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I worked on a film called "Apollo 13,"

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and when I worked on this film, I discovered something

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about how our brains work, and how our brains work

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is that, when we're sort of infused with

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either enthusiasm or awe or fondness or whatever,

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it changes and alters our perception of things.

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It changes what we see. It changes what we remember.

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And as an experiment, because I dauntingly create

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a task for myself of recreating a Saturn V launch

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for this particular movie, because I put it out there,

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I felt a little nervous about it, so I need to do an experiment

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and bring a group of people like this in a projection room

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and play this stock footage, and when I played this

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stock footage, I simply wanted to find out

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what people remembered, what was memorable about it?

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What should I actually try to replicate?

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What should I try to emulate to some degree?

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So this is the footage that I was showing everybody.

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And what I discovered is, because of the nature

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of the footage and the fact that we're doing this film,

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there was an emotion that was built into it

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and our collective memories of what this launch meant to us

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and all these various things.

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When I showed it, and I asked, immediately after

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the screening was over, what they thought of it,

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what was your memorable shots, they changed them.

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They were -- had camera moves on them.

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They had all kinds of things. Shots were combined,

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and I was just really curious, I mean, what the hell

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were you looking at just a few minutes ago

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and how come, how'd you come up with this sort of description?

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And what I discovered is, what I should do is not actually

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replicate what they saw, is replicate what they remembered.

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So this is our footage of the launch, based on, basically,

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taking notes, asking people what they thought, and then

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the combination of all the different shots and all

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the different things put together created their sort of

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collective consciousness of what they remembered

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it looked like, but not what it really looked like.

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So this is what we created for "Apollo 13."

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(Launch noises)

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So literally what you're seeing now is the confluence

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of a bunch of different people, a bunch of different memories,

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including my own, of taking a little bit of liberty

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with the subject matter.

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I basically shot everything with short lenses,

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which means that you're very close to the action,

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but framed it very similarly to the long lens shots

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which gives you a sense of distance, so I was basically

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was setting up something that would remind you

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of something you haven't really quite seen before. (Music)

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And then I'm going to show you exactly what it is

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that you were reacting to when you were reacting to it.

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(Music)

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Tom Hanks: Hello, Houston, this is Odyssey.

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It's good to see you again. (Cheers) (Music)

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Rob Legato: I pretend they're clapping for me.

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(Laughter)

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So now I'm in a parking lot. Basically it's a tin can,

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and I'm basically recreating the launch with

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fire extinguishers, fire, I have wax that I threw

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in front of the lens to look like ice, and so basically

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if you believed any of the stuff that I just showed you,

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what you were reacting to, what you're emoting to,

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is something that's a total falsehood, and I found that

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really kind of fascinating.

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And in this particular case, this is the climax of the movie,

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and, you know, the weight of achieving it was simply

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take a model, throw it out of a helicopter, and shoot it.

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And that's simply what I did.

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That's me shooting, and I'm a fairly mediocre operator,

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so I got that nice sense of verisimilitude, of a kind of,

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you know, following the rocket all the way down,

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and giving that little sort of edge, I was desperately

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trying to keep it in frame. So then I come up to the next thing.

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We had a NASA consultant who was actually an astronaut,

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who was actually on some of the missions, of Apollo 15,

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and he was there to basically double check my science.

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And, I guess somebody thought they needed to do that.

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(Laughter)

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I don't know why, but they thought they did.

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So we were, he's a hero, he's an astronaut, and

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we're all sort of excited, and, you know, I gave myself

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the liberty of saying, you know, some of the shots I did

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didn't really suck that bad.

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And so maybe, you know, we were feeling kind of a little

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good about it, so I brought him in here, and he needed

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to really check and see what we were doing,

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and basically give us our A plus report card,

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and so I showed him some shots we were working on,

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and waiting for the reaction that you hope for,

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which is what I got. (Music) (Launch noises)

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So I showed him these two shots,

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and then he basically told me what he thought.

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("That's wrong") (Laughter)

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Okay. (Laughter)

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It's what you dream about.

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(Laughter)

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So what I got from him is, he turned to me and said,

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"You would never, ever design a rocket like that.

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You would never have a rocket go up

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while the gantry arms are going out. Can you imagine

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the tragedy that could possibly happen with that?

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You would never, ever design a rocket like that."

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And he was looking at me. It's like, Yeah, I don't know

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if you noticed, but I'm the guy out in the parking lot

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recreating one of America's finest moments with

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fire extinguishers.

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(Laughter)

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And I'm not going to argue with you. You're an astronaut,

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a hero, and I'm from New Jersey, so --

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(Laughter)

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I'm just going to show you some footage.

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I'm just going to show you some footage, and tell me what you think.

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And then I did kind of get the reaction I was hoping for.

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So I showed him this, and this is actual footage

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that he was on. This is Apollo 15. This was his mission.

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So I showed him this, and the reaction I got was interesting.

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("That's wrong too.") (Laughter)

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So, and what happened was, I mean, what I sort of intuned

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in that is that he remembered it differently.

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He remembered that was a perfectly safe sort of gantry

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system, perfectly safe rocket launch, because he's sitting

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in a rocket that has, like, a hundred thousand pounds

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of thrust, built by the lowest bidder.

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He was hoping it was going to work out okay.

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(Laughter) (Applause)

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So he twisted his memory around.

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Now, Ron Howard ran into Buzz Aldrin, who was not

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on the movie, so he had no idea that we were faking

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any of this footage, and he just responded

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as he would respond, and I'll run this.

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Ron Howard: Buzz Aldrin came up to me

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and said, "Hey, that launch footage, I saw some shots

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I'd never seen before. Did you guys, what vault did you find

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that stuff in?" And I said, "Well, no vault, Buzz,

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we generated all that from scratch."

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And he said, "Huh, that's pretty good. Can we use it?"

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(Explosion) ("Sure") (Laughter)

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RL: I think he's a great American.

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(Laughter)

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So, "Titanic" was, if you don't know the story,

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doesn't end well.

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(Laughter)

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Jim Cameron actually photographed the real Titanic.

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So he basically set up, or basically shattered

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the suspension of disbelief, because what he photographed

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was the real thing, a Mir sub going down, or actually

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two Mir subs going down to the real wreck,

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and he created this very haunting footage.

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It's really beautiful, and it conjures up all these

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various different emotions, but he couldn't photograph

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everything, and to tell the story,

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I had to fill in the gaps, which is now rather daunting,

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because now I have to recreate back to back

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what really happened and I had, I'm the only one

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who could really blow it at that point.

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So this is the footage he photographed,

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and it was pretty moving and pretty awe-inspiring.

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So I'm going to just let it run, so you kind of absorb

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this sort of thing, and I'll describe my sort of reactions

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when I was looking at it for the very first time.

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I got the feeling that my brain wanted to basically

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see it come back to life.

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I automatically wanted to see this ship,

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this magnificent ship, basically in all its glory,

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and conversely, I wanted to see it not in all its glory,

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basically go back to what it looks like.

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So I conjured up an effect that I'm later going to show you

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what I tried to do, which is kind of the heart of the movie,

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for me, and so that's why I wanted to do the movie,

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that's why I wanted to create the sort of things I created.

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And I'll show you, you know, another thing that I found

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interesting is what we really were emoting to

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when you take a look at it.

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So here's the behind the scenes, a couple of little shots here.

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So, when you saw my footage,

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you were seeing this: basically, a bunch of guys

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flipping a ship upside down, and the little Mir subs

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are actually about the size of small footballs,

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and shot in smoke.

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Jim went three miles went down, and I went about

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three miles away from the studio

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and photographed this in a garage.

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And so, but what you're emoting to, or what you're looking

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at, had the same feeling, the same haunting quality,

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that Jim's footage had, so I found it so fascinating

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that our brains sort of, once you believe something's real,

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you transfer everything that you feel about it,

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this quality you have, and it's totally artificial.

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It's totally make-believe, yet it's not to you,

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and I found that that was a very interesting thing

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to explore and use, and it caused me to create the next

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effect that I'll show you, which is

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this sort of magic transition, and all I was really attempting

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to do is basically have the audience cue the effect,

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so it became a seamless experience for them,

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that I wasn't showing you my sort of interpretation,

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I was showing you what you wanted to see.

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And the very next shot, right after this --

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So you can see what I was doing.

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So basically, if there's two subs in the same shot,

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I shot it, because where's the camera coming from?

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And when Jim shot it, it was only one sub,

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because he was photographing from the other,

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and I don't remember if I did this or Jim did this.

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I'll give it to Jim, because he could use the pat on the back.

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(Laughter)

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Okay. So now the Titanic transition.

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So this is what I was referring to where I wanted to basically

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magically transplant from one state of the Titanic

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to the other. So I'll just play the shot once. (Music)

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(Music)

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And what I was hoping for is that it just melts in front of you.

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Gloria Stuart: That was the last time Titanic ever saw daylight.

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RL: So, what I did is basically I had another

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screening room experience where I was basically tracking

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where I was looking, or where we were looking,

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and of course you're looking at the two people on the bow

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of the ship, and then at some point,

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I'm changing the periphery of the shot,

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I'm changing, it's becoming the rusted wreck,

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and then I would run it every day, and then I would find

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exactly the moment that I stopped looking at them

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and start noticing the rest of it, and the moment

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my eye shifted, we just marked it to the frame.

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The moment my eye shifted, I immediately started

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to change them, so now somehow you missed

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where it started and where it stopped.

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And so I'll just show it one more time.

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(Music) And it's literally done by using what our brains

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naturally do for us, which is, as soon as you shift

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your attention, something changes, and then I left

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the little scarf going, because it really wanted to be

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a ghostly shot, really wanted to feel like they were still

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on the wreck, essentially. That's where they were buried forever.

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Or something like that. I just made that up.

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(Laughter)

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It was, incidentally, the last time I ever saw daylight.

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It was a long film to work on. (Laughter)

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Now, "Hugo" was another interesting movie, because

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the movie itself is about film illusions.

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It's about how our brain is tricked into seeing a persistence

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of vision that creates a motion picture,

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and one of the things I had to do is, we —

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Sasha Baron Cohen is a very clever, very smart guy,

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comedian, wanted to basically do an homage to the kind of

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the Buster Keaton sort of slapstick things, and he wanted

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his leg brace to get caught on a moving train.

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Very dangerous, very impossible to do, and particularly

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on our stage, because there literally is no way to actually

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move this train, because it fits so snugly into our set.

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So let me show you the scene, and then I basically

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used the trick that was identified by Sergei Eisenstein,

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which is, if you have a camera that's moving with a moving

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object, what is not moving appears to be moving,

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and what is moving appears to be stopped,

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so what you're actually seeing now is the train is not

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moving at all, and what is actually moving is the floor.

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So this is the shot. That's a little video of

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what you're looking at there, which is our little test,

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so that's actually what you're seeing, and I thought it was

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sort of an interesting thing, because it was, part

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of the homage of the movie itself is coming up with this

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sort of genius trick which I can't take credit for.

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I'd love to but I can't, because it was invented

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like in 1910 or something like that, is I told Marty,

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and it's kind of one of those mind things that it's

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really hard to really get until you actually see it work,

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and I said, you know, what I was going to do, and he said,

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"So, let me see if I can get this straight. The thing with the wheels?

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That doesn't move."

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(Laughter) (Applause)

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"And the thing without the wheels, that moves."

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Precisely. (Laughter)

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Brings me to the next, and final --

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Marty's not going to see this, is he? (Laughter)

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This isn't viewed outside of -- (Laughter)

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The next illustration is something that, there's like

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all one shot theory. It's a very elegant way of telling a story,

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especially if you're following somebody on a journey,

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and that journey basically tells something about

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their personality in a very concise way,

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and what we wanted to do based on the shot in "Goodfellas,"

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which is one of the great shots ever,

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a Martin Scorsese film, of basically following Henry Hill

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through what it feels like to be a gangster walk

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going through the Copacabana and being treated in a special way.

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He was the master of his universe, and we wanted Hugo

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to feel the same way, so we created this shot.

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(Music)

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That's Hugo. (Music)

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And we felt that if we could basically move the camera

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with him, we would feel what it feels like to be this boy

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who is basically the master of his universe,

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and his universe is, you know, behind the scenes

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in the bowels of this particular train station

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that only he can actually navigate through

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and do it this way, and we had to make it feel that

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this is his normal, everyday sort of life,

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so the idea of doing it as one shot was very important,

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and of course, in shooting in 3D, which is basically

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it's a huge camera that's hanging off of a giant stick,

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so to recreate a steadycam shot was the task,

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and make it feel kind of like what the reaction you got

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when you saw the "Goodfellas" shot.

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So what you're now going to see is how we actually did it.

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It's actually five separate sets shot at five different times

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with two different boys.

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The one on the left is where the shot ends,

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and the shot on the right is where it takes over,

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and now we switch boys, so it went from Asa Butterfield,

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who's the star of the show, to his stand-in. (Music)

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I wouldn't say his stunt double. There's a crazy rig

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that we built for this. (Music)

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And so this is, and now this is set number three

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we're into, and then we're going to go into, basically

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the very last moment of the shot is actually

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the steadycam shot. Everything else was shot on cranes

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and various things like that, and it literally was done

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over five different sets, two different boys, different times,

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and it all had to feel like it was all one shot, and what was

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sort of great for me was it was probably

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the best-reviewed shot I've ever worked on,

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and, you know, I was kind of proud of it when I was done,

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which is, you should never really be proud of stuff, I guess.

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So I was kind of proud of it, and I went to a friend of mine,

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and said, "You know, this is, you know, kind of

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the best-reviewed shot I've ever worked on.

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What do you think was the reason?"

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And he said, "Because no one knows

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you had anything to do with it."

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(Laughter)

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So, all I can say is, thank you,

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and that's my presentation for you. (Applause)

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(Applause)