captain philips 2013

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My name's Paul Greengrass...

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...and this is the director's commentary
for Captain Phillips.

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The story starts in a small
farming community, Underhill, Vermont...

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...where Richard Phillips...

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...a Merchant Marine captain
working for Maersk Line...

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...gets ready to go on a trip...

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...something he's done
many, many times before.

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There are lots of reasons
why you make a film.

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With this one, it was the compelling
story, for me, of two captains.

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One from Vermont...

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...in charge of a large modern
container ship...

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...and the other, a young Somali...

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...in charge of a pirate skiff.
And their collision...

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...their trial of strength,
their test of wills was really the film.

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But also, another reason...

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...was that my father was
in the Merchant Marine, at sea all his life.

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So I felt I knew about these men
and what their life was.

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You all right?

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The first scene
is a very important scene, I think...

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...between Richard Phillips and his wife...

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...in which they really lay out
the thematic ground of the film...

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...which is unease.

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When we started the film...

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...we talked a lot about
the dominant question being:

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Are we going to be okay?

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I think all of us,
no matter what our professions...

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...no matter what our circumstances,
have that sense of unease...

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...that the future is not necessarily
going to go as well as the past.

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And I wanted that sense...

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...of a fast-moving, fast-changing world.

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The globalizing economy
that drives all of our lives...

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...and drives all of our choices,
wherever we are...

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...to really underpin the film.

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In fact, when we first started the film....

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The-- It was based
on Richard Phillips' book...

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...which was really the account
of his first-person experiences...

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...and his wife's experiences
back in Vermont.

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And that was
one of the reasons why...

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...we cast that wonderful actress,
Catherine Keener.

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As the story-- Or as the development
process unfolded...

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...it became clear to me
that our story really lay on the water.

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And so we ended up
just with this one scene...

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...and I'm forever
in Catherine's debt. She--

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I said, "Do you really wanna do this?
It's a very small part now."

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And she said, "No, no. I really do."
And she believed in the film.

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And she graced us with her presence.

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And as I say, I'm forever in her debt.

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She's a wonderful actress.

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I just wanted these scenes
to be everyday.

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Nothing loaded in the farewell.

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Just ordinary.

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-Have a safe trip.
-I'll call you from there.

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A big danger in these sorts of stories
is to play the end...

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...to play every scene
with the knowledge of the end...

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...so it becomes kind of doom-laden.

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But, of course,
there would have been nothing...

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...in Richard Phillips' mind
or his wife's mind...

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...to suggest that this was anything
other than a routine trip.

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And then we cut
to a very different part of the world.

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Eyl, Somalia.

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A pirate community...

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...financed by--

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From far away.

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--by organized criminals.

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Because the truth
about modern day piracy...

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...is it's organized crime
on the high seas.

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Hurry, Muse!

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And, of course, like organized crime
through history...

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...its roots lie in poverty and desperation
and lack of choices.

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And we meet a young man, Muse...

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...who's a skiff captain.

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And I wanted to portray
in these scenes...

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...the context
in which criminal choices are made.

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And that context, of course,
is the desperate, lawless...

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...warlord-dominated,
gangster-dominated...

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...impoverished world of Somalia.

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And also to set up the rivalry
between Muse...

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...and the other pirate-skiff captain,
Asad.

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Stay out of my way today.

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And to say a little bit...

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...about the brutal world...

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...of modern piracy.

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Muse, take me with you.

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These scenes were all shot in Morocco...

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...but it was uncannily close
to the coast of Somalia.

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And we meet the other pirates.

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The young--
The youngest of the four, Bilal...

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...carrying the khat...

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...which is chewed ubiquitously
by people in Somalia.

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It's also considered an antidote
for seasickness...

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...which is why a lot
of these young pirates use it.

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It's a sort of--

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It's the drug of choice in Somalia.

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Next time bring me something
if you want to work.

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I wanted this scene to carry echoes...

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...of that famous scene,
start of On the Waterfront...

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...where you see that ruthless people
choose who's to work and who's not.

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And that creates
a whole system of control.

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But, of course,
you know from this first scene...

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...that Muse is going to come into conflict
and collision with Phillips.

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The two men whose journeys
are going to meet.

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I want him.

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That's Najee.

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Why did he pick him?

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The hard man of the four,
I suppose you'd call him.

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So now we know the four of them.

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Muse in command, Bilal...

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...Najee and Elmi the driver...

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...there with the blue fuel bucket...

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...and, of course, the ladder.

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This was a very difficult scene
to shoot...

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...because the swell was very big.

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And those boats are quite dangerous.

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You know, when they pitch
into the waves...

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...there were a lot of safety issues
actually, funnily enough, with that.

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As many the-- As with many
of the other scenes on the water...

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...safety is always paramount.

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Faster, move faster!

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And I wanted to show
the relationship...

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...between the pressure...

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...that a Maersk captain feels under...

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...and the way that same pressure
is translated...

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...into a vessel off the coast of Somalia.
A pirate vessel off the coast of Somalia.

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It's the pressure
of a fast-globalizing world...

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...but, of course...

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...it's a harsher, a more brutal world
down at the bottom.

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And I very much
liked Henry Jackman's score there...

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...which was a cello...

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...with a variety of pans...

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...and metal objects...

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...used to create percussive sounds
of tension.

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So now we come back to Richard
Phillips at Salalah Port, Oman...

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...where he joins the Maersk Alabama.

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This scene was actually shot...

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...on a harbor in Malta.

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And we used some small visual effects,
set extensions...

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...just to create
the additional sense of scale.

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Sign right there, sir.

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But it worked really well, I think.

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I totally believed
we were in Salalah Port.

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One of the big decisions we made
early in this film...

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...was to shoot as much
as we possibly could on the water...

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...on the ocean...

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...and as much as we possibly could...

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...on the actual vessels.

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This vessel was actually
the Maersk Alexandra...

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...an identical sister ship...

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...the only sister ship
of the Maersk Alabama.

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So it was an identical ship...

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...and we were able to hire it
and bring it to Malta.

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And it just brought to life...

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...the piece in a way that shooting on set
would never have been able to.

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Just the detail
of the pirate cages unlocked...

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...the engine-room doors unlocked...

155
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...the corridors, the compression...

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...the claustrophobia of it all.

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It became an adventure for all of us
who made the film too.

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Phillips comes
into his captain's quarters...

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...and then he starts
by coming up to the bridge.

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-Hey, good to see you, Cap.
-Shane. Good to see you.

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-Good to see you.
-Hey. Carry on.

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-Hey, bos?
-Yeah?

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And he meets his chief mate,
Shane Murphy...

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...played by Michael Chernus.

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--grab Jimmy, get on the Lodestar.

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It's a tremendous challenge, I think...

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...for an actor...

168
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...talking about Tom Hanks here...

169
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...to come in
and be a believable captain...

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...of a modern container ship.

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There's a huge skill set
that you have to have...

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...to be in charge of a ship.

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And Tom spent a lot of time
on the Alexandra.

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In fact, he took a passage himself
on the ship alone with the crew...

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...so that he could see how the ship
was captained by Captain Larsen.

176
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And by the time we started shooting...

177
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...it was amazing to all of us, I think...

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...how absolutely believably he slipped...

179
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...into the role of the captain.

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--all the way down to Mombasa.

181
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We need five minutes
on that reefer bow.

182
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We should be able
to unload the containers around 0800.

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Always a difficult judgment
to make in a film like this...

184
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...how hard to hit...

185
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...the idea of the dangerous waters.

186
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You have to do it because it's....

187
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Your audience knows
that's where the piece is going.

188
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But you don't want it
to be too heavy-handed...

189
00:12:44,598 --> 00:12:50,312
...and again, I thought
that Henry's score was perfectly judged...

190
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...because you move
from just a little sense of unease...

191
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...into this brass chord...

192
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...that becomes the basis for the score
as we develop.

193
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Tighten it up.

194
00:13:07,829 --> 00:13:09,831
Hey, slow down.

195
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So then we move
into the departure of the Alabama.

196
00:13:17,047 --> 00:13:18,715
We had to use visual effects...

197
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...to change the Alexandra
to the Alabama in that previous shot.

198
00:13:22,678 --> 00:13:25,138
There was little visual-effects work
in the film...

199
00:13:25,347 --> 00:13:29,267
...but most of it was in that shot...

200
00:13:29,476 --> 00:13:32,980
...again, changing the Alabama--
The Alexandra to the Alabama.

201
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Dead slow ahead.

202
00:13:41,363 --> 00:13:45,575
Again, this scene's important
because you need to sell...

203
00:13:45,784 --> 00:13:50,330
...the technological power
of the modern container ship...

204
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...with its huge engines...

205
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...its very full cargo of containers...

206
00:14:00,090 --> 00:14:04,928
...and the high-tech equipment
that Phillips has at his disposal.

207
00:14:07,055 --> 00:14:11,184
And also to sell its fragility.
I always think as you see these shots...

208
00:14:11,393 --> 00:14:14,980
...you feel it's a sort of delicate machine
as well...

209
00:14:15,188 --> 00:14:17,983
...as it cuts its way through the ocean...

210
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...and out towards the Somali Basin.

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00:14:27,909 --> 00:14:29,828
We talked a lot, Tom and I...

212
00:14:30,036 --> 00:14:33,457
...about trying to get
as authentically as we could...

213
00:14:33,665 --> 00:14:39,212
...to capture the ordinary procedures
of a captain's life.

214
00:14:40,213 --> 00:14:44,801
The three times daily, four times daily,
walking around the deck...

215
00:14:45,010 --> 00:14:47,262
...just to check who's doing what...

216
00:14:47,471 --> 00:14:49,556
...how the cargo is...

217
00:14:49,765 --> 00:14:51,600
...how the ship is.

218
00:14:51,808 --> 00:14:57,064
And in a film like this, the temptation
often is to cut these pieces.

219
00:14:57,272 --> 00:15:00,025
But actually, very often...

220
00:15:00,233 --> 00:15:04,196
...if you take time to set up the world,
to explore the world...

221
00:15:04,613 --> 00:15:05,947
...it pays dividends later...

222
00:15:06,156 --> 00:15:09,534
...because you've become invested,
as an audience, in it...

223
00:15:09,743 --> 00:15:13,747
...as a believable world
with believable characters.

224
00:15:15,290 --> 00:15:20,879
Again, we had to pick the world
of a modern Merchant Marine crew.

225
00:15:21,088 --> 00:15:22,214
It's a hard life.

226
00:15:23,465 --> 00:15:25,675
As I know from my father,
it's a hard life...

227
00:15:25,884 --> 00:15:30,013
...and people who go to sea go to sea
because it's a choice. It's a calling.

228
00:15:39,648 --> 00:15:42,776
And now I think we know
the rhythm of the film.

229
00:15:42,984 --> 00:15:45,195
We're gonna cut
between these two worlds.

230
00:15:47,322 --> 00:15:49,574
Captain Phillips...

231
00:15:49,866 --> 00:15:52,953
...and the young pirate, Captain Muse.

232
00:15:53,662 --> 00:15:56,248
And this is obviously the moment...

233
00:15:57,457 --> 00:16:00,001
...where he sees the Alabama.

234
00:16:00,210 --> 00:16:04,464
He doesn't, of course, know it's that ship
then, but he just knows it as a blip...

235
00:16:04,673 --> 00:16:06,675
...on its own in the ocean.

236
00:16:07,551 --> 00:16:09,970
We know now the collision
we've been waiting for...

237
00:16:10,178 --> 00:16:14,141
...almost from the first moment
of the film, is not far away.

238
00:16:27,112 --> 00:16:29,865
Again, this is another scene that....

239
00:16:30,073 --> 00:16:32,158
You don't want to hurry your audience.

240
00:16:32,367 --> 00:16:37,163
They know where you're going. In many
ways, you want to lean against it.

241
00:16:37,372 --> 00:16:40,500
Phillips receives the warnings.

242
00:16:40,709 --> 00:16:44,170
There were a lot of warnings issued
at that time.

243
00:16:46,047 --> 00:16:49,301
A problem that a Merchant Marine
captain like Phillips had...

244
00:16:49,509 --> 00:16:52,345
...was that they were under instructions
from the company...

245
00:16:52,888 --> 00:16:57,392
...to continue on their route...

246
00:16:57,601 --> 00:17:01,354
...and the warnings were unspecific.

247
00:17:01,563 --> 00:17:05,317
Pirates were attacking hundreds, if not
thousands of miles out into the ocean.

248
00:17:05,525 --> 00:17:07,611
There was no safe distance.

249
00:17:08,737 --> 00:17:12,115
The only way you could get through
was to move as quickly as you could...

250
00:17:12,324 --> 00:17:14,618
...through dangerous waters
and hope for the best.

251
00:17:15,410 --> 00:17:16,786
Ken, you're the duty officer?

252
00:17:16,953 --> 00:17:18,413
-Yeah, Cap.
-Right.

253
00:17:18,580 --> 00:17:21,458
Boat with two armed men is approaching
on your starboard beam.

254
00:17:21,625 --> 00:17:24,920
Phillips was a very diligent...

255
00:17:26,171 --> 00:17:28,632
...and professional captain.

256
00:17:28,840 --> 00:17:34,179
And in the end,
he came to face an enormous challenge.

257
00:17:35,305 --> 00:17:40,352
An unimaginable challenge that--
No U.S. flag carrier...

258
00:17:40,560 --> 00:17:44,606
...had been attacked by pirates
for 200 years.

259
00:17:45,106 --> 00:17:49,903
But through it all, by the end
of this entire sequence of events...

260
00:17:50,111 --> 00:17:51,488
...thanks to his courage...

261
00:17:52,906 --> 00:17:55,575
...his ship was safe,
got to Mombasa safely--

262
00:17:55,784 --> 00:18:00,288
The crew got to Mombasa
safely, unhurt...

263
00:18:00,497 --> 00:18:02,874
...and so did his cargo.

264
00:18:03,500 --> 00:18:06,252
And in that sense,
he fulfilled the three prime duties...

265
00:18:06,461 --> 00:18:08,421
...of a Merchant Marine captain...

266
00:18:08,630 --> 00:18:11,383
...but he did it at risk of his own life.

267
00:18:11,591 --> 00:18:14,344
-Watch it, man.
-Ready with number six.

268
00:18:14,511 --> 00:18:15,637
All right.

269
00:18:16,304 --> 00:18:17,389
You tied up?

270
00:18:17,597 --> 00:18:20,934
So here we are
in the middle of a security drill.

271
00:18:22,060 --> 00:18:24,020
Crew affixed the hoses...

272
00:18:24,229 --> 00:18:26,898
...which are really in the absence
of any armed guards...

273
00:18:27,107 --> 00:18:30,360
...because, of course, in those days,
armed guards weren't carried...

274
00:18:30,568 --> 00:18:34,322
...on Merchant Marine ships
principally for three reasons.

275
00:18:34,531 --> 00:18:38,952
Firstly, you couldn't carry weapons
into many international ports...

276
00:18:39,160 --> 00:18:41,162
...and secondly...

277
00:18:42,914 --> 00:18:45,250
...shipping companies weren't prepared
to pay...

278
00:18:45,458 --> 00:18:49,462
...the additional costs of security details
on ships...

279
00:18:49,671 --> 00:18:51,631
...as they do now since these events.

280
00:18:51,840 --> 00:18:54,551
And thirdly,
captains weren't very keen...

281
00:18:55,343 --> 00:18:59,097
...on having weapons onboard,
you know.

282
00:18:59,305 --> 00:19:02,183
A Saturday-night dispute onboard
being settled with firearms...

283
00:19:02,392 --> 00:19:04,519
...wouldn't have been their choice.

284
00:19:05,770 --> 00:19:08,189
But it left, of course, these ships...

285
00:19:08,398 --> 00:19:11,401
...perilously vulnerable
on the high seas...

286
00:19:12,235 --> 00:19:15,864
...as Phillips discovers now.

287
00:19:16,072 --> 00:19:18,742
What's up, Cap? Everything okay?

288
00:19:18,908 --> 00:19:21,119
I don't like the look of that.

289
00:19:25,707 --> 00:19:29,419
This was the first attack,
we used to call it.

290
00:19:30,128 --> 00:19:31,588
The first of two attacks.

291
00:19:31,796 --> 00:19:33,548
A long sequence.

292
00:19:33,757 --> 00:19:37,052
And the key in sequences like these
is to sort of....

293
00:19:37,260 --> 00:19:43,475
Is to be very clear up front
what the pieces are that you want.

294
00:19:43,683 --> 00:19:46,019
And you've gotta hone
and work at it on the page...

295
00:19:46,644 --> 00:19:49,022
...to be sure
that every single beat is right.

296
00:19:50,273 --> 00:19:53,109
And then when you shoot it,
you've got to try and shoot it...

297
00:19:53,318 --> 00:19:56,696
...as freely as you can
so you get it to live...

298
00:19:56,905 --> 00:20:01,409
...and rather than just be a sequence
of beats or points.

299
00:20:02,035 --> 00:20:03,995
And then...

300
00:20:04,537 --> 00:20:08,792
...when that material is shot,
it goes into the cutting room...

301
00:20:09,000 --> 00:20:13,505
...and I'm lucky enough
to have one of the world's great editors...

302
00:20:13,671 --> 00:20:14,798
...Christopher Rouse...

303
00:20:17,634 --> 00:20:20,595
...collaborating with me on these films.

304
00:20:21,012 --> 00:20:22,680
And the way he puts this together...

305
00:20:22,889 --> 00:20:24,766
...the sense of architecture...

306
00:20:24,974 --> 00:20:28,895
...and the sense of controlled pace...

307
00:20:29,104 --> 00:20:32,398
...the precision of each shot...

308
00:20:33,983 --> 00:20:37,487
...is a master class in editing, I think,
and storytelling.

309
00:20:42,117 --> 00:20:44,160
Now get me U.S. Maritime Emergency.

310
00:20:44,327 --> 00:20:46,746
And a lot of the things
that are being set up here...

311
00:20:46,955 --> 00:20:50,375
...of course, are common
to the second attack.

312
00:20:50,583 --> 00:20:53,670
You've got to understand
how the ship works...

313
00:20:53,878 --> 00:20:56,339
...what the control surfaces
and choices are...

314
00:20:56,548 --> 00:20:58,967
...that are available to the captain...

315
00:21:01,386 --> 00:21:03,763
...if you're to make an assessment
as an audience...

316
00:21:03,930 --> 00:21:06,141
...as to the vulnerability
of their situation.

317
00:21:06,349 --> 00:21:08,184
And the more you understand it...

318
00:21:08,393 --> 00:21:12,355
...the more you engage
with the scenario.

319
00:21:13,481 --> 00:21:15,233
And I think...

320
00:21:17,277 --> 00:21:19,487
...you feel...

321
00:21:20,405 --> 00:21:22,991
...in this performance
from Tom Hanks...

322
00:21:24,242 --> 00:21:29,539
...the absolute concentration he has
in dealing with this unfolding crisis...

323
00:21:30,999 --> 00:21:33,001
...in a very, very believable way.

324
00:21:33,835 --> 00:21:35,962
--with a possible mothership following.

325
00:21:36,129 --> 00:21:38,798
-Potential piracy situation.
-Copy, Alabama.

326
00:21:38,965 --> 00:21:41,759
Alert your crew,
get your fire hoses ready...

327
00:21:41,926 --> 00:21:44,053
...and follow lockdown procedures.

328
00:21:45,346 --> 00:21:46,764
Yeah. Is that it?

329
00:21:46,931 --> 00:21:49,309
This is a scene
that if you wrote it as fiction...

330
00:21:49,475 --> 00:21:51,352
...no one would believe you.

331
00:21:51,561 --> 00:21:53,438
The difference is, it actually happened.

332
00:21:53,771 --> 00:21:56,316
The more that he reached out...

333
00:21:56,524 --> 00:21:57,901
...to the emergency numbers...

334
00:21:58,109 --> 00:22:00,653
...the less help he had.

335
00:22:00,862 --> 00:22:03,865
The more you realize something
important in this film, I think...

336
00:22:04,073 --> 00:22:07,827
...which is that unlike the movie world
where with--

337
00:22:08,036 --> 00:22:11,498
We're led to believe so often
that help can be summoned up...

338
00:22:11,706 --> 00:22:13,458
...in a phone call, you know...

339
00:22:14,459 --> 00:22:18,671
...that actually,
if you're a container ship...

340
00:22:18,880 --> 00:22:21,633
...thousands of miles away
in the middle of the ocean...

341
00:22:21,841 --> 00:22:24,552
...there's nothing anybody can do.
You're on your own.

342
00:22:28,056 --> 00:22:32,977
Now we get a sight of Muse
coming towards the vessel.

343
00:22:34,395 --> 00:22:36,940
He and his rival, Asad...

344
00:22:38,650 --> 00:22:41,110
...riding what looked
like modern chariots.

345
00:22:41,444 --> 00:22:43,988
Very, very hard to get those shots.

346
00:22:45,073 --> 00:22:46,699
Hard from a safety point of view--

347
00:22:46,908 --> 00:22:50,745
Very hard for all the actors in the skiffs
to keep their balance...

348
00:22:50,954 --> 00:22:53,373
...in those immense seas,
but very, very hard for us.

349
00:22:53,581 --> 00:22:59,128
We had to use a crane
on a cantilevered arm...

350
00:23:00,088 --> 00:23:04,050
...to keep it steady enough
to get these shots.

351
00:23:04,259 --> 00:23:06,177
They're remarkable
and you really feel...

352
00:23:06,386 --> 00:23:08,680
...the weight of water...

353
00:23:08,888 --> 00:23:11,724
...and the power...

354
00:23:14,102 --> 00:23:17,105
...of the skiff through the--
Through the swell.

355
00:23:24,988 --> 00:23:27,740
Another moment. I remember
reading Richard Phillips' book...

356
00:23:27,949 --> 00:23:33,788
...when he gave the account
of making the fake emergency call.

357
00:23:34,372 --> 00:23:36,332
Again, one of those moments
in the story...

358
00:23:36,541 --> 00:23:40,461
...where I thought, if you made that up,
no one would believe you. It's such a....

359
00:23:41,421 --> 00:23:44,465
An outrageous maneuver.

360
00:23:44,674 --> 00:23:46,134
But he did do it.

361
00:23:46,342 --> 00:23:48,094
And as you see, it almost worked.

362
00:23:48,261 --> 00:23:51,347
Our speed is 18.5 knots.

363
00:23:51,556 --> 00:23:54,309
We are being approached
by two pirate skiffs--

364
00:23:54,475 --> 00:23:55,518
The good thing is...

365
00:23:57,020 --> 00:24:00,440
...you're starting to build connectivity
between the characters...

366
00:24:00,648 --> 00:24:02,567
...between Phillips and Muse...

367
00:24:03,234 --> 00:24:05,320
...between Muse and Asad...

368
00:24:05,528 --> 00:24:07,947
...and between Muse and Asad
and the mothership.

369
00:24:08,156 --> 00:24:12,201
So your audience is clear all the time
about who the protagonists are...

370
00:24:12,410 --> 00:24:14,871
...where they are, and what's occurring.

371
00:24:15,830 --> 00:24:19,876
And the truth of any action sequence is:

372
00:24:21,461 --> 00:24:25,089
The clearer you are about the characters
and what they want...

373
00:24:25,298 --> 00:24:28,509
...the clearer you are
about the relationships between them...

374
00:24:28,718 --> 00:24:34,015
...the clearer you are
about the physical spaces they inhabit...

375
00:24:34,223 --> 00:24:40,063
...and the more precision you can give
each move and countermove--

376
00:24:40,521 --> 00:24:43,524
Each detail in the unfolding story.

377
00:24:43,900 --> 00:24:46,527
--the better your action will be.

378
00:24:46,736 --> 00:24:50,323
It's a great mistake, in my view,
to create generality...

379
00:24:50,531 --> 00:24:51,991
...in an action sequence.

380
00:24:52,200 --> 00:24:53,826
Come on! Keep going!

381
00:24:56,287 --> 00:24:59,457
Cutting very fast
and waving the camera...

382
00:25:00,166 --> 00:25:03,628
...does not give you true engagement
as an audience.

383
00:25:03,836 --> 00:25:06,964
Only precision and detail...

384
00:25:08,257 --> 00:25:12,178
...painstakingly put together
in the right order...

385
00:25:12,387 --> 00:25:17,517
...so that you feel an overall
building architecture in the sequence--

386
00:25:17,725 --> 00:25:20,812
That's what gives you great action,
in my view.

387
00:25:26,359 --> 00:25:27,694
So now we see the....

388
00:25:30,029 --> 00:25:34,659
The great advantage
that the modern container ship has.

389
00:25:35,159 --> 00:25:37,537
And you can say it in one word.
It's power.

390
00:25:39,831 --> 00:25:43,543
Those enormous--
The thrust of those enormous engines...

391
00:25:43,751 --> 00:25:45,169
...powering them forward...

392
00:25:47,547 --> 00:25:49,590
...creating an enormous wake...

393
00:25:49,799 --> 00:25:54,929
...that it's very hard for the skiffs
to get through.

394
00:25:57,181 --> 00:26:03,771
And in the end,
when engine is pitted against engine in--

395
00:26:03,980 --> 00:26:05,523
As it is in this sequence...

396
00:26:05,731 --> 00:26:07,733
...there's really only gonna be
one winner.

397
00:26:20,788 --> 00:26:24,417
Because at this stage
in this sequence now...

398
00:26:24,959 --> 00:26:27,670
...we finally got Phillips and Muse...

399
00:26:27,879 --> 00:26:30,006
...in a relationship with each other...

400
00:26:31,174 --> 00:26:32,550
...where they're locked up...

401
00:26:33,050 --> 00:26:38,848
...and that leads to this moment
through the binoculars coming up...

402
00:26:39,056 --> 00:26:43,811
...which obviously is a profound stage
in their relationship.

403
00:26:44,020 --> 00:26:46,481
It's the point in their relationship...

404
00:26:46,689 --> 00:26:48,816
...where both have seen each other.

405
00:26:54,530 --> 00:26:57,950
And, of course, we know
that they'll meet again.

406
00:27:01,621 --> 00:27:03,623
But for the moment...

407
00:27:04,540 --> 00:27:07,293
...first round to Captain Phillips.

408
00:27:11,631 --> 00:27:15,176
And again,
you get those brass chords...

409
00:27:15,384 --> 00:27:18,262
...which are beautifully judged
by Henry.

410
00:27:18,638 --> 00:27:21,390
Alternately reassuring...

411
00:27:21,808 --> 00:27:24,101
...and disquieting.

412
00:27:25,102 --> 00:27:27,396
Complete paradox,
complete contradiction.

413
00:27:28,147 --> 00:27:29,774
But it's the way that score works.

414
00:27:29,982 --> 00:27:33,361
It offers you both at various times.

415
00:27:33,528 --> 00:27:35,655
--both with armed intruders.

416
00:27:35,821 --> 00:27:40,535
Now, we all know that's a hazard
in these waters, but you performed well.

417
00:27:41,953 --> 00:27:44,038
This was an important scene
in the film...

418
00:27:44,747 --> 00:27:48,334
...when Phillips talks to his crew.

419
00:27:50,920 --> 00:27:53,339
And we can feel...

420
00:27:54,882 --> 00:27:58,219
...how each reacts to what's occurred.

421
00:28:00,263 --> 00:28:03,432
How do you deal with the fact
that you've been attacked by pirates...

422
00:28:03,641 --> 00:28:06,936
...when you're thousands of miles
from any safety?

423
00:28:07,103 --> 00:28:08,479
Cap.

424
00:28:10,523 --> 00:28:11,649
They're coming back.

425
00:28:11,816 --> 00:28:14,527
Amen. Yeah, that's right.
They're coming back.

426
00:28:14,694 --> 00:28:18,322
If they come back,
we'll follow procedure.

427
00:28:18,489 --> 00:28:21,742
We know when we see Phillips there
that he knows that too.

428
00:28:23,869 --> 00:28:27,748
We will follow the procedures even if
we have to shut down, lock down...

429
00:28:27,915 --> 00:28:29,750
...go dead in the water
and wait for help.

430
00:28:29,917 --> 00:28:33,337
It's interesting this--
That was the state of mind...

431
00:28:33,546 --> 00:28:36,757
...both of Merchant Marine crews...

432
00:28:36,966 --> 00:28:39,010
...and captains,
and also shipping companies.

433
00:28:39,218 --> 00:28:43,681
They believed that ships
with a freeboard--

434
00:28:43,890 --> 00:28:46,726
That's to say a distance
from ocean to deck...

435
00:28:46,934 --> 00:28:48,436
...of greater than 15 feet...

436
00:28:48,644 --> 00:28:51,439
...and a speed through the water
of greater than 15 knots...

437
00:28:51,647 --> 00:28:53,399
...both of which Maersk Alabama had.

438
00:28:53,608 --> 00:28:56,861
In other words, it was believed
that the biggest container ships...

439
00:28:57,445 --> 00:29:00,281
...were not able to be attacked
by pirates...

440
00:29:00,489 --> 00:29:05,286
...that they would prefer to go for tankers
that were lower in the water, small--

441
00:29:05,494 --> 00:29:08,456
Particularly smaller ones
that didn't have very much speed.

442
00:29:10,791 --> 00:29:14,503
And here, Phillips articulates
the central difficulty.

443
00:29:14,712 --> 00:29:17,715
There is no safe place to go.
There is no running away.

444
00:29:20,343 --> 00:29:22,720
In the months
before this particular attack...

445
00:29:23,387 --> 00:29:25,890
...pirate attacks were recorded
in the Indian Ocean...

446
00:29:26,057 --> 00:29:29,185
...as far as 1200 miles
from the Somali coast...

447
00:29:29,393 --> 00:29:32,021
...because they had these
motherships...

448
00:29:32,229 --> 00:29:36,567
...that they used to carry the skiffs out
hundreds and thousands of miles...

449
00:29:36,776 --> 00:29:41,364
...out into the ocean
to look for unsuspecting shipping.

450
00:29:53,292 --> 00:29:57,838
I just wanted to remind the audience...

451
00:29:58,464 --> 00:30:01,717
...that Phillips had a life
beyond the ship.

452
00:30:02,134 --> 00:30:04,512
A wife, a family.

453
00:30:04,804 --> 00:30:06,931
And also...

454
00:30:07,139 --> 00:30:08,891
...that he was doing...

455
00:30:09,225 --> 00:30:12,979
...what I think all Merchant Marine
captains would do...

456
00:30:13,187 --> 00:30:18,943
...which is to keep their anxieties
well away from their family.

457
00:30:20,653 --> 00:30:24,615
Hufan, I'm telling you,
our boat couldn't take it.

458
00:30:25,199 --> 00:30:29,787
Now, we cut back to the inquest
on the pirate mothership.

459
00:30:31,288 --> 00:30:33,624
And we start to learn something
about Asad.

460
00:30:33,833 --> 00:30:35,251
What we know, of course...

461
00:30:35,459 --> 00:30:39,964
...and Muse knows that Asad bailed
in the attack.

462
00:30:40,381 --> 00:30:43,509
So he's giving his excuses early...

463
00:30:43,968 --> 00:30:49,223
...whereas young Muse is only interested
in trying to get a larger ladder...

464
00:30:49,432 --> 00:30:52,101
...and more power to the engine.

465
00:30:53,394 --> 00:30:56,814
He's seen the big prize...

466
00:30:57,148 --> 00:30:59,191
...and we know he's determined
to get it.

467
00:31:00,359 --> 00:31:02,987
But first, he has to deal with his rival.

468
00:31:05,656 --> 00:31:10,286
Shut up, Skinny. You talk too much.

469
00:31:10,953 --> 00:31:13,748
I may be skinny, but I'm not a coward.

470
00:31:20,421 --> 00:31:22,673
Muse's nickname...

471
00:31:22,882 --> 00:31:25,384
...was Skinny Rat or Skinny.

472
00:31:27,803 --> 00:31:31,474
I loved it as a piece of detail
and so did Barkhad Abdi.

473
00:31:33,350 --> 00:31:34,393
And he used it...

474
00:31:35,936 --> 00:31:38,856
...to build this particular moment
when he's--

475
00:31:39,064 --> 00:31:41,734
Stands up for himself
and becomes formidable.

476
00:31:46,197 --> 00:31:50,409
We know in this moment
that Phillips has a real adversary.

477
00:31:53,954 --> 00:31:56,290
One of the other important decisions
in our film...

478
00:31:56,499 --> 00:32:01,295
...was to cast young Somali actors
to play the parts of the--

479
00:32:01,504 --> 00:32:03,631
Of all the pirates, in fact.

480
00:32:04,256 --> 00:32:06,842
We found those actors....

481
00:32:07,802 --> 00:32:11,680
Well, a lot of the smaller parts
were found in the U.K.

482
00:32:11,889 --> 00:32:15,017
But the four principal pirates
were found in Minneapolis...

483
00:32:15,226 --> 00:32:18,854
...which is the largest
Somali community in the U.S.

484
00:32:19,146 --> 00:32:24,276
Obviously, there's no Somali acting
community in Los Angeles or New York.

485
00:32:24,485 --> 00:32:26,529
And Francine Maisler,
our casting director...

486
00:32:26,737 --> 00:32:32,660
...and her colleagues
really had the job of finding them.

487
00:32:32,868 --> 00:32:34,954
And when they went there...

488
00:32:35,162 --> 00:32:38,958
...they found that that community
was rich and vibrant...

489
00:32:39,166 --> 00:32:44,421
...filled with storytellers and musicians
and writers and actors.

490
00:32:44,630 --> 00:32:48,759
And we were very lucky to have
these four young men play the parts.

491
00:32:48,968 --> 00:32:50,845
-Where are they?
-Port quarter.

492
00:32:51,011 --> 00:32:52,721
One-point-seven miles, captain.

493
00:32:54,098 --> 00:32:56,976
So now we begin the second attack.

494
00:32:57,184 --> 00:32:59,854
And the trick here
is to step the pace up...

495
00:33:00,062 --> 00:33:03,816
...so you feel that
the throttle of the film...

496
00:33:05,609 --> 00:33:08,654
...has just been pressed down
a little more.

497
00:33:11,699 --> 00:33:17,121
And I think it's at this stage in the film
that I always feel...

498
00:33:17,329 --> 00:33:20,124
...that Tom's performance...

499
00:33:21,709 --> 00:33:25,921
...starts to really
completely dominate the film.

500
00:33:26,130 --> 00:33:28,257
I want max revs. Take the limits off.

501
00:33:28,424 --> 00:33:34,722
You feel that somewhere in his eyes
is a kind of existential fear.

502
00:33:34,930 --> 00:33:40,477
It's not really just about
skiffs taking over the ships.

503
00:33:42,563 --> 00:33:47,151
It's some unimaginable crisis
that he's facing.

504
00:33:48,819 --> 00:33:55,075
And, of course,
that sense of crisis drives the film.

505
00:33:55,242 --> 00:33:57,202
U.S. Maritime Emergency line.

506
00:33:58,203 --> 00:34:01,665
This is the Maersk Alabama.
We are under pirate attack at a....

507
00:34:01,832 --> 00:34:04,585
-What's happening?
-Ken, get out here.

508
00:34:04,793 --> 00:34:07,796
-I need eyes on the wing. Skiff coming in.
-I'm on it.

509
00:34:07,963 --> 00:34:12,384
Now, it's become one tiny skiff
versus one large ship.

510
00:34:12,801 --> 00:34:14,845
And we're going
through those same gears...

511
00:34:15,054 --> 00:34:17,640
...that we went through in first attack,
but--

512
00:34:17,848 --> 00:34:21,477
But quicker, with more urgency.

513
00:34:21,685 --> 00:34:24,188
More sense of desperation
under the surface.

514
00:34:26,273 --> 00:34:29,860
Somali coast guard.
This is a routine check.

515
00:34:30,069 --> 00:34:31,904
The score here is very, very clever.

516
00:34:32,112 --> 00:34:37,701
It's mixing pulse and tempo,
which is perfectly judged, incidentally...

517
00:34:37,910 --> 00:34:41,330
...and the sort of plangent brass...

518
00:34:42,623 --> 00:34:48,045
...lines that, as I say,
are both comforting...

519
00:34:48,254 --> 00:34:51,382
...and disquieting all at the same time.

520
00:34:51,757 --> 00:34:53,842
Are they consolation
or are they warning?

521
00:34:55,844 --> 00:34:59,181
Very, very skillful scoring here
by Henry Jackman.

522
00:35:00,641 --> 00:35:02,017
Stop the ship.

523
00:35:03,769 --> 00:35:06,313
They're not stopping.

524
00:35:07,064 --> 00:35:08,983
Show them who we are, Muse.

525
00:35:12,111 --> 00:35:13,904
Shoot at them!

526
00:35:17,700 --> 00:35:20,536
Shots fired! Shots fired! Hit the hoses.

527
00:35:20,703 --> 00:35:23,956
Fateful moment in our story
when the shots are first fired.

528
00:35:24,999 --> 00:35:28,002
Obviously, the pace kicks up again.

529
00:35:28,460 --> 00:35:30,254
Turn!

530
00:35:31,505 --> 00:35:35,759
Now we see Phillips deploy,
really, the--

531
00:35:36,260 --> 00:35:38,220
The last line of defense.

532
00:35:38,429 --> 00:35:44,768
The sea hoses that can be used
to stop a small skiff getting alongside.

533
00:35:51,859 --> 00:35:55,362
I love the visual--
The visuals of this film.

534
00:35:55,571 --> 00:35:58,949
From first moment really,
when thinking about it...

535
00:35:59,158 --> 00:36:04,288
...I loved the idea of the perfect
symmetry of the first half of the film...

536
00:36:05,039 --> 00:36:10,711
...being about a large container ship
being chased by a very small skiff...

537
00:36:10,919 --> 00:36:14,882
...and the large container ship
throwing out these hoses...

538
00:36:15,090 --> 00:36:19,636
...and the relationship between the craft
and the water and the cargo.

539
00:36:19,845 --> 00:36:23,474
This all felt very visually interesting.
Then the second half of the film...

540
00:36:23,682 --> 00:36:25,434
...being a complete mirror opposite.

541
00:36:25,642 --> 00:36:29,813
A tiny lifeboat chased
by these enormous warships.

542
00:36:35,652 --> 00:36:38,322
This was a very complicated sequence
to plan and shoot.

543
00:36:38,530 --> 00:36:43,160
There were a lot of safety issues
involved with bringing skiffs...

544
00:36:44,244 --> 00:36:46,663
...up-close
to a speeding container ship.

545
00:36:46,872 --> 00:36:50,918
Obviously, the undertow from one
of those container ships is lethal.

546
00:36:52,920 --> 00:36:55,547
There were a lot of issues
with safe distances...

547
00:36:55,756 --> 00:36:59,051
...and trying to make sure
we could do what we needed to.

548
00:37:01,845 --> 00:37:05,682
Marrying up all these different pieces
and the geography of the skiffs...

549
00:37:05,891 --> 00:37:09,395
...and the firing of the-- Of the flare...

550
00:37:11,396 --> 00:37:13,357
...all involved an awful lot of planning.

551
00:37:17,778 --> 00:37:20,989
But these four young actors
were very, very game.

552
00:37:21,198 --> 00:37:23,200
It was no joke to be out
in those skiffs...

553
00:37:23,409 --> 00:37:26,745
...in the middle of swell
and not wearing much, incidentally...

554
00:37:28,705 --> 00:37:32,501
...for hour after hour after hour,
day after day after day.

555
00:37:32,709 --> 00:37:35,337
It was a considerable feat
of physical endurance...

556
00:37:35,546 --> 00:37:38,799
...and also of seamanship too.
They had several months of training...

557
00:37:39,007 --> 00:37:42,845
...to be able to, you know,
drive those skiffs effectively.

558
00:37:46,932 --> 00:37:48,267
All crew! All crew!

559
00:37:48,434 --> 00:37:51,228
All crew to the engine room!
All crew to the engine room now!

560
00:37:51,395 --> 00:37:53,564
Well, actually,
they were incredibly game. It--

561
00:37:53,772 --> 00:37:56,900
Most of our time was spent
trying to stop them...

562
00:37:57,860 --> 00:38:00,112
...doing things
that wouldn't have been safe.

563
00:38:01,822 --> 00:38:07,703
They were fantastically determined
and fantastically hardworking.

564
00:38:09,329 --> 00:38:11,874
-Port, 30 degrees.
-Port, 30 degrees.

565
00:38:15,294 --> 00:38:19,965
So now we're at the end
of the second attack.

566
00:38:20,591 --> 00:38:23,927
I think Phillips knows it's--
Time is running out.

567
00:38:25,637 --> 00:38:28,307
He tries to turn--
Twist and turn the ship...

568
00:38:28,515 --> 00:38:33,145
...to create an impact
that can throw them off.

569
00:38:33,687 --> 00:38:36,356
But, of course,
the guys who drive these skiffs...

570
00:38:36,565 --> 00:38:39,193
...are very, very skillful...

571
00:38:39,401 --> 00:38:44,990
...at navigating the undertow
and the swell and the hoses...

572
00:38:45,199 --> 00:38:50,287
...and keeping the skiff there
just long enough to get onboard.

573
00:38:53,832 --> 00:38:55,626
But even so, it's a--

574
00:38:55,834 --> 00:38:58,962
It's a very, very dangerous game.

575
00:38:59,171 --> 00:39:02,758
One slip and you're under that ship
and dead.

576
00:39:08,263 --> 00:39:10,891
-Starboard, 30 degrees.
-Starboard, 30.

577
00:39:15,354 --> 00:39:17,814
I love the way Tom sells...

578
00:39:20,108 --> 00:39:23,445
...the sense of dread,
the sense of confusion.

579
00:39:24,530 --> 00:39:28,075
Because he suddenly realizes
that his ship has been taken.

580
00:39:28,784 --> 00:39:30,577
-Cronan. Cronan.
-Yeah.

581
00:39:31,912 --> 00:39:35,874
The crew are taken down
to the engine control room.

582
00:39:36,541 --> 00:39:40,629
Head count, and they're gonna try
and hide them down in the engine room.

583
00:39:41,046 --> 00:39:43,173
Meanwhile,
the chief engineer, Mike Perry...

584
00:39:45,050 --> 00:39:49,179
...acting with fantastic professionalism
and dedication...

585
00:39:49,930 --> 00:39:55,310
...is ensuring that the ship's engines
are turned off, disabling the ship.

586
00:39:57,854 --> 00:40:00,440
The roles played by the crew--

587
00:40:00,649 --> 00:40:05,153
One of the things I wanted to do
in this film was to pay proper regard...

588
00:40:05,362 --> 00:40:08,782
...to the way that the crew,
independently of Phillips...

589
00:40:08,991 --> 00:40:15,497
...worked towards the successful
resolution of this hosta-- Crisis.

590
00:40:16,248 --> 00:40:17,958
They weren't just passive bystanders.

591
00:40:18,166 --> 00:40:21,545
They worked together
and exhibited great courage...

592
00:40:21,753 --> 00:40:25,132
...and particularly, I think,
Shane Murphy and Mike Perry.

593
00:40:26,341 --> 00:40:28,343
But they all did. They all did.

594
00:40:32,014 --> 00:40:33,849
Jesus.

595
00:40:34,057 --> 00:40:37,311
If the pirates find you, remember,
you know the ship.

596
00:40:38,020 --> 00:40:40,689
So now we're waiting
for the confrontation.

597
00:40:41,940 --> 00:40:44,359
We'd been shooting quite a while
when we shot this...

598
00:40:44,568 --> 00:40:48,196
...but it was always my intention to
keep Tom away from the four pirates...

599
00:40:48,405 --> 00:40:50,490
...away from Barkhad, so that they--

600
00:40:50,699 --> 00:40:52,868
The moment they would first
see each other...

601
00:40:53,076 --> 00:40:55,120
...was the moment they came
through the door.

602
00:40:55,329 --> 00:40:57,414
They knew of each other,
knew they were there.

603
00:40:57,622 --> 00:40:59,666
We kept them in separate parts
of the ship.

604
00:40:59,875 --> 00:41:02,044
We rehearsed this scene separately...

605
00:41:02,252 --> 00:41:08,216
...and then this take
was literally the first time they met.

606
00:41:10,469 --> 00:41:16,141
And it gave it a sense of drama
and a sense of anticipation...

607
00:41:16,350 --> 00:41:18,560
...that it might not otherwise have had.

608
00:41:24,274 --> 00:41:26,985
-Hey! Don't move! Don't move!
-Okay, okay.

609
00:41:27,152 --> 00:41:30,030
-Don't move, I said! Don't move!
-All right. All right.

610
00:41:31,323 --> 00:41:34,117
When you cast
four young unknown actors...

611
00:41:34,326 --> 00:41:35,869
Don't move! We have four!

612
00:41:36,078 --> 00:41:39,206
...starting on their careers
for the first time...

613
00:41:39,831 --> 00:41:42,250
...you never know how it's gonna go...

614
00:41:43,126 --> 00:41:46,213
...until you actually see them
face-to-face.

615
00:41:46,421 --> 00:41:50,759
Here is the moment when a young actor
Barkhad Abdi comes face-to-face...

616
00:41:50,967 --> 00:41:55,389
...with two-time Academy Award-winner
Tom Hanks.

617
00:41:55,722 --> 00:42:01,436
Can he do it?
Has he got the desire and the ability...

618
00:42:01,770 --> 00:42:03,271
...to dominate Tom?

619
00:42:03,480 --> 00:42:05,732
That was the question in my mind.

620
00:42:05,941 --> 00:42:07,609
And I suspect in Tom's too.

621
00:42:08,151 --> 00:42:10,904
When we get paid,
everything gonna be okay.

622
00:42:11,113 --> 00:42:14,658
But you could tell,
as soon as this scene started...

623
00:42:17,202 --> 00:42:18,662
...that he was determined...

624
00:42:20,872 --> 00:42:25,252
...to give Tom
a complete run for his money.

625
00:42:26,670 --> 00:42:29,214
To be his equal on-screen.

626
00:42:32,175 --> 00:42:35,679
To be the thing you most want
in a film.

627
00:42:36,054 --> 00:42:39,766
To be a formidable adversary.

628
00:42:41,143 --> 00:42:45,856
It's a remarkable piece of acting
by a young man from Minneapolis...

629
00:42:46,064 --> 00:42:48,692
...who had never acted before,
professionally.

630
00:42:48,859 --> 00:42:50,861
TV and car--? No, no.
We just got the food--

631
00:42:51,027 --> 00:42:52,737
Dollars?

632
00:42:53,280 --> 00:42:56,908
We do. Kenny?
Kenny, what do we have in the safe?

633
00:42:57,075 --> 00:43:02,164
The way he laces the performance
with humor and self-doubt.

634
00:43:02,622 --> 00:43:07,752
He will let any one moment
to be incredibly menacing...

635
00:43:07,961 --> 00:43:13,008
...but also oddly vulnerable.

636
00:43:19,347 --> 00:43:21,391
What's that?

637
00:43:25,395 --> 00:43:26,438
It's all right.

638
00:43:26,605 --> 00:43:28,940
Hey, calm down! Calm down.

639
00:43:29,107 --> 00:43:31,234
Get back there.

640
00:43:31,401 --> 00:43:34,488
So this sequence really begins the--

641
00:43:34,696 --> 00:43:39,034
The section of the film that deals
with what happened in that first day...

642
00:43:39,242 --> 00:43:40,785
...when the pirates got onboard.

643
00:43:42,370 --> 00:43:43,997
Phillips was up on the--

644
00:43:45,415 --> 00:43:49,628
On the control, on the bridge,
with a couple of crew members...

645
00:43:50,045 --> 00:43:52,923
...and the crew were hiding down below
in the engine room.

646
00:43:54,216 --> 00:43:59,930
And the problem the pirates had was
they needed to get the rest of the crew.

647
00:44:00,138 --> 00:44:05,227
Phillips was determined that the pirates
would not get any more hostages.

648
00:44:07,646 --> 00:44:08,980
Watch this ugly one.

649
00:44:18,573 --> 00:44:20,367
What are you doing?

650
00:44:20,534 --> 00:44:22,744
I'm going to fix it.

651
00:44:23,537 --> 00:44:27,249
I like this part of the scene
because it's asking the question:

652
00:44:29,000 --> 00:44:35,674
How much does a young Somali
pirate captain understand...

653
00:44:36,925 --> 00:44:40,053
...a sophisticated
modern container ship?

654
00:44:41,638 --> 00:44:43,223
The answer is not very much.

655
00:44:44,808 --> 00:44:49,813
But out of that, you start to develop
the relationship between Muse...

656
00:44:50,856 --> 00:44:52,148
Where is the crew?

657
00:44:52,357 --> 00:44:54,859
I don't know. I don't know.
I'm here with you.

658
00:44:55,735 --> 00:44:56,862
...and Najee.

659
00:44:59,406 --> 00:45:02,242
And that relationship, that...

660
00:45:02,868 --> 00:45:08,081
...test of strength between the two
of them that goes on alongside the--

661
00:45:08,290 --> 00:45:11,042
The battle
between Phillips and Muse...

662
00:45:12,586 --> 00:45:16,423
...is what comes to dominate
the second half of the film.

663
00:45:18,258 --> 00:45:21,177
Another minute, I kill somebody.

664
00:45:21,636 --> 00:45:25,223
I kill all your friends. One minute.

665
00:45:25,390 --> 00:45:27,475
I will no call again.

666
00:45:30,312 --> 00:45:33,273
Get that one
and put him against the wall.

667
00:45:33,857 --> 00:45:35,692
-I'm trying--
-You think we playing?

668
00:45:35,859 --> 00:45:38,278
-No, I'm doing the best--
-No play. No play.

669
00:45:39,654 --> 00:45:43,199
These must have been
desperate moments...

670
00:45:43,658 --> 00:45:45,702
...on the bridge and in the engine room.

671
00:45:45,910 --> 00:45:47,579
-Come on.
-You play? You play?

672
00:45:47,746 --> 00:45:48,788
Who was to know...

673
00:45:50,665 --> 00:45:53,960
...whether someone wasn't gonna get
a bullet in the head very soon?

674
00:45:54,711 --> 00:45:57,088
In a sense, there was no right
or wrong thing to do.

675
00:45:57,297 --> 00:46:00,842
To disclose where the crew were
might have made things worse.

676
00:46:01,051 --> 00:46:04,179
Not to disclose the crew
might have made things worse.

677
00:46:04,387 --> 00:46:08,808
It was the terrible choices...

678
00:46:10,560 --> 00:46:12,228
...that people had to make that day.

679
00:46:12,395 --> 00:46:13,647
-You killing him.
-It's my ship.

680
00:46:13,813 --> 00:46:15,815
-Listen to me.
-You killing him.

681
00:46:15,982 --> 00:46:17,776
I'm the captain.

682
00:46:17,942 --> 00:46:19,110
But I think the--

683
00:46:20,570 --> 00:46:22,364
The acting in this scene...

684
00:46:22,572 --> 00:46:28,453
...the company of actors
inhabiting, totally, this situation...

685
00:46:29,704 --> 00:46:30,914
...I think, is exemplary.

686
00:46:31,122 --> 00:46:33,458
Corey Johnson there
with the gun to his head.

687
00:46:34,834 --> 00:46:36,961
He's done a number of films with me.

688
00:46:37,170 --> 00:46:38,797
Always...

689
00:46:39,881 --> 00:46:46,680
...always absolutely beautifully accurate
in everything he does, and human.

690
00:46:53,103 --> 00:46:55,021
I want to search the ship.

691
00:46:56,564 --> 00:46:59,776
One of the things I tried to do
in this film...

692
00:46:59,985 --> 00:47:04,614
...was create a rise and fall, a pitch,
a sort of--

693
00:47:07,534 --> 00:47:10,537
An undulating sense of tension...

694
00:47:10,954 --> 00:47:13,331
We better hope
the emergency power stays on.

695
00:47:14,708 --> 00:47:19,838
...that sort of replicates
the structure of the ocean itself.

696
00:47:21,506 --> 00:47:26,094
And that's driven, of course, ultimately
by the tension...

697
00:47:26,302 --> 00:47:28,638
...between the two characters,
Muse and Phillips...

698
00:47:28,847 --> 00:47:32,976
...but also the tension
within the pirates...

699
00:47:33,184 --> 00:47:37,063
...as the pitch of panic and--

700
00:47:37,272 --> 00:47:39,065
And relaxation ebbs and flows.

701
00:47:41,234 --> 00:47:44,612
And capturing that in the right way...

702
00:47:45,030 --> 00:47:49,868
...so that you can vary the pace
in the film...

703
00:47:50,952 --> 00:47:55,039
...dominated a lot of my thinking
in the run-up to the film.

704
00:47:55,248 --> 00:47:58,918
I'm gonna go to the mess, get water.
Get everyone on the lower level.

705
00:47:59,085 --> 00:48:00,879
All right. I'm on 2.

706
00:48:09,012 --> 00:48:11,848
There's Henry's brass chord again...

707
00:48:12,599 --> 00:48:14,726
...just anchoring you...

708
00:48:18,188 --> 00:48:21,566
...keeping the humanity
of the piece alive.

709
00:48:22,984 --> 00:48:25,153
Early on, we experimented...

710
00:48:25,361 --> 00:48:28,531
...with more electronic versions
of the score, but--

711
00:48:28,740 --> 00:48:33,244
But I think we all agreed that the--

712
00:48:34,370 --> 00:48:36,372
You know...

713
00:48:36,956 --> 00:48:42,128
...the human-scale instruments,
brass and wood...

714
00:48:42,545 --> 00:48:44,464
...and cello...

715
00:48:46,132 --> 00:48:47,967
...were where the score needs to sit...

716
00:48:48,176 --> 00:48:51,346
...and that's ultimately the direction
we went in.

717
00:48:55,809 --> 00:48:58,228
This is a very important scene...

718
00:48:58,436 --> 00:49:02,440
...as the relationship
between Phillips and Muse develops...

719
00:49:03,775 --> 00:49:07,153
...and as you realize
that each is lying to the other...

720
00:49:08,363 --> 00:49:10,698
...and each knows it.

721
00:49:10,907 --> 00:49:14,702
And that's a difficult story
for an actor to tell.

722
00:49:15,119 --> 00:49:18,748
--we're working our way down,
so we should try the cargo deck.

723
00:49:19,332 --> 00:49:23,878
You don't want to signpost it too much,
but it's got to be there.

724
00:49:24,087 --> 00:49:26,131
And I really think...

725
00:49:26,923 --> 00:49:31,427
...that you start to really engage now
in this scene with the--

726
00:49:31,636 --> 00:49:34,639
With the battle of wits
between each character.

727
00:49:34,806 --> 00:49:37,559
Maybe we should get some water
from the mess down on A deck?

728
00:49:42,313 --> 00:49:45,567
-Then engine room. Go.
-Okay.

729
00:49:45,733 --> 00:49:49,654
He knows that he's lying
but he doesn't quite know how.

730
00:49:57,287 --> 00:49:59,164
This is A deck.

731
00:49:59,330 --> 00:50:04,252
Meanwhile, Shane Murphy
is coming down to look after the crew.

732
00:50:04,460 --> 00:50:10,383
Shane Murphy moved around the ship
a lot during those hours...

733
00:50:10,758 --> 00:50:12,844
...with great courage
and risk to himself...

734
00:50:15,013 --> 00:50:18,641
...to look after his crew
and try and find out what was going on.

735
00:50:20,810 --> 00:50:23,563
Obviously,
we've gotta compress the story...

736
00:50:23,771 --> 00:50:25,190
...into two hours.

737
00:50:25,398 --> 00:50:29,736
When, in fact, this part of the story
went on for some eight or 10 hours.

738
00:50:29,944 --> 00:50:32,530
But I think we're very true
to the central things...

739
00:50:32,739 --> 00:50:37,160
...that Perry and Murphy and the crew
are trying their best...

740
00:50:37,368 --> 00:50:42,665
...to work independently
towards a resolution.

741
00:50:42,874 --> 00:50:44,876
As is Phillips.

742
00:50:45,043 --> 00:50:46,294
It's a vegetable room.

743
00:50:47,629 --> 00:50:50,632
And, again,
this is one of those moments that...

744
00:50:51,341 --> 00:50:53,468
...if you made it up,
you wouldn't believe.

745
00:50:55,678 --> 00:51:01,851
Shane Murphy hiding in the kitchens,
almost caught by the pirates.

746
00:51:03,144 --> 00:51:08,316
Phillips, aware that he's there,
trying desperately to draw them away.

747
00:51:11,069 --> 00:51:15,323
Well, again, it deepens that sense
between Phillips and Muse.

748
00:51:17,283 --> 00:51:20,286
Something is going on between them.

749
00:51:21,704 --> 00:51:25,166
Muse knows he's lying
but he doesn't quite know how.

750
00:51:26,209 --> 00:51:28,670
Enough. Engine room.

751
00:51:28,836 --> 00:51:30,421
All right.

752
00:51:50,608 --> 00:51:53,361
-Cronan. Cronan. Do you read?
-Yeah, I got you.

753
00:51:53,528 --> 00:51:56,531
They're on their way to you.
They're on their way to you.

754
00:51:56,698 --> 00:51:57,740
One is barefoot.

755
00:51:57,907 --> 00:52:01,536
Is there glass you can break,
leave on the floor by the door?

756
00:52:02,620 --> 00:52:07,959
Cronan also did tremendous work
on the crew...

757
00:52:08,668 --> 00:52:11,421
...of helping to thwart the attack.

758
00:52:16,217 --> 00:52:20,596
Now, we just musically introduce
a pulse...

759
00:52:21,139 --> 00:52:25,601
...on that same distressed cello.

760
00:52:27,937 --> 00:52:32,233
It's a simple musical palette,
but I think very effective.

761
00:52:38,573 --> 00:52:44,871
Again, Mike Perry's journey that day
was extremely dangerous.

762
00:52:45,997 --> 00:52:48,583
He had to find a way
of turning off the power...

763
00:52:49,959 --> 00:52:51,711
...of the emergency generator...

764
00:52:52,962 --> 00:52:56,174
...to make it harder for the pirates
to find the crew.

765
00:52:57,550 --> 00:53:02,055
-Who did this?
-Nobody. It was just a dumb accident.

766
00:53:02,221 --> 00:53:05,558
We should get that looked at.
There's a kit in the control room.

767
00:53:05,725 --> 00:53:08,644
Quiet, Irish. You think I am stupid?

768
00:53:08,811 --> 00:53:10,438
I know what's going on.

769
00:53:10,605 --> 00:53:14,859
We're going to search this whole room.
All of it. Now go.

770
00:53:15,860 --> 00:53:17,445
Go.

771
00:53:19,655 --> 00:53:23,159
A lot of this film involves...

772
00:53:23,993 --> 00:53:27,413
...delaying moments.

773
00:53:27,830 --> 00:53:29,749
I think you know with a film like this...

774
00:53:29,957 --> 00:53:33,336
...that it's going to get
progressively more violent...

775
00:53:33,544 --> 00:53:36,506
...progressively more tense.

776
00:53:36,714 --> 00:53:41,010
But you need to believably hold it up.

777
00:53:43,471 --> 00:53:46,808
I think part of the enjoyment
of the film...

778
00:53:47,975 --> 00:53:52,855
...is in living those moments
when it is interrupted.

779
00:53:53,064 --> 00:53:57,193
When the conclusion is withheld
from you.

780
00:54:00,613 --> 00:54:02,615
Check the other side.

781
00:54:02,782 --> 00:54:05,159
There's no one here.

782
00:54:05,326 --> 00:54:07,495
Please, let's go back.

783
00:54:10,456 --> 00:54:12,250
I love the physicality of this space.

784
00:54:12,458 --> 00:54:14,877
The engine room
was an endlessly fascinating place.

785
00:54:15,086 --> 00:54:19,674
Immense cathedral of engineering.

786
00:54:21,259 --> 00:54:22,677
They're coming. Get ready.

787
00:54:22,885 --> 00:54:27,098
But brutal, brutal physical space.

788
00:54:39,277 --> 00:54:42,196
Keep going. Move.

789
00:54:42,405 --> 00:54:46,826
This is one of those moments when
the pace starts to step up a little bit.

790
00:54:47,827 --> 00:54:51,664
You don't wanna push it,
you don't wanna let it push.

791
00:54:52,081 --> 00:54:56,878
If anything,
the action is dragging the film with it...

792
00:54:57,086 --> 00:55:01,466
...rather than the film pushing the action,
which I think is as it should be.

793
00:55:02,216 --> 00:55:05,178
-We just--
-Look at me, Irish. Look at me.

794
00:55:10,766 --> 00:55:14,854
Now, the removal of the power,
the emergency generator...

795
00:55:15,062 --> 00:55:16,397
...creates another moment...

796
00:55:16,606 --> 00:55:19,192
...another intimate moment
between Phillips and Muse...

797
00:55:19,400 --> 00:55:23,404
...which is very important, I think,
for their unfolding relationship.

798
00:55:23,613 --> 00:55:25,489
-I don't know.
-Was that you?

799
00:55:25,656 --> 00:55:27,533
-I don't know what went wrong.
-No.

800
00:55:27,700 --> 00:55:31,495
You'll never find this crew,
not without any power on the ship.

801
00:55:31,662 --> 00:55:34,165
You'll never find them.
We'll never find them.

802
00:55:35,124 --> 00:55:36,709
Irish...

803
00:55:37,335 --> 00:55:39,003
...I will find.

804
00:55:40,755 --> 00:55:42,298
Not with him.

805
00:55:43,216 --> 00:55:45,009
Look. He's gonna bleed to death.

806
00:55:45,176 --> 00:55:47,595
Look, man, get us out of here.

807
00:55:48,596 --> 00:55:51,057
The cinematographer on this film
was Barry Ackroyd.

808
00:55:51,265 --> 00:55:54,268
Barry and I have worked together
many times.

809
00:55:58,564 --> 00:56:02,902
I think the job he did was quite superb.

810
00:56:04,654 --> 00:56:10,451
I don't think I've ever put a DOP
in as many contorted positions...

811
00:56:10,660 --> 00:56:13,079
...inside a skiff, inside the lifeboat...

812
00:56:14,288 --> 00:56:16,332
...even in this engine room.

813
00:56:18,251 --> 00:56:22,547
But every problem that I threw at him,
he solved triumphantly.

814
00:56:22,755 --> 00:56:27,134
I mean, these are very,
very, very low-light conditions.

815
00:56:27,343 --> 00:56:30,012
Don't talk. Go.

816
00:56:30,221 --> 00:56:33,683
Trying to make it work
and keep it natural...

817
00:56:35,101 --> 00:56:37,812
...is a very, very hard job.

818
00:56:42,483 --> 00:56:45,152
Your friend make fool of us?

819
00:56:45,319 --> 00:56:47,863
I love these faces there.

820
00:56:51,325 --> 00:56:54,954
I think the company of actors
were very, very focused.

821
00:56:55,162 --> 00:56:56,414
And I think...

822
00:56:58,624 --> 00:57:04,380
...the actors who played the crew created
another whole character, I think.

823
00:57:06,340 --> 00:57:08,259
Collectively.

824
00:57:11,220 --> 00:57:13,347
Time for a bit more khat chewing.

825
00:57:20,980 --> 00:57:25,109
Once again,
very, very low-light conditions in here.

826
00:57:25,901 --> 00:57:29,238
And Chris Rouse built the tension up...

827
00:57:30,948 --> 00:57:33,701
...trying to keep the geography clear.

828
00:57:54,930 --> 00:57:58,142
I love also the sound here.

829
00:57:58,768 --> 00:58:05,358
A ship down in the engine room
really does creak.

830
00:58:05,858 --> 00:58:08,944
They actually do sound
like ghost ships...

831
00:58:09,945 --> 00:58:12,114
...eerie and menacing.

832
00:58:12,782 --> 00:58:15,368
A great place to stage a fight.

833
00:58:15,743 --> 00:58:17,244
Hey.

834
00:58:24,835 --> 00:58:26,712
We got a problem.

835
00:58:27,171 --> 00:58:29,090
Your buddy's hurt real bad.

836
00:58:29,298 --> 00:58:32,385
We actually didn't have a lot of money
on this film.

837
00:58:34,553 --> 00:58:38,474
It was a sort of modestly budgeted film,
but it--

838
00:58:38,683 --> 00:58:42,728
I think one of the things
that I'm most pleased about the film...

839
00:58:42,937 --> 00:58:46,816
...is that I think we managed
to create sequences...

840
00:58:47,024 --> 00:58:52,321
...that looked much bigger than that,
and we did it, I think, by being--

841
00:58:52,655 --> 00:58:55,991
Spending our money
by being very, very well-prepared...

842
00:58:56,450 --> 00:59:01,288
...and I think by shooting
the action pieces very quickly.

843
00:59:03,374 --> 00:59:04,875
-Hey.
-No.

844
00:59:05,042 --> 00:59:06,419
We have your leader.

845
00:59:06,585 --> 00:59:09,714
We have your captain and his weapon.
We wanna trade.

846
00:59:09,880 --> 00:59:11,966
Captain for captain. We want a deal.

847
00:59:12,133 --> 00:59:15,469
Take that off of his head.
Cronan, take that off his head now.

848
00:59:15,636 --> 00:59:16,762
I no kill.

849
00:59:16,929 --> 00:59:18,264
Talk. Talk to your friends...

850
00:59:18,431 --> 00:59:20,433
One of the things
I remember most clearly...

851
00:59:20,641 --> 00:59:24,270
...when I read Billy Ray's script...

852
00:59:25,271 --> 00:59:27,064
...I didn't really remember the story.

853
00:59:27,273 --> 00:59:29,567
I mean, I vaguely remembered
that it happened...

854
00:59:29,775 --> 00:59:31,694
...but I knew none of the details.

855
00:59:32,987 --> 00:59:35,072
I remember when I read this...

856
00:59:36,615 --> 00:59:41,746
...that the crew had successfully taken
the pirate captain hostage...

857
00:59:44,206 --> 00:59:50,629
...and then offered to trade,
which is such an amazing story point.

858
00:59:51,005 --> 00:59:52,047
And in fact...

859
00:59:53,591 --> 00:59:55,593
...when we made the film...

860
00:59:55,801 --> 00:59:59,555
...probably the biggest single challenge
of the film...

861
00:59:59,764 --> 01:00:03,058
...was dealing
with just simply the amount of story.

862
01:00:03,392 --> 01:00:05,936
How to boil it down and compress it...

863
01:00:06,145 --> 01:00:11,108
...in a way that felt believable
and coherent and consistent...

864
01:00:11,317 --> 01:00:13,903
...and with good narrative shape.

865
01:00:14,111 --> 01:00:18,157
And Billy and I spent
an enormous amount of time...

866
01:00:18,365 --> 01:00:21,577
...going back and forth,
with Chris Rouse.

867
01:00:21,785 --> 01:00:24,038
You know, one of the things I did...

868
01:00:24,246 --> 01:00:28,584
...was sort of approach it all as a
collective effort from the beginning...

869
01:00:28,793 --> 01:00:33,005
...to try and get the film
into the best possible shape...

870
01:00:33,214 --> 01:00:35,424
...before we started shooting...

871
01:00:35,633 --> 01:00:38,260
...and I think that really paid off.

872
01:01:00,908 --> 01:01:04,078
So now we move towards the lifeboat...

873
01:01:06,247 --> 01:01:08,958
...which comes to dominate
the last half of the film.

874
01:01:13,087 --> 01:01:16,757
And as I say, the symmetry of the film,
it's almost perfect.

875
01:01:16,966 --> 01:01:20,678
This is almost the midway point
of the film.

876
01:01:22,263 --> 01:01:23,847
The first half, as I say...

877
01:01:25,099 --> 01:01:28,310
...small pirate skiffs
attacking huge container ship.

878
01:01:29,061 --> 01:01:31,063
And then, at the midway point...

879
01:01:31,981 --> 01:01:34,859
...small lifeboat chased
by enormous war ships.

880
01:01:35,025 --> 01:01:37,278
Hey, Shane. Do you have the captain?
Where is he?

881
01:01:37,444 --> 01:01:40,281
-In the engine room.
-Bring him up so they can see him.

882
01:01:40,447 --> 01:01:41,657
-I wanna see.
-You will.

883
01:01:41,824 --> 01:01:44,577
This, I think,
is outstanding ensemble acting.

884
01:01:47,413 --> 01:01:49,164
Every single actor here...

885
01:01:52,167 --> 01:01:54,962
...utterly committed
to what they're doing...

886
01:01:56,714 --> 01:01:59,800
...to create a believable,
intense scenario.

887
01:01:59,967 --> 01:02:01,552
You get in, you buckle up.

888
01:02:01,719 --> 01:02:05,014
We drop you in, and then
you're on your way. Okay? Okay?

889
01:02:05,180 --> 01:02:09,018
No. You come with us.
Till we get our guy back.

890
01:02:10,728 --> 01:02:13,439
Now we're moving to, of course...

891
01:02:14,940 --> 01:02:18,360
...the fateful moment
where Phillips goes into the lifeboat.

892
01:02:21,113 --> 01:02:26,201
What was important to me
was not to portray that moment...

893
01:02:26,410 --> 01:02:28,621
...as a sort of
Hollywood hero's moment.

894
01:02:29,955 --> 01:02:31,373
Nobody willingly...

895
01:02:33,667 --> 01:02:38,839
...goes in with four ruthless, armed,
desperate young men...

896
01:02:39,048 --> 01:02:40,174
...with nothing to lose.

897
01:02:41,759 --> 01:02:46,096
And I'm sure Phillips didn't.
I'm sure he went in as we portray it...

898
01:02:46,305 --> 01:02:51,018
...because that was the only way
he was gonna get them off the ship...

899
01:02:53,020 --> 01:02:58,567
...and to ensure the safety of his ship,
his crew and his cargo.

900
01:02:58,776 --> 01:03:02,279
There was no other choice,
but it wasn't something he wanted.

901
01:03:02,613 --> 01:03:04,740
But it's extremely brave, nonetheless.

902
01:03:05,491 --> 01:03:08,452
-You got a squawk box.
-Gas, gas. Enough gas?

903
01:03:08,619 --> 01:03:10,829
Plenty of fuel to get you to Somalia.

904
01:03:10,996 --> 01:03:15,000
-Cap, we got the guy.
-All right. Send him on in. I'm coming out.

905
01:03:15,167 --> 01:03:18,212
Okay, send him in. Let him go.

906
01:03:19,171 --> 01:03:20,506
Let him go!

907
01:03:20,673 --> 01:03:23,300
The score,
sort of underpinning this now...

908
01:03:23,509 --> 01:03:27,471
...just not pushing hard,
just sitting there.

909
01:03:27,680 --> 01:03:31,892
You gotta pump it, one, two,
three, four, five, and then you drop.

910
01:03:32,101 --> 01:03:34,061
Cap, come on out.

911
01:03:36,146 --> 01:03:39,775
And then they come face-to-face again,
Muse and Phillips.

912
01:03:41,360 --> 01:03:43,487
Now it's gonna be different.

913
01:03:43,654 --> 01:03:46,115
--pump it, then you're in the water,
and off you go.

914
01:03:49,076 --> 01:03:50,703
Go!

915
01:03:51,870 --> 01:03:53,372
Go back!

916
01:03:55,165 --> 01:03:56,500
Hey, Cap!

917
01:04:06,969 --> 01:04:12,850
It was a spectacular thing
to watch the launch of the lifeboat.

918
01:04:13,183 --> 01:04:17,062
Apparently,
if you're on a large container ship...

919
01:04:17,271 --> 01:04:21,066
...you have to practice it as a drill
at least once every six months, I think.

920
01:04:21,275 --> 01:04:24,528
All the crew have to get into the lifeboat
and launch it.

921
01:04:25,487 --> 01:04:28,282
A bit like going on a funfair ride,
I suppose.

922
01:04:29,074 --> 01:04:31,410
A bit more brutal, perhaps.

923
01:04:42,629 --> 01:04:48,385
So now we move
to the military responders.

924
01:04:48,594 --> 01:04:51,013
Task Force 151, which is the count--

925
01:04:51,221 --> 01:04:56,185
International multilateral
counter-piracy...

926
01:04:56,894 --> 01:04:58,479
...naval effort.

927
01:04:58,896 --> 01:05:00,314
Many nations.

928
01:05:03,067 --> 01:05:06,445
The call came into the Bainbridge...

929
01:05:07,780 --> 01:05:12,910
...and the captain of the Bainbridge,
Captain Frank Castellano.

930
01:05:14,536 --> 01:05:17,998
Four men have taken the ship's captain
hostage in a lifeboat.

931
01:05:18,165 --> 01:05:20,584
Presumed Somali pirates. Over.

932
01:05:20,918 --> 01:05:23,670
Roger, ma'am.
Do we have any other information? Over.

933
01:05:23,837 --> 01:05:28,425
Not at this time, but best guess
is they're heading for the Somali coast.

934
01:05:28,592 --> 01:05:30,886
Your orders are to proceed
and intercept.

935
01:05:31,053 --> 01:05:34,389
Further to follow. This is CTF 151 out.

936
01:05:34,556 --> 01:05:36,683
So 820 miles, even at...

937
01:05:39,269 --> 01:05:43,565
...a modern warship's top speed,
that's going to be many, many hours...

938
01:05:43,774 --> 01:05:47,820
...before the Bainbridge can get there
to provide any help.

939
01:05:47,986 --> 01:05:51,281
Bridge, captain, full left rudder.
Come to course 285.

940
01:06:07,506 --> 01:06:09,925
One of the discussions...

941
01:06:10,134 --> 01:06:13,637
...that Billy Ray, who wrote the
screenplay, and myself had early on...

942
01:06:13,846 --> 01:06:15,597
...was about the lifeboat scenes.

943
01:06:15,806 --> 01:06:17,850
I think it was one of the areas that we...

944
01:06:18,892 --> 01:06:21,478
...agreed most profoundly on.

945
01:06:21,937 --> 01:06:24,314
We used to joke afterwards
that we disagreed...

946
01:06:24,523 --> 01:06:27,901
...about everything on this film
except the most important things.

947
01:06:28,694 --> 01:06:33,615
And one of the most important things
was that we both believed...

948
01:06:33,824 --> 01:06:38,161
...that we should not, in this film,
short-change the lifeboat scenes.

949
01:06:38,370 --> 01:06:41,206
It was something
Billy felt very strongly about...

950
01:06:41,415 --> 01:06:44,001
...and I totally agreed,
and he was totally right.

951
01:06:44,209 --> 01:06:50,549
It was crucial for this film
that when you inhabited the lifeboat...

952
01:06:50,757 --> 01:06:56,471
...that you didn't feel suddenly
that time was starting to telescope.

953
01:06:56,680 --> 01:07:01,435
On the contrary,
I think you need to feel...

954
01:07:01,643 --> 01:07:03,854
...that it was an agony of waiting.

955
01:07:04,062 --> 01:07:05,731
It was going to be an ordeal.

956
01:07:07,107 --> 01:07:12,571
And how were these characters
in this confined space--

957
01:07:12,779 --> 01:07:17,034
Richard Phillips
and his four captors.

958
01:07:17,242 --> 01:07:19,828
--how were they going to react...

959
01:07:20,037 --> 01:07:25,334
...in the furnace of a small lifeboat
on the Indian Ocean?

960
01:07:25,542 --> 01:07:29,087
Unbearable heat, swell.

961
01:07:29,296 --> 01:07:31,673
Just a physical ordeal.

962
01:07:31,882 --> 01:07:35,385
And most of all, could they be caught?

963
01:07:35,594 --> 01:07:38,847
Because in the end,
the structure of the film, at this point...

964
01:07:39,222 --> 01:07:41,058
...is a race.

965
01:07:41,266 --> 01:07:46,021
They're trying to race in this
small five-mile-an-hour lifeboat...

966
01:07:46,230 --> 01:07:49,566
...to the coast
a couple of hundred miles away...

967
01:07:49,775 --> 01:07:51,401
...before any...

968
01:07:53,111 --> 01:07:57,032
...counter-piracy vessel
can get to them to intercept.

969
01:07:57,240 --> 01:07:58,909
It's a gift.

970
01:08:05,540 --> 01:08:07,084
Hey.

971
01:08:09,795 --> 01:08:11,672
Irish.

972
01:08:11,838 --> 01:08:15,801
You lie, Irish. Your ship no broke.

973
01:08:15,968 --> 01:08:17,844
They come Somalia too.

974
01:08:18,011 --> 01:08:19,304
Going back...

975
01:08:19,513 --> 01:08:21,223
...to the discussion earlier...

976
01:08:21,390 --> 01:08:23,809
...where I was saying
that one of the things I like--

977
01:08:24,017 --> 01:08:28,522
Liked about the story was that
everybody was always telling...

978
01:08:28,730 --> 01:08:31,775
...less than the truth to everybody else.

979
01:08:31,984 --> 01:08:34,695
And then they'd find out, you know?

980
01:08:34,903 --> 01:08:37,656
Phillips had spent
a tremendous amount of time...

981
01:08:37,864 --> 01:08:41,702
...when he was on the bridge
telling Muse that the ship had broken.

982
01:08:41,910 --> 01:08:44,538
But of course that was a lie...

983
01:08:44,746 --> 01:08:48,667
...and as soon as the Alabama
gave chase, Muse knew it.

984
01:08:50,002 --> 01:08:53,630
But of course,
Muse was busy lying...

985
01:08:53,839 --> 01:08:57,050
...to Phillips as well,
telling him it was gonna be all right.

986
01:09:00,887 --> 01:09:02,889
Give me some khat.

987
01:09:03,056 --> 01:09:05,392
Why?
You've had more than your share.

988
01:09:05,559 --> 01:09:07,644
Says who? Give me some more!

989
01:09:07,811 --> 01:09:09,104
Shut up!

990
01:09:09,271 --> 01:09:11,356
Both of you, shut up.

991
01:09:11,523 --> 01:09:13,066
Just take it.

992
01:09:13,275 --> 01:09:16,695
These four young men
were obsessed with khat.

993
01:09:17,571 --> 01:09:21,074
As I said earlier...

994
01:09:21,283 --> 01:09:24,453
...it's chewed ubiquitously...

995
01:09:24,661 --> 01:09:26,872
...in that part of Africa.

996
01:09:30,792 --> 01:09:34,671
And one of the realities
of this experience was that...

997
01:09:34,880 --> 01:09:37,966
...when the khat started to run out,
as it did...

998
01:09:38,675 --> 01:09:41,595
...the pressure
and the tension began to grow.

999
01:09:41,762 --> 01:09:45,432
This money, taking you, that's all it is.

1000
01:09:45,640 --> 01:09:48,560
You come to our waters, you got to pay.

1001
01:09:48,727 --> 01:09:51,646
We were in international waters.

1002
01:09:51,813 --> 01:09:53,815
Not your waters, international waters.

1003
01:09:53,982 --> 01:09:55,859
Somali pirates always say that--

1004
01:09:56,068 --> 01:09:58,987
Two things, I think, are common
to all Somali pirates.

1005
01:09:59,196 --> 01:10:03,992
They will always tell you that the money
that they're trying to get is just taxes.

1006
01:10:04,201 --> 01:10:07,204
And the other is
that they're just fishermen.

1007
01:10:08,413 --> 01:10:11,291
One of the things that was interesting,
studying the subject...

1008
01:10:11,500 --> 01:10:13,543
...was that there's no question...

1009
01:10:14,044 --> 01:10:19,299
...that the modern rise
of Somali piracy definitely...

1010
01:10:19,674 --> 01:10:23,762
...was a response to over-fishing
and toxic-waste dumping...

1011
01:10:23,970 --> 01:10:25,514
...off the coast of Somalia.

1012
01:10:25,722 --> 01:10:31,728
As Somalia collapsed into civil war
and there was no central government...

1013
01:10:31,937 --> 01:10:34,773
...there was no attempt to police...

1014
01:10:35,607 --> 01:10:37,025
...the coasts.

1015
01:10:37,234 --> 01:10:38,735
And, of course...

1016
01:10:40,195 --> 01:10:43,615
...fishing vessels
over-fished and dumped.

1017
01:10:43,824 --> 01:10:47,953
And local fishing communities
began to strike back.

1018
01:10:48,161 --> 01:10:52,624
That was in the '80s and early '90s. Very
quickly, once money started to be made...

1019
01:10:52,833 --> 01:10:57,504
...the warlords and the gangsters moved
in, and by the time of these events...

1020
01:10:57,712 --> 01:11:01,174
...piracy had become
highly organized.

1021
01:11:01,383 --> 01:11:03,343
International...

1022
01:11:03,927 --> 01:11:06,096
...organized crime.

1023
01:11:07,347 --> 01:11:11,518
But many of the young men...

1024
01:11:12,060 --> 01:11:13,979
...involved...

1025
01:11:14,771 --> 01:11:18,900
...liked to talk about themselves...

1026
01:11:19,276 --> 01:11:21,194
...as just fishermen.

1027
01:11:24,281 --> 01:11:26,241
Not true, of course, but....

1028
01:11:27,450 --> 01:11:30,537
But a necessary fiction, perhaps.

1029
01:11:39,421 --> 01:11:43,175
Go ahead, come here. It's all right.
Your foot. Give me your foot.

1030
01:11:43,341 --> 01:11:44,551
Come on.

1031
01:11:45,594 --> 01:11:47,762
This scene, I think, beautifully played...

1032
01:11:47,971 --> 01:11:50,765
...because it's starting to develop...

1033
01:11:51,141 --> 01:11:53,727
...the crucial relationships
inside the boat--

1034
01:11:53,935 --> 01:11:56,813
Inside the lifeboat, between...

1035
01:11:57,522 --> 01:12:00,609
...Tom and Bilal, the youngest pirate.

1036
01:12:01,651 --> 01:12:03,320
And of course...

1037
01:12:03,987 --> 01:12:06,114
...with Najee...

1038
01:12:07,449 --> 01:12:09,117
...the most dangerous of the four.

1039
01:12:15,457 --> 01:12:18,460
Slowly but surely, the relationship
between Phillips and Najee...

1040
01:12:18,668 --> 01:12:21,087
...comes to dominate the film.

1041
01:12:22,005 --> 01:12:25,133
And that process takes a big step...

1042
01:12:25,634 --> 01:12:27,594
...in this scene.

1043
01:12:28,345 --> 01:12:31,306
Go back. Get back there.

1044
01:12:41,233 --> 01:12:44,361
But of course,
the challenge for Muse is...

1045
01:12:44,861 --> 01:12:46,321
...what does he do?

1046
01:12:46,529 --> 01:12:49,824
Is he is charge or is Najee in charge?

1047
01:12:53,787 --> 01:12:56,581
And which policy is most likely...

1048
01:12:56,790 --> 01:13:00,669
...to give them a successful outcome in
their own terms, to get the hijack money.

1049
01:13:00,877 --> 01:13:03,964
That's really the question
of the second half of the film.

1050
01:13:04,172 --> 01:13:06,591
Who is in charge, Muse?

1051
01:13:16,101 --> 01:13:17,727
So meanwhile...

1052
01:13:17,936 --> 01:13:22,691
...the military response
starts to take shape.

1053
01:13:22,899 --> 01:13:25,026
First of all...

1054
01:13:25,235 --> 01:13:28,446
...the lifeboat's
put under aerial surveillance.

1055
01:13:29,739 --> 01:13:31,533
And that material...

1056
01:13:31,741 --> 01:13:34,911
...and other intelligence material
is relayed to the Bainbridge...

1057
01:13:35,120 --> 01:13:38,790
...so that Captain Castellano
is in the best position...

1058
01:13:38,999 --> 01:13:43,003
...to formulate a strategy
as to what to do when he arrives...

1059
01:13:43,211 --> 01:13:45,755
...and intercepts the lifeboat.

1060
01:13:45,922 --> 01:13:49,676
According to ONI, that vessel's under
the control of Somali warlord Garaad.

1061
01:13:49,884 --> 01:13:52,679
We're working on getting the IDs
of the kidnappers.

1062
01:13:52,846 --> 01:13:57,017
If this is Garaad's guys, they're looking
for a payday, which means they'll talk.

1063
01:13:57,183 --> 01:14:00,145
If we can get them talking,
we can wear them down. Over.

1064
01:14:00,312 --> 01:14:02,606
All these scenes were shot...

1065
01:14:03,315 --> 01:14:05,692
...on the USS Truxtun...

1066
01:14:05,900 --> 01:14:08,695
...which was the sister ship
of the Bainbridge.

1067
01:14:08,903 --> 01:14:10,864
And...

1068
01:14:11,531 --> 01:14:14,618
...with the exception of Yul here...

1069
01:14:14,826 --> 01:14:18,955
...a lot of these men and women
are the crew of the Truxtun...

1070
01:14:19,164 --> 01:14:23,710
...without whose support we would never
have been able to convey...

1071
01:14:23,918 --> 01:14:28,131
...the reality of these command posts.

1072
01:14:29,007 --> 01:14:32,260
If you haven't gotten Phillips back
by the time they arrive...

1073
01:14:32,427 --> 01:14:34,012
...the SEALs will take care of it.

1074
01:14:34,179 --> 01:14:37,140
And again, one of the things
you've got to do...

1075
01:14:37,349 --> 01:14:41,895
...I think,
if you're gonna convey downrange...

1076
01:14:42,062 --> 01:14:46,524
...real audience involvement,
is to take your time now...

1077
01:14:46,691 --> 01:14:50,278
...to show people how
that control room works.

1078
01:14:51,279 --> 01:14:55,784
Who are the dominant characters?
What are the procedures in there?

1079
01:14:55,992 --> 01:15:00,121
And I think that all
starts to pay off dividends later.

1080
01:15:12,050 --> 01:15:17,430
The heat inside that lifeboat
must have been unbearable.

1081
01:15:18,515 --> 01:15:20,600
The motion too.

1082
01:15:22,018 --> 01:15:24,729
When we first started shooting
on the lifeboat...

1083
01:15:24,896 --> 01:15:27,315
...off the coast of Malta...

1084
01:15:27,482 --> 01:15:32,362
...within half an hour we had two
or three people physically sick...

1085
01:15:32,612 --> 01:15:38,827
...from the turbulence inside.

1086
01:15:38,993 --> 01:15:41,746
What it must have been like
for four or five days...

1087
01:15:42,747 --> 01:15:45,041
...I just can't imagine.

1088
01:15:45,208 --> 01:15:48,211
It literally must have been
a hell on Earth.

1089
01:15:51,339 --> 01:15:53,216
And of course...

1090
01:15:55,051 --> 01:15:57,846
...tempers soon get frayed.

1091
01:16:05,228 --> 01:16:06,813
Hey. Hey.

1092
01:16:08,398 --> 01:16:11,109
That's enough.

1093
01:16:11,276 --> 01:16:13,862
Take it away.

1094
01:16:14,028 --> 01:16:16,364
From now on this water is only for us.

1095
01:16:17,282 --> 01:16:21,619
This scene's an important scene
because it really brings Muse...

1096
01:16:21,786 --> 01:16:22,829
...into the picture.

1097
01:16:22,996 --> 01:16:27,125
What is he going to do,
knowing as he does...

1098
01:16:27,584 --> 01:16:30,545
...that Najee is starting...

1099
01:16:31,254 --> 01:16:33,590
...to lose control.

1100
01:16:35,133 --> 01:16:37,427
And of course...

1101
01:16:37,802 --> 01:16:42,432
...you can see in Phillips's eyes there,
in Tom's look, that he knows...

1102
01:16:42,599 --> 01:16:44,476
...that Muse's got a problem.

1103
01:16:44,809 --> 01:16:47,896
And he's watching and watching
and watching...

1104
01:16:48,188 --> 01:16:51,649
...and now he tries
to manipulate Muse...

1105
01:16:51,816 --> 01:16:54,944
...to use his problems against him.

1106
01:16:55,528 --> 01:16:59,240
And that's part of the battle of wills
between the two of them.

1107
01:17:00,909 --> 01:17:03,328
I know what I'm doing.

1108
01:17:03,912 --> 01:17:06,998
Yeah, yeah, sure, you do. Of course.
You're the captain now.

1109
01:17:07,165 --> 01:17:11,377
Tom, I think, is a magnificent...

1110
01:17:12,378 --> 01:17:14,047
...player of the everyman.

1111
01:17:14,214 --> 01:17:17,342
The way he inhabits this role...

1112
01:17:17,550 --> 01:17:20,512
...and brings all the colors out...

1113
01:17:20,678 --> 01:17:26,976
...but in a simple, very real register...

1114
01:17:27,143 --> 01:17:29,521
...is magnificent.

1115
01:17:32,482 --> 01:17:37,320
Just that constant watching,
that constant feeling that he's--

1116
01:17:37,570 --> 01:17:44,244
Although he's helpless, he's looking
for any small opportunity he can...

1117
01:17:44,536 --> 01:17:47,163
...to manipulate the situation.

1118
01:17:52,877 --> 01:17:54,921
Brilliant acting.

1119
01:18:07,559 --> 01:18:10,228
We should be heading northwest.

1120
01:18:10,395 --> 01:18:13,439
We've got to get to Garaad's port.

1121
01:18:13,606 --> 01:18:16,067
I am, but there's a lot of wind.

1122
01:18:16,234 --> 01:18:18,403
-Just go!
-Okay, then let me do it.

1123
01:18:21,197 --> 01:18:25,451
It's the same principle really,
as with the first and second attack.

1124
01:18:25,618 --> 01:18:29,581
You mustn't hurry the film.

1125
01:18:32,125 --> 01:18:37,797
I think the power of the film
lies in really inhabiting the lifeboat.

1126
01:18:39,674 --> 01:18:44,137
So you feel as Phillips does.

1127
01:18:45,054 --> 01:18:49,934
How can he turn this situation
to his vantage, or can he?

1128
01:18:50,810 --> 01:18:53,688
--or don't come back at all.

1129
01:18:58,276 --> 01:19:01,237
Sounds like there's a problem.
Is there a problem?

1130
01:19:02,822 --> 01:19:04,616
Problem.

1131
01:19:05,742 --> 01:19:08,036
No problem, Irish.

1132
01:19:08,620 --> 01:19:11,247
Everything gonna be okay.

1133
01:19:11,998 --> 01:19:17,045
Barkhad Abdi is brilliant, I think,
in this scene too, because he....

1134
01:19:18,254 --> 01:19:19,839
He tries to brush him off...

1135
01:19:20,006 --> 01:19:22,216
...but you know the pressure's
building on him.

1136
01:19:22,383 --> 01:19:25,219
Bainbridge CO has until your arrival
to negotiate a surrender.

1137
01:19:25,386 --> 01:19:27,722
But upon boarding,
you will assume command.

1138
01:19:28,681 --> 01:19:34,687
Now we get another piece in the
unfolding story of the military response.

1139
01:19:34,937 --> 01:19:39,817
As the SEAL Team 6 are mobilized.

1140
01:19:39,984 --> 01:19:44,030
But of course it's gonna take them
many, many hours to get there.

1141
01:19:47,867 --> 01:19:50,787
But obviously each step down that road...

1142
01:19:51,621 --> 01:19:54,624
...raises the stakes inside the lifeboat.

1143
01:20:03,341 --> 01:20:05,510
It's almost as if...

1144
01:20:05,677 --> 01:20:08,137
...the most dangerous thing,
if you're a hostage...

1145
01:20:08,304 --> 01:20:10,556
...is not to be rescued...

1146
01:20:10,723 --> 01:20:14,519
...but the next most dangerous thing
is to be rescued.

1147
01:20:14,769 --> 01:20:17,313
And it's that central...

1148
01:20:19,023 --> 01:20:20,650
...terror...

1149
01:20:21,776 --> 01:20:25,196
...that this film tries to depict.

1150
01:20:25,863 --> 01:20:28,574
I can't feel my foot anymore.

1151
01:20:28,741 --> 01:20:31,160
It's like hell in here.

1152
01:20:34,163 --> 01:20:36,249
I love the way Tom...

1153
01:20:36,499 --> 01:20:40,545
...is sizing up the situation
every moment.

1154
01:20:41,546 --> 01:20:43,381
He wants air.

1155
01:20:43,548 --> 01:20:49,887
Looking at each pirate in turn,
trying to work out what's happening.

1156
01:20:57,645 --> 01:21:00,732
Talk too much. Too much.

1157
01:21:11,117 --> 01:21:14,328
It's funny, whenever I watch this film...

1158
01:21:14,620 --> 01:21:16,706
...when he opens the window,
smashes it out...

1159
01:21:16,831 --> 01:21:19,083
...I almost can feel
the draft on my face.

1160
01:21:19,250 --> 01:21:23,671
It feels so hot and claustrophobic
by this stage.

1161
01:21:24,589 --> 01:21:26,799
--you'll get a million bottles of it.

1162
01:21:26,966 --> 01:21:30,094
-All the water you want.
-Really?

1163
01:21:32,305 --> 01:21:35,349
So this is a very important scene now...

1164
01:21:35,516 --> 01:21:38,061
...because it brings out
the triangular relationship...

1165
01:21:38,227 --> 01:21:41,105
...between Phillips, Muse and Najee.

1166
01:21:41,814 --> 01:21:46,319
And, of course, develops this idea
of everybody lying to everybody else...

1167
01:21:46,486 --> 01:21:49,655
...as Muse tells him the story...

1168
01:21:50,073 --> 01:21:52,909
...about the millions he's made
from hijacking.

1169
01:21:53,159 --> 01:21:55,703
And Phillips calls him out on it.

1170
01:21:57,997 --> 01:22:02,335
Your problem isn't me talking to you.
Your problem is you not listening.

1171
01:22:11,135 --> 01:22:14,764
You think you have any power here?

1172
01:22:14,931 --> 01:22:18,559
-Let him go.
-I should shoot you and be done.

1173
01:22:18,726 --> 01:22:20,728
Take your gun off him.

1174
01:22:20,895 --> 01:22:23,689
I'm the captain.
Who do you think you are?

1175
01:22:25,233 --> 01:22:26,984
So now...

1176
01:22:28,194 --> 01:22:29,237
...Najee throws down.

1177
01:22:37,370 --> 01:22:40,123
But before it can be resolved...

1178
01:22:42,667 --> 01:22:44,836
...the Bainbridge arrives.

1179
01:22:46,921 --> 01:22:50,675
This was an immense challenge
to shoot this scene.

1180
01:22:52,260 --> 01:22:56,222
Bringing a modern warship very,
very close, at high speed...

1181
01:22:56,389 --> 01:22:58,724
...to a small lifeboat was no small....

1182
01:23:00,768 --> 01:23:02,812
No small endeavor.

1183
01:23:04,480 --> 01:23:09,402
But it was quite spectacular to watch
a pair of those vessels...

1184
01:23:09,569 --> 01:23:14,407
...and the wake they create.
Enormous, enormous waves.

1185
01:23:18,369 --> 01:23:22,790
I love what Tom does here.
You see the elation...

1186
01:23:22,957 --> 01:23:25,710
...and the terror all mixed up in one.

1187
01:23:25,918 --> 01:23:28,171
Get something to tie the doors.

1188
01:23:29,297 --> 01:23:31,465
Alabama lifeboat,
this is Frank Castellano...

1189
01:23:31,591 --> 01:23:33,759
...commander of the USS Bainbridge.

1190
01:23:33,968 --> 01:23:38,097
We wanna get Captain Phillips back
safely and end this thing peacefully.

1191
01:23:39,390 --> 01:23:42,476
We worked a long time
to get the score right here.

1192
01:23:44,020 --> 01:23:48,608
And it was a question of finding...

1193
01:23:50,276 --> 01:23:53,863
...some piece where the score could sit
but would...

1194
01:23:55,156 --> 01:23:57,116
...have some drive...

1195
01:23:57,700 --> 01:24:02,830
...but not push too hard and allow us
to bring brass through.

1196
01:24:02,997 --> 01:24:09,378
But Henry ended up with this
very simple little ostinato.

1197
01:24:11,130 --> 01:24:13,007
Very, very powerful.

1198
01:24:13,174 --> 01:24:15,760
We just want to talk.

1199
01:24:16,719 --> 01:24:20,514
Made me think, occasionally,
that I made a film...

1200
01:24:20,681 --> 01:24:23,976
...that felt a bit like
Assault on Precinct 13.

1201
01:24:24,143 --> 01:24:28,022
It's got the same musical sense,
which I love, incidentally...

1202
01:24:28,189 --> 01:24:32,318
...because I love that movie.
I think it's a brilliant film.

1203
01:24:32,735 --> 01:24:37,782
There's something about that ostinato
that made me think of it.

1204
01:24:37,949 --> 01:24:41,160
No tricks, or your captain dead.

1205
01:24:47,041 --> 01:24:53,714
I love Tom's look here, and the way
that Chris picks up Castellano's look.

1206
01:24:54,423 --> 01:25:00,471
One look pulling you to the other,
binding characters in, building tension.

1207
01:25:01,806 --> 01:25:03,474
-Shane Murphy?
-Yeah, that's me.

1208
01:25:03,641 --> 01:25:07,353
Lieutenant Hicks. You're entering
a military engagement zone, sir.

1209
01:25:07,520 --> 01:25:12,608
Need you to bring the ship left to 210.
We are here to escort you to Mombasa.

1210
01:25:12,775 --> 01:25:15,236
Your captain'll be in good hands.

1211
01:25:15,403 --> 01:25:17,822
All right. You heard him, guys.

1212
01:25:18,030 --> 01:25:21,325
One of the structural problems
of the story, of course...

1213
01:25:21,492 --> 01:25:26,497
...is that the Alabama disappears
at this stage, from the story.

1214
01:25:26,664 --> 01:25:33,129
And we wrestled with that problem
for a long time in advance, how to...?

1215
01:25:33,295 --> 01:25:37,758
And it's often the case in films,
you often have to wrestle...

1216
01:25:37,925 --> 01:25:41,178
...with how to lose characters
and situations in a way...

1217
01:25:41,345 --> 01:25:45,224
...that your audience
doesn't really notice or doesn't care.

1218
01:25:47,059 --> 01:25:52,857
And it was about doing it in a way
that you bait and switch and move on...

1219
01:25:53,816 --> 01:25:56,610
...to develop the drama in the lifeboat.

1220
01:25:56,777 --> 01:26:03,200
And now, from here on in, the story
becomes the story of the lifeboat...

1221
01:26:03,367 --> 01:26:04,952
...versus the military.

1222
01:26:05,536 --> 01:26:07,747
Irish, your crew...

1223
01:26:08,873 --> 01:26:10,374
...run.

1224
01:26:10,541 --> 01:26:11,625
Ship go.

1225
01:26:11,792 --> 01:26:13,711
Brilliant acting, I think, at this stage.

1226
01:26:14,920 --> 01:26:17,214
You better think
about what you're doing.

1227
01:26:18,966 --> 01:26:23,763
Navy good. They protect us.
Back to Somalia.

1228
01:26:23,929 --> 01:26:26,474
The Navy's not here to protect you.

1229
01:26:28,017 --> 01:26:30,019
Bravado from Muse.

1230
01:26:30,978 --> 01:26:32,897
No choice.

1231
01:26:33,439 --> 01:26:34,523
I got you.

1232
01:26:34,815 --> 01:26:38,486
You know the situation
is inherently unstable.

1233
01:26:47,953 --> 01:26:50,456
Just that one shot shows you,
in a nutshell, I think...

1234
01:26:50,623 --> 01:26:52,708
...the difficulties Barry
had to contend with.

1235
01:26:52,875 --> 01:26:58,964
How do you get images on the water
when you're in small craft that are...

1236
01:27:00,966 --> 01:27:03,969
...you know, sufficiently stable
that you can understand them?

1237
01:27:04,136 --> 01:27:06,263
It's a big, big, big problem.

1238
01:27:07,056 --> 01:27:10,726
People sometimes criticize me
for the shaky cam.

1239
01:27:10,893 --> 01:27:15,523
I'd love to bring those people out
onto the ocean in a 4-foot swell...

1240
01:27:15,689 --> 01:27:20,277
...and say, "Well, how exactly
would you get stable images?"

1241
01:27:21,612 --> 01:27:24,698
The wonder is that we had any images
at all, to be honest.

1242
01:27:24,907 --> 01:27:28,536
Okay. Wait.

1243
01:27:28,702 --> 01:27:31,080
To me, this...

1244
01:27:31,705 --> 01:27:35,042
...is very, very real, very intense.

1245
01:27:35,209 --> 01:27:40,172
And you start to feel
the different ways...

1246
01:27:40,339 --> 01:27:42,967
...these four young men
are responding.

1247
01:27:44,093 --> 01:27:45,845
How Phillips is responding.

1248
01:27:46,554 --> 01:27:51,434
And the problem from the
anti-piracy task force's point of view.

1249
01:27:51,600 --> 01:27:54,895
How do they resolve
this situation peacefully?

1250
01:27:56,063 --> 01:27:58,232
I'm in Seat 15.

1251
01:27:58,399 --> 01:28:00,067
You understand?

1252
01:28:00,568 --> 01:28:02,486
I'm in Seat 15.

1253
01:28:02,653 --> 01:28:04,697
All stations, TAO, log it: Seat 15.

1254
01:28:04,864 --> 01:28:08,075
Break, CICWO. TAO.
Send that to CTF 151 and SOCOM.

1255
01:28:09,702 --> 01:28:11,662
Don't worry, sir. We'll handle it.

1256
01:28:11,871 --> 01:28:13,414
Get him back inside.

1257
01:28:14,623 --> 01:28:17,543
Again, spending time
inside the control room...

1258
01:28:18,085 --> 01:28:20,296
...to show how it works, who does what.

1259
01:28:20,504 --> 01:28:21,755
Where's the money?

1260
01:28:21,922 --> 01:28:25,134
I don't want your food.
I want your money.

1261
01:28:25,301 --> 01:28:28,387
-We got another on top.
-OSS, maintain camera footage.

1262
01:28:28,554 --> 01:28:30,472
-Hold on a second.
-No tricks, sahib.

1263
01:28:30,639 --> 01:28:34,602
All these vessels, as part of
the international anti-piracy patrol...

1264
01:28:34,768 --> 01:28:40,608
...have Somali speakers onboard
for these encounters.

1265
01:28:40,816 --> 01:28:43,402
They're treating us like children.

1266
01:28:43,569 --> 01:28:45,112
Ten million dollars, when?

1267
01:28:45,279 --> 01:28:46,614
It's not that easy...

1268
01:28:46,780 --> 01:28:48,741
...so we need time.

1269
01:28:49,325 --> 01:28:52,077
You can imagine how the tension rises.

1270
01:28:54,455 --> 01:28:58,000
They've got expectations
of a huge payday.

1271
01:28:59,251 --> 01:29:00,419
And, of course...

1272
01:29:01,587 --> 01:29:05,966
...what they can't understand
is that no deal can ever be done.

1273
01:29:08,344 --> 01:29:12,097
But somewhere,
on the U.S. Navy side...

1274
01:29:12,223 --> 01:29:15,100
...they need to resolve this
thing peacefully.

1275
01:29:18,020 --> 01:29:21,649
So each holds cards
that the other doesn't have.

1276
01:29:22,525 --> 01:29:24,735
It's asymmetrical.

1277
01:29:25,402 --> 01:29:27,238
But also perfectly balanced.

1278
01:29:29,156 --> 01:29:34,203
Four young men with AK-47s
and nothing to lose...

1279
01:29:34,370 --> 01:29:38,290
...versus the might of the U.S. Navy.

1280
01:29:38,832 --> 01:29:40,709
It's a standoff.

1281
01:29:40,918 --> 01:29:44,088
-I say he okay.
-I need to hear it from him.

1282
01:29:48,342 --> 01:29:50,552
And, of course, caught in the middle...

1283
01:29:52,304 --> 01:29:54,181
...is Captain Phillips.

1284
01:29:55,683 --> 01:29:57,893
-Talk.
-Yeah, yeah, it's me.

1285
01:29:58,060 --> 01:29:59,395
Are you okay?

1286
01:29:59,937 --> 01:30:03,816
It's falling apart in here. He just fired
off a round next to my head.

1287
01:30:04,775 --> 01:30:08,279
-Is the leader there?
-Yeah, he can hear you.

1288
01:30:08,445 --> 01:30:11,782
Captain, listen to me.
We will not tolerate this.

1289
01:30:11,949 --> 01:30:15,369
As captain, you're responsible
for the lives of everyone onboard.

1290
01:30:15,577 --> 01:30:17,913
Right now
you are putting them in jeopardy.

1291
01:30:18,080 --> 01:30:20,124
We wanna resolve this thing
peacefully.

1292
01:30:21,542 --> 01:30:24,878
Let's find a way out of this together
before someone gets hurt.

1293
01:30:25,045 --> 01:30:28,132
Pressure on Muse now.
What's he going to do?

1294
01:30:28,924 --> 01:30:32,011
Alabama lifeboat, respond.

1295
01:30:34,763 --> 01:30:36,724
I talk when I go Somalia.

1296
01:30:37,641 --> 01:30:38,726
Sit down.

1297
01:30:38,892 --> 01:30:40,477
Sit down!

1298
01:30:40,936 --> 01:30:42,896
He just wants the money.

1299
01:30:43,230 --> 01:30:45,566
So he doubles the ante.
He's gonna keep on going...

1300
01:30:45,774 --> 01:30:48,694
...he's gonna keep on pushing on,
see if he can get to Somalia.

1301
01:30:49,737 --> 01:30:52,197
If he can get Phillips to Somalia...

1302
01:30:53,073 --> 01:30:58,537
...the stakes get much harder
for anyone trying to rescue him.

1303
01:30:59,705 --> 01:31:03,375
ETA on the SEAL team is 0400.

1304
01:31:05,336 --> 01:31:07,129
But from Castellano's point of view...

1305
01:31:07,338 --> 01:31:10,633
...the window of opportunity
to negotiate a peaceful outcome...

1306
01:31:10,841 --> 01:31:12,801
...is fast diminishing.

1307
01:31:15,471 --> 01:31:19,516
Military reinforcements are coming...

1308
01:31:19,975 --> 01:31:22,269
...and the SEALs are not far away.

1309
01:31:26,940 --> 01:31:30,319
Irish, no worry.

1310
01:31:31,779 --> 01:31:35,532
I think right in those two shots there,
you feel...

1311
01:31:36,617 --> 01:31:39,870
...the pressure
that both Muse and Phillips are under.

1312
01:31:40,037 --> 01:31:41,246
After this, I go America.

1313
01:31:42,581 --> 01:31:45,125
I always wanted to go America.

1314
01:31:46,001 --> 01:31:51,256
In a sense, their interests
are both served by a negotiation...

1315
01:31:52,091 --> 01:31:54,468
...not by a....

1316
01:31:56,845 --> 01:31:59,306
An unsuccessful standoff.

1317
01:31:59,890 --> 01:32:02,684
There are two more ships,
one on either side.

1318
01:32:03,936 --> 01:32:08,857
Phillips can see
that Muse is beginning to struggle.

1319
01:32:09,066 --> 01:32:13,445
His arm is being infected, he's
starting to run a big fever, he's sick.

1320
01:32:13,612 --> 01:32:15,614
Sit down! Sit down!

1321
01:32:15,781 --> 01:32:18,409
-Sit down!
-Down! Down!

1322
01:32:18,617 --> 01:32:20,703
And now Phillips
can see the reinforcements.

1323
01:32:20,911 --> 01:32:23,163
He knows what's coming.

1324
01:32:24,581 --> 01:32:27,376
And as I said earlier...

1325
01:32:27,584 --> 01:32:29,670
...the biggest danger
is not to be rescued...

1326
01:32:29,878 --> 01:32:32,339
...but the next greatest danger
is to be rescued.

1327
01:32:32,506 --> 01:32:35,134
He's gone. He's left you alone.

1328
01:32:35,759 --> 01:32:37,845
You had a plan to take my ship.

1329
01:32:37,970 --> 01:32:40,305
That didn't work,
so you thought you could take me?

1330
01:32:40,472 --> 01:32:42,224
-Shut up.
-Make a run to Somalia?

1331
01:32:42,391 --> 01:32:45,686
They got the Navy out there.
You gotta give up. You gotta stop.

1332
01:32:46,145 --> 01:32:47,604
Brilliant scene, this, I think.

1333
01:32:47,813 --> 01:32:50,065
Absolutely beautifully played
by the two of them.

1334
01:32:50,232 --> 01:32:51,859
They can't let you win.

1335
01:32:52,025 --> 01:32:55,737
They would rather sink this boat
than let you get me back to Somalia.

1336
01:32:55,904 --> 01:32:56,947
It's over.

1337
01:33:00,617 --> 01:33:02,995
I come too far, Irish.

1338
01:33:03,579 --> 01:33:07,541
I can't give up. No.

1339
01:33:16,550 --> 01:33:19,511
It's a fateful moment, I think,
between the two of them.

1340
01:33:21,096 --> 01:33:23,807
Phillips can see
he's never going to give up.

1341
01:33:31,231 --> 01:33:34,693
So the stage is set, really,
for the denouement.

1342
01:33:36,153 --> 01:33:37,529
Roger that.

1343
01:33:46,580 --> 01:33:50,000
I think Castellano,
at this point, knows...

1344
01:33:51,460 --> 01:33:54,505
...that the space and the time
and the room for negotiation...

1345
01:33:54,671 --> 01:33:56,173
...is almost at an end.

1346
01:34:02,846 --> 01:34:06,683
And I think Phillips knows it too.
And I think Muse knows it as well.

1347
01:34:14,608 --> 01:34:17,945
So now, finally,
all that watching pays off.

1348
01:34:18,195 --> 01:34:21,323
Phillips looks,
sees that Najee is sleeping.

1349
01:34:22,324 --> 01:34:24,868
Something's gonna happen
in that lifeboat.

1350
01:34:26,245 --> 01:34:29,706
But on the other side of the story,
the SEALs are inbound.

1351
01:34:29,915 --> 01:34:33,919
So the stakes are ratcheting up.

1352
01:34:39,049 --> 01:34:41,844
Phillips looks at the door...

1353
01:34:42,094 --> 01:34:44,221
...sees Bilal put his weapon down.

1354
01:34:47,391 --> 01:34:51,478
He sees that Muse's
not concentrating...

1355
01:34:51,728 --> 01:34:53,313
...in a world of his own.

1356
01:34:53,522 --> 01:34:55,232
So he has a chance.

1357
01:34:58,402 --> 01:35:01,321
One chance.
The chance he'd been waiting for.

1358
01:35:20,257 --> 01:35:22,759
Saltwater would be good for your foot.

1359
01:35:26,888 --> 01:35:28,348
He got out!

1360
01:35:28,515 --> 01:35:31,143
Turn the boat around!

1361
01:35:31,310 --> 01:35:32,936
Bilal, you idiot!

1362
01:35:33,770 --> 01:35:36,398
They must have been
desperate moments, swimming...

1363
01:35:38,108 --> 01:35:44,197
...seeing the U.S. Navy ships
just across the ocean.

1364
01:35:45,365 --> 01:35:48,410
Unbeknownst to him, of course,
the SEALs are inbound...

1365
01:35:48,660 --> 01:35:49,912
...on the other side.

1366
01:35:50,871 --> 01:35:52,247
Now Najee is awake.

1367
01:35:53,665 --> 01:35:55,542
The pirates try to turn.

1368
01:35:56,418 --> 01:35:57,711
Captain's in Combat.

1369
01:35:57,878 --> 01:36:00,380
Cap. We got two in the water.
Two in the water.

1370
01:36:00,589 --> 01:36:03,050
Starboard side, I see them both.

1371
01:36:03,550 --> 01:36:04,718
Two guys in the water.

1372
01:36:05,969 --> 01:36:08,805
Castellano is brought up to the bridge.

1373
01:36:09,514 --> 01:36:11,308
But the problem is...

1374
01:36:12,184 --> 01:36:16,146
...they're in no position to know who's in
the water and who's not. Is that Phillips?

1375
01:36:16,355 --> 01:36:20,609
Is that Phillips or is that just
two pirates? If they open fire...

1376
01:36:23,236 --> 01:36:25,656
...they might kill Phillips,
so they can't shoot.

1377
01:36:28,659 --> 01:36:32,120
So now we've got simultaneous action.

1378
01:36:33,080 --> 01:36:37,292
Which, I think, any filmmaker
will tell you is always the....

1379
01:36:37,709 --> 01:36:40,545
The thing you're trying to find
if you can really....

1380
01:36:40,921 --> 01:36:44,758
If you can get simultaneous action
occurring and it feels natural...

1381
01:36:45,425 --> 01:36:47,719
...then you really can drive a sequence.

1382
01:36:53,642 --> 01:36:57,187
We shot these pieces
in the tank at Malta.

1383
01:36:57,688 --> 01:37:00,065
In fact, when we started the film,
I thought--

1384
01:37:00,232 --> 01:37:04,861
When we initially began discussing the
film, I thought we'd shoot a lot of it...

1385
01:37:05,070 --> 01:37:07,447
...in the deep-water tanks.
But as it turned out...

1386
01:37:07,614 --> 01:37:11,451
...I think we did two nights, two
short nights, just for this one sequence.

1387
01:37:12,285 --> 01:37:15,789
The swimming under the lifeboat.

1388
01:37:15,997 --> 01:37:17,833
The rest of it was done in the ocean.

1389
01:37:18,667 --> 01:37:22,045
-Can't tell who's in the water.
-No clear shot at the Tangos.

1390
01:37:22,212 --> 01:37:24,756
Nobody shoots
unless there's a clear shot.

1391
01:37:24,965 --> 01:37:26,341
Where is he?

1392
01:37:32,431 --> 01:37:34,433
Here he is! Here he is!

1393
01:37:41,148 --> 01:37:44,067
Phillips in a desperate situation here.

1394
01:37:45,068 --> 01:37:46,111
Of course...

1395
01:37:46,653 --> 01:37:49,031
...the Navy are lighting the sky up...

1396
01:37:49,448 --> 01:37:51,700
...when, in fact,
what he wants is darkness.

1397
01:37:53,827 --> 01:37:58,290
But the truth is,
the distance to the warships was too far.

1398
01:38:00,834 --> 01:38:03,378
Muse was able to jump in and....

1399
01:38:04,629 --> 01:38:05,672
Help!

1400
01:38:05,964 --> 01:38:08,592
And no matter
how hard he tried to escape...

1401
01:38:09,259 --> 01:38:11,720
...the truth is,
he wasn't going anywhere.

1402
01:38:15,682 --> 01:38:17,017
All right!

1403
01:38:17,225 --> 01:38:18,310
-Come!
-All right!

1404
01:38:19,519 --> 01:38:21,188
-Come! Forward!
-All right!

1405
01:38:21,354 --> 01:38:23,356
Got him.

1406
01:38:23,523 --> 01:38:24,941
Come!

1407
01:38:25,108 --> 01:38:27,569
Okay, okay.

1408
01:38:29,529 --> 01:38:32,449
Go in, Irish! Go! Go, Irish!

1409
01:38:33,366 --> 01:38:36,078
Sir, the SEALs are coming aboard.

1410
01:38:36,912 --> 01:38:38,789
Prepare to board the SEALs.

1411
01:38:40,707 --> 01:38:43,335
Trying to create
connectivity with Castellano.

1412
01:38:44,461 --> 01:38:47,923
SEALs are almost aboard, he's really
only got one more throw of the dice...

1413
01:38:48,089 --> 01:38:50,592
...Castellano,
if he's gonna resolve this thing.

1414
01:38:54,262 --> 01:38:57,140
And also, of course, they knew...

1415
01:38:57,724 --> 01:39:00,727
...that Phillips was gonna be beaten
when he got back...

1416
01:39:01,603 --> 01:39:02,646
...in the lifeboat.

1417
01:39:02,813 --> 01:39:04,773
Waiting for you on the bridge, sir.

1418
01:39:12,531 --> 01:39:14,074
Not today!

1419
01:39:14,241 --> 01:39:15,492
Stop him!

1420
01:39:20,622 --> 01:39:22,707
That's enough!

1421
01:39:25,627 --> 01:39:28,964
I think the score is quite brilliant here,
the way you get that...

1422
01:39:31,842 --> 01:39:33,301
...progression of percussion.

1423
01:39:34,761 --> 01:39:37,597
Those descending cello lines...

1424
01:39:37,806 --> 01:39:40,100
...and the high-string pieces.

1425
01:39:40,642 --> 01:39:43,061
There's a sort of a terrible beauty in it.

1426
01:39:48,233 --> 01:39:50,861
Bainbridge to lifeboat,
you must surrender.

1427
01:39:51,027 --> 01:39:53,155
You will not be permitted to go further.

1428
01:39:53,321 --> 01:39:55,157
It's a helicopter!

1429
01:39:55,657 --> 01:39:58,618
So Castellano plays his last card.

1430
01:40:01,788 --> 01:40:04,040
Alabama lifeboat, respond.

1431
01:40:04,207 --> 01:40:05,709
Hurry! Go!

1432
01:40:05,876 --> 01:40:06,960
I'm trying.

1433
01:40:11,631 --> 01:40:12,799
Go!

1434
01:40:12,966 --> 01:40:16,428
You have a choice to make, captain.
Surrender now and this ends peacefully.

1435
01:40:16,595 --> 01:40:18,722
Panic in the desperation...

1436
01:40:19,556 --> 01:40:21,474
...inside that lifeboat.

1437
01:40:22,309 --> 01:40:24,436
That was amazing acting, really.

1438
01:40:24,936 --> 01:40:26,354
Very, very real.

1439
01:40:27,564 --> 01:40:31,401
It's easy to make a noise,
easy to make a commotion.

1440
01:40:31,610 --> 01:40:35,238
What's really hard when you're
a group of actors...

1441
01:40:35,447 --> 01:40:40,702
...is to create real rising and falling
tension and real detail...

1442
01:40:40,911 --> 01:40:43,914
...so you understand each character,
what each character's doing.

1443
01:40:44,122 --> 01:40:45,165
Fashioning moments...

1444
01:40:45,332 --> 01:40:48,877
...dramatic moments along the way
that have got proper shape...

1445
01:40:49,085 --> 01:40:51,755
...so that you invest in the experience.

1446
01:40:54,341 --> 01:40:55,592
Go!

1447
01:40:56,426 --> 01:40:58,219
Go!

1448
01:40:58,428 --> 01:41:00,305
Up ladder.

1449
01:41:03,350 --> 01:41:04,517
Make a hole.

1450
01:41:05,685 --> 01:41:10,857
The music's alternately
twisting and turning...

1451
01:41:11,733 --> 01:41:13,985
...as the tension ratchets up.

1452
01:41:14,694 --> 01:41:17,238
Target in the hatch.
This is Bainbridge out.

1453
01:41:17,948 --> 01:41:20,075
They're holding a gun to Phillips' head.

1454
01:41:20,242 --> 01:41:23,662
He's kind of yelling
and waving his pistol back and forth.

1455
01:41:26,122 --> 01:41:30,335
I kill him! I kill him! Now! I kill him!

1456
01:41:33,421 --> 01:41:35,131
We got shots fired, captain.

1457
01:41:35,298 --> 01:41:37,467
-How many shots?
-Who fired? Who fired?

1458
01:41:37,634 --> 01:41:39,594
We're losing this.

1459
01:41:43,306 --> 01:41:46,518
That's the bridge of the
USS Truxtun, there...

1460
01:41:46,768 --> 01:41:50,438
...with its full complement
of men and women.

1461
01:41:53,400 --> 01:41:57,821
Without them, this would never have had
the reality that it does as a sequence.

1462
01:41:58,238 --> 01:42:00,740
Give me the radio.

1463
01:42:01,825 --> 01:42:06,121
The helicopter is coming back.

1464
01:42:07,205 --> 01:42:11,334
Earlier on, you'll remember we had
the scene where Muse tells Phillips:

1465
01:42:12,377 --> 01:42:13,920
"We're just fishermen."

1466
01:42:16,381 --> 01:42:19,259
This is a very important moment
when Phillips recalls that.

1467
01:42:20,218 --> 01:42:23,221
And throws it back in his face
and it lands with Muse.

1468
01:42:24,556 --> 01:42:27,267
Talk. Talk.

1469
01:42:27,434 --> 01:42:32,731
They got a gun to my throat, and they're
gonna use a survival suit as a body bag.

1470
01:42:38,528 --> 01:42:41,239
You're not just a fisherman.

1471
01:42:41,906 --> 01:42:44,492
You're not just a fisherman.

1472
01:42:48,288 --> 01:42:50,790
Men of the Alabama lifeboat--

1473
01:42:50,957 --> 01:42:54,336
That's a magnificent moment
between the two of them.

1474
01:42:55,420 --> 01:42:58,465
The battle of wills
has just taken another turn.

1475
01:43:02,510 --> 01:43:03,636
Who is this?

1476
01:43:03,803 --> 01:43:06,973
I'm the negotiator.
I'm authorized to negotiate with you.

1477
01:43:07,182 --> 01:43:11,561
And then
the SEAL commander speaks.

1478
01:43:11,770 --> 01:43:14,689
And continuing that theme...

1479
01:43:14,898 --> 01:43:18,902
...of everybody telling lies
to everybody else.

1480
01:43:19,235 --> 01:43:21,654
He tells Muse
he's gonna do a deal with him.

1481
01:43:21,863 --> 01:43:23,990
Muse will get his money.

1482
01:43:25,408 --> 01:43:30,246
No one in this film speaks the truth
to each other.

1483
01:43:30,747 --> 01:43:32,123
Or very rarely.

1484
01:43:32,332 --> 01:43:34,376
We spoke with the elders of your tribe.

1485
01:43:34,542 --> 01:43:38,379
They are coming here to negotiate a deal,
an exchange.

1486
01:43:38,588 --> 01:43:42,467
We get our man, you get your money.
But this has to be done in confidence.

1487
01:43:42,634 --> 01:43:46,137
We don't want anyone to see
the exchange. Neither do the elders.

1488
01:43:46,304 --> 01:43:47,430
It's a lie.

1489
01:43:47,597 --> 01:43:50,767
You're low on fuel.
We got some weather coming in...

1490
01:43:50,934 --> 01:43:54,354
...so I'm suggesting that we tow you out
to the exchange point.

1491
01:43:54,521 --> 01:43:58,608
The difference, I think, between Max
playing the SEAL commander...

1492
01:43:58,817 --> 01:44:02,195
...and Yul playing Captain Castellano:
The way they framed...

1493
01:44:02,404 --> 01:44:05,615
...the different sides
of the military response.

1494
01:44:05,990 --> 01:44:07,951
The accuracy
with which they framed them...

1495
01:44:08,159 --> 01:44:10,954
...and the conviction
with which they played them...

1496
01:44:11,162 --> 01:44:13,832
...was quite remarkable, I think.

1497
01:44:14,749 --> 01:44:17,419
They made those parts really, really play.

1498
01:44:17,627 --> 01:44:19,504
It's an ambush.

1499
01:44:19,712 --> 01:44:23,633
And equally, in this scene
the way Muse and Najee...

1500
01:44:24,592 --> 01:44:28,221
...frame up their differences.

1501
01:44:41,067 --> 01:44:43,153
Filming this last sequence...

1502
01:44:43,361 --> 01:44:46,447
...was probably
the biggest challenge of the film.

1503
01:44:46,781 --> 01:44:48,700
We didn't have a lot of time.

1504
01:44:48,908 --> 01:44:50,702
Keep me posted on status.

1505
01:44:52,078 --> 01:44:53,830
The Navy provided us
with these ships.

1506
01:44:54,497 --> 01:44:58,168
And we had them
for a very short amount of time.

1507
01:44:58,376 --> 01:45:04,591
And we had to execute
a very complicated....

1508
01:45:05,967 --> 01:45:08,511
A multifaceted action sequence...

1509
01:45:08,720 --> 01:45:14,017
...involving four vessels
and three or four helicopters at night.

1510
01:45:16,519 --> 01:45:18,396
At high speed...

1511
01:45:18,605 --> 01:45:20,148
...with a lot of safety issues...

1512
01:45:20,648 --> 01:45:23,568
...and a lot of coordination issues.

1513
01:45:23,860 --> 01:45:27,447
And it took
a remarkable amount of planning.

1514
01:45:27,655 --> 01:45:31,326
And we were very lucky.

1515
01:45:31,534 --> 01:45:34,245
Which is something
that every director needs...

1516
01:45:34,454 --> 01:45:36,664
...shooting a scene like this.

1517
01:45:42,378 --> 01:45:45,924
Once again,
you need to sell the geography, always.

1518
01:45:46,925 --> 01:45:49,093
Don't let anyone in.

1519
01:45:53,389 --> 01:45:56,893
I was saying earlier, one of
the interesting things about the piece...

1520
01:45:57,101 --> 01:46:03,066
...is the way that characters very rarely
speak the truth to each other.

1521
01:46:04,943 --> 01:46:06,986
Apart from in this scene.

1522
01:46:08,196 --> 01:46:12,992
Which is obviously the culmination
of the relationship...

1523
01:46:13,201 --> 01:46:14,536
...between Muse and Phillips.

1524
01:46:17,288 --> 01:46:19,332
I go Navy ship...

1525
01:46:20,792 --> 01:46:22,543
...get dollars...

1526
01:46:23,962 --> 01:46:24,963
...you go home.

1527
01:46:25,129 --> 01:46:27,131
It starts conventionally.

1528
01:46:27,340 --> 01:46:31,135
How many times have we heard Muse
say, "Everything's gonna be okay"?

1529
01:46:31,928 --> 01:46:38,309
But then it takes a turn into the truthful.

1530
01:46:38,476 --> 01:46:40,144
--ransom...

1531
01:46:42,480 --> 01:46:44,315
...nobody get hurt.

1532
01:46:44,482 --> 01:46:48,653
You had $30,000
and a way to Somalia.

1533
01:46:50,989 --> 01:46:52,448
It wasn't enough?

1534
01:46:55,159 --> 01:46:57,203
I got bosses.

1535
01:46:57,870 --> 01:46:59,747
They got rules.

1536
01:46:59,914 --> 01:47:02,250
We all got bosses.

1537
01:47:07,338 --> 01:47:10,341
There's gotta be something
other than being a fisherman...

1538
01:47:10,508 --> 01:47:12,302
...and kidnapping people.

1539
01:47:15,388 --> 01:47:17,640
Maybe in America, Irish.

1540
01:47:18,308 --> 01:47:20,226
Maybe in America.

1541
01:47:25,398 --> 01:47:27,400
Alabama lifeboat, this is the U.S. Navy.

1542
01:47:27,567 --> 01:47:28,985
Magnificent scene.

1543
01:47:30,611 --> 01:47:35,783
I remember reading those two lines
in Billy's first draft.

1544
01:47:36,200 --> 01:47:38,494
And thinking,
"Right there, that's the film."

1545
01:47:38,703 --> 01:47:41,414
And in many ways, the film is all...

1546
01:47:41,581 --> 01:47:44,459
...trying to get to that place
in a way that's believable...

1547
01:47:44,667 --> 01:47:48,212
...so that that conversation
feels believable...

1548
01:47:48,421 --> 01:47:50,340
...between those two characters.

1549
01:47:50,548 --> 01:47:51,883
Without sentimentality...

1550
01:47:52,091 --> 01:47:55,094
...without creating moral equivalents.

1551
01:47:55,595 --> 01:48:01,476
Without suggesting in any way
that Phillips sympathizes with Muse...

1552
01:48:01,684 --> 01:48:03,311
...because he doesn't.

1553
01:48:04,103 --> 01:48:08,524
But so you understand both characters.

1554
01:48:10,652 --> 01:48:15,740
And when you've had that moment,
you're ready, then, for the endgame.

1555
01:48:15,948 --> 01:48:18,368
Be advised,
I have eyes on the package.

1556
01:48:18,576 --> 01:48:21,287
And again, same point as earlier.

1557
01:48:21,496 --> 01:48:25,500
You've got to take the time in a sequence
to set up the rules of the sequence.

1558
01:48:25,708 --> 01:48:27,835
Who knows what?

1559
01:48:28,044 --> 01:48:31,422
Who's doing what? Who's in control?
What are the communication systems?

1560
01:48:33,216 --> 01:48:36,552
Put this on, captain.
We need to keep you healthy.

1561
01:48:36,803 --> 01:48:38,596
All the time, you've gotta--

1562
01:48:38,805 --> 01:48:44,394
You must never compromise
the accuracy...

1563
01:48:44,602 --> 01:48:47,855
...and the time you spend
setting things up.

1564
01:48:48,564 --> 01:48:50,775
The more you set up,
the more you can pay off.

1565
01:48:52,777 --> 01:48:54,821
Inside. Go.

1566
01:48:55,446 --> 01:48:56,489
Go.

1567
01:48:56,698 --> 01:49:00,201
-Where are the elders?
-The elders are being flown in.

1568
01:49:01,077 --> 01:49:03,705
Put the gun inside.
We'll take you to your elders.

1569
01:49:03,871 --> 01:49:05,581
Anything happen, he die.

1570
01:49:05,748 --> 01:49:08,668
I give you my word.
Everything will be fine.

1571
01:49:08,835 --> 01:49:11,045
Put the gun down.

1572
01:49:11,212 --> 01:49:12,463
Gun down.

1573
01:49:14,132 --> 01:49:15,508
Wait.

1574
01:49:18,970 --> 01:49:20,555
These guys were all ex-military.

1575
01:49:20,763 --> 01:49:23,224
And they were able
to bring their training to bear.

1576
01:49:23,433 --> 01:49:26,686
We got you. Come on.
Nice and easy. Okay.

1577
01:49:27,603 --> 01:49:31,274
I think you feel, when you watch them,
that they know what they're doing.

1578
01:49:34,610 --> 01:49:36,737
Captain, it'll be over soon. Hang tough.

1579
01:49:36,904 --> 01:49:40,241
Stay in the same seat
you've been sitting in.

1580
01:49:40,533 --> 01:49:43,244
It's funny,
even just watching this now...

1581
01:49:43,453 --> 01:49:46,497
...in a studio, I can feel my palms...

1582
01:49:46,706 --> 01:49:49,041
...starting to sweat a bit.

1583
01:49:49,208 --> 01:49:50,835
Stern seas.

1584
01:49:51,043 --> 01:49:54,338
And that's
because you're responding...

1585
01:49:55,089 --> 01:49:56,424
...to the human situation.

1586
01:49:56,632 --> 01:50:01,304
To the insight that great actors
give you into a human situation.

1587
01:50:02,305 --> 01:50:03,764
You become involved.

1588
01:50:03,973 --> 01:50:05,433
You become truly involved.

1589
01:50:05,600 --> 01:50:08,895
-TAO, initiate high-speed maneuver.
-Aye, sir.

1590
01:50:10,730 --> 01:50:13,816
Halyburton, Boxer. This is Bainbridge.

1591
01:50:13,983 --> 01:50:16,068
Commence high-speed maneuvers.
Over.

1592
01:50:18,362 --> 01:50:20,698
Cause and effect...

1593
01:50:20,907 --> 01:50:23,075
...character development...

1594
01:50:23,284 --> 01:50:26,037
...architecture, control of pace.

1595
01:50:29,332 --> 01:50:31,709
Come up this way. Up this way.

1596
01:50:32,710 --> 01:50:36,756
Chris Rouse and I watched this
and worked it for weeks.

1597
01:50:38,508 --> 01:50:44,305
But he has a wonderful eye
for the architecture of these sequences.

1598
01:50:44,514 --> 01:50:47,141
What weight to give each side.

1599
01:50:47,809 --> 01:50:48,976
Stand over here.

1600
01:50:51,145 --> 01:50:53,272
As you move
from environment to environment...

1601
01:50:53,481 --> 01:50:54,857
...you need to be specific.

1602
01:50:56,150 --> 01:50:58,569
From darkness to light.

1603
01:50:58,861 --> 01:51:02,073
You know,
light can be as disorientating as dark.

1604
01:51:02,240 --> 01:51:04,867
Relax. We're gonna take care of you.

1605
01:51:06,202 --> 01:51:10,456
And now you're watching a man
who realizes he's being lied to.

1606
01:51:10,998 --> 01:51:12,875
But again, he doesn't quite know how.

1607
01:51:13,084 --> 01:51:14,961
He doesn't know
what he can do about it.

1608
01:51:23,553 --> 01:51:27,098
Your captain knows what he's doing.
You're gonna get your money now.

1609
01:51:40,778 --> 01:51:44,782
Likewise,
all these guys are ex-military.

1610
01:51:44,991 --> 01:51:46,534
What's going on?

1611
01:51:46,742 --> 01:51:48,160
And I think, again...

1612
01:51:49,912 --> 01:51:55,001
...it's much better to get
former military professionals to act...

1613
01:51:55,209 --> 01:51:57,920
...than it is to get actors
to be military professionals...

1614
01:51:58,129 --> 01:51:59,422
...in my experience.

1615
01:51:59,630 --> 01:52:02,341
We're going to initiate the tow.

1616
01:52:02,508 --> 01:52:05,511
I repeat,
we are going to initiate the tow.

1617
01:52:05,678 --> 01:52:09,765
You need to tell your driver
that he needs to stay in his seat...

1618
01:52:09,932 --> 01:52:12,101
...and continue steering.

1619
01:52:29,869 --> 01:52:34,624
Music takes a turn, obviously,
at this point. You get a heartbeat.

1620
01:52:38,002 --> 01:52:39,337
This thing is building now.

1621
01:52:41,505 --> 01:52:44,258
Alfa team is green at this time.
One green, two red.

1622
01:52:45,259 --> 01:52:49,263
A lot of the musical pieces
that have been put in place earlier...

1623
01:52:49,472 --> 01:52:52,266
...now start to come together.

1624
01:52:52,475 --> 01:52:57,939
The brass is starting to stretch
and twist.

1625
01:53:00,691 --> 01:53:03,611
The pulse has become a heartbeat.

1626
01:53:11,827 --> 01:53:15,331
-Hey. Hey.
-I'm putting on the shirt like they said.

1627
01:53:16,999 --> 01:53:19,585
If he moves again, shoot him.

1628
01:53:19,752 --> 01:53:21,754
Sir, the pirates have just issued a threat.

1629
01:53:21,921 --> 01:53:24,006
One of the extraordinary things...

1630
01:53:24,173 --> 01:53:28,260
...about Tom's performance,
I think in this film, is that he...

1631
01:53:30,262 --> 01:53:32,890
...takes pieces of doubt and fear...

1632
01:53:33,099 --> 01:53:34,850
...and hopelessness...

1633
01:53:35,059 --> 01:53:38,229
...and yet he manages
to fashion out of them...

1634
01:53:38,437 --> 01:53:41,482
...a story of endurance.

1635
01:53:42,984 --> 01:53:45,945
It's almost counterintuitive, really.

1636
01:53:47,488 --> 01:53:49,031
He's not playing the hero.

1637
01:53:49,240 --> 01:53:52,076
On the contrary,
he's playing the reality of the situation...

1638
01:53:52,284 --> 01:53:57,123
...at every step of the way with accuracy
and restraint, self-discipline.

1639
01:53:57,331 --> 01:53:58,791
And so...

1640
01:54:00,209 --> 01:54:05,339
...in an era, I think, cinematically
dominated by superheroes...

1641
01:54:05,548 --> 01:54:10,177
...he's always chosen--
And dared, I think.

1642
01:54:10,386 --> 01:54:12,638
--to play the ordinary man.

1643
01:54:12,847 --> 01:54:14,348
And that takes--

1644
01:54:14,557 --> 01:54:16,434
You have to accept restrictions.

1645
01:54:16,642 --> 01:54:20,479
Restrictions on who you are,
restrictions on the powers that you have.

1646
01:54:20,688 --> 01:54:22,773
The behaviors that you can exhibit.

1647
01:54:22,982 --> 01:54:28,571
You can't just, you know, rely
on some special power that you have.

1648
01:54:28,779 --> 01:54:31,031
You're just an ordinary person.

1649
01:54:31,240 --> 01:54:32,783
And yet out of that...

1650
01:54:34,201 --> 01:54:38,414
...slowly but surely,
you feel this deep reservoir...

1651
01:54:38,622 --> 01:54:42,918
...of humanity underneath,
and he's done it time and again.

1652
01:54:43,127 --> 01:54:48,382
And I think never better than in this--
The end of this film.

1653
01:54:48,549 --> 01:54:51,427
American ship, answer me.

1654
01:54:51,927 --> 01:54:56,307
You, I think, literally do feel
you're with him...

1655
01:54:56,515 --> 01:54:59,560
...in this unfolding situation.

1656
01:55:01,270 --> 01:55:03,439
As the sympathies twist and turn.

1657
01:55:03,647 --> 01:55:08,277
Do we--? Do we want them
to open fire or don't we?

1658
01:55:10,279 --> 01:55:15,242
What's gonna stand the best?

1659
01:55:15,451 --> 01:55:19,914
What's gonna give the best chance
of a successful outcome?

1660
01:55:20,289 --> 01:55:22,917
That's the question you're asking
as an audience.

1661
01:55:29,173 --> 01:55:33,552
And always that thin fragile line
that connects the lifeboat.

1662
01:55:33,761 --> 01:55:36,347
Irish. Irish. What you doing?

1663
01:55:37,515 --> 01:55:38,557
What you doing?

1664
01:55:42,812 --> 01:55:44,021
We know what he's doing.

1665
01:55:45,064 --> 01:55:47,483
Although it's never spoken.

1666
01:55:50,236 --> 01:55:53,072
We're doing what any of us would do
in this situation.

1667
01:55:53,280 --> 01:55:58,410
If you knew some violent endgame...

1668
01:55:58,619 --> 01:56:01,789
...was about to play out
in which you might or might not live...

1669
01:56:03,541 --> 01:56:05,167
...who would you be thinking about?

1670
01:56:05,334 --> 01:56:06,335
Give me a distance.

1671
01:56:07,044 --> 01:56:09,463
Two twenty. Still 129 out.

1672
01:56:16,137 --> 01:56:17,847
Stop writing, Irish.

1673
01:56:18,639 --> 01:56:21,392
If he sees you, he kill me and you both.

1674
01:56:22,852 --> 01:56:26,480
Those breathing chords, brass chords.

1675
01:56:27,231 --> 01:56:28,899
U.S. Navy, answer!

1676
01:56:30,818 --> 01:56:32,444
Anxious.

1677
01:56:33,445 --> 01:56:36,615
I want to speak with him!

1678
01:56:36,782 --> 01:56:37,825
Alfa and Charlie teams green.

1679
01:56:37,992 --> 01:56:39,910
They're saying, "Wake up."

1680
01:56:41,829 --> 01:56:45,916
And they're slowing rising
and building.

1681
01:56:47,543 --> 01:56:49,503
Where are the elders?

1682
01:56:51,213 --> 01:56:52,464
Where are elders?

1683
01:56:54,592 --> 01:56:57,261
American ship, answer!

1684
01:56:57,428 --> 01:56:59,346
Hey.

1685
01:56:59,513 --> 01:57:01,307
Hey! What is this?

1686
01:57:01,515 --> 01:57:05,269
Subterranean movement
giving you unease.

1687
01:57:06,395 --> 01:57:09,273
They've got something going on.
I think it's a fight.

1688
01:57:10,107 --> 01:57:15,154
Well, we've waited for this throw-down
since the earliest moment.

1689
01:57:18,115 --> 01:57:20,743
Phillips himself said
he always thought...

1690
01:57:22,036 --> 01:57:25,414
...that he'd get a bullet in the head
from the big, tall guy.

1691
01:57:26,665 --> 01:57:28,959
He was the one
he was most frightened of.

1692
01:57:30,377 --> 01:57:31,670
Stop Irish! Stop Irish!

1693
01:57:31,837 --> 01:57:34,006
Bring the rope!

1694
01:57:35,507 --> 01:57:38,093
Alfa and Charlie are red.
We are three red.

1695
01:57:38,260 --> 01:57:40,429
Alabama lifeboat, this is the negotiator.

1696
01:57:40,596 --> 01:57:43,057
If you harm the hostage,
we do not have a deal.

1697
01:57:43,807 --> 01:57:45,309
Do you copy?

1698
01:57:49,146 --> 01:57:50,648
Tie him!

1699
01:57:52,274 --> 01:57:57,196
The interesting situation
is that with Muse off the lifeboat...

1700
01:57:57,404 --> 01:58:01,492
...command and control
really breaks down.

1701
01:58:11,043 --> 01:58:12,836
What are you doing?

1702
01:58:15,214 --> 01:58:17,758
Captain Phillips, can you hear me?

1703
01:58:18,175 --> 01:58:21,762
-Captain Phillips, can you hear me?
-He's screaming, sir.

1704
01:58:22,721 --> 01:58:27,476
-One fifty-five. They're 64 meters out.
-One fifty-five, check. Speed up the tow.

1705
01:58:30,938 --> 01:58:35,401
Now we are moving
towards the conclusion.

1706
01:58:44,535 --> 01:58:47,371
The situation is running out of control.

1707
01:58:49,039 --> 01:58:50,708
Shut up!

1708
01:58:51,583 --> 01:58:54,211
Get a blindfold!

1709
01:58:57,297 --> 01:58:59,466
Can you see this?

1710
01:59:00,092 --> 01:59:01,135
Can you see it?

1711
01:59:01,969 --> 01:59:04,805
Let's reacquire targets,
weapons release on my command.

1712
01:59:05,014 --> 01:59:07,808
One thirty-five meters.
That's 44 out from optimal.

1713
01:59:07,975 --> 01:59:10,894
Alfa green.
Bravo and Charlie are still red. Two red.

1714
01:59:11,353 --> 01:59:13,397
Blindfold him.

1715
01:59:17,067 --> 01:59:21,113
Kid, just put your hands up.
You're just a kid.

1716
01:59:21,280 --> 01:59:27,369
Now all that preparatory work
between Phillips and Bilal...

1717
01:59:28,037 --> 01:59:31,999
...pays off in this scene, I think,
because we know this character.

1718
01:59:32,207 --> 01:59:34,668
We know the young kid.
We know who he is.

1719
01:59:34,918 --> 01:59:36,545
Andrea, I love you.

1720
01:59:37,504 --> 01:59:38,756
I love you, Ange.

1721
01:59:39,548 --> 01:59:40,758
Honey, I love you.

1722
01:59:42,509 --> 01:59:44,344
I love you, Danny. I'm sorry.

1723
01:59:44,511 --> 01:59:48,974
I'm sorry I'm here
and not there with you.

1724
01:59:49,433 --> 01:59:53,228
Can anybody hear this?
I can't stand this anymore.

1725
01:59:53,437 --> 01:59:55,981
One thirty meters.
That's 39 out from optimal.

1726
01:59:56,148 --> 01:59:58,192
Two red. No shot. Still at two red.

1727
01:59:58,359 --> 02:00:02,112
I need sights on targets.
I need three targets green.

1728
02:00:05,574 --> 02:00:07,618
Don't kill him!

1729
02:00:07,785 --> 02:00:09,828
The elders are coming.

1730
02:00:09,995 --> 02:00:11,372
We will get our money.

1731
02:00:11,538 --> 02:00:13,957
You are both idiots.

1732
02:00:14,124 --> 02:00:15,709
No one is coming.

1733
02:00:19,880 --> 02:00:23,634
When you make a film
and you direct a film...

1734
02:00:25,385 --> 02:00:28,764
...when you look at it back--
At least I find, anyway.

1735
02:00:28,931 --> 02:00:32,393
--often my overwhelming feeling...

1736
02:00:32,601 --> 02:00:37,022
...is of the mastery of all that work...

1737
02:00:37,981 --> 02:00:42,528
...that you've been able to be around.

1738
02:00:42,861 --> 02:00:44,029
It's almost like:

1739
02:00:44,947 --> 02:00:48,033
Isn't that wonderfully shot?
Isn't that wonderfully performed?

1740
02:00:48,242 --> 02:00:50,369
Isn't Tom magnificent there?

1741
02:00:50,577 --> 02:00:53,997
Isn't that group environment
in the control room magnificent?

1742
02:00:54,206 --> 02:00:55,707
Isn't this beautifully edited?

1743
02:00:56,166 --> 02:01:00,587
As a director, you're a jack of all trades
but a master of none.

1744
02:01:00,796 --> 02:01:03,215
But you're surrounded by masters.

1745
02:01:03,423 --> 02:01:09,221
And it leaves you with a feeling
of tremendous humility, I think...

1746
02:01:09,471 --> 02:01:15,436
...that your film has been made
by so many hands.

1747
02:01:17,271 --> 02:01:22,734
And that it can end up
by fashioning this moment.

1748
02:01:27,823 --> 02:01:29,533
Shock.

1749
02:01:30,576 --> 02:01:32,411
Violence.

1750
02:01:33,203 --> 02:01:35,205
Resolution.

1751
02:01:35,956 --> 02:01:39,293
Safety. Confusion.

1752
02:01:39,793 --> 02:01:41,420
Horror.

1753
02:01:45,883 --> 02:01:50,679
A great, great actor fashioning
a great, great moment in cinema...

1754
02:01:50,888 --> 02:01:52,639
...I think, for me.

1755
02:02:16,580 --> 02:02:19,124
We're gonna get you out of here
and get you home.

1756
02:02:20,626 --> 02:02:25,422
Ending this film was a great challenge.

1757
02:02:25,631 --> 02:02:28,800
There were so many obvious ways
you could end it.

1758
02:02:29,801 --> 02:02:35,098
And however you end it,
you have to resolve your characters.

1759
02:02:36,308 --> 02:02:41,146
As surely as you have to set them up,
you have to resolve them, pay them off.

1760
02:02:43,732 --> 02:02:45,943
Most of all...

1761
02:02:47,694 --> 02:02:50,906
...I wanted it not to feel triumphant.

1762
02:02:52,324 --> 02:02:54,952
I wanted it to feel real.

1763
02:02:56,411 --> 02:02:58,205
This way.

1764
02:03:01,124 --> 02:03:03,293
-Watch your step.
-Step.

1765
02:03:07,256 --> 02:03:09,007
Careful, sir.

1766
02:03:11,677 --> 02:03:15,180
There's something about this story...

1767
02:03:15,639 --> 02:03:20,185
...of four armed, desperate young men
from Somalia attacking a large ship...

1768
02:03:20,394 --> 02:03:22,187
...taking the captain hostage.

1769
02:03:23,146 --> 02:03:28,652
Trying to take him back to Somalia
before anyone can rescue him.

1770
02:03:29,361 --> 02:03:32,864
That speaks to larger forces
in our world, I think.

1771
02:03:34,241 --> 02:03:37,411
And larger challenges that we face.

1772
02:03:37,995 --> 02:03:39,621
It's a crime story, really.

1773
02:03:41,248 --> 02:03:46,253
A story of crime and retribution,
as all great crime stories should be.

1774
02:03:47,879 --> 02:03:53,802
A story from the far edges...

1775
02:03:54,011 --> 02:03:56,596
...the far oceans of the global economy.

1776
02:03:58,473 --> 02:04:02,728
A story about four men locked out...

1777
02:04:03,937 --> 02:04:05,480
...trying to take their prize.

1778
02:04:06,440 --> 02:04:10,235
And what it means to an ordinary man.

1779
02:04:10,527 --> 02:04:13,030
A man a bit like my father.

1780
02:04:13,238 --> 02:04:15,991
A man who'd spent his life at sea.

1781
02:04:16,158 --> 02:04:17,909
Can you talk?

1782
02:04:18,076 --> 02:04:19,911
-Can you tell me what's going on?
-Yeah.

1783
02:04:20,078 --> 02:04:22,289
So when he's finally safe...

1784
02:04:22,497 --> 02:04:24,708
Are you okay?
Because you don't look okay.

1785
02:04:25,542 --> 02:04:29,838
...the shock and the confusion...

1786
02:04:31,506 --> 02:04:33,759
...is our shock and confusion,
I think.

1787
02:04:35,802 --> 02:04:39,306
What do we think
about what we've seen?

1788
02:04:39,514 --> 02:04:42,059
How do we make sense of it?

1789
02:04:42,851 --> 02:04:44,895
The guilty have been punished.

1790
02:04:45,103 --> 02:04:47,564
The innocent man is free.

1791
02:04:48,649 --> 02:04:49,941
The tension is over.

1792
02:04:50,567 --> 02:04:53,904
We're gonna put this on,
get your heart rate and oxygen level...

1793
02:04:54,071 --> 02:04:56,031
-...make sure you're breathing.
-Okay.

1794
02:04:56,198 --> 02:05:00,160
-I want you to keep doing that, okay?
-Gonna put this on your finger.

1795
02:05:00,327 --> 02:05:02,537
Can you tell me what happened
to your head?

1796
02:05:02,704 --> 02:05:04,373
Put it on your finger.

1797
02:05:05,207 --> 02:05:06,875
They....

1798
02:05:10,253 --> 02:05:14,383
And I think in this scene...

1799
02:05:15,092 --> 02:05:19,054
...Tom explores the reality of that.

1800
02:05:19,221 --> 02:05:21,014
I want you to look at me and breathe.

1801
02:05:21,223 --> 02:05:22,265
-Understand?
-Yeah.

1802
02:05:22,432 --> 02:05:23,725
Okay, all right.

1803
02:05:25,060 --> 02:05:29,690
He dares to explore vulnerability.

1804
02:05:30,941 --> 02:05:32,567
Vulnerability with control.

1805
02:05:32,776 --> 02:05:36,613
Vulnerability with insight.

1806
02:05:38,615 --> 02:05:41,535
The truest power of acting, really.

1807
02:05:42,202 --> 02:05:46,248
To make you feel
that you're really there.

1808
02:05:46,456 --> 02:05:49,960
That you've really lived through it.
That it's meant something to you.

1809
02:05:52,003 --> 02:05:58,427
But that meaning remaining elusive...

1810
02:06:00,178 --> 02:06:04,307
...whilst the personal cost of it
is clear and true.

1811
02:06:04,516 --> 02:06:06,184
That's brilliant acting for me.

1812
02:06:08,061 --> 02:06:09,396
A great way to end, I think.

1813
02:06:09,604 --> 02:06:11,857
The only way, as it turned out,
to end this film.

1814
02:06:12,482 --> 02:06:15,902
You'll be able to call them
as soon as you are taken care of.

1815
02:06:18,196 --> 02:06:20,282
Sir, I need you to breathe, okay?

1816
02:06:20,449 --> 02:06:23,034
You are safe and you are fine.

1817
02:06:23,827 --> 02:06:25,704
It's gonna be okay.

1818
02:06:26,788 --> 02:06:28,999
Everything's gonna be okay.

1819
02:06:29,541 --> 02:06:35,505
That was the question
that was asked in the first scene.

1820
02:06:35,714 --> 02:06:38,550
That everything is gonna be okay,
isn't it?

1821
02:07:32,062 --> 02:07:36,274
The men and women of the Truxtun
were extraordinary...

1822
02:07:36,483 --> 02:07:38,443
...in their commitment to this film.

1823
02:07:38,652 --> 02:07:41,696
You ask them, you meet them,
you explain what you're trying to do.

1824
02:07:41,905 --> 02:07:44,366
And they make a decision.
Sometimes they help.

1825
02:07:44,574 --> 02:07:48,870
They've helped on some films.
They haven't helped on others. It's....

1826
02:07:49,454 --> 02:07:53,250
The good thing is that when they help,
they're with you a hundred percent...

1827
02:07:53,458 --> 02:07:55,627
...as they did in this case.

1828
02:07:58,839 --> 02:08:02,425
Richard Phillips came to the set
a couple of days into the shoot.

1829
02:08:02,634 --> 02:08:08,682
Tom had spent some time with him,
quite a bit of time with him, earlier on.

1830
02:08:10,350 --> 02:08:12,769
He was a very nice man.

1831
02:08:13,353 --> 02:08:16,231
Every inch a Merchant Mariner.

1832
02:08:17,232 --> 02:08:22,862
And one of the nicest things
of the whole experience...

1833
02:08:23,071 --> 02:08:26,449
...was to show him and his wife the film
when it was all over.

1834
02:08:26,658 --> 02:08:32,414
And I remember Ange, his wife,
coming out in floods of tears.

1835
02:08:32,622 --> 02:08:35,000
I think she'd found it
very, very overwhelming...

1836
02:08:35,208 --> 02:08:40,088
...to be taken that close
to the experience.

1837
02:08:40,839 --> 02:08:44,384
Richard is a very phlegmatic man.

1838
02:08:44,593 --> 02:08:47,178
He said, "It's a good movie."
He said:

1839
02:08:47,721 --> 02:08:51,224
"But it's not the same
as having a real gun put at your head."

1840
02:08:54,352 --> 02:08:58,106
I think the more you can involve
military professionals...

1841
02:08:58,315 --> 02:09:00,358
...if your film is set in their world...

1842
02:09:00,567 --> 02:09:04,905
...the better chance you've got
of authenticity.

1843
02:09:05,113 --> 02:09:08,283
And that was certainly the case here,
you know?

1844
02:09:08,491 --> 02:09:12,203
I think anybody who is familiar
with those worlds...

1845
02:09:12,412 --> 02:09:15,749
...would say that this
is a pretty accurate depiction...

1846
02:09:15,957 --> 02:09:19,628
...of how they respond
to these kinds of emergencies.

1847
02:09:22,756 --> 02:09:26,259
When Barry and I
began discussing the movie...

1848
02:09:26,468 --> 02:09:31,181
...we initially thought
we'd go the digital route.

1849
02:09:31,890 --> 02:09:35,935
But in the end,
we knew we would be on water.

1850
02:09:36,144 --> 02:09:41,191
We knew we would be
in a lot of small skiffs.

1851
02:09:41,483 --> 02:09:45,362
And I was worried
we might have technical problems.

1852
02:09:45,612 --> 02:09:50,158
And in the end,
we chose to go back to 35.

1853
02:09:50,367 --> 02:09:55,163
Although some of the stuff in the skiffs
we shot on 16.

1854
02:09:55,372 --> 02:09:59,876
Because you get a bigger lens,
and a lighter weight.

1855
02:10:00,085 --> 02:10:02,671
And it gave us the maneuverability
we wanted...

1856
02:10:02,879 --> 02:10:08,426
...in very, very dynamic,
physical, challenging conditions.

1857
02:10:11,388 --> 02:10:13,556
Khat, khat.

1858
02:10:13,765 --> 02:10:17,018
Khat is a plant. It's a leaf.

1859
02:10:17,394 --> 02:10:19,145
And it's a drug.

1860
02:10:19,354 --> 02:10:21,856
It's actually a little bit like a--

1861
02:10:22,065 --> 02:10:25,819
Not as strong,
but going towards like a coca leaf.

1862
02:10:26,027 --> 02:10:32,200
And it's a drug that's ubiquitously used
throughout Somalia...

1863
02:10:32,409 --> 02:10:35,078
...and elsewhere in the Horn of Africa.

1864
02:10:35,286 --> 02:10:39,040
And people who live on the water
particularly use it...

1865
02:10:39,249 --> 02:10:43,962
...because it combats the effects
of seasickness.

1866
02:10:47,173 --> 02:10:48,383
I'm pretty good, actually.

1867
02:10:48,591 --> 02:10:51,136
Tom and I, we were fine.
And, you know, a few of us--

1868
02:10:51,344 --> 02:10:54,055
But some people found it
very challenging.

1869
02:10:54,264 --> 02:10:58,184
But, no, I was all right.
I don't really get seasick, luckily.

1870
02:11:01,187 --> 02:11:05,692
One of the attractions of the film was
working with Tom, from my point of view.

1871
02:11:05,900 --> 02:11:07,652
And he and I knew each other...

1872
02:11:07,861 --> 02:11:10,238
...and we'd talked
about finding something to do.

1873
02:11:10,447 --> 02:11:14,075
So when this came up,
I jumped at it because I thought--

1874
02:11:14,284 --> 02:11:18,496
You know, he was already involved.
But I thought he was perfect for the part.

1875
02:11:18,705 --> 02:11:23,710
And, you know, I wasn't gonna miss
the chance to team up with him.

1876
02:11:23,918 --> 02:11:29,007
Tom's just a wonderful actor
and a total gentleman, you know?

1877
02:11:29,215 --> 02:11:34,179
And he had to put up with a lot
on this film.

1878
02:11:37,182 --> 02:11:39,809
So I just wanna say a big thank you...

1879
02:11:40,018 --> 02:11:44,647
...to everybody
who helped us make this film.

1880
02:11:45,398 --> 02:11:47,567
And there were many of them.

1881
02:11:47,776 --> 02:11:52,614
And this is Paul Greengrass,
signing off...

1882
02:11:52,822 --> 02:11:55,950
...on the director's commentary
for Captain Phillips.