost perfect.
  4006.  
  4007. 875
  4008. 01:01:16,966 --> 01:01:20,678
  4009. This is almost the midway point
  4010. of the film.
  4011.  
  4012. 876
  4013. 01:01:22,263 --> 01:01:23,847
  4014. The first half, as I say...
  4015.  
  4016. 877
  4017. 01:01:25,099 --> 01:01:28,310
  4018. ...small pirate skiffs
  4019. attacking huge container ship.
  4020.  
  4021. 878
  4022. 01:01:29,061 --> 01:01:31,063
  4023. And then, at the midway point...
  4024.  
  4025. 879
  4026. 01:01:31,981 --> 01:01:34,859
  4027. ...small lifeboat chased
  4028. by enormous war ships.
  4029.  
  4030. 880
  4031. 01:01:35,025 --> 01:01:37,278
  4032. Hey, Shane. Do you have the captain?
  4033. Where is he?
  4034.  
  4035. 881
  4036. 01:01:37,444 --> 01:01:40,281
  4037. -In the engine room.
  4038. -Bring him up so they can see him.
  4039.  
  4040. 882
  4041. 01:01:40,447 --> 01:01:41,657
  4042. -I wanna see.
  4043. -You will.
  4044.  
  4045. 883
  4046. 01:01:41,824 --> 01:01:44,577
  4047. This, I think,
  4048. is outstanding ensemble acting.
  4049.  
  4050. 884
  4051. 01:01:47,413 --> 01:01:49,164
  4052. Every single actor here...
  4053.  
  4054. 885
  4055. 01:01:52,167 --> 01:01:54,962
  4056. ...utterly committed
  4057. to what they're doing...
  4058.  
  4059. 886
  4060. 01:01:56,714 --> 01:01:59,800
  4061. ...to create a believable,
  4062. intense scenario.
  4063.  
  4064. 887
  4065. 01:01:59,967 --> 01:02:01,552
  4066. You get in, you buckle up.
  4067.  
  4068. 888
  4069. 01:02:01,719 --> 01:02:05,014
  4070. We drop you in, and then
  4071. you're on your way. Okay? Okay?
  4072.  
  4073. 889
  4074. 01:02:05,180 --> 01:02:09,018
  4075. No. You come with us.
  4076. Till we get our guy back.
  4077.  
  4078. 890
  4079. 01:02:10,728 --> 01:02:13,439
  4080. Now we're moving to, of course...
  4081.  
  4082. 891
  4083. 01:02:14,940 --> 01:02:18,360
  4084. ...the fateful moment
  4085. where Phillips goes into the lifeboat.
  4086.  
  4087. 892
  4088. 01:02:21,113 --> 01:02:26,201
  4089. What was important to me
  4090. was not to portray that moment...
  4091.  
  4092. 893
  4093. 01:02:26,410 --> 01:02:28,621
  4094. ...as a sort of
  4095. Hollywood hero's moment.
  4096.  
  4097. 894
  4098. 01:02:29,955 --> 01:02:31,373
  4099. Nobody willingly...
  4100.  
  4101. 895
  4102. 01:02:33,667 --> 01:02:38,839
  4103. ...goes in with four ruthless, armed,
  4104. desperate young men...
  4105.  
  4106. 896
  4107. 01:02:39,048 --> 01:02:40,174
  4108. ...with nothing to lose.
  4109.  
  4110. 897
  4111. 01:02:41,759 --> 01:02:46,096
  4112. And I'm sure Phillips didn't.
  4113. I'm sure he went in as we portray it...
  4114.  
  4115. 898
  4116. 01:02:46,305 --> 01:02:51,018
  4117. ...because that was the only way
  4118. he was gonna get them off the ship...
  4119.  
  4120. 899
  4121. 01:02:53,020 --> 01:02:58,567
  4122. ...and to ensure the safety of his ship,
  4123. his crew and his cargo.
  4124.  
  4125. 900
  4126. 01:02:58,776 --> 01:03:02,279
  4127. There was no other choice,
  4128. but it wasn't something he wanted.
  4129.  
  4130. 901
  4131. 01:03:02,613 --> 01:03:04,740
  4132. But it's extremely brave, nonetheless.
  4133.  
  4134. 902
  4135. 01:03:05,491 --> 01:03:08,452
  4136. -You got a squawk box.
  4137. -Gas, gas. Enough gas?
  4138.  
  4139. 903
  4140. 01:03:08,619 --> 01:03:10,829
  4141. Plenty of fuel to get you to Somalia.
  4142.  
  4143. 904
  4144. 01:03:10,996 --> 01:03:15,000
  4145. -Cap, we got the guy.
  4146. -All right. Send him on in. I'm coming out.
  4147.  
  4148. 905
  4149. 01:03:15,167 --> 01:03:18,212
  4150. Okay, send him in. Let him go.
  4151.  
  4152. 906
  4153. 01:03:19,171 --> 01:03:20,506
  4154. Let him go!
  4155.  
  4156. 907
  4157. 01:03:20,673 --> 01:03:23,300
  4158. The score,
  4159. sort of underpinning this now...
  4160.  
  4161. 908
  4162. 01:03:23,509 --> 01:03:27,471
  4163. ...just not pushing hard,
  4164. just sitting there.
  4165.  
  4166. 909
  4167. 01:03:27,680 --> 01:03:31,892
  4168. You gotta pump it, one, two,
  4169. three, four, five, and then you drop.
  4170.  
  4171. 910
  4172. 01:03:32,101 --> 01:03:34,061
  4173. Cap, come on out.
  4174.  
  4175. 911
  4176. 01:03:36,146 --> 01:03:39,775
  4177. And then they come face-to-face again,
  4178. Muse and Phillips.
  4179.  
  4180. 912
  4181. 01:03:41,360 --> 01:03:43,487
  4182. Now it's gonna be different.
  4183.  
  4184. 913
  4185. 01:03:43,654 --> 01:03:46,115
  4186. --pump it, then you're in the water,
  4187. and off you go.
  4188.  
  4189. 914
  4190. 01:03:49,076 --> 01:03:50,703
  4191. Go!
  4192.  
  4193. 915
  4194. 01:03:51,870 --> 01:03:53,372
  4195. Go back!
  4196.  
  4197. 916
  4198. 01:03:55,165 --> 01:03:56,500
  4199. Hey, Cap!
  4200.  
  4201. 917
  4202. 01:04:06,969 --> 01:04:12,850
  4203. It was a spectacular thing
  4204. to watch the launch of the lifeboat.
  4205.  
  4206. 918
  4207. 01:04:13,183 --> 01:04:17,062
  4208. Apparently,
  4209. if you're on a large container ship...
  4210.  
  4211. 919
  4212. 01:04:17,271 --> 01:04:21,066
  4213. ...you have to practice it as a drill
  4214. at least once every six months, I think.
  4215.  
  4216. 920
  4217. 01:04:21,275 --> 01:04:24,528
  4218. All the crew have to get into the lifeboat
  4219. and launch it.
  4220.  
  4221. 921
  4222. 01:04:25,487 --> 01:04:28,282
  4223. A bit like going on a funfair ride,
  4224. I suppose.
  4225.  
  4226. 922
  4227. 01:04:29,074 --> 01:04:31,410
  4228. A bit more brutal, perhaps.
  4229.  
  4230. 923
  4231. 01:04:42,629 --> 01:04:48,385
  4232. So now we move
  4233. to the military responders.
  4234.  
  4235. 924
  4236. 01:04:48,594 --> 01:04:51,013
  4237. Task Force 151, which is the count--
  4238.  
  4239. 925
  4240. 01:04:51,221 --> 01:04:56,185
  4241. International multilateral
  4242. counter-piracy...
  4243.  
  4244. 926
  4245. 01:04:56,894 --> 01:04:58,479
  4246. ...naval effort.
  4247.  
  4248. 927
  4249. 01:04:58,896 --> 01:05:00,314
  4250. Many nations.
  4251.  
  4252. 928
  4253. 01:05:03,067 --> 01:05:06,445
  4254. The call came into the Bainbridge...
  4255.  
  4256. 929
  4257. 01:05:07,780 --> 01:05:12,910
  4258. ...and the captain of the Bainbridge,
  4259. Captain Frank Castellano.
  4260.  
  4261. 930
  4262. 01:05:14,536 --> 01:05:17,998
  4263. Four men have taken the ship's captain
  4264. hostage in a lifeboat.
  4265.  
  4266. 931
  4267. 01:05:18,165 --> 01:05:20,584
  4268. Presumed Somali pirates. Over.
  4269.  
  4270. 932
  4271. 01:05:20,918 --> 01:05:23,670
  4272. Roger, ma'am.
  4273. Do we have any other information? Over.
  4274.  
  4275. 933
  4276. 01:05:23,837 --> 01:05:28,425
  4277. Not at this time, but best guess
  4278. is they're heading for the Somali coast.
  4279.  
  4280. 934
  4281. 01:05:28,592 --> 01:05:30,886
  4282. Your orders are to proceed
  4283. and intercept.
  4284.  
  4285. 935
  4286. 01:05:31,053 --> 01:05:34,389
  4287. Further to follow. This is CTF 151 out.
  4288.  
  4289. 936
  4290. 01:05:34,556 --> 01:05:36,683
  4291. So 820 miles, even at...
  4292.  
  4293. 937
  4294. 01:05:39,269 --> 01:05:43,565
  4295. ...a modern warship's top speed,
  4296. that's going to be many, many hours...
  4297.  
  4298. 938
  4299. 01:05:43,774 --> 01:05:47,820
  4300. ...before the Bainbridge can get there
  4301. to provide any help.
  4302.  
  4303. 939
  4304. 01:05:47,986 --> 01:05:51,281
  4305. Bridge, captain, full left rudder.
  4306. Come to course 285.
  4307.  
  4308. 940
  4309. 01:06:07,506 --> 01:06:09,925
  4310. One of the discussions...
  4311.  
  4312. 941
  4313. 01:06:10,134 --> 01:06:13,637
  4314. ...that Billy Ray, who wrote the
  4315. screenplay, and myself had early on...
  4316.  
  4317. 942
  4318. 01:06:13,846 --> 01:06:15,597
  4319. ...was about the lifeboat scenes.
  4320.  
  4321. 943
  4322. 01:06:15,806 --> 01:06:17,850
  4323. I think it was one of the areas that we...
  4324.  
  4325. 944
  4326. 01:06:18,892 --> 01:06:21,478
  4327. ...agreed most profoundly on.
  4328.  
  4329. 945
  4330. 01:06:21,937 --> 01:06:24,314
  4331. We used to joke afterwards
  4332. that we disagreed...
  4333.  
  4334. 946
  4335. 01:06:24,523 --> 01:06:27,901
  4336. ...about everything on this film
  4337. except the most important things.
  4338.  
  4339. 947
  4340. 01:06:28,694 --> 01:06:33,615
  4341. And one of the most important things
  4342. was that we both believed...
  4343.  
  4344. 948
  4345. 01:06:33,824 --> 01:06:38,161
  4346. ...that we should not, in this film,
  4347. short-change the lifeboat scenes.
  4348.  
  4349. 949
  4350. 01:06:38,370 --> 01:06:41,206
  4351. It was something
  4352. Billy felt very strongly about...
  4353.  
  4354. 950
  4355. 01:06:41,415 --> 01:06:44,001
  4356. ...and I totally agreed,
  4357. and he was totally right.
  4358.  
  4359. 951
  4360. 01:06:44,209 --> 01:06:50,549
  4361. It was crucial for this film
  4362. that when you inhabited the lifeboat...
  4363.  
  4364. 952
  4365. 01:06:50,757 --> 01:06:56,471
  4366. ...that you didn't feel suddenly
  4367. that time was starting to telescope.
  4368.  
  4369. 953
  4370. 01:06:56,680 --> 01:07:01,435
  4371. On the contrary,
  4372. I think you need to feel...
  4373.  
  4374. 954
  4375. 01:07:01,643 --> 01:07:03,854
  4376. ...that it was an agony of waiting.
  4377.  
  4378. 955
  4379. 01:07:04,062 --> 01:07:05,731
  4380. It was going to be an ordeal.
  4381.  
  4382. 956
  4383. 01:07:07,107 --> 01:07:12,571
  4384. And how were these characters
  4385. in this confined space--
  4386.  
  4387. 957
  4388. 01:07:12,779 --> 01:07:17,034
  4389. Richard Phillips
  4390. and his four captors.
  4391.  
  4392. 958
  4393. 01:07:17,242 --> 01:07:19,828
  4394. --how were they going to react...
  4395.  
  4396. 959
  4397. 01:07:20,037 --> 01:07:25,334
  4398. ...in the furnace of a small lifeboat
  4399. on the Indian Ocean?
  4400.  
  4401. 960
  4402. 01:07:25,542 --> 01:07:29,087
  4403. Unbearable heat, swell.
  4404.  
  4405. 961
  4406. 01:07:29,296 --> 01:07:31,673
  4407. Just a physical ordeal.
  4408.  
  4409. 962
  4410. 01:07:31,882 --> 01:07:35,385
  4411. And most of all, could they be caught?
  4412.  
  4413. 963
  4414. 01:07:35,594 --> 01:07:38,847
  4415. Because in the end,
  4416. the structure of the film, at this point...
  4417.  
  4418. 964
  4419. 01:07:39,222 --> 01:07:41,058
  4420. ...is a race.
  4421.  
  4422. 965
  4423. 01:07:41,266 --> 01:07:46,021
  4424. They're trying to race in this
  4425. small five-mile-an-hour lifeboat...
  4426.  
  4427. 966
  4428. 01:07:46,230 --> 01:07:49,566
  4429. ...to the coast
  4430. a couple of hundred miles away...
  4431.  
  4432. 967
  4433. 01:07:49,775 --> 01:07:51,401
  4434. ...before any...
  4435.  
  4436. 968
  4437. 01:07:53,111 --> 01:07:57,032
  4438. ...counter-piracy vessel
  4439. can get to them to intercept.
  4440.  
  4441. 969
  4442. 01:07:57,240 --> 01:07:58,909
  4443. It's a gift.
  4444.  
  4445. 970
  4446. 01:08:05,540 --> 01:08:07,084
  4447. Hey.
  4448.  
  4449. 971
  4450. 01:08:09,795 --> 01:08:11,672
  4451. Irish.
  4452.  
  4453. 972
  4454. 01:08:11,838 --> 01:08:15,801
  4455. You lie, Irish. Your ship no broke.
  4456.  
  4457. 973
  4458. 01:08:15,968 --> 01:08:17,844
  4459. They come Somalia too.
  4460.  
  4461. 974
  4462. 01:08:18,011 --> 01:08:19,304
  4463. Going back...
  4464.  
  4465. 975
  4466. 01:08:19,513 --> 01:08:21,223
  4467. ...to the discussion earlier...
  4468.  
  4469. 976
  4470. 01:08:21,390 --> 01:08:23,809
  4471. ...where I was saying
  4472. that one of the things I like--
  4473.  
  4474. 977
  4475. 01:08:24,017 --> 01:08:28,522
  4476. Liked about the story was that
  4477. everybody was always telling...
  4478.  
  4479. 978
  4480. 01:08:28,730 --> 01:08:31,775
  4481. ...less than the truth to everybody else.
  4482.  
  4483. 979
  4484. 01:08:31,984 --> 01:08:34,695
  4485. And then they'd find out, you know?
  4486.  
  4487. 980
  4488. 01:08:34,903 --> 01:08:37,656
  4489. Phillips had spent
  4490. a tremendous amount of time...
  4491.  
  4492. 981
  4493. 01:08:37,864 --> 01:08:41,702
  4494. ...when he was on the bridge
  4495. telling Muse that the ship had broken.
  4496.  
  4497. 982
  4498. 01:08:41,910 --> 01:08:44,538
  4499. But of course that was a lie...
  4500.  
  4501. 983
  4502. 01:08:44,746 --> 01:08:48,667
  4503. ...and as soon as the Alabama
  4504. gave chase, Muse knew it.
  4505.  
  4506. 984
  4507. 01:08:50,002 --> 01:08:53,630
  4508. But of course,
  4509. Muse was busy lying...
  4510.  
  4511. 985
  4512. 01:08:53,839 --> 01:08:57,050
  4513. ...to Phillips as well,
  4514. telling him it was gonna be all right.
  4515.  
  4516. 986
  4517. 01:09:00,887 --> 01:09:02,889
  4518. Give me some khat.
  4519.  
  4520. 987
  4521. 01:09:03,056 --> 01:09:05,392
  4522. Why?
  4523. You've had more than your share.
  4524.  
  4525. 988
  4526. 01:09:05,559 --> 01:09:07,644
  4527. Says who? Give me some more!
  4528.  
  4529. 989
  4530. 01:09:07,811 --> 01:09:09,104
  4531. Shut up!
  4532.  
  4533. 990
  4534. 01:09:09,271 --> 01:09:11,356
  4535. Both of you, shut up.
  4536.  
  4537. 991
  4538. 01:09:11,523 --> 01:09:13,066
  4539. Just take it.
  4540.  
  4541. 992
  4542. 01:09:13,275 --> 01:09:16,695
  4543. These four young men
  4544. were obsessed with khat.
  4545.  
  4546. 993
  4547. 01:09:17,571 --> 01:09:21,074
  4548. As I said earlier...
  4549.  
  4550. 994
  4551. 01:09:21,283 --> 01:09:24,453
  4552. ...it's chewed ubiquitously...
  4553.  
  4554. 995
  4555. 01:09:24,661 --> 01:09:26,872
  4556. ...in that part of Africa.
  4557.  
  4558. 996
  4559. 01:09:30,792 --> 01:09:34,671
  4560. And one of the realities
  4561. of this experience was that...
  4562.  
  4563. 997
  4564. 01:09:34,880 --> 01:09:37,966
  4565. ...when the khat started to run out,
  4566. as it did...
  4567.  
  4568. 998
  4569. 01:09:38,675 --> 01:09:41,595
  4570. ...the pressure
  4571. and the tension began to grow.
  4572.  
  4573. 999
  4574. 01:09:41,762 --> 01:09:45,432
  4575. This money, taking you, that's all it is.
  4576.  
  4577. 1000
  4578. 01:09:45,640 --> 01:09:48,560
  4579. You come to our waters, you got to pay.
  4580.  
  4581. 1001
  4582. 01:09:48,727 --> 01:09:51,646
  4583. We were in international waters.
  4584.  
  4585. 1002
  4586. 01:09:51,813 --> 01:09:53,815
  4587. Not your waters, international waters.
  4588.  
  4589. 1003
  4590. 01:09:53,982 --> 01:09:55,859
  4591. Somali pirates always say that--
  4592.  
  4593. 1004
  4594. 01:09:56,068 --> 01:09:58,987
  4595. Two things, I think, are common
  4596. to all Somali pirates.
  4597.  
  4598. 1005
  4599. 01:09:59,196 --> 01:10:03,992
  4600. They will always tell you that the money
  4601. that they're trying to get is just taxes.
  4602.  
  4603. 1006
  4604. 01:10:04,201 --> 01:10:07,204
  4605. And the other is
  4606. that they're just fishermen.
  4607.  
  4608. 1007
  4609. 01:10:08,413 --> 01:10:11,291
  4610. One of the things that was interesting,
  4611. studying the subject...
  4612.  
  4613. 1008
  4614. 01:10:11,500 --> 01:10:13,543
  4615. ...was that there's no question...
  4616.  
  4617. 1009
  4618. 01:10:14,044 --> 01:10:19,299
  4619. ...that the modern rise
  4620. of Somali piracy definitely...
  4621.  
  4622. 1010
  4623. 01:10:19,674 --> 01:10:23,762
  4624. ...was a response to over-fishing
  4625. and toxic-waste dumping...
  4626.  
  4627. 1011
  4628. 01:10:23,970 --> 01:10:25,514
  4629. ...off the coast of Somalia.
  4630.  
  4631. 1012
  4632. 01:10:25,722 --> 01:10:31,728
  4633. As Somalia collapsed into civil war
  4634. and there was no central government...
  4635.  
  4636. 1013
  4637. 01:10:31,937 --> 01:10:34,773
  4638. ...there was no attempt to police...
  4639.  
  4640. 1014
  4641. 01:10:35,607 --> 01:10:37,025
  4642. ...the coasts.
  4643.  
  4644. 1015
  4645. 01:10:37,234 --> 01:10:38,735
  4646. And, of course...
  4647.  
  4648. 1016
  4649. 01:10:40,195 --> 01:10:43,615
  4650. ...fishing vessels
  4651. over-fished and dumped.
  4652.  
  4653. 1017
  4654. 01:10:43,824 --> 01:10:47,953
  4655. And local fishing communities
  4656. began to strike back.
  4657.  
  4658. 1018
  4659. 01:10:48,161 --> 01:10:52,624
  4660. That was in the '80s and early '90s. Very
  4661. quickly, once money started to be made...
  4662.  
  4663. 1019
  4664. 01:10:52,833 --> 01:10:57,504
  4665. ...the warlords and the gangsters moved
  4666. in, and by the time of these events...
  4667.  
  4668. 1020
  4669. 01:10:57,712 --> 01:11:01,174
  4670. ...piracy had become
  4671. highly organized.
  4672.  
  4673. 1021
  4674. 01:11:01,383 --> 01:11:03,343
  4675. International...
  4676.  
  4677. 1022
  4678. 01:11:03,927 --> 01:11:06,096
  4679. ...organized crime.
  4680.  
  4681. 1023
  4682. 01:11:07,347 --> 01:11:11,518
  4683. But many of the young men...
  4684.  
  4685. 1024
  4686. 01:11:12,060 --> 01:11:13,979
  4687. ...involved...
  4688.  
  4689. 1025
  4690. 01:11:14,771 --> 01:11:18,900
  4691. ...liked to talk about themselves...
  4692.  
  4693. 1026
  4694. 01:11:19,276 --> 01:11:21,194
  4695. ...as just fishermen.
  4696.  
  4697. 1027
  4698. 01:11:24,281 --> 01:11:26,241
  4699. Not true, of course, but....
  4700.  
  4701. 1028
  4702. 01:11:27,450 --> 01:11:30,537
  4703. But a necessary fiction, perhaps.
  4704.  
  4705. 1029
  4706. 01:11:39,421 --> 01:11:43,175
  4707. Go ahead, come here. It's all right.
  4708. Your foot. Give me your foot.
  4709.  
  4710. 1030
  4711. 01:11:43,341 --> 01:11:44,551
  4712. Come on.
  4713.  
  4714. 1031
  4715. 01:11:45,594 --> 01:11:47,762
  4716. This scene, I think, beautifully played...
  4717.  
  4718. 1032
  4719. 01:11:47,971 --> 01:11:50,765
  4720. ...because it's starting to develop...
  4721.  
  4722. 1033
  4723. 01:11:51,141 --> 01:11:53,727
  4724. ...the crucial relationships
  4725. inside the boat--
  4726.  
  4727. 1034
  4728. 01:11:53,935 --> 01:11:56,813
  4729. Inside the lifeboat, between...
  4730.  
  4731. 1035
  4732. 01:11:57,522 --> 01:12:00,609
  4733. ...Tom and Bilal, the youngest pirate.
  4734.  
  4735. 1036
  4736. 01:12:01,651 --> 01:12:03,320
  4737. And of course...
  4738.  
  4739. 1037
  4740. 01:12:03,987 --> 01:12:06,114
  4741. ...with Najee...
  4742.  
  4743. 1038
  4744. 01:12:07,449 --> 01:12:09,117
  4745. ...the most dangerous of the four.
  4746.  
  4747. 1039
  4748. 01:12:15,457 --> 01:12:18,460
  4749. Slowly but surely, the relationship
  4750. between Phillips and Najee...
  4751.  
  4752. 1040
  4753. 01:12:18,668 --> 01:12:21,087
  4754. ...comes to dominate the film.
  4755.  
  4756. 1041
  4757. 01:12:22,005 --> 01:12:25,133
  4758. And that process takes a big step...
  4759.  
  4760. 1042
  4761. 01:12:25,634 --> 01:12:27,594
  4762. ...in this scene.
  4763.  
  4764. 1043
  4765. 01:12:28,345 --> 01:12:31,306
  4766. Go back. Get back there.
  4767.  
  4768. 1044
  4769. 01:12:41,233 --> 01:12:44,361
  4770. But of course,
  4771. the challenge for Muse is...
  4772.  
  4773. 1045
  4774. 01:12:44,861 --> 01:12:46,321
  4775. ...what does he do?
  4776.  
  4777. 1046
  4778. 01:12:46,529 --> 01:12:49,824
  4779. Is he is charge or is Najee in charge?
  4780.  
  4781. 1047
  4782. 01:12:53,787 --> 01:12:56,581
  4783. And which policy is most likely...
  4784.  
  4785. 1048
  4786. 01:12:56,790 --> 01:13:00,669
  4787. ...to give them a successful outcome in
  4788. their own terms, to get the hijack money.
  4789.  
  4790. 1049
  4791. 01:13:00,877 --> 01:13:03,964
  4792. That's really the question
  4793. of the second half of the film.
  4794.  
  4795. 1050
  4796. 01:13:04,172 --> 01:13:06,591
  4797. Who is in charge, Muse?
  4798.  
  4799. 1051
  4800. 01:13:16,101 --> 01:13:17,727
  4801. So meanwhile...
  4802.  
  4803. 1052
  4804. 01:13:17,936 --> 01:13:22,691
  4805. ...the military response
  4806. starts to take shape.
  4807.  
  4808. 1053
  4809. 01:13:22,899 --> 01:13:25,026
  4810. First of all...
  4811.  
  4812. 1054
  4813. 01:13:25,235 --> 01:13:28,446
  4814. ...the lifeboat's
  4815. put under aerial surveillance.
  4816.  
  4817. 1055
  4818. 01:13:29,739 --> 01:13:31,533
  4819. And that material...
  4820.  
  4821. 1056
  4822. 01:13:31,741 --> 01:13:34,911
  4823. ...and other intelligence material
  4824. is relayed to the Bainbridge...
  4825.  
  4826. 1057
  4827. 01:13:35,120 --> 01:13:38,790
  4828. ...so that Captain Castellano
  4829. is in the best position...
  4830.  
  4831. 1058
  4832. 01:13:38,999 --> 01:13:43,003
  4833. ...to formulate a strategy
  4834. as to what to do when he arrives...
  4835.  
  4836. 1059
  4837. 01:13:43,211 --> 01:13:45,755
  4838. ...and intercepts the lifeboat.
  4839.  
  4840. 1060
  4841. 01:13:45,922 --> 01:13:49,676
  4842. According to ONI, that vessel's under
  4843. the control of Somali warlord Garaad.
  4844.  
  4845. 1061
  4846. 01:13:49,884 --> 01:13:52,679
  4847. We're working on getting the IDs
  4848. of the kidnappers.
  4849.  
  4850. 1062
  4851. 01:13:52,846 --> 01:13:57,017
  4852. If this is Garaad's guys, they're looking
  4853. for a payday, which means they'll talk.
  4854.  
  4855. 1063
  4856. 01:13:57,183 --> 01:14:00,145
  4857. If we can get them talking,
  4858. we can wear them down. Over.
  4859.  
  4860. 1064
  4861. 01:14:00,312 --> 01:14:02,606
  4862. All these scenes were shot...
  4863.  
  4864. 1065
  4865. 01:14:03,315 --> 01:14:05,692
  4866. ...on the USS Truxtun...
  4867.  
  4868. 1066
  4869. 01:14:05,900 --> 01:14:08,695
  4870. ...which was the sister ship
  4871. of the Bainbridge.
  4872.  
  4873. 1067
  4874. 01:14:08,903 --> 01:14:10,864
  4875. And...
  4876.  
  4877. 1068
  4878. 01:14:11,531 --> 01:14:14,618
  4879. ...with the exception of Yul here...
  4880.  
  4881. 1069
  4882. 01:14:14,826 --> 01:14:18,955
  4883. ...a lot of these men and women
  4884. are the crew of the Truxtun...
  4885.  
  4886. 1070
  4887. 01:14:19,164 --> 01:14:23,710
  4888. ...without whose support we would never
  4889. have been able to convey...
  4890.  
  4891. 1071
  4892. 01:14:23,918 --> 01:14:28,131
  4893. ...the reality of these command posts.
  4894.  
  4895. 1072
  4896. 01:14:29,007 --> 01:14:32,260
  4897. If you haven't gotten Phillips back
  4898. by the time they arrive...
  4899.  
  4900. 1073
  4901. 01:14:32,427 --> 01:14:34,012
  4902. ...the SEALs will take care of it.
  4903.  
  4904. 1074
  4905. 01:14:34,179 --> 01:14:37,140
  4906. And again, one of the things
  4907. you've got to do...
  4908.  
  4909. 1075
  4910. 01:14:37,349 --> 01:14:41,895
  4911. ...I think,
  4912. if you're gonna convey downrange...
  4913.  
  4914. 1076
  4915. 01:14:42,062 --> 01:14:46,524
  4916. ...real audience involvement,
  4917. is to take your time now...
  4918.  
  4919. 1077
  4920. 01:14:46,691 --> 01:14:50,278
  4921. ...to show people how
  4922. that control room works.
  4923.  
  4924. 1078
  4925. 01:14:51,279 --> 01:14:55,784
  4926. Who are the dominant characters?
  4927. What are the procedures in there?
  4928.  
  4929. 1079
  4930. 01:14:55,992 --> 01:15:00,121
  4931. And I think that all
  4932. starts to pay off dividends later.
  4933.  
  4934. 1080
  4935. 01:15:12,050 --> 01:15:17,430
  4936. The heat inside that lifeboat
  4937. must have been unbearable.
  4938.  
  4939. 1081
  4940. 01:15:18,515 --> 01:15:20,600
  4941. The motion too.
  4942.  
  4943. 1082
  4944. 01:15:22,018 --> 01:15:24,729
  4945. When we first started shooting
  4946. on the lifeboat...
  4947.  
  4948. 1083
  4949. 01:15:24,896 --> 01:15:27,315
  4950. ...off the coast of Malta...
  4951.  
  4952. 1084
  4953. 01:15:27,482 --> 01:15:32,362
  4954. ...within half an hour we had two
  4955. or three people physically sick...
  4956.  
  4957. 1085
  4958. 01:15:32,612 --> 01:15:38,827
  4959. ...from the turbulence inside.
  4960.  
  4961. 1086
  4962. 01:15:38,993 --> 01:15:41,746
  4963. What it must have been like
  4964. for four or five days...
  4965.  
  4966. 1087
  4967. 01:15:42,747 --> 01:15:45,041
  4968. ...I just can't imagine.
  4969.  
  4970. 1088
  4971. 01:15:45,208 --> 01:15:48,211
  4972. It literally must have been
  4973. a hell on Earth.
  4974.  
  4975. 1089
  4976. 01:15:51,339 --> 01:15:53,216
  4977. And of course...
  4978.  
  4979. 1090
  4980. 01:15:55,051 --> 01:15:57,846
  4981. ...tempers soon get frayed.
  4982.  
  4983. 1091
  4984. 01:16:05,228 --> 01:16:06,813
  4985. Hey. Hey.
  4986.  
  4987. 1092
  4988. 01:16:08,398 --> 01:16:11,109
  4989. That's enough.
  4990.  
  4991. 1093
  4992. 01:16:11,276 --> 01:16:13,862
  4993. Take it away.
  4994.  
  4995. 1094
  4996. 01:16:14,028 --> 01:16:16,364
  4997. From now on this water is only for us.
  4998.  
  4999. 1095
  5000. 01:16:17,282 --> 01:16:21,619
  5001. This scene's an important scene
  5002. because it really brings Muse...
  5003.  
  5004. 1096
  5005. 01:16:21,786 --> 01:16:22,829
  5006. ...into the picture.
  5007.  
  5008. 1097
  5009. 01:16:22,996 --> 01:16:27,125
  5010. What is he going to do,
  5011. knowing as he does...
  5012.  
  5013. 1098
  5014. 01:16:27,584 --> 01:16:30,545
  5015. ...that Najee is starting...
  5016.  
  5017. 1099
  5018. 01:16:31,254 --> 01:16:33,590
  5019. ...to lose control.
  5020.  
  5021. 1100
  5022. 01:16:35,133 --> 01:16:37,427
  5023. And of course...
  5024.  
  5025. 1101
  5026. 01:16:37,802 --> 01:16:42,432
  5027. ...you can see in Phillips's eyes there,
  5028. in Tom's look, that he knows...
  5029.  
  5030. 1102
  5031. 01:16:42,599 --> 01:16:44,476
  5032. ...that Muse's got a problem.
  5033.  
  5034. 1103
  5035. 01:16:44,809 --> 01:16:47,896
  5036. And he's watching and watching
  5037. and watching...
  5038.  
  5039. 1104
  5040. 01:16:48,188 --> 01:16:51,649
  5041. ...and now he tries
  5042. to manipulate Muse...
  5043.  
  5044. 1105
  5045. 01:16:51,816 --> 01:16:54,944
  5046. ...to use his problems against him.
  5047.  
  5048. 1106
  5049. 01:16:55,528 --> 01:16:59,240
  5050. And that's part of the battle of wills
  5051. between the two of them.
  5052.  
  5053. 1107
  5054. 01:17:00,909 --> 01:17:03,328
  5055. I know what I'm doing.
  5056.  
  5057. 1108
  5058. 01:17:03,912 --> 01:17:06,998
  5059. Yeah, yeah, sure, you do. Of course.
  5060. You're the captain now.
  5061.  
  5062. 1109
  5063. 01:17:07,165 --> 01:17:11,377
  5064. Tom, I think, is a magnificent...
  5065.  
  5066. 1110
  5067. 01:17:12,378 --> 01:17:14,047
  5068. ...player of the everyman.
  5069.  
  5070. 1111
  5071. 01:17:14,214 --> 01:17:17,342
  5072. The way he inhabits this role...
  5073.  
  5074. 1112
  5075. 01:17:17,550 --> 01:17:20,512
  5076. ...and brings all the colors out...
  5077.  
  5078. 1113
  5079. 01:17:20,678 --> 01:17:26,976
  5080. ...but in a simple, very real register...
  5081.  
  5082. 1114
  5083. 01:17:27,143 --> 01:17:29,521
  5084. ...is magnificent.
  5085.  
  5086. 1115
  5087. 01:17:32,482 --> 01:17:37,320
  5088. Just that constant watching,
  5089. that constant feeling that he's--
  5090.  
  5091. 1116
  5092. 01:17:37,570 --> 01:17:44,244
  5093. Although he's helpless, he's looking
  5094. for any small opportunity he can...
  5095.  
  5096. 1117
  5097. 01:17:44,536 --> 01:17:47,163
  5098. ...to manipulate the situation.
  5099.  
  5100. 1118
  5101. 01:17:52,877 --> 01:17:54,921
  5102. Brilliant acting.
  5103.  
  5104. 1119
  5105. 01:18:07,559 --> 01:18:10,228
  5106. We should be heading northwest.
  5107.  
  5108. 1120
  5109. 01:18:10,395 --> 01:18:13,439
  5110. We've got to get to Garaad's port.
  5111.  
  5112. 1121
  5113. 01:18:13,606 --> 01:18:16,067
  5114. I am, but there's a lot of wind.
  5115.  
  5116. 1122
  5117. 01:18:16,234 --> 01:18:18,403
  5118. -Just go!
  5119. -Okay, then let me do it.
  5120.  
  5121. 1123
  5122. 01:18:21,197 --> 01:18:25,451
  5123. It's the same principle really,
  5124. as with the first and second attack.
  5125.  
  5126. 1124
  5127. 01:18:25,618 --> 01:18:29,581
  5128. You mustn't hurry the film.
  5129.  
  5130. 1125
  5131. 01:18:32,125 --> 01:18:37,797
  5132. I think the power of the film
  5133. lies in really inhabiting the lifeboat.
  5134.  
  5135. 1126
  5136. 01:18:39,674 --> 01:18:44,137
  5137. So you feel as Phillips does.
  5138.  
  5139. 1127
  5140. 01:18:45,054 --> 01:18:49,934
  5141. How can he turn this situation
  5142. to his vantage, or can he?
  5143.  
  5144. 1128
  5145. 01:18:50,810 --> 01:18:53,688
  5146. --or don't come back at all.
  5147.  
  5148. 1129
  5149. 01:18:58,276 --> 01:19:01,237
  5150. Sounds like there's a problem.
  5151. Is there a problem?
  5152.  
  5153. 1130
  5154. 01:19:02,822 --> 01:19:04,616
  5155. Problem.
  5156.  
  5157. 1131
  5158. 01:19:05,742 --> 01:19:08,036
  5159. No problem, Irish.
  5160.  
  5161. 1132
  5162. 01:19:08,620 --> 01:19:11,247
  5163. Everything gonna be okay.
  5164.  
  5165. 1133
  5166. 01:19:11,998 --> 01:19:17,045
  5167. Barkhad Abdi is brilliant, I think,
  5168. in this scene too, because he....
  5169.  
  5170. 1134
  5171. 01:19:18,254 --> 01:19:19,839
  5172. He tries to brush him off...
  5173.  
  5174. 1135
  5175. 01:19:20,006 --> 01:19:22,216
  5176. ...but you know the pressure's
  5177. building on him.
  5178.  
  5179. 1136
  5180. 01:19:22,383 --> 01:19:25,219
  5181. Bainbridge CO has until your arrival
  5182. to negotiate a surrender.
  5183.  
  5184. 1137
  5185. 01:19:25,386 --> 01:19:27,722
  5186. But upon boarding,
  5187. you will assume command.
  5188.  
  5189. 1138
  5190. 01:19:28,681 --> 01:19:34,687
  5191. Now we get another piece in the
  5192. unfolding story of the military response.
  5193.  
  5194. 1139
  5195. 01:19:34,937 --> 01:19:39,817
  5196. As the SEAL Team 6 are mobilized.
  5197.  
  5198. 1140
  5199. 01:19:39,984 --> 01:19:44,030
  5200. But of course it's gonna take them
  5201. many, many hours to get there.
  5202.  
  5203. 1141
  5204. 01:19:47,867 --> 01:19:50,787
  5205. But obviously each step down that road...
  5206.  
  5207. 1142
  5208. 01:19:51,621 --> 01:19:54,624
  5209. ...raises the stakes inside the lifeboat.
  5210.  
  5211. 1143
  5212. 01:20:03,341 --> 01:20:05,510
  5213. It's almost as if...
  5214.  
  5215. 1144
  5216. 01:20:05,677 --> 01:20:08,137
  5217. ...the most dangerous thing,
  5218. if you're a hostage...
  5219.  
  5220. 1145
  5221. 01:20:08,304 --> 01:20:10,556
  5222. ...is not to be rescued...
  5223.  
  5224. 1146
  5225. 01:20:10,723 --> 01:20:14,519
  5226. ...but the next most dangerous thing
  5227. is to be rescued.
  5228.  
  5229. 1147
  5230. 01:20:14,769 --> 01:20:17,313
  5231. And it's that central...
  5232.  
  5233. 1148
  5234. 01:20:19,023 --> 01:20:20,650
  5235. ...terror...
  5236.  
  5237. 1149
  5238. 01:20:21,776 --> 01:20:25,196
  5239. ...that this film tries to depict.
  5240.  
  5241. 1150
  5242. 01:20:25,863 --> 01:20:28,574
  5243. I can't feel my foot anymore.
  5244.  
  5245. 1151
  5246. 01:20:28,741 --> 01:20:31,160
  5247. It's like hell in here.
  5248.  
  5249. 1152
  5250. 01:20:34,163 --> 01:20:36,249
  5251. I love the way Tom...
  5252.  
  5253. 1153
  5254. 01:20:36,499 --> 01:20:40,545
  5255. ...is sizing up the situation
  5256. every moment.
  5257.  
  5258. 1154
  5259. 01:20:41,546 --> 01:20:43,381
  5260. He wants air.
  5261.  
  5262. 1155
  5263. 01:20:43,548 --> 01:20:49,887
  5264. Looking at each pirate in turn,
  5265. trying to work out what's happening.
  5266.  
  5267. 1156
  5268. 01:20:57,645 --> 01:21:00,732
  5269. Talk too much. Too much.
  5270.  
  5271. 1157
  5272. 01:21:11,117 --> 01:21:14,328
  5273. It's funny, whenever I watch this film...
  5274.  
  5275. 1158
  5276. 01:21:14,620 --> 01:21:16,706
  5277. ...when he opens the window,
  5278. smashes it out...
  5279.  
  5280. 1159
  5281. 01:21:16,831 --> 01:21:19,083
  5282. ...I almost can feel
  5283. the draft on my face.
  5284.  
  5285. 1160
  5286. 01:21:19,250 --> 01:21:23,671
  5287. It feels so hot and claustrophobic
  5288. by this stage.
  5289.  
  5290. 1161
  5291. 01:21:24,589 --> 01:21:26,799
  5292. --you'll get a million bottles of it.
  5293.  
  5294. 1162
  5295. 01:21:26,966 --> 01:21:30,094
  5296. -All the water you want.
  5297. -Really?
  5298.  
  5299. 1163
  5300. 01:21:32,305 --> 01:21:35,349
  5301. So this is a very important scene now...
  5302.  
  5303. 1164
  5304. 01:21:35,516 --> 01:21:38,061
  5305. ...because it brings out
  5306. the triangular relationship...
  5307.  
  5308. 1165
  5309. 01:21:38,227 --> 01:21:41,105
  5310. ...between Phillips, Muse and Najee.
  5311.  
  5312. 1166
  5313. 01:21:41,814 --> 01:21:46,319
  5314. And, of course, develops this idea
  5315. of everybody lying to everybody else...
  5316.  
  5317. 1167
  5318. 01:21:46,486 --> 01:21:49,655
  5319. ...as Muse tells him the story...
  5320.  
  5321. 1168
  5322. 01:21:50,073 --> 01:21:52,909
  5323. ...about the millions he's made
  5324. from hijacking.
  5325.  
  5326. 1169
  5327. 01:21:53,159 --> 01:21:55,703
  5328. And Phillips calls him out on it.
  5329.  
  5330. 1170
  5331. 01:21:57,997 --> 01:22:02,335
  5332. Your problem isn't me talking to you.
  5333. Your problem is you not listening.
  5334.  
  5335. 1171
  5336. 01:22:11,135 --> 01:22:14,764
  5337. You think you have any power here?
  5338.  
  5339. 1172
  5340. 01:22:14,931 --> 01:22:18,559
  5341. -Let him go.
  5342. -I should shoot you and be done.
  5343.  
  5344. 1173
  5345. 01:22:18,726 --> 01:22:20,728
  5346. Take your gun off him.
  5347.  
  5348. 1174
  5349. 01:22:20,895 --> 01:22:23,689
  5350. I'm the captain.
  5351. Who do you think you are?
  5352.  
  5353. 1175
  5354. 01:22:25,233 --> 01:22:26,984
  5355. So now...
  5356.  
  5357. 1176
  5358. 01:22:28,194 --> 01:22:29,237
  5359. ...Najee throws down.
  5360.  
  5361. 1177
  5362. 01:22:37,370 --> 01:22:40,123
  5363. But before it can be resolved...
  5364.  
  5365. 1178
  5366. 01:22:42,667 --> 01:22:44,836
  5367. ...the Bainbridge arrives.
  5368.  
  5369. 1179
  5370. 01:22:46,921 --> 01:22:50,675
  5371. This was an immense challenge
  5372. to shoot this scene.
  5373.  
  5374. 1180
  5375. 01:22:52,260 --> 01:22:56,222
  5376. Bringing a modern warship very,
  5377. very close, at high speed...
  5378.  
  5379. 1181
  5380. 01:22:56,389 --> 01:22:58,724
  5381. ...to a small lifeboat was no small....
  5382.  
  5383. 1182
  5384. 01:23:00,768 --> 01:23:02,812
  5385. No small endeavor.
  5386.  
  5387. 1183
  5388. 01:23:04,480 --> 01:23:09,402
  5389. But it was quite spectacular to watch
  5390. a pair of those vessels...
  5391.  
  5392. 1184
  5393. 01:23:09,569 --> 01:23:14,407
  5394. ...and the wake they create.
  5395. Enormous, enormous waves.
  5396.  
  5397. 1185
  5398. 01:23:18,369 --> 01:23:22,790
  5399. I love what Tom does here.
  5400. You see the elation...
  5401.  
  5402. 1186
  5403. 01:23:22,957 --> 01:23:25,710
  5404. ...and the terror all mixed up in one.
  5405.  
  5406. 1187
  5407. 01:23:25,918 --> 01:23:28,171
  5408. Get something to tie the doors.
  5409.  
  5410. 1188
  5411. 01:23:29,297 --> 01:23:31,465
  5412. Alabama lifeboat,
  5413. this is Frank Castellano...
  5414.  
  5415. 1189
  5416. 01:23:31,591 --> 01:23:33,759
  5417. ...commander of the USS Bainbridge.
  5418.  
  5419. 1190
  5420. 01:23:33,968 --> 01:23:38,097
  5421. We wanna get Captain Phillips back
  5422. safely and end this thing peacefully.
  5423.  
  5424. 1191
  5425. 01:23:39,390 --> 01:23:42,476
  5426. We worked a long time
  5427. to get the score right here.
  5428.  
  5429. 1192
  5430. 01:23:44,020 --> 01:23:48,608
  5431. And it was a question of finding...
  5432.  
  5433. 1193
  5434. 01:23:50,276 --> 01:23:53,863
  5435. ...some piece where the score could sit
  5436. but would...
  5437.  
  5438. 1194
  5439. 01:23:55,156 --> 01:23:57,116
  5440. ...have some drive...
  5441.  
  5442. 1195
  5443. 01:23:57,700 --> 01:24:02,830
  5444. ...but not push too hard and allow us
  5445. to bring brass through.
  5446.  
  5447. 1196
  5448. 01:24:02,997 --> 01:24:09,378
  5449. But Henry ended up with this
  5450. very simple little ostinato.
  5451.  
  5452. 1197
  5453. 01:24:11,130 --> 01:24:13,007
  5454. Very, very powerful.
  5455.  
  5456. 1198
  5457. 01:24:13,174 --> 01:24:15,760
  5458. We just want to talk.
  5459.  
  5460. 1199
  5461. 01:24:16,719 --> 01:24:20,514
  5462. Made me think, occasionally,
  5463. that I made a film...
  5464.  
  5465. 1200
  5466. 01:24:20,681 --> 01:24:23,976
  5467. ...that felt a bit like
  5468. Assault on Precinct 13.
  5469.  
  5470. 1201
  5471. 01:24:24,143 --> 01:24:28,022
  5472. It's got the same musical sense,
  5473. which I love, incidentally...
  5474.  
  5475. 1202
  5476. 01:24:28,189 --> 01:24:32,318
  5477. ...because I love that movie.
  5478. I think it's a brilliant film.
  5479.  
  5480. 1203
  5481. 01:24:32,735 --> 01:24:37,782
  5482. There's something about that ostinato
  5483. that made me think of it.
  5484.  
  5485. 1204
  5486. 01:24:37,949 --> 01:24:41,160
  5487. No tricks, or your captain dead.
  5488.  
  5489. 1205
  5490. 01:24:47,041 --> 01:24:53,714
  5491. I love Tom's look here, and the way
  5492. that Chris picks up Castellano's look.
  5493.  
  5494. 1206
  5495. 01:24:54,423 --> 01:25:00,471
  5496. One look pulling you to the other,
  5497. binding characters in, building tension.
  5498.  
  5499. 1207
  5500. 01:25:01,806 --> 01:25:03,474
  5501. -Shane Murphy?
  5502. -Yeah, that's me.
  5503.  
  5504. 1208
  5505. 01:25:03,641 --> 01:25:07,353
  5506. Lieutenant Hicks. You're entering
  5507. a military engagement zone, sir.
  5508.  
  5509. 1209
  5510. 01:25:07,520 --> 01:25:12,608
  5511. Need you to bring the ship left to 210.
  5512. We are here to escort you to Mombasa.
  5513.  
  5514. 1210
  5515. 01:25:12,775 --> 01:25:15,236
  5516. Your captain'll be in good hands.
  5517.  
  5518. 1211
  5519. 01:25:15,403 --> 01:25:17,822
  5520. All right. You heard him, guys.
  5521.  
  5522. 1212
  5523. 01:25:18,030 --> 01:25:21,325
  5524. One of the structural problems
  5525. of the story, of course...
  5526.  
  5527. 1213
  5528. 01:25:21,492 --> 01:25:26,497
  5529. ...is that the Alabama disappears
  5530. at this stage, from the story.
  5531.  
  5532. 1214
  5533. 01:25:26,664 --> 01:25:33,129
  5534. And we wrestled with that problem
  5535. for a long time in advance, how to...?
  5536.  
  5537. 1215
  5538. 01:25:33,295 --> 01:25:37,758
  5539. And it's often the case in films,
  5540. you often have to wrestle...
  5541.  
  5542. 1216
  5543. 01:25:37,925 --> 01:25:41,178
  5544. ...with how to lose characters
  5545. and situations in a way...
  5546.  
  5547. 1217
  5548. 01:25:41,345 --> 01:25:45,224
  5549. ...that your audience
  5550. doesn't really notice or doesn't care.
  5551.  
  5552. 1218
  5553. 01:25:47,059 --> 01:25:52,857
  5554. And it was about doing it in a way
  5555. that you bait and switch and move on...
  5556.  
  5557. 1219
  5558. 01:25:53,816 --> 01:25:56,610
  5559. ...to develop the drama in the lifeboat.
  5560.  
  5561. 1220
  5562. 01:25:56,777 --> 01:26:03,200
  5563. And now, from here on in, the story
  5564. becomes the story of the lifeboat...
  5565.  
  5566. 1221
  5567. 01:26:03,367 --> 01:26:04,952
  5568. ...versus the military.
  5569.  
  5570. 1222
  5571. 01:26:05,536 --> 01:26:07,747
  5572. Irish, your crew...
  5573.  
  5574. 1223
  5575. 01:26:08,873 --> 01:26:10,374
  5576. ...run.
  5577.  
  5578. 1224
  5579. 01:26:10,541 --> 01:26:11,625
  5580. Ship go.
  5581.  
  5582. 1225
  5583. 01:26:11,792 --> 01:26:13,711
  5584. Brilliant acting, I think, at this stage.
  5585.  
  5586. 1226
  5587. 01:26:14,920 --> 01:26:17,214
  5588. You better think
  5589. about what you're doing.
  5590.  
  5591. 1227
  5592. 01:26:18,966 --> 01:26:23,763
  5593. Navy good. They protect us.
  5594. Back to Somalia.
  5595.  
  5596. 1228
  5597. 01:26:23,929 --> 01:26:26,474
  5598. The Navy's not here to protect you.
  5599.  
  5600. 1229
  5601. 01:26:28,017 --> 01:26:30,019
  5602. Bravado from Muse.
  5603.  
  5604. 1230
  5605. 01:26:30,978 --> 01:26:32,897
  5606. No choice.
  5607.  
  5608. 1231
  5609. 01:26:33,439 --> 01:26:34,523
  5610. I got you.
  5611.  
  5612. 1232
  5613. 01:26:34,815 --> 01:26:38,486
  5614. You know the situation
  5615. is inherently unstable.
  5616.  
  5617. 1233
  5618. 01:26:47,953 --> 01:26:50,456
  5619. Just that one shot shows you,
  5620. in a nutshell, I think...
  5621.  
  5622. 1234
  5623. 01:26:50,623 --> 01:26:52,708
  5624. ...the difficulties Barry
  5625. had to contend with.
  5626.  
  5627. 1235
  5628. 01:26:52,875 --> 01:26:58,964
  5629. How do you get images on the water
  5630. when you're in small craft that are...
  5631.  
  5632. 1236
  5633. 01:27:00,966 --> 01:27:03,969
  5634. ...you know, sufficiently stable
  5635. that you can understand them?
  5636.  
  5637. 1237
  5638. 01:27:04,136 --> 01:27:06,263
  5639. It's a big, big, big problem.
  5640.  
  5641. 1238
  5642. 01:27:07,056 --> 01:27:10,726
  5643. People sometimes criticize me
  5644. for the shaky cam.
  5645.  
  5646. 1239
  5647. 01:27:10,893 --> 01:27:15,523
  5648. I'd love to bring those people out
  5649. onto the ocean in a 4-foot swell...
  5650.  
  5651. 1240
  5652. 01:27:15,689 --> 01:27:20,277
  5653. ...and say, "Well, how exactly
  5654. would you get stable images?"
  5655.  
  5656. 1241
  5657. 01:27:21,612 --> 01:27:24,698
  5658. The wonder is that we had any images
  5659. at all, to be honest.
  5660.  
  5661. 1242
  5662. 01:27:24,907 --> 01:27:28,536
  5663. Okay. Wait.
  5664.  
  5665. 1243
  5666. 01:27:28,702 --> 01:27:31,080
  5667. To me, this...
  5668.  
  5669. 1244
  5670. 01:27:31,705 --> 01:27:35,042
  5671. ...is very, very real, very intense.
  5672.  
  5673. 1245
  5674. 01:27:35,209 --> 01:27:40,172
  5675. And you start to feel
  5676. the different ways...
  5677.  
  5678. 1246
  5679. 01:27:40,339 --> 01:27:42,967
  5680. ...these four young men
  5681. are responding.
  5682.  
  5683. 1247
  5684. 01:27:44,093 --> 01:27:45,845
  5685. How Phillips is responding.
  5686.  
  5687. 1248
  5688. 01:27:46,554 --> 01:27:51,434
  5689. And the problem from the
  5690. anti-piracy task force's point of view.
  5691.  
  5692. 1249
  5693. 01:27:51,600 --> 01:27:54,895
  5694. How do they resolve
  5695. this situation peacefully?
  5696.  
  5697. 1250
  5698. 01:27:56,063 --> 01:27:58,232
  5699. I'm in Seat 15.
  5700.  
  5701. 1251
  5702. 01:27:58,399 --> 01:28:00,067
  5703. You understand?
  5704.  
  5705. 1252
  5706. 01:28:00,568 --> 01:28:02,486
  5707. I'm in Seat 15.
  5708.  
  5709. 1253
  5710. 01:28:02,653 --> 01:28:04,697
  5711. All stations, TAO, log it: Seat 15.
  5712.  
  5713. 1254
  5714. 01:28:04,864 --> 01:28:08,075
  5715. Break, CICWO. TAO.
  5716. Send that to CTF 151 and SOCOM.
  5717.  
  5718. 1255
  5719. 01:28:09,702 --> 01:28:11,662
  5720. Don't worry, sir. We'll handle it.
  5721.  
  5722. 1256
  5723. 01:28:11,871 --> 01:28:13,414
  5724. Get him back inside.
  5725.  
  5726. 1257
  5727. 01:28:14,623 --> 01:28:17,543
  5728. Again, spending time
  5729. inside the control room...
  5730.  
  5731. 1258
  5732. 01:28:18,085 --> 01:28:20,296
  5733. ...to show how it works, who does what.
  5734.  
  5735. 1259
  5736. 01:28:20,504 --> 01:28:21,755
  5737. Where's the money?
  5738.  
  5739. 1260
  5740. 01:28:21,922 --> 01:28:25,134
  5741. I don't want your food.
  5742. I want your money.
  5743.  
  5744. 1261
  5745. 01:28:25,301 --> 01:28:28,387
  5746. -We got another on top.
  5747. -OSS, maintain camera footage.
  5748.  
  5749. 1262
  5750. 01:28:28,554 --> 01:28:30,472
  5751. -Hold on a second.
  5752. -No tricks, sahib.
  5753.  
  5754. 1263
  5755. 01:28:30,639 --> 01:28:34,602
  5756. All these vessels, as part of
  5757. the international anti-piracy patrol...
  5758.  
  5759. 1264
  5760. 01:28:34,768 --> 01:28:40,608
  5761. ...have Somali speakers onboard
  5762. for these encounters.
  5763.  
  5764. 1265
  5765. 01:28:40,816 --> 01:28:43,402
  5766. They're treating us like children.
  5767.  
  5768. 1266
  5769. 01:28:43,569 --> 01:28:45,112
  5770. Ten million dollars, when?
  5771.  
  5772. 1267
  5773. 01:28:45,279 --> 01:28:46,614
  5774. It's not that easy...
  5775.  
  5776. 1268
  5777. 01:28:46,780 --> 01:28:48,741
  5778. ...so we need time.
  5779.  
  5780. 1269
  5781. 01:28:49,325 --> 01:28:52,077
  5782. You can imagine how the tension rises.
  5783.  
  5784. 1270
  5785. 01:28:54,455 --> 01:28:58,000
  5786. They've got expectations
  5787. of a huge payday.
  5788.  
  5789. 1271
  5790. 01:28:59,251 --> 01:29:00,419
  5791. And, of course...
  5792.  
  5793. 1272
  5794. 01:29:01,587 --> 01:29:05,966
  5795. ...what they can't understand
  5796. is that no deal can ever be done.
  5797.  
  5798. 1273
  5799. 01:29:08,344 --> 01:29:12,097
  5800. But somewhere,
  5801. on the U.S. Navy side...
  5802.  
  5803. 1274
  5804. 01:29:12,223 --> 01:29:15,100
  5805. ...they need to resolve this
  5806. thing peacefully.
  5807.  
  5808. 1275
  5809. 01:29:18,020 --> 01:29:21,649
  5810. So each holds cards
  5811. that the other doesn't have.
  5812.  
  5813. 1276
  5814. 01:29:22,525 --> 01:29:24,735
  5815. It's asymmetrical.
  5816.  
  5817. 1277
  5818. 01:29:25,402 --> 01:29:27,238
  5819. But also perfectly balanced.
  5820.  
  5821. 1278
  5822. 01:29:29,156 --> 01:29:34,203
  5823. Four young men with AK-47s
  5824. and nothing to lose...
  5825.  
  5826. 1279
  5827. 01:29:34,370 --> 01:29:38,290
  5828. ...versus the might of the U.S. Navy.
  5829.  
  5830. 1280
  5831. 01:29:38,832 --> 01:29:40,709
  5832. It's a standoff.
  5833.  
  5834. 1281
  5835. 01:29:40,918 --> 01:29:44,088
  5836. -I say he okay.
  5837. -I need to hear it from him.
  5838.  
  5839. 1282
  5840. 01:29:48,342 --> 01:29:50,552
  5841. And, of course, caught in the middle...
  5842.  
  5843. 1283
  5844. 01:29:52,304 --> 01:29:54,181
  5845. ...is Captain Phillips.
  5846.  
  5847. 1284
  5848. 01:29:55,683 --> 01:29:57,893
  5849. -Talk.
  5850. -Yeah, yeah, it's me.
  5851.  
  5852. 1285
  5853. 01:29:58,060 --> 01:29:59,395
  5854. Are you okay?
  5855.  
  5856. 1286
  5857. 01:29:59,937 --> 01:30:03,816
  5858. It's falling apart in here. He just fired
  5859. off a round next to my head.
  5860.  
  5861. 1287
  5862. 01:30:04,775 --> 01:30:08,279
  5863. -Is the leader there?
  5864. -Yeah, he can hear you.
  5865.  
  5866. 1288
  5867. 01:30:08,445 --> 01:30:11,782
  5868. Captain, listen to me.
  5869. We will not tolerate this.
  5870.  
  5871. 1289
  5872. 01:30:11,949 --> 01:30:15,369
  5873. As captain, you're responsible
  5874. for the lives of everyone onboard.
  5875.  
  5876. 1290
  5877. 01:30:15,577 --> 01:30:17,913
  5878. Right now
  5879. you are putting them in jeopardy.
  5880.  
  5881. 1291
  5882. 01:30:18,080 --> 01:30:20,124
  5883. We wanna resolve this thing
  5884. peacefully.
  5885.  
  5886. 1292
  5887. 01:30:21,542 --> 01:30:24,878
  5888. Let's find a way out of this together
  5889. before someone gets hurt.
  5890.  
  5891. 1293
  5892. 01:30:25,045 --> 01:30:28,132
  5893. Pressure on Muse now.
  5894. What's he going to do?
  5895.  
  5896. 1294
  5897. 01:30:28,924 --> 01:30:32,011
  5898. Alabama lifeboat, respond.
  5899.  
  5900. 1295
  5901. 01:30:34,763 --> 01:30:36,724
  5902. I talk when I go Somalia.
  5903.  
  5904. 1296
  5905. 01:30:37,641 --> 01:30:38,726
  5906. Sit down.
  5907.  
  5908. 1297
  5909. 01:30:38,892 --> 01:30:40,477
  5910. Sit down!
  5911.  
  5912. 1298
  5913. 01:30:40,936 --> 01:30:42,896
  5914. He just wants the money.
  5915.  
  5916. 1299
  5917. 01:30:43,230 --> 01:30:45,566
  5918. So he doubles the ante.
  5919. He's gonna keep on going...
  5920.  
  5921. 1300
  5922. 01:30:45,774 --> 01:30:48,694
  5923. ...he's gonna keep on pushing on,
  5924. see if he can get to Somalia.
  5925.  
  5926. 1301
  5927. 01:30:49,737 --> 01:30:52,197
  5928. If he can get Phillips to Somalia...
  5929.  
  5930. 1302
  5931. 01:30:53,073 --> 01:30:58,537
  5932. ...the stakes get much harder
  5933. for anyone trying to rescue him.
  5934.  
  5935. 1303
  5936. 01:30:59,705 --> 01:31:03,375
  5937. ETA on the SEAL team is 0400.
  5938.  
  5939. 1304
  5940. 01:31:05,336 --> 01:31:07,129
  5941. But from Castellano's point of view...
  5942.  
  5943. 1305
  5944. 01:31:07,338 --> 01:31:10,633
  5945. ...the window of opportunity
  5946. to negotiate a peaceful outcome...
  5947.  
  5948. 1306
  5949. 01:31:10,841 --> 01:31:12,801
  5950. ...is fast diminishing.
  5951.  
  5952. 1307
  5953. 01:31:15,471 --> 01:31:19,516
  5954. Military reinforcements are coming...
  5955.  
  5956. 1308
  5957. 01:31:19,975 --> 01:31:22,269
  5958. ...and the SEALs are not far away.
  5959.  
  5960. 1309
  5961. 01:31:26,940 --> 01:31:30,319
  5962. Irish, no worry.
  5963.  
  5964. 1310
  5965. 01:31:31,779 --> 01:31:35,532
  5966. I think right in those two shots there,
  5967. you feel...
  5968.  
  5969. 1311
  5970. 01:31:36,617 --> 01:31:39,870
  5971. ...the pressure
  5972. that both Muse and Phillips are under.
  5973.  
  5974. 1312
  5975. 01:31:40,037 --> 01:31:41,246
  5976. After this, I go America.
  5977.  
  5978. 1313
  5979. 01:31:42,581 --> 01:31:45,125
  5980. I always wanted to go America.
  5981.  
  5982. 1314
  5983. 01:31:46,001 --> 01:31:51,256
  5984. In a sense, their interests
  5985. are both served by a negotiation...
  5986.  
  5987. 1315
  5988. 01:31:52,091 --> 01:31:54,468
  5989. ...not by a....
  5990.  
  5991. 1316
  5992. 01:31:56,845 --> 01:31:59,306
  5993. An unsuccessful standoff.
  5994.  
  5995. 1317
  5996. 01:31:59,890 --> 01:32:02,684
  5997. There are two more ships,
  5998. one on either side.
  5999.  
  6000. 1318
  6001. 01:32:03,936 --> 01:32:08,857
  6002. Phillips can see
  6003. that Muse is beginning to struggle.
  6004.  
  6005. 1319
  6006. 01:32:09,066 --> 01:32:13,445
  6007. His arm is being infected, he's
  6008. starting to run a big fever, he's sick.
  6009.  
  6010. 1320
  6011. 01:32:13,612 --> 01:32:15,614
  6012. Sit down! Sit down!
  6013.  
  6014. 1321
  6015. 01:32:15,781 --> 01:32:18,409
  6016. -Sit down!
  6017. -Down! Down!
  6018.  
  6019. 1322
  6020. 01:32:18,617 --> 01:32:20,703
  6021. And now Phillips
  6022. can see the reinforcements.
  6023.  
  6024. 1323
  6025. 01:32:20,911 --> 01:32:23,163
  6026. He knows what's coming.
  6027.  
  6028. 1324
  6029. 01:32:24,581 --> 01:32:27,376
  6030. And as I said earlier...
  6031.  
  6032. 1325
  6033. 01:32:27,584 --> 01:32:29,670
  6034. ...the biggest danger
  6035. is not to be rescued...
  6036.  
  6037. 1326
  6038. 01:32:29,878 --> 01:32:32,339
  6039. ...but the next greatest danger
  6040. is to be rescued.
  6041.  
  6042. 1327
  6043. 01:32:32,506 --> 01:32:35,134
  6044. He's gone. He's left you alone.
  6045.  
  6046. 1328
  6047. 01:32:35,759 --> 01:32:37,845
  6048. You had a plan to take my ship.
  6049.  
  6050. 1329
  6051. 01:32:37,970 --> 01:32:40,305
  6052. That didn't work,
  6053. so you thought you could take me?
  6054.  
  6055. 1330
  6056. 01:32:40,472 --> 01:32:42,224
  6057. -Shut up.
  6058. -Make a run to Somalia?
  6059.  
  6060. 1331
  6061. 01:32:42,391 --> 01:32:45,686
  6062. They got the Navy out there.
  6063. You gotta give up. You gotta stop.
  6064.  
  6065. 1332
  6066. 01:32:46,145 --> 01:32:47,604
  6067. Brilliant scene, this, I think.
  6068.  
  6069. 1333
  6070. 01:32:47,813 --> 01:32:50,065
  6071. Absolutely beautifully played
  6072. by the two of them.
  6073.  
  6074. 1334
  6075. 01:32:50,232 --> 01:32:51,859
  6076. They can't let you win.
  6077.  
  6078. 1335
  6079. 01:32:52,025 --> 01:32:55,737
  6080. They would rather sink this boat
  6081. than let you get me back to Somalia.
  6082.  
  6083. 1336
  6084. 01:32:55,904 --> 01:32:56,947
  6085. It's over.
  6086.  
  6087. 1337
  6088. 01:33:00,617 --> 01:33:02,995
  6089. I come too far, Irish.
  6090.  
  6091. 1338
  6092. 01:33:03,579 --> 01:33:07,541
  6093. I can't give up. No.
  6094.  
  6095. 1339
  6096. 01:33:16,550 --> 01:33:19,511
  6097. It's a fateful moment, I think,
  6098. between the two of them.
  6099.  
  6100. 1340
  6101. 01:33:21,096 --> 01:33:23,807
  6102. Phillips can see
  6103. he's never going to give up.
  6104.  
  6105. 1341
  6106. 01:33:31,231 --> 01:33:34,693
  6107. So the stage is set, really,
  6108. for the denouement.
  6109.  
  6110. 1342
  6111. 01:33:36,153 --> 01:33:37,529
  6112. Roger that.
  6113.  
  6114. 1343
  6115. 01:33:46,580 --> 01:33:50,000
  6116. I think Castellano,
  6117. at this point, knows...
  6118.  
  6119. 1344
  6120. 01:33:51,460 --> 01:33:54,505
  6121. ...that the space and the time
  6122. and the room for negotiation...
  6123.  
  6124. 1345
  6125. 01:33:54,671 --> 01:33:56,173
  6126. ...is almost at an end.
  6127.  
  6128. 1346
  6129. 01:34:02,846 --> 01:34:06,683
  6130. And I think Phillips knows it too.
  6131. And I think Muse knows it as well.
  6132.  
  6133. 1347
  6134. 01:34:14,608 --> 01:34:17,945
  6135. So now, finally,
  6136. all that watching pays off.
  6137.  
  6138. 1348
  6139. 01:34:18,195 --> 01:34:21,323
  6140. Phillips looks,
  6141. sees that Najee is sleeping.
  6142.  
  6143. 1349
  6144. 01:34:22,324 --> 01:34:24,868
  6145. Something's gonna happen
  6146. in that lifeboat.
  6147.  
  6148. 1350
  6149. 01:34:26,245 --> 01:34:29,706
  6150. But on the other side of the story,
  6151. the SEALs are inbound.
  6152.  
  6153. 1351
  6154. 01:34:29,915 --> 01:34:33,919
  6155. So the stakes are ratcheting up.
  6156.  
  6157. 1352
  6158. 01:34:39,049 --> 01:34:41,844
  6159. Phillips looks at the door...
  6160.  
  6161. 1353
  6162. 01:34:42,094 --> 01:34:44,221
  6163. ...sees Bilal put his weapon down.
  6164.  
  6165. 1354
  6166. 01:34:47,391 --> 01:34:51,478
  6167. He sees that Muse's
  6168. not concentrating...
  6169.  
  6170. 1355
  6171. 01:34:51,728 --> 01:34:53,313
  6172. ...in a world of his own.
  6173.  
  6174. 1356
  6175. 01:34:53,522 --> 01:34:55,232
  6176. So he has a chance.
  6177.  
  6178. 1357
  6179. 01:34:58,402 --> 01:35:01,321
  6180. One chance.
  6181. The chance he'd been waiting for.
  6182.  
  6183. 1358
  6184. 01:35:20,257 --> 01:35:22,759
  6185. Saltwater would be good for your foot.
  6186.  
  6187. 1359
  6188. 01:35:26,888 --> 01:35:28,348
  6189. He got out!
  6190.  
  6191. 1360
  6192. 01:35:28,515 --> 01:35:31,143
  6193. Turn the boat around!
  6194.  
  6195. 1361
  6196. 01:35:31,310 --> 01:35:32,936
  6197. Bilal, you idiot!
  6198.  
  6199. 1362
  6200. 01:35:33,770 --> 01:35:36,398
  6201. They must have been
  6202. desperate moments, swimming...
  6203.  
  6204. 1363
  6205. 01:35:38,108 --> 01:35:44,197
  6206. ...seeing the U.S. Navy ships
  6207. just across the ocean.
  6208.  
  6209. 1364
  6210. 01:35:45,365 --> 01:35:48,410
  6211. Unbeknownst to him, of course,
  6212. the SEALs are inbound...
  6213.  
  6214. 1365
  6215. 01:35:48,660 --> 01:35:49,912
  6216. ...on the other side.
  6217.  
  6218. 1366
  6219. 01:35:50,871 --> 01:35:52,247
  6220. Now Najee is awake.
  6221.  
  6222. 1367
  6223. 01:35:53,665 --> 01:35:55,542
  6224. The pirates try to turn.
  6225.  
  6226. 1368
  6227. 01:35:56,418 --> 01:35:57,711
  6228. Captain's in Combat.
  6229.  
  6230. 1369
  6231. 01:35:57,878 --> 01:36:00,380
  6232. Cap. We got two in the water.
  6233. Two in the water.
  6234.  
  6235. 1370
  6236. 01:36:00,589 --> 01:36:03,050
  6237. Starboard side, I see them both.
  6238.  
  6239. 1371
  6240. 01:36:03,550 --> 01:36:04,718
  6241. Two guys in the water.
  6242.  
  6243. 1372
  6244. 01:36:05,969 --> 01:36:08,805
  6245. Castellano is brought up to the bridge.
  6246.  
  6247. 1373
  6248. 01:36:09,514 --> 01:36:11,308
  6249. But the problem is...
  6250.  
  6251. 1374
  6252. 01:36:12,184 --> 01:36:16,146
  6253. ...they're in no position to know who's in
  6254. the water and who's not. Is that Phillips?
  6255.  
  6256. 1375
  6257. 01:36:16,355 --> 01:36:20,609
  6258. Is that Phillips or is that just
  6259. two pirates? If they open fire...
  6260.  
  6261. 1376
  6262. 01:36:23,236 --> 01:36:25,656
  6263. ...they might kill Phillips,
  6264. so they can't shoot.
  6265.  
  6266. 1377
  6267. 01:36:28,659 --> 01:36:32,120
  6268. So now we've got simultaneous action.
  6269.  
  6270. 1378
  6271. 01:36:33,080 --> 01:36:37,292
  6272. Which, I think, any filmmaker
  6273. will tell you is always the....
  6274.  
  6275. 1379
  6276. 01:36:37,709 --> 01:36:40,545
  6277. The thing you're trying to find
  6278. if you can really....
  6279.  
  6280. 1380
  6281. 01:36:40,921 --> 01:36:44,758
  6282. If you can get simultaneous action
  6283. occurring and it feels natural...
  6284.  
  6285. 1381
  6286. 01:36:45,425 --> 01:36:47,719
  6287. ...then you really can drive a sequence.
  6288.  
  6289. 1382
  6290. 01:36:53,642 --> 01:36:57,187
  6291. We shot these pieces
  6292. in the tank at Malta.
  6293.  
  6294. 1383
  6295. 01:36:57,688 --> 01:37:00,065
  6296. In fact, when we started the film,
  6297. I thought--
  6298.  
  6299. 1384
  6300. 01:37:00,232 --> 01:37:04,861
  6301. When we initially began discussing the
  6302. film, I thought we'd shoot a lot of it...
  6303.  
  6304. 1385
  6305. 01:37:05,070 --> 01:37:07,447
  6306. ...in the deep-water tanks.
  6307. But as it turned out...
  6308.  
  6309. 1386
  6310. 01:37:07,614 --> 01:37:11,451
  6311. ...I think we did two nights, two
  6312. short nights, just for this one sequence.
  6313.  
  6314. 1387
  6315. 01:37:12,285 --> 01:37:15,789
  6316. The swimming under the lifeboat.
  6317.  
  6318. 1388
  6319. 01:37:15,997 --> 01:37:17,833
  6320. The rest of it was done in the ocean.
  6321.  
  6322. 1389
  6323. 01:37:18,667 --> 01:37:22,045
  6324. -Can't tell who's in the water.
  6325. -No clear shot at the Tangos.
  6326.  
  6327. 1390
  6328. 01:37:22,212 --> 01:37:24,756
  6329. Nobody shoots
  6330. unless there's a clear shot.
  6331.  
  6332. 1391
  6333. 01:37:24,965 --> 01:37:26,341
  6334. Where is he?
  6335.  
  6336. 1392
  6337. 01:37:32,431 --> 01:37:34,433
  6338. Here he is! Here he is!
  6339.  
  6340. 1393
  6341. 01:37:41,148 --> 01:37:44,067
  6342. Phillips in a desperate situation here.
  6343.  
  6344. 1394
  6345. 01:37:45,068 --> 01:37:46,111
  6346. Of course...
  6347.  
  6348. 1395
  6349. 01:37:46,653 --> 01:37:49,031
  6350. ...the Navy are lighting the sky up...
  6351.  
  6352. 1396
  6353. 01:37:49,448 --> 01:37:51,700
  6354. ...when, in fact,
  6355. what he wants is darkness.
  6356.  
  6357. 1397
  6358. 01:37:53,827 --> 01:37:58,290
  6359. But the truth is,
  6360. the distance to the warships was too far.
  6361.  
  6362. 1398
  6363. 01:38:00,834 --> 01:38:03,378
  6364. Muse was able to jump in and....
  6365.  
  6366. 1399
  6367. 01:38:04,629 --> 01:38:05,672
  6368. Help!
  6369.  
  6370. 1400
  6371. 01:38:05,964 --> 01:38:08,592
  6372. And no matter
  6373. how hard he tried to escape...
  6374.  
  6375. 1401
  6376. 01:38:09,259 --> 01:38:11,720
  6377. ...the truth is,
  6378. he wasn't going anywhere.
  6379.  
  6380. 1402
  6381. 01:38:15,682 --> 01:38:17,017
  6382. All right!
  6383.  
  6384. 1403
  6385. 01:38:17,225 --> 01:38:18,310
  6386. -Come!
  6387. -All right!
  6388.  
  6389. 1404
  6390. 01:38:19,519 --> 01:38:21,188
  6391. -Come! Forward!
  6392. -All right!
  6393.  
  6394. 1405
  6395. 01:38:21,354 --> 01:38:23,356
  6396. Got him.
  6397.  
  6398. 1406
  6399. 01:38:23,523 --> 01:38:24,941
  6400. Come!
  6401.  
  6402. 1407
  6403. 01:38:25,108 --> 01:38:27,569
  6404. Okay, okay.
  6405.  
  6406. 1408
  6407. 01:38:29,529 --> 01:38:32,449
  6408. Go in, Irish! Go! Go, Irish!
  6409.  
  6410. 1409
  6411. 01:38:33,366 --> 01:38:36,078
  6412. Sir, the SEALs are coming aboard.
  6413.  
  6414. 1410
  6415. 01:38:36,912 --> 01:38:38,789
  6416. Prepare to board the SEALs.
  6417.  
  6418. 1411
  6419. 01:38:40,707 --> 01:38:43,335
  6420. Trying to create
  6421. connectivity with Castellano.
  6422.  
  6423. 1412
  6424. 01:38:44,461 --> 01:38:47,923
  6425. SEALs are almost aboard, he's really
  6426. only got one more throw of the dice...
  6427.  
  6428. 1413
  6429. 01:38:48,089 --> 01:38:50,592
  6430. ...Castellano,
  6431. if he's gonna resolve this thing.
  6432.  
  6433. 1414
  6434. 01:38:54,262 --> 01:38:57,140
  6435. And also, of course, they knew...
  6436.  
  6437. 1415
  6438. 01:38:57,724 --> 01:39:00,727
  6439. ...that Phillips was gonna be beaten
  6440. when he got back...
  6441.  
  6442. 1416
  6443. 01:39:01,603 --> 01:39:02,646
  6444. ...in the lifeboat.
  6445.  
  6446. 1417
  6447. 01:39:02,813 --> 01:39:04,773
  6448. Waiting for you on the bridge, sir.
  6449.  
  6450. 1418
  6451. 01:39:12,531 --> 01:39:14,074
  6452. Not today!
  6453.  
  6454. 1419
  6455. 01:39:14,241 --> 01:39:15,492
  6456. Stop him!
  6457.  
  6458. 1420
  6459. 01:39:20,622 --> 01:39:22,707
  6460. That's enough!
  6461.  
  6462. 1421
  6463. 01:39:25,627 --> 01:39:28,964
  6464. I think the score is quite brilliant here,
  6465. the way you get that...
  6466.  
  6467. 1422
  6468. 01:39:31,842 --> 01:39:33,301
  6469. ...progression of percussion.
  6470.  
  6471. 1423
  6472. 01:39:34,761 --> 01:39:37,597
  6473. Those descending cello lines...
  6474.  
  6475. 1424
  6476. 01:39:37,806 --> 01:39:40,100
  6477. ...and the high-string pieces.
  6478.  
  6479. 1425
  6480. 01:39:40,642 --> 01:39:43,061
  6481. There's a sort of a terrible beauty in it.
  6482.  
  6483. 1426
  6484. 01:39:48,233 --> 01:39:50,861
  6485. Bainbridge to lifeboat,
  6486. you must surrender.
  6487.  
  6488. 1427
  6489. 01:39:51,027 --> 01:39:53,155
  6490. You will not be permitted to go further.
  6491.  
  6492. 1428
  6493. 01:39:53,321 --> 01:39:55,157
  6494. It's a helicopter!
  6495.  
  6496. 1429
  6497. 01:39:55,657 --> 01:39:58,618
  6498. So Castellano plays his last card.
  6499.  
  6500. 1430
  6501. 01:40:01,788 --> 01:40:04,040
  6502. Alabama lifeboat, respond.
  6503.  
  6504. 1431
  6505. 01:40:04,207 --> 01:40:05,709
  6506. Hurry! Go!
  6507.  
  6508. 1432
  6509. 01:40:05,876 --> 01:40:06,960
  6510. I'm trying.
  6511.  
  6512. 1433
  6513. 01:40:11,631 --> 01:40:12,799
  6514. Go!
  6515.  
  6516. 1434
  6517. 01:40:12,966 --> 01:40:16,428
  6518. You have a choice to make, captain.
  6519. Surrender now and this ends peacefully.
  6520.  
  6521. 1435
  6522. 01:40:16,595 --> 01:40:18,722
  6523. Panic in the desperation...
  6524.  
  6525. 1436
  6526. 01:40:19,556 --> 01:40:21,474
  6527. ...inside that lifeboat.
  6528.  
  6529. 1437
  6530. 01:40:22,309 --> 01:40:24,436
  6531. That was amazing acting, really.
  6532.  
  6533. 1438
  6534. 01:40:24,936 --> 01:40:26,354
  6535. Very, very real.
  6536.  
  6537. 1439
  6538. 01:40:27,564 --> 01:40:31,401
  6539. It's easy to make a noise,
  6540. easy to make a commotion.
  6541.  
  6542. 1440
  6543. 01:40:31,610 --> 01:40:35,238
  6544. What's really hard when you're
  6545. a group of actors...
  6546.  
  6547. 1441
  6548. 01:40:35,447 --> 01:40:40,702
  6549. ...is to create real rising and falling
  6550. tension and real detail...
  6551.  
  6552. 1442
  6553. 01:40:40,911 --> 01:40:43,914
  6554. ...so you understand each character,
  6555. what each character's doing.
  6556.  
  6557. 1443
  6558. 01:40:44,122 --> 01:40:45,165
  6559. Fashioning moments...
  6560.  
  6561. 1444
  6562. 01:40:45,332 --> 01:40:48,877
  6563. ...dramatic moments along the way
  6564. that have got proper shape...
  6565.  
  6566. 1445
  6567. 01:40:49,085 --> 01:40:51,755
  6568. ...so that you invest in the experience.
  6569.  
  6570. 1446
  6571. 01:40:54,341 --> 01:40:55,592
  6572. Go!
  6573.  
  6574. 1447
  6575. 01:40:56,426 --> 01:40:58,219
  6576. Go!
  6577.  
  6578. 1448
  6579. 01:40:58,428 --> 01:41:00,305
  6580. Up ladder.
  6581.  
  6582. 1449
  6583. 01:41:03,350 --> 01:41:04,517
  6584. Make a hole.
  6585.  
  6586. 1450
  6587. 01:41:05,685 --> 01:41:10,857
  6588. The music's alternately
  6589. twisting and turning...
  6590.  
  6591. 1451
  6592. 01:41:11,733 --> 01:41:13,985
  6593. ...as the tension ratchets up.
  6594.  
  6595. 1452
  6596. 01:41:14,694 --> 01:41:17,238
  6597. Target in the hatch.
  6598. This is Bainbridge out.
  6599.  
  6600. 1453
  6601. 01:41:17,948 --> 01:41:20,075
  6602. They're holding a gun to Phillips' head.
  6603.  
  6604. 1454
  6605. 01:41:20,242 --> 01:41:23,662
  6606. He's kind of yelling
  6607. and waving his pistol back and forth.
  6608.  
  6609. 1455
  6610. 01:41:26,122 --> 01:41:30,335
  6611. I kill him! I kill him! Now! I kill him!
  6612.  
  6613. 1456
  6614. 01:41:33,421 --> 01:41:35,131
  6615. We got shots fired, captain.
  6616.  
  6617. 1457
  6618. 01:41:35,298 --> 01:41:37,467
  6619. -How many shots?
  6620. -Who fired? Who fired?
  6621.  
  6622. 1458
  6623. 01:41:37,634 --> 01:41:39,594
  6624. We're losing this.
  6625.  
  6626. 1459
  6627. 01:41:43,306 --> 01:41:46,518
  6628. That's the bridge of the
  6629. USS Truxtun, there...
  6630.  
  6631. 1460
  6632. 01:41:46,768 --> 01:41:50,438
  6633. ...with its full complement
  6634. of men and women.
  6635.  
  6636. 1461
  6637. 01:41:53,400 --> 01:41:57,821
  6638. Without them, this would never have had
  6639. the reality that it does as a sequence.
  6640.  
  6641. 1462
  6642. 01:41:58,238 --> 01:42:00,740
  6643. Give me the radio.
  6644.  
  6645. 1463
  6646. 01:42:01,825 --> 01:42:06,121
  6647. The helicopter is coming back.
  6648.  
  6649. 1464
  6650. 01:42:07,205 --> 01:42:11,334
  6651. Earlier on, you'll remember we had
  6652. the scene where Muse tells Phillips:
  6653.  
  6654. 1465
  6655. 01:42:12,377 --> 01:42:13,920
  6656. "We're just fishermen."
  6657.  
  6658. 1466
  6659. 01:42:16,381 --> 01:42:19,259
  6660. This is a very important moment
  6661. when Phillips recalls that.
  6662.  
  6663. 1467
  6664. 01:42:20,218 --> 01:42:23,221
  6665. And throws it back in his face
  6666. and it lands with Muse.
  6667.  
  6668. 1468
  6669. 01:42:24,556 --> 01:42:27,267
  6670. Talk. Talk.
  6671.  
  6672. 1469
  6673. 01:42:27,434 --> 01:42:32,731
  6674. They got a gun to my throat, and they're
  6675. gonna use a survival suit as a body bag.
  6676.  
  6677. 1470
  6678. 01:42:38,528 --> 01:42:41,239
  6679. You're not just a fisherman.
  6680.  
  6681. 1471
  6682. 01:42:41,906 --> 01:42:44,492
  6683. You're not just a fisherman.
  6684.  
  6685. 1472
  6686. 01:42:48,288 --> 01:42:50,790
  6687. Men of the Alabama lifeboat--
  6688.  
  6689. 1473
  6690. 01:42:50,957 --> 01:42:54,336
  6691. That's a magnificent moment
  6692. between the two of them.
  6693.  
  6694. 1474
  6695. 01:42:55,420 --> 01:42:58,465
  6696. The battle of wills
  6697. has just taken another turn.
  6698.  
  6699. 1475
  6700. 01:43:02,510 --> 01:43:03,636
  6701. Who is this?
  6702.  
  6703. 1476
  6704. 01:43:03,803 --> 01:43:06,973
  6705. I'm the negotiator.
  6706. I'm authorized to negotiate with you.
  6707.  
  6708. 1477
  6709. 01:43:07,182 --> 01:43:11,561
  6710. And then
  6711. the SEAL commander speaks.
  6712.  
  6713. 1478
  6714. 01:43:11,770 --> 01:43:14,689
  6715. And continuing that theme...
  6716.  
  6717. 1479
  6718. 01:43:14,898 --> 01:43:18,902
  6719. ...of everybody telling lies
  6720. to everybody else.
  6721.  
  6722. 1480
  6723. 01:43:19,235 --> 01:43:21,654
  6724. He tells Muse
  6725. he's gonna do a deal with him.
  6726.  
  6727. 1481
  6728. 01:43:21,863 --> 01:43:23,990
  6729. Muse will get his money.
  6730.  
  6731. 1482
  6732. 01:43:25,408 --> 01:43:30,246
  6733. No one in this film speaks the truth
  6734. to each other.
  6735.  
  6736. 1483
  6737. 01:43:30,747 --> 01:43:32,123
  6738. Or very rarely.
  6739.  
  6740. 1484
  6741. 01:43:32,332 --> 01:43:34,376
  6742. We spoke with the elders of your tribe.
  6743.  
  6744. 1485
  6745. 01:43:34,542 --> 01:43:38,379
  6746. They are coming here to negotiate a deal,
  6747. an exchange.
  6748.  
  6749. 1486
  6750. 01:43:38,588 --> 01:43:42,467
  6751. We get our man, you get your money.
  6752. But this has to be done in confidence.
  6753.  
  6754. 1487
  6755. 01:43:42,634 --> 01:43:46,137
  6756. We don't want anyone to see
  6757. the exchange. Neither do the elders.
  6758.  
  6759. 1488
  6760. 01:43:46,304 --> 01:43:47,430
  6761. It's a lie.
  6762.  
  6763. 1489
  6764. 01:43:47,597 --> 01:43:50,767
  6765. You're low on fuel.
  6766. We got some weather coming in...
  6767.  
  6768. 1490
  6769. 01:43:50,934 --> 01:43:54,354
  6770. ...so I'm suggesting that we tow you out
  6771. to the exchange point.
  6772.  
  6773. 1491
  6774. 01:43:54,521 --> 01:43:58,608
  6775. The difference, I think, between Max
  6776. playing the SEAL commander...
  6777.  
  6778. 1492
  6779. 01:43:58,817 --> 01:44:02,195
  6780. ...and Yul playing Captain Castellano:
  6781. The way they framed...
  6782.  
  6783. 1493
  6784. 01:44:02,404 --> 01:44:05,615
  6785. ...the different sides
  6786. of the military response.
  6787.  
  6788. 1494
  6789. 01:44:05,990 --> 01:44:07,951
  6790. The accuracy
  6791. with which they framed them...
  6792.  
  6793. 1495
  6794. 01:44:08,159 --> 01:44:10,954
  6795. ...and the conviction
  6796. with which they played them...
  6797.  
  6798. 1496
  6799. 01:44:11,162 --> 01:44:13,832
  6800. ...was quite remarkable, I think.
  6801.  
  6802. 1497
  6803. 01:44:14,749 --> 01:44:17,419
  6804. They made those parts really, really play.
  6805.  
  6806. 1498
  6807. 01:44:17,627 --> 01:44:19,504
  6808. It's an ambush.
  6809.  
  6810. 1499
  6811. 01:44:19,712 --> 01:44:23,633
  6812. And equally, in this scene
  6813. the way Muse and Najee...
  6814.  
  6815. 1500
  6816. 01:44:24,592 --> 01:44:28,221
  6817. ...frame up their differences.
  6818.  
  6819. 1501
  6820. 01:44:41,067 --> 01:44:43,153
  6821. Filming this last sequence...
  6822.  
  6823. 1502
  6824. 01:44:43,361 --> 01:44:46,447
  6825. ...was probably
  6826. the biggest challenge of the film.
  6827.  
  6828. 1503
  6829. 01:44:46,781 --> 01:44:48,700
  6830. We didn't have a lot of time.
  6831.  
  6832. 1504
  6833. 01:44:48,908 --> 01:44:50,702
  6834. Keep me posted on status.
  6835.  
  6836. 1505
  6837. 01:44:52,078 --> 01:44:53,830
  6838. The Navy provided us
  6839. with these ships.
  6840.  
  6841. 1506
  6842. 01:44:54,497 --> 01:44:58,168
  6843. And we had them
  6844. for a very short amount of time.
  6845.  
  6846. 1507
  6847. 01:44:58,376 --> 01:45:04,591
  6848. And we had to execute
  6849. a very complicated....
  6850.  
  6851. 1508
  6852. 01:45:05,967 --> 01:45:08,511
  6853. A multifaceted action sequence...
  6854.  
  6855. 1509
  6856. 01:45:08,720 --> 01:45:14,017
  6857. ...involving four vessels
  6858. and three or four helicopters at night.
  6859.  
  6860. 1510
  6861. 01:45:16,519 --> 01:45:18,396
  6862. At high speed...
  6863.  
  6864. 1511
  6865. 01:45:18,605 --> 01:45:20,148
  6866. ...with a lot of safety issues...
  6867.  
  6868. 1512
  6869. 01:45:20,648 --> 01:45:23,568
  6870. ...and a lot of coordination issues.
  6871.  
  6872. 1513
  6873. 01:45:23,860 --> 01:45:27,447
  6874. And it took
  6875. a remarkable amount of planning.
  6876.  
  6877. 1514
  6878. 01:45:27,655 --> 01:45:31,326
  6879. And we were very lucky.
  6880.  
  6881. 1515
  6882. 01:45:31,534 --> 01:45:34,245
  6883. Which is something
  6884. that every director needs...
  6885.  
  6886. 1516
  6887. 01:45:34,454 --> 01:45:36,664
  6888. ...shooting a scene like this.
  6889.  
  6890. 1517
  6891. 01:45:42,378 --> 01:45:45,924
  6892. Once again,
  6893. you need to sell the geography, always.
  6894.  
  6895. 1518
  6896. 01:45:46,925 --> 01:45:49,093
  6897. Don't let anyone in.
  6898.  
  6899. 1519
  6900. 01:45:53,389 --> 01:45:56,893
  6901. I was saying earlier, one of
  6902. the interesting things about the piece...
  6903.  
  6904. 1520
  6905. 01:45:57,101 --> 01:46:03,066
  6906. ...is the way that characters very rarely
  6907. speak the truth to each other.
  6908.  
  6909. 1521
  6910. 01:46:04,943 --> 01:46:06,986
  6911. Apart from in this scene.
  6912.  
  6913. 1522
  6914. 01:46:08,196 --> 01:46:12,992
  6915. Which is obviously the culmination
  6916. of the relationship...
  6917.  
  6918. 1523
  6919. 01:46:13,201 --> 01:46:14,536
  6920. ...between Muse and Phillips.
  6921.  
  6922. 1524
  6923. 01:46:17,288 --> 01:46:19,332
  6924. I go Navy ship...
  6925.  
  6926. 1525
  6927. 01:46:20,792 --> 01:46:22,543
  6928. ...get dollars...
  6929.  
  6930. 1526
  6931. 01:46:23,962 --> 01:46:24,963
  6932. ...you go home.
  6933.  
  6934. 1527
  6935. 01:46:25,129 --> 01:46:27,131
  6936. It starts conventionally.
  6937.  
  6938. 1528
  6939. 01:46:27,340 --> 01:46:31,135
  6940. How many times have we heard Muse
  6941. say, "Everything's gonna be okay"?
  6942.  
  6943. 1529
  6944. 01:46:31,928 --> 01:46:38,309
  6945. But then it takes a turn into the truthful.
  6946.  
  6947. 1530
  6948. 01:46:38,476 --> 01:46:40,144
  6949. --ransom...
  6950.  
  6951. 1531
  6952. 01:46:42,480 --> 01:46:44,315
  6953. ...nobody get hurt.
  6954.  
  6955. 1532
  6956. 01:46:44,482 --> 01:46:48,653
  6957. You had $30,000
  6958. and a way to Somalia.
  6959.  
  6960. 1533
  6961. 01:46:50,989 --> 01:46:52,448
  6962. It wasn't enough?
  6963.  
  6964. 1534
  6965. 01:46:55,159 --> 01:46:57,203
  6966. I got bosses.
  6967.  
  6968. 1535
  6969. 01:46:57,870 --> 01:46:59,747
  6970. They got rules.
  6971.  
  6972. 1536
  6973. 01:46:59,914 --> 01:47:02,250
  6974. We all got bosses.
  6975.  
  6976. 1537
  6977. 01:47:07,338 --> 01:47:10,341
  6978. There's gotta be something
  6979. other than being a fisherman...
  6980.  
  6981. 1538
  6982. 01:47:10,508 --> 01:47:12,302
  6983. ...and kidnapping people.
  6984.  
  6985. 1539
  6986. 01:47:15,388 --> 01:47:17,640
  6987. Maybe in America, Irish.
  6988.  
  6989. 1540
  6990. 01:47:18,308 --> 01:47:20,226
  6991. Maybe in America.
  6992.  
  6993. 1541
  6994. 01:47:25,398 --> 01:47:27,400
  6995. Alabama lifeboat, this is the U.S. Navy.
  6996.  
  6997. 1542
  6998. 01:47:27,567 --> 01:47:28,985
  6999. Magnificent scene.
  7000.  
  7001. 1543
  7002. 01:47:30,611 --> 01:47:35,783
  7003. I remember reading those two lines
  7004. in Billy's first draft.
  7005.  
  7006. 1544
  7007. 01:47:36,200 --> 01:47:38,494
  7008. And thinking,
  7009. "Right there, that's the film."
  7010.  
  7011. 1545
  7012. 01:47:38,703 --> 01:47:41,414
  7013. And in many ways, the film is all...
  7014.  
  7015. 1546
  7016. 01:47:41,581 --> 01:47:44,459
  7017. ...trying to get to that place
  7018. in a way that's believable...
  7019.  
  7020. 1547
  7021. 01:47:44,667 --> 01:47:48,212
  7022. ...so that that conversation
  7023. feels believable...
  7024.  
  7025. 1548
  7026. 01:47:48,421 --> 01:47:50,340
  7027. ...between those two characters.
  7028.  
  7029. 1549
  7030. 01:47:50,548 --> 01:47:51,883
  7031. Without sentimentality...
  7032.  
  7033. 1550
  7034. 01:47:52,091 --> 01:47:55,094
  7035. ...without creating moral equivalents.
  7036.  
  7037. 1551
  7038. 01:47:55,595 --> 01:48:01,476
  7039. Without suggesting in any way
  7040. that Phillips sympathizes with Muse...
  7041.  
  7042. 1552
  7043. 01:48:01,684 --> 01:48:03,311
  7044. ...because he doesn't.
  7045.  
  7046. 1553
  7047. 01:48:04,103 --> 01:48:08,524
  7048. But so you understand both characters.
  7049.  
  7050. 1554
  7051. 01:48:10,652 --> 01:48:15,740
  7052. And when you've had that moment,
  7053. you're ready, then, for the endgame.
  7054.  
  7055. 1555
  7056. 01:48:15,948 --> 01:48:18,368
  7057. Be advised,
  7058. I have eyes on the package.
  7059.  
  7060. 1556
  7061. 01:48:18,576 --> 01:48:21,287
  7062. And again, same point as earlier.
  7063.  
  7064. 1557
  7065. 01:48:21,496 --> 01:48:25,500
  7066. You've got to take the time in a sequence
  7067. to set up the rules of the sequence.
  7068.  
  7069. 1558
  7070. 01:48:25,708 --> 01:48:27,835
  7071. Who knows what?
  7072.  
  7073. 1559
  7074. 01:48:28,044 --> 01:48:31,422
  7075. Who's doing what? Who's in control?
  7076. What are the communication systems?
  7077.  
  7078. 1560
  7079. 01:48:33,216 --> 01:48:36,552
  7080. Put this on, captain.
  7081. We need to keep you healthy.
  7082.  
  7083. 1561
  7084. 01:48:36,803 --> 01:48:38,596
  7085. All the time, you've gotta--
  7086.  
  7087. 1562
  7088. 01:48:38,805 --> 01:48:44,394
  7089. You must never compromise
  7090. the accuracy...
  7091.  
  7092. 1563
  7093. 01:48:44,602 --> 01:48:47,855
  7094. ...and the time you spend
  7095. setting things up.
  7096.  
  7097. 1564
  7098. 01:48:48,564 --> 01:48:50,775
  7099. The more you set up,
  7100. the more you can pay off.
  7101.  
  7102. 1565
  7103. 01:48:52,777 --> 01:48:54,821
  7104. Inside. Go.
  7105.  
  7106. 1566
  7107. 01:48:55,446 --> 01:48:56,489
  7108. Go.
  7109.  
  7110. 1567
  7111. 01:48:56,698 --> 01:49:00,201
  7112. -Where are the elders?
  7113. -The elders are being flown in.
  7114.  
  7115. 1568
  7116. 01:49:01,077 --> 01:49:03,705
  7117. Put the gun inside.
  7118. We'll take you to your elders.
  7119.  
  7120. 1569
  7121. 01:49:03,871 --> 01:49:05,581
  7122. Anything happen, he die.
  7123.  
  7124. 1570
  7125. 01:49:05,748 --> 01:49:08,668
  7126. I give you my word.
  7127. Everything will be fine.
  7128.  
  7129. 1571
  7130. 01:49:08,835 --> 01:49:11,045
  7131. Put the gun down.
  7132.  
  7133. 1572
  7134. 01:49:11,212 --> 01:49:12,463
  7135. Gun down.
  7136.  
  7137. 1573
  7138. 01:49:14,132 --> 01:49:15,508
  7139. Wait.
  7140.  
  7141. 1574
  7142. 01:49:18,970 --> 01:49:20,555
  7143. These guys were all ex-military.
  7144.  
  7145. 1575
  7146. 01:49:20,763 --> 01:49:23,224
  7147. And they were able
  7148. to bring their training to bear.
  7149.  
  7150. 1576
  7151. 01:49:23,433 --> 01:49:26,686
  7152. We got you. Come on.
  7153. Nice and easy. Okay.
  7154.  
  7155. 1577
  7156. 01:49:27,603 --> 01:49:31,274
  7157. I think you feel, when you watch them,
  7158. that they know what they're doing.
  7159.  
  7160. 1578
  7161. 01:49:34,610 --> 01:49:36,737
  7162. Captain, it'll be over soon. Hang tough.
  7163.  
  7164. 1579
  7165. 01:49:36,904 --> 01:49:40,241
  7166. Stay in the same seat
  7167. you've been sitting in.
  7168.  
  7169. 1580
  7170. 01:49:40,533 --> 01:49:43,244
  7171. It's funny,
  7172. even just watching this now...
  7173.  
  7174. 1581
  7175. 01:49:43,453 --> 01:49:46,497
  7176. ...in a studio, I can feel my palms...
  7177.  
  7178. 1582
  7179. 01:49:46,706 --> 01:49:49,041
  7180. ...starting to sweat a bit.
  7181.  
  7182. 1583
  7183. 01:49:49,208 --> 01:49:50,835
  7184. Stern seas.
  7185.  
  7186. 1584
  7187. 01:49:51,043 --> 01:49:54,338
  7188. And that's
  7189. because you're responding...
  7190.  
  7191. 1585
  7192. 01:49:55,089 --> 01:49:56,424
  7193. ...to the human situation.
  7194.  
  7195. 1586
  7196. 01:49:56,632 --> 01:50:01,304
  7197. To the insight that great actors
  7198. give you into a human situation.
  7199.  
  7200. 1587
  7201. 01:50:02,305 --> 01:50:03,764
  7202. You become involved.
  7203.  
  7204. 1588
  7205. 01:50:03,973 --> 01:50:05,433
  7206. You become truly involved.
  7207.  
  7208. 1589
  7209. 01:50:05,600 --> 01:50:08,895
  7210. -TAO, initiate high-speed maneuver.
  7211. -Aye, sir.
  7212.  
  7213. 1590
  7214. 01:50:10,730 --> 01:50:13,816
  7215. Halyburton, Boxer. This is Bainbridge.
  7216.  
  7217. 1591
  7218. 01:50:13,983 --> 01:50:16,068
  7219. Commence high-speed maneuvers.
  7220. Over.
  7221.  
  7222. 1592
  7223. 01:50:18,362 --> 01:50:20,698
  7224. Cause and effect...
  7225.  
  7226. 1593
  7227. 01:50:20,907 --> 01:50:23,075
  7228. ...character development...
  7229.  
  7230. 1594
  7231. 01:50:23,284 --> 01:50:26,037
  7232. ...architecture, control of pace.
  7233.  
  7234. 1595
  7235. 01:50:29,332 --> 01:50:31,709
  7236. Come up this way. Up this way.
  7237.  
  7238. 1596
  7239. 01:50:32,710 --> 01:50:36,756
  7240. Chris Rouse and I watched this
  7241. and worked it for weeks.
  7242.  
  7243. 1597
  7244. 01:50:38,508 --> 01:50:44,305
  7245. But he has a wonderful eye
  7246. for the architecture of these sequences.
  7247.  
  7248. 1598
  7249. 01:50:44,514 --> 01:50:47,141
  7250. What weight to give each side.
  7251.  
  7252. 1599
  7253. 01:50:47,809 --> 01:50:48,976
  7254. Stand over here.
  7255.  
  7256. 1600
  7257. 01:50:51,145 --> 01:50:53,272
  7258. As you move
  7259. from environment to environment...
  7260.  
  7261. 1601
  7262. 01:50:53,481 --> 01:50:54,857
  7263. ...you need to be specific.
  7264.  
  7265. 1602
  7266. 01:50:56,150 --> 01:50:58,569
  7267. From darkness to light.
  7268.  
  7269. 1603
  7270. 01:50:58,861 --> 01:51:02,073
  7271. You know,
  7272. light can be as disorientating as dark.
  7273.  
  7274. 1604
  7275. 01:51:02,240 --> 01:51:04,867
  7276. Relax. We're gonna take care of you.
  7277.  
  7278. 1605
  7279. 01:51:06,202 --> 01:51:10,456
  7280. And now you're watching a man
  7281. who realizes he's being lied to.
  7282.  
  7283. 1606
  7284. 01:51:10,998 --> 01:51:12,875
  7285. But again, he doesn't quite know how.
  7286.  
  7287. 1607
  7288. 01:51:13,084 --> 01:51:14,961
  7289. He doesn't know
  7290. what he can do about it.
  7291.  
  7292. 1608
  7293. 01:51:23,553 --> 01:51:27,098
  7294. Your captain knows what he's doing.
  7295. You're gonna get your money now.
  7296.  
  7297. 1609
  7298. 01:51:40,778 --> 01:51:44,782
  7299. Likewise,
  7300. all these guys are ex-military.
  7301.  
  7302. 1610
  7303. 01:51:44,991 --> 01:51:46,534
  7304. What's going on?
  7305.  
  7306. 1611
  7307. 01:51:46,742 --> 01:51:48,160
  7308. And I think, again...
  7309.  
  7310. 1612
  7311. 01:51:49,912 --> 01:51:55,001
  7312. ...it's much better to get
  7313. former military professionals to act...
  7314.  
  7315. 1613
  7316. 01:51:55,209 --> 01:51:57,920
  7317. ...than it is to get actors
  7318. to be military professionals...
  7319.  
  7320. 1614
  7321. 01:51:58,129 --> 01:51:59,422
  7322. ...in my experience.
  7323.  
  7324. 1615
  7325. 01:51:59,630 --> 01:52:02,341
  7326. We're going to initiate the tow.
  7327.  
  7328. 1616
  7329. 01:52:02,508 --> 01:52:05,511
  7330. I repeat,
  7331. we are going to initiate the tow.
  7332.  
  7333. 1617
  7334. 01:52:05,678 --> 01:52:09,765
  7335. You need to tell your driver
  7336. that he needs to stay in his seat...
  7337.  
  7338. 1618
  7339. 01:52:09,932 --> 01:52:12,101
  7340. ...and continue steering.
  7341.  
  7342. 1619
  7343. 01:52:29,869 --> 01:52:34,624
  7344. Music takes a turn, obviously,
  7345. at this point. You get a heartbeat.
  7346.  
  7347. 1620
  7348. 01:52:38,002 --> 01:52:39,337
  7349. This thing is building now.
  7350.  
  7351. 1621
  7352. 01:52:41,505 --> 01:52:44,258
  7353. Alfa team is green at this time.
  7354. One green, two red.
  7355.  
  7356. 1622
  7357. 01:52:45,259 --> 01:52:49,263
  7358. A lot of the musical pieces
  7359. that have been put in place earlier...
  7360.  
  7361. 1623
  7362. 01:52:49,472 --> 01:52:52,266
  7363. ...now start to come together.
  7364.  
  7365. 1624
  7366. 01:52:52,475 --> 01:52:57,939
  7367. The brass is starting to stretch
  7368. and twist.
  7369.  
  7370. 1625
  7371. 01:53:00,691 --> 01:53:03,611
  7372. The pulse has become a heartbeat.
  7373.  
  7374. 1626
  7375. 01:53:11,827 --> 01:53:15,331
  7376. -Hey. Hey.
  7377. -I'm putting on the shirt like they said.
  7378.  
  7379. 1627
  7380. 01:53:16,999 --> 01:53:19,585
  7381. If he moves again, shoot him.
  7382.  
  7383. 1628
  7384. 01:53:19,752 --> 01:53:21,754
  7385. Sir, the pirates have just issued a threat.
  7386.  
  7387. 1629
  7388. 01:53:21,921 --> 01:53:24,006
  7389. One of the extraordinary things...
  7390.  
  7391. 1630
  7392. 01:53:24,173 --> 01:53:28,260
  7393. ...about Tom's performance,
  7394. I think in this film, is that he...
  7395.  
  7396. 1631
  7397. 01:53:30,262 --> 01:53:32,890
  7398. ...takes pieces of doubt and fear...
  7399.  
  7400. 1632
  7401. 01:53:33,099 --> 01:53:34,850
  7402. ...and hopelessness...
  7403.  
  7404. 1633
  7405. 01:53:35,059 --> 01:53:38,229
  7406. ...and yet he manages
  7407. to fashion out of them...
  7408.  
  7409. 1634
  7410. 01:53:38,437 --> 01:53:41,482
  7411. ...a story of endurance.
  7412.  
  7413. 1635
  7414. 01:53:42,984 --> 01:53:45,945
  7415. It's almost counterintuitive, really.
  7416.  
  7417. 1636
  7418. 01:53:47,488 --> 01:53:49,031
  7419. He's not playing the hero.
  7420.  
  7421. 1637
  7422. 01:53:49,240 --> 01:53:52,076
  7423. On the contrary,
  7424. he's playing the reality of the situation...
  7425.  
  7426. 1638
  7427. 01:53:52,284 --> 01:53:57,123
  7428. ...at every step of the way with accuracy
  7429. and restraint, self-discipline.
  7430.  
  7431. 1639
  7432. 01:53:57,331 --> 01:53:58,791
  7433. And so...
  7434.  
  7435. 1640
  7436. 01:54:00,209 --> 01:54:05,339
  7437. ...in an era, I think, cinematically
  7438. dominated by superheroes...
  7439.  
  7440. 1641
  7441. 01:54:05,548 --> 01:54:10,177
  7442. ...he's always chosen--
  7443. And dared, I think.
  7444.  
  7445. 1642
  7446. 01:54:10,386 --> 01:54:12,638
  7447. --to play the ordinary man.
  7448.  
  7449. 1643
  7450. 01:54:12,847 --> 01:54:14,348
  7451. And that takes--
  7452.  
  7453. 1644
  7454. 01:54:14,557 --> 01:54:16,434
  7455. You have to accept restrictions.
  7456.  
  7457. 1645
  7458. 01:54:16,642 --> 01:54:20,479
  7459. Restrictions on who you are,
  7460. restrictions on the powers that you have.
  7461.  
  7462. 1646
  7463. 01:54:20,688 --> 01:54:22,773
  7464. The behaviors that you can exhibit.
  7465.  
  7466. 1647
  7467. 01:54:22,982 --> 01:54:28,571
  7468. You can't just, you know, rely
  7469. on some special power that you have.
  7470.  
  7471. 1648
  7472. 01:54:28,779 --> 01:54:31,031
  7473. You're just an ordinary person.
  7474.  
  7475. 1649
  7476. 01:54:31,240 --> 01:54:32,783
  7477. And yet out of that...
  7478.  
  7479. 1650
  7480. 01:54:34,201 --> 01:54:38,414
  7481. ...slowly but surely,
  7482. you feel this deep reservoir...
  7483.  
  7484. 1651
  7485. 01:54:38,622 --> 01:54:42,918
  7486. ...of humanity underneath,
  7487. and he's done it time and again.
  7488.  
  7489. 1652
  7490. 01:54:43,127 --> 01:54:48,382
  7491. And I think never better than in this--
  7492. The end of this film.
  7493.  
  7494. 1653
  7495. 01:54:48,549 --> 01:54:51,427
  7496. American ship, answer me.
  7497.  
  7498. 1654
  7499. 01:54:51,927 --> 01:54:56,307
  7500. You, I think, literally do feel
  7501. you're with him...
  7502.  
  7503. 1655
  7504. 01:54:56,515 --> 01:54:59,560
  7505. ...in this unfolding situation.
  7506.  
  7507. 1656
  7508. 01:55:01,270 --> 01:55:03,439
  7509. As the sympathies twist and turn.
  7510.  
  7511. 1657
  7512. 01:55:03,647 --> 01:55:08,277
  7513. Do we--? Do we want them
  7514. to open fire or don't we?
  7515.  
  7516. 1658
  7517. 01:55:10,279 --> 01:55:15,242
  7518. What's gonna stand the best?
  7519.  
  7520. 1659
  7521. 01:55:15,451 --> 01:55:19,914
  7522. What's gonna give the best chance
  7523. of a successful outcome?
  7524.  
  7525. 1660
  7526. 01:55:20,289 --> 01:55:22,917
  7527. That's the question you're asking
  7528. as an audience.
  7529.  
  7530. 1661
  7531. 01:55:29,173 --> 01:55:33,552
  7532. And always that thin fragile line
  7533. that connects the lifeboat.
  7534.  
  7535. 1662
  7536. 01:55:33,761 --> 01:55:36,347
  7537. Irish. Irish. What you doing?
  7538.  
  7539. 1663
  7540. 01:55:37,515 --> 01:55:38,557
  7541. What you doing?
  7542.  
  7543. 1664
  7544. 01:55:42,812 --> 01:55:44,021
  7545. We know what he's doing.
  7546.  
  7547. 1665
  7548. 01:55:45,064 --> 01:55:47,483
  7549. Although it's never spoken.
  7550.  
  7551. 1666
  7552. 01:55:50,236 --> 01:55:53,072
  7553. We're doing what any of us would do
  7554. in this situation.
  7555.  
  7556. 1667
  7557. 01:55:53,280 --> 01:55:58,410
  7558. If you knew some violent endgame...
  7559.  
  7560. 1668
  7561. 01:55:58,619 --> 01:56:01,789
  7562. ...was about to play out
  7563. in which you might or might not live...
  7564.  
  7565. 1669
  7566. 01:56:03,541 --> 01:56:05,167
  7567. ...who would you be thinking about?
  7568.  
  7569. 1670
  7570. 01:56:05,334 --> 01:56:06,335
  7571. Give me a distance.
  7572.  
  7573. 1671
  7574. 01:56:07,044 --> 01:56:09,463
  7575. Two twenty. Still 129 out.
  7576.  
  7577. 1672
  7578. 01:56:16,137 --> 01:56:17,847
  7579. Stop writing, Irish.
  7580.  
  7581. 1673
  7582. 01:56:18,639 --> 01:56:21,392
  7583. If he sees you, he kill me and you both.
  7584.  
  7585. 1674
  7586. 01:56:22,852 --> 01:56:26,480
  7587. Those breathing chords, brass chords.
  7588.  
  7589. 1675
  7590. 01:56:27,231 --> 01:56:28,899
  7591. U.S. Navy, answer!
  7592.  
  7593. 1676
  7594. 01:56:30,818 --> 01:56:32,444
  7595. Anxious.
  7596.  
  7597. 1677
  7598. 01:56:33,445 --> 01:56:36,615
  7599. I want to speak with him!
  7600.  
  7601. 1678
  7602. 01:56:36,782 --> 01:56:37,825
  7603. Alfa and Charlie teams green.
  7604.  
  7605. 1679
  7606. 01:56:37,992 --> 01:56:39,910
  7607. They're saying, "Wake up."
  7608.  
  7609. 1680
  7610. 01:56:41,829 --> 01:56:45,916
  7611. And they're slowing rising
  7612. and building.
  7613.  
  7614. 1681
  7615. 01:56:47,543 --> 01:56:49,503
  7616. Where are the elders?
  7617.  
  7618. 1682
  7619. 01:56:51,213 --> 01:56:52,464
  7620. Where are elders?
  7621.  
  7622. 1683
  7623. 01:56:54,592 --> 01:56:57,261
  7624. American ship, answer!
  7625.  
  7626. 1684
  7627. 01:56:57,428 --> 01:56:59,346
  7628. Hey.
  7629.  
  7630. 1685
  7631. 01:56:59,513 --> 01:57:01,307
  7632. Hey! What is this?
  7633.  
  7634. 1686
  7635. 01:57:01,515 --> 01:57:05,269
  7636. Subterranean movement
  7637. giving you unease.
  7638.  
  7639. 1687
  7640. 01:57:06,395 --> 01:57:09,273
  7641. They've got something going on.
  7642. I think it's a fight.
  7643.  
  7644. 1688
  7645. 01:57:10,107 --> 01:57:15,154
  7646. Well, we've waited for this throw-down
  7647. since the earliest moment.
  7648.  
  7649. 1689
  7650. 01:57:18,115 --> 01:57:20,743
  7651. Phillips himself said
  7652. he always thought...
  7653.  
  7654. 1690
  7655. 01:57:22,036 --> 01:57:25,414
  7656. ...that he'd get a bullet in the head
  7657. from the big, tall guy.
  7658.  
  7659. 1691
  7660. 01:57:26,665 --> 01:57:28,959
  7661. He was the one
  7662. he was most frightened of.
  7663.  
  7664. 1692
  7665. 01:57:30,377 --> 01:57:31,670
  7666. Stop Irish! Stop Irish!
  7667.  
  7668. 1693
  7669. 01:57:31,837 --> 01:57:34,006
  7670. Bring the rope!
  7671.  
  7672. 1694
  7673. 01:57:35,507 --> 01:57:38,093
  7674. Alfa and Charlie are red.
  7675. We are three red.
  7676.  
  7677. 1695
  7678. 01:57:38,260 --> 01:57:40,429
  7679. Alabama lifeboat, this is the negotiator.
  7680.  
  7681. 1696
  7682. 01:57:40,596 --> 01:57:43,057
  7683. If you harm the hostage,
  7684. we do not have a deal.
  7685.  
  7686. 1697
  7687. 01:57:43,807 --> 01:57:45,309
  7688. Do you copy?
  7689.  
  7690. 1698
  7691. 01:57:49,146 --> 01:57:50,648
  7692. Tie him!
  7693.  
  7694. 1699
  7695. 01:57:52,274 --> 01:57:57,196
  7696. The interesting situation
  7697. is that with Muse off the lifeboat...
  7698.  
  7699. 1700
  7700. 01:57:57,404 --> 01:58:01,492
  7701. ...command and control
  7702. really breaks down.
  7703.  
  7704. 1701
  7705. 01:58:11,043 --> 01:58:12,836
  7706. What are you doing?
  7707.  
  7708. 1702
  7709. 01:58:15,214 --> 01:58:17,758
  7710. Captain Phillips, can you hear me?
  7711.  
  7712. 1703
  7713. 01:58:18,175 --> 01:58:21,762
  7714. -Captain Phillips, can you hear me?
  7715. -He's screaming, sir.
  7716.  
  7717. 1704
  7718. 01:58:22,721 --> 01:58:27,476
  7719. -One fifty-five. They're 64 meters out.
  7720. -One fifty-five, check. Speed up the tow.
  7721.  
  7722. 1705
  7723. 01:58:30,938 --> 01:58:35,401
  7724. Now we are moving
  7725. towards the conclusion.
  7726.  
  7727. 1706
  7728. 01:58:44,535 --> 01:58:47,371
  7729. The situation is running out of control.
  7730.  
  7731. 1707
  7732. 01:58:49,039 --> 01:58:50,708
  7733. Shut up!
  7734.  
  7735. 1708
  7736. 01:58:51,583 --> 01:58:54,211
  7737. Get a blindfold!
  7738.  
  7739. 1709
  7740. 01:58:57,297 --> 01:58:59,466
  7741. Can you see this?
  7742.  
  7743. 1710
  7744. 01:59:00,092 --> 01:59:01,135
  7745. Can you see it?
  7746.  
  7747. 1711
  7748. 01:59:01,969 --> 01:59:04,805
  7749. Let's reacquire targets,
  7750. weapons release on my command.
  7751.  
  7752. 1712
  7753. 01:59:05,014 --> 01:59:07,808
  7754. One thirty-five meters.
  7755. That's 44 out from optimal.
  7756.  
  7757. 1713
  7758. 01:59:07,975 --> 01:59:10,894
  7759. Alfa green.
  7760. Bravo and Charlie are still red. Two red.
  7761.  
  7762. 1714
  7763. 01:59:11,353 --> 01:59:13,397
  7764. Blindfold him.
  7765.  
  7766. 1715
  7767. 01:59:17,067 --> 01:59:21,113
  7768. Kid, just put your hands up.
  7769. You're just a kid.
  7770.  
  7771. 1716
  7772. 01:59:21,280 --> 01:59:27,369
  7773. Now all that preparatory work
  7774. between Phillips and Bilal...
  7775.  
  7776. 1717
  7777. 01:59:28,037 --> 01:59:31,999
  7778. ...pays off in this scene, I think,
  7779. because we know this character.
  7780.  
  7781. 1718
  7782. 01:59:32,207 --> 01:59:34,668
  7783. We know the young kid.
  7784. We know who he is.
  7785.  
  7786. 1719
  7787. 01:59:34,918 --> 01:59:36,545
  7788. Andrea, I love you.
  7789.  
  7790. 1720
  7791. 01:59:37,504 --> 01:59:38,756
  7792. I love you, Ange.
  7793.  
  7794. 1721
  7795. 01:59:39,548 --> 01:59:40,758
  7796. Honey, I love you.
  7797.  
  7798. 1722
  7799. 01:59:42,509 --> 01:59:44,344
  7800. I love you, Danny. I'm sorry.
  7801.  
  7802. 1723
  7803. 01:59:44,511 --> 01:59:48,974
  7804. I'm sorry I'm here
  7805. and not there with you.
  7806.  
  7807. 1724
  7808. 01:59:49,433 --> 01:59:53,228
  7809. Can anybody hear this?
  7810. I can't stand this anymore.
  7811.  
  7812. 1725
  7813. 01:59:53,437 --> 01:59:55,981
  7814. One thirty meters.
  7815. That's 39 out from optimal.
  7816.  
  7817. 1726
  7818. 01:59:56,148 --> 01:59:58,192
  7819. Two red. No shot. Still at two red.
  7820.  
  7821. 1727
  7822. 01:59:58,359 --> 02:00:02,112
  7823. I need sights on targets.
  7824. I need three targets green.
  7825.  
  7826. 1728
  7827. 02:00:05,574 --> 02:00:07,618
  7828. Don't kill him!
  7829.  
  7830. 1729
  7831. 02:00:07,785 --> 02:00:09,828
  7832. The elders are coming.
  7833.  
  7834. 1730
  7835. 02:00:09,995 --> 02:00:11,372
  7836. We will get our money.
  7837.  
  7838. 1731
  7839. 02:00:11,538 --> 02:00:13,957
  7840. You are both idiots.
  7841.  
  7842. 1732
  7843. 02:00:14,124 --> 02:00:15,709
  7844. No one is coming.
  7845.  
  7846. 1733
  7847. 02:00:19,880 --> 02:00:23,634
  7848. When you make a film
  7849. and you direct a film...
  7850.  
  7851. 1734
  7852. 02:00:25,385 --> 02:00:28,764
  7853. ...when you look at it back--
  7854. At least I find, anyway.
  7855.  
  7856. 1735
  7857. 02:00:28,931 --> 02:00:32,393
  7858. --often my overwhelming feeling...
  7859.  
  7860. 1736
  7861. 02:00:32,601 --> 02:00:37,022
  7862. ...is of the mastery of all that work...
  7863.  
  7864. 1737
  7865. 02:00:37,981 --> 02:00:42,528
  7866. ...that you've been able to be around.
  7867.  
  7868. 1738
  7869. 02:00:42,861 --> 02:00:44,029
  7870. It's almost like:
  7871.  
  7872. 1739
  7873. 02:00:44,947 --> 02:00:48,033
  7874. Isn't that wonderfully shot?
  7875. Isn't that wonderfully performed?
  7876.  
  7877. 1740
  7878. 02:00:48,242 --> 02:00:50,369
  7879. Isn't Tom magnificent there?
  7880.  
  7881. 1741
  7882. 02:00:50,577 --> 02:00:53,997
  7883. Isn't that group environment
  7884. in the control room magnificent?
  7885.  
  7886. 1742
  7887. 02:00:54,206 --> 02:00:55,707
  7888. Isn't this beautifully edited?
  7889.  
  7890. 1743
  7891. 02:00:56,166 --> 02:01:00,587
  7892. As a director, you're a jack of all trades
  7893. but a master of none.
  7894.  
  7895. 1744
  7896. 02:01:00,796 --> 02:01:03,215
  7897. But you're surrounded by masters.
  7898.  
  7899. 1745
  7900. 02:01:03,423 --> 02:01:09,221
  7901. And it leaves you with a feeling
  7902. of tremendous humility, I think...
  7903.  
  7904. 1746
  7905. 02:01:09,471 --> 02:01:15,436
  7906. ...that your film has been made
  7907. by so many hands.
  7908.  
  7909. 1747
  7910. 02:01:17,271 --> 02:01:22,734
  7911. And that it can end up
  7912. by fashioning this moment.
  7913.  
  7914. 1748
  7915. 02:01:27,823 --> 02:01:29,533
  7916. Shock.
  7917.  
  7918. 1749
  7919. 02:01:30,576 --> 02:01:32,411
  7920. Violence.
  7921.  
  7922. 1750
  7923. 02:01:33,203 --> 02:01:35,205
  7924. Resolution.
  7925.  
  7926. 1751
  7927. 02:01:35,956 --> 02:01:39,293
  7928. Safety. Confusion.
  7929.  
  7930. 1752
  7931. 02:01:39,793 --> 02:01:41,420
  7932. Horror.
  7933.  
  7934. 1753
  7935. 02:01:45,883 --> 02:01:50,679
  7936. A great, great actor fashioning
  7937. a great, great moment in cinema...
  7938.  
  7939. 1754
  7940. 02:01:50,888 --> 02:01:52,639
  7941. ...I think, for me.
  7942.  
  7943. 1755
  7944. 02:02:16,580 --> 02:02:19,124
  7945. We're gonna get you out of here
  7946. and get you home.
  7947.  
  7948. 1756
  7949. 02:02:20,626 --> 02:02:25,422
  7950. Ending this film was a great challenge.
  7951.  
  7952. 1757
  7953. 02:02:25,631 --> 02:02:28,800
  7954. There were so many obvious ways
  7955. you could end it.
  7956.  
  7957. 1758
  7958. 02:02:29,801 --> 02:02:35,098
  7959. And however you end it,
  7960. you have to resolve your characters.
  7961.  
  7962. 1759
  7963. 02:02:36,308 --> 02:02:41,146
  7964. As surely as you have to set them up,
  7965. you have to resolve them, pay them off.
  7966.  
  7967. 1760
  7968. 02:02:43,732 --> 02:02:45,943
  7969. Most of all...
  7970.  
  7971. 1761
  7972. 02:02:47,694 --> 02:02:50,906
  7973. ...I wanted it not to feel triumphant.
  7974.  
  7975. 1762
  7976. 02:02:52,324 --> 02:02:54,952
  7977. I wanted it to feel real.
  7978.  
  7979. 1763
  7980. 02:02:56,411 --> 02:02:58,205
  7981. This way.
  7982.  
  7983. 1764
  7984. 02:03:01,124 --> 02:03:03,293
  7985. -Watch your step.
  7986. -Step.
  7987.  
  7988. 1765
  7989. 02:03:07,256 --> 02:03:09,007
  7990. Careful, sir.
  7991.  
  7992. 1766
  7993. 02:03:11,677 --> 02:03:15,180
  7994. There's something about this story...
  7995.  
  7996. 1767
  7997. 02:03:15,639 --> 02:03:20,185
  7998. ...of four armed, desperate young men
  7999. from Somalia attacking a large ship...
  8000.  
  8001. 1768
  8002. 02:03:20,394 --> 02:03:22,187
  8003. ...taking the captain hostage.
  8004.  
  8005. 1769
  8006. 02:03:23,146 --> 02:03:28,652
  8007. Trying to take him back to Somalia
  8008. before anyone can rescue him.
  8009.  
  8010. 1770
  8011. 02:03:29,361 --> 02:03:32,864
  8012. That speaks to larger forces
  8013. in our world, I think.
  8014.  
  8015. 1771
  8016. 02:03:34,241 --> 02:03:37,411
  8017. And larger challenges that we face.
  8018.  
  8019. 1772
  8020. 02:03:37,995 --> 02:03:39,621
  8021. It's a crime story, really.
  8022.  
  8023. 1773
  8024. 02:03:41,248 --> 02:03:46,253
  8025. A story of crime and retribution,
  8026. as all great crime stories should be.
  8027.  
  8028. 1774
  8029. 02:03:47,879 --> 02:03:53,802
  8030. A story from the far edges...
  8031.  
  8032. 1775
  8033. 02:03:54,011 --> 02:03:56,596
  8034. ...the far oceans of the global economy.
  8035.  
  8036. 1776
  8037. 02:03:58,473 --> 02:04:02,728
  8038. A story about four men locked out...
  8039.  
  8040. 1777
  8041. 02:04:03,937 --> 02:04:05,480
  8042. ...trying to take their prize.
  8043.  
  8044. 1778
  8045. 02:04:06,440 --> 02:04:10,235
  8046. And what it means to an ordinary man.
  8047.  
  8048. 1779
  8049. 02:04:10,527 --> 02:04:13,030
  8050. A man a bit like my father.
  8051.  
  8052. 1780
  8053. 02:04:13,238 --> 02:04:15,991
  8054. A man who'd spent his life at sea.
  8055.  
  8056. 1781
  8057. 02:04:16,158 --> 02:04:17,909
  8058. Can you talk?
  8059.  
  8060. 1782
  8061. 02:04:18,076 --> 02:04:19,911
  8062. -Can you tell me what's going on?
  8063. -Yeah.
  8064.  
  8065. 1783
  8066. 02:04:20,078 --> 02:04:22,289
  8067. So when he's finally safe...
  8068.  
  8069. 1784
  8070. 02:04:22,497 --> 02:04:24,708
  8071. Are you okay?
  8072. Because you don't look okay.
  8073.  
  8074. 1785
  8075. 02:04:25,542 --> 02:04:29,838
  8076. ...the shock and the confusion...
  8077.  
  8078. 1786
  8079. 02:04:31,506 --> 02:04:33,759
  8080. ...is our shock and confusion,
  8081. I think.
  8082.  
  8083. 1787
  8084. 02:04:35,802 --> 02:04:39,306
  8085. What do we think
  8086. about what we've seen?
  8087.  
  8088. 1788
  8089. 02:04:39,514 --> 02:04:42,059
  8090. How do we make sense of it?
  8091.  
  8092. 1789
  8093. 02:04:42,851 --> 02:04:44,895
  8094. The guilty have been punished.
  8095.  
  8096. 1790
  8097. 02:04:45,103 --> 02:04:47,564
  8098. The innocent man is free.
  8099.  
  8100. 1791
  8101. 02:04:48,649 --> 02:04:49,941
  8102. The tension is over.
  8103.  
  8104. 1792
  8105. 02:04:50,567 --> 02:04:53,904
  8106. We're gonna put this on,
  8107. get your heart rate and oxygen level...
  8108.  
  8109. 1793
  8110. 02:04:54,071 --> 02:04:56,031
  8111. -...make sure you're breathing.
  8112. -Okay.
  8113.  
  8114. 1794
  8115. 02:04:56,198 --> 02:05:00,160
  8116. -I want you to keep doing that, okay?
  8117. -Gonna put this on your finger.
  8118.  
  8119. 1795
  8120. 02:05:00,327 --> 02:05:02,537
  8121. Can you tell me what happened
  8122. to your head?
  8123.  
  8124. 1796
  8125. 02:05:02,704 --> 02:05:04,373
  8126. Put it on your finger.
  8127.  
  8128. 1797
  8129. 02:05:05,207 --> 02:05:06,875
  8130. They....
  8131.  
  8132. 1798
  8133. 02:05:10,253 --> 02:05:14,383
  8134. And I think in this scene...
  8135.  
  8136. 1799
  8137. 02:05:15,092 --> 02:05:19,054
  8138. ...Tom explores the reality of that.
  8139.  
  8140. 1800
  8141. 02:05:19,221 --> 02:05:21,014
  8142. I want you to look at me and breathe.
  8143.  
  8144. 1801
  8145. 02:05:21,223 --> 02:05:22,265
  8146. -Understand?
  8147. -Yeah.
  8148.  
  8149. 1802
  8150. 02:05:22,432 --> 02:05:23,725
  8151. Okay, all right.
  8152.  
  8153. 1803
  8154. 02:05:25,060 --> 02:05:29,690
  8155. He dares to explore vulnerability.
  8156.  
  8157. 1804
  8158. 02:05:30,941 --> 02:05:32,567
  8159. Vulnerability with control.
  8160.  
  8161. 1805
  8162. 02:05:32,776 --> 02:05:36,613
  8163. Vulnerability with insight.
  8164.  
  8165. 1806
  8166. 02:05:38,615 --> 02:05:41,535
  8167. The truest power of acting, really.
  8168.  
  8169. 1807
  8170. 02:05:42,202 --> 02:05:46,248
  8171. To make you feel
  8172. that you're really there.
  8173.  
  8174. 1808
  8175. 02:05:46,456 --> 02:05:49,960
  8176. That you've really lived through it.
  8177. That it's meant something to you.
  8178.  
  8179. 1809
  8180. 02:05:52,003 --> 02:05:58,427
  8181. But that meaning remaining elusive...
  8182.  
  8183. 1810
  8184. 02:06:00,178 --> 02:06:04,307
  8185. ...whilst the personal cost of it
  8186. is clear and true.
  8187.  
  8188. 1811
  8189. 02:06:04,516 --> 02:06:06,184
  8190. That's brilliant acting for me.
  8191.  
  8192. 1812
  8193. 02:06:08,061 --> 02:06:09,396
  8194. A great way to end, I think.
  8195.  
  8196. 1813
  8197. 02:06:09,604 --> 02:06:11,857
  8198. The only way, as it turned out,
  8199. to end this film.
  8200.  
  8201. 1814
  8202. 02:06:12,482 --> 02:06:15,902
  8203. You'll be able to call them
  8204. as soon as you are taken care of.
  8205.  
  8206. 1815
  8207. 02:06:18,196 --> 02:06:20,282
  8208. Sir, I need you to breathe, okay?
  8209.  
  8210. 1816
  8211. 02:06:20,449 --> 02:06:23,034
  8212. You are safe and you are fine.
  8213.  
  8214. 1817
  8215. 02:06:23,827 --> 02:06:25,704
  8216. It's gonna be okay.
  8217.  
  8218. 1818
  8219. 02:06:26,788 --> 02:06:28,999
  8220. Everything's gonna be okay.
  8221.  
  8222. 1819
  8223. 02:06:29,541 --> 02:06:35,505
  8224. That was the question
  8225. that was asked in the first scene.
  8226.  
  8227. 1820
  8228. 02:06:35,714 --> 02:06:38,550
  8229. That everything is gonna be okay,
  8230. isn't it?
  8231.  
  8232. 1821
  8233. 02:07:32,062 --> 02:07:36,274
  8234. The men and women of the Truxtun
  8235. were extraordinary...
  8236.  
  8237. 1822
  8238. 02:07:36,483 --> 02:07:38,443
  8239. ...in their commitment to this film.
  8240.  
  8241. 1823
  8242. 02:07:38,652 --> 02:07:41,696
  8243. You ask them, you meet them,
  8244. you explain what you're trying to do.
  8245.  
  8246. 1824
  8247. 02:07:41,905 --> 02:07:44,366
  8248. And they make a decision.
  8249. Sometimes they help.
  8250.  
  8251. 1825
  8252. 02:07:44,574 --> 02:07:48,870
  8253. They've helped on some films.
  8254. They haven't helped on others. It's....
  8255.  
  8256. 1826
  8257. 02:07:49,454 --> 02:07:53,250
  8258. The good thing is that when they help,
  8259. they're with you a hundred percent...
  8260.  
  8261. 1827
  8262. 02:07:53,458 --> 02:07:55,627
  8263. ...as they did in this case.
  8264.  
  8265. 1828
  8266. 02:07:58,839 --> 02:08:02,425
  8267. Richard Phillips came to the set
  8268. a couple of days into the shoot.
  8269.  
  8270. 1829
  8271. 02:08:02,634 --> 02:08:08,682
  8272. Tom had spent some time with him,
  8273. quite a bit of time with him, earlier on.
  8274.  
  8275. 1830
  8276. 02:08:10,350 --> 02:08:12,769
  8277. He was a very nice man.
  8278.  
  8279. 1831
  8280. 02:08:13,353 --> 02:08:16,231
  8281. Every inch a Merchant Mariner.
  8282.  
  8283. 1832
  8284. 02:08:17,232 --> 02:08:22,862
  8285. And one of the nicest things
  8286. of the whole experience...
  8287.  
  8288. 1833
  8289. 02:08:23,071 --> 02:08:26,449
  8290. ...was to show him and his wife the film
  8291. when it was all over.
  8292.  
  8293. 1834
  8294. 02:08:26,658 --> 02:08:32,414
  8295. And I remember Ange, his wife,
  8296. coming out in floods of tears.
  8297.  
  8298. 1835
  8299. 02:08:32,622 --> 02:08:35,000
  8300. I think she'd found it
  8301. very, very overwhelming...
  8302.  
  8303. 1836
  8304. 02:08:35,208 --> 02:08:40,088
  8305. ...to be taken that close
  8306. to the experience.
  8307.  
  8308. 1837
  8309. 02:08:40,839 --> 02:08:44,384
  8310. Richard is a very phlegmatic man.
  8311.  
  8312. 1838
  8313. 02:08:44,593 --> 02:08:47,178
  8314. He said, "It's a good movie."
  8315. He said:
  8316.  
  8317. 1839
  8318. 02:08:47,721 --> 02:08:51,224
  8319. "But it's not the same
  8320. as having a real gun put at your head."
  8321.  
  8322. 1840
  8323. 02:08:54,352 --> 02:08:58,106
  8324. I think the more you can involve
  8325. military professionals...
  8326.  
  8327. 1841
  8328. 02:08:58,315 --> 02:09:00,358
  8329. ...if your film is set in their world...
  8330.  
  8331. 1842
  8332. 02:09:00,567 --> 02:09:04,905
  8333. ...the better chance you've got
  8334. of authenticity.
  8335.  
  8336. 1843
  8337. 02:09:05,113 --> 02:09:08,283
  8338. And that was certainly the case here,
  8339. you know?
  8340.  
  8341. 1844
  8342. 02:09:08,491 --> 02:09:12,203
  8343. I think anybody who is familiar
  8344. with those worlds...
  8345.  
  8346. 1845
  8347. 02:09:12,412 --> 02:09:15,749
  8348. ...would say that this
  8349. is a pretty accurate depiction...
  8350.  
  8351. 1846
  8352. 02:09:15,957 --> 02:09:19,628
  8353. ...of how they respond
  8354. to these kinds of emergencies.
  8355.  
  8356. 1847
  8357. 02:09:22,756 --> 02:09:26,259
  8358. When Barry and I
  8359. began discussing the movie...
  8360.  
  8361. 1848
  8362. 02:09:26,468 --> 02:09:31,181
  8363. ...we initially thought
  8364. we'd go the digital route.
  8365.  
  8366. 1849
  8367. 02:09:31,890 --> 02:09:35,935
  8368. But in the end,
  8369. we knew we would be on water.
  8370.  
  8371. 1850
  8372. 02:09:36,144 --> 02:09:41,191
  8373. We knew we would be
  8374. in a lot of small skiffs.
  8375.  
  8376. 1851
  8377. 02:09:41,483 --> 02:09:45,362
  8378. And I was worried
  8379. we might have technical problems.
  8380.  
  8381. 1852
  8382. 02:09:45,612 --> 02:09:50,158
  8383. And in the end,
  8384. we chose to go back to 35.
  8385.  
  8386. 1853
  8387. 02:09:50,367 --> 02:09:55,163
  8388. Although some of the stuff in the skiffs
  8389. we shot on 16.
  8390.  
  8391. 1854
  8392. 02:09:55,372 --> 02:09:59,876
  8393. Because you get a bigger lens,
  8394. and a lighter weight.
  8395.  
  8396. 1855
  8397. 02:10:00,085 --> 02:10:02,671
  8398. And it gave us the maneuverability
  8399. we wanted...
  8400.  
  8401. 1856
  8402. 02:10:02,879 --> 02:10:08,426
  8403. ...in very, very dynamic,
  8404. physical, challenging conditions.
  8405.  
  8406. 1857
  8407. 02:10:11,388 --> 02:10:13,556
  8408. Khat, khat.
  8409.  
  8410. 1858
  8411. 02:10:13,765 --> 02:10:17,018
  8412. Khat is a plant. It's a leaf.
  8413.  
  8414. 1859
  8415. 02:10:17,394 --> 02:10:19,145
  8416. And it's a drug.
  8417.  
  8418. 1860
  8419. 02:10:19,354 --> 02:10:21,856
  8420. It's actually a little bit like a--
  8421.  
  8422. 1861
  8423. 02:10:22,065 --> 02:10:25,819
  8424. Not as strong,
  8425. but going towards like a coca leaf.
  8426.  
  8427. 1862
  8428. 02:10:26,027 --> 02:10:32,200
  8429. And it's a drug that's ubiquitously used
  8430. throughout Somalia...
  8431.  
  8432. 1863
  8433. 02:10:32,409 --> 02:10:35,078
  8434. ...and elsewhere in the Horn of Africa.
  8435.  
  8436. 1864
  8437. 02:10:35,286 --> 02:10:39,040
  8438. And people who live on the water
  8439. particularly use it...
  8440.  
  8441. 1865
  8442. 02:10:39,249 --> 02:10:43,962
  8443. ...because it combats the effects
  8444. of seasickness.
  8445.  
  8446. 1866
  8447. 02:10:47,173 --> 02:10:48,383
  8448. I'm pretty good, actually.
  8449.  
  8450. 1867
  8451. 02:10:48,591 --> 02:10:51,136
  8452. Tom and I, we were fine.
  8453. And, you know, a few of us--
  8454.  
  8455. 1868
  8456. 02:10:51,344 --> 02:10:54,055
  8457. But some people found it
  8458. very challenging.
  8459.  
  8460. 1869
  8461. 02:10:54,264 --> 02:10:58,184
  8462. But, no, I was all right.
  8463. I don't really get seasick, luckily.
  8464.  
  8465. 1870
  8466. 02:11:01,187 --> 02:11:05,692
  8467. One of the attractions of the film was
  8468. working with Tom, from my point of view.
  8469.  
  8470. 1871
  8471. 02:11:05,900 --> 02:11:07,652
  8472. And he and I knew each other...
  8473.  
  8474. 1872
  8475. 02:11:07,861 --> 02:11:10,238
  8476. ...and we'd talked
  8477. about finding something to do.
  8478.  
  8479. 1873
  8480. 02:11:10,447 --> 02:11:14,075
  8481. So when this came up,
  8482. I jumped at it because I thought--
  8483.  
  8484. 1874
  8485. 02:11:14,284 --> 02:11:18,496
  8486. You know, he was already involved.
  8487. But I thought he was perfect for the part.
  8488.  
  8489. 1875
  8490. 02:11:18,705 --> 02:11:23,710
  8491. And, you know, I wasn't gonna miss
  8492. the chance to team up with him.
  8493.  
  8494. 1876
  8495. 02:11:23,918 --> 02:11:29,007
  8496. Tom's just a wonderful actor
  8497. and a total gentleman, you know?
  8498.  
  8499. 1877
  8500. 02:11:29,215 --> 02:11:34,179
  8501. And he had to put up with a lot
  8502. on this film.
  8503.  
  8504. 1878
  8505. 02:11:37,182 --> 02:11:39,809
  8506. So I just wanna say a big thank you...
  8507.  
  8508. 1879
  8509. 02:11:40,018 --> 02:11:44,647
  8510. ...to everybody
  8511. who helped us make this film.
  8512.  
  8513. 1880
  8514. 02:11:45,398 --> 02:11:47,567
  8515. And there were many of them.
  8516.  
  8517. 1881
  8518. 02:11:47,776 --> 02:11:52,614
  8519. And this is Paul Greengrass,
  8520. signing off...
  8521.  
  8522. 1882
  8523. 02:11:52,822 --> 02:11:55,950
  8524. ...on the director's commentary
  8525. for Captain Phillips.
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