Behind the Scenes Featurette from the movie The Hunt for Red October (1990).
The Hunt for Red October is a 1990 American submarine spy thriller film directed by John McTiernan, produced by Mace Neufeld, and starring Sean Connery, Alec Baldwin, Scott Glenn, James Earl Jones, and Sam Neill. The film is an adaptation of Tom Clancy's 1984 bestselling novel of the same name. It is the first instalment of the film series with the protagonist Jack Ryan.
The story is set during the late Cold War era and involves a rogue Soviet naval captain who wishes to defect to the United States with his officers and the Soviet Navy's newest and most advanced ballistic missile submarine, a fictional improvement on the Soviet Typhoon-class submarine. A CIA analyst correctly deduces his motive and must prove his theory before a violent confrontation between the Soviet and the American navies spirals out of control.
The film was a co-production between the motion picture studios Paramount Pictures, Mace Neufeld Productions, and Nina Saxon Film Design. Theatrically, it was commercially distributed by Paramount Pictures and by the Paramount Home Video division for home media markets. Following its wide theatrical release, the film was nominated for and won a number of accolades. At the 63rd Academy Awards, the film was honoured with the Academy Award for Best Sound Editing, along with nominations for Best Sound Mixing and Best Film Editing. On June 12, 1990, the original soundtrack, composed and conducted by Basil Poledouris, was released by MCA Records. The Hunt for Red October received mostly positive reviews from critics and was the sixth-highest-grossing domestic film of the year, generating $122 million in North America and more than $200 million worldwide in box office business.
The Hunt for Red October is a 1990 American submarine spy thriller film directed by John McTiernan, produced by Mace Neufeld, and starring Sean Connery, Alec Baldwin, Scott Glenn, James Earl Jones, and Sam Neill. The film is an adaptation of Tom Clancy's 1984 bestselling novel of the same name. It is the first instalment of the film series with the protagonist Jack Ryan.
The story is set during the late Cold War era and involves a rogue Soviet naval captain who wishes to defect to the United States with his officers and the Soviet Navy's newest and most advanced ballistic missile submarine, a fictional improvement on the Soviet Typhoon-class submarine. A CIA analyst correctly deduces his motive and must prove his theory before a violent confrontation between the Soviet and the American navies spirals out of control.
The film was a co-production between the motion picture studios Paramount Pictures, Mace Neufeld Productions, and Nina Saxon Film Design. Theatrically, it was commercially distributed by Paramount Pictures and by the Paramount Home Video division for home media markets. Following its wide theatrical release, the film was nominated for and won a number of accolades. At the 63rd Academy Awards, the film was honoured with the Academy Award for Best Sound Editing, along with nominations for Best Sound Mixing and Best Film Editing. On June 12, 1990, the original soundtrack, composed and conducted by Basil Poledouris, was released by MCA Records. The Hunt for Red October received mostly positive reviews from critics and was the sixth-highest-grossing domestic film of the year, generating $122 million in North America and more than $200 million worldwide in box office business.
Category
🎥
Short filmTranscript
00:00Comrades, this is your captain.
00:01It is an honor to speak to you today.
00:02And I'm honored to be sailing with you on the maiden voyage of our motherland's most
00:03recent achievement.
00:04And once more, we play our dangerous game.
00:05A game of chess against our old adversary, the American Navy.
00:06And action!
00:07Somebody will take that.
00:08Somebody will take that.
00:09And action!
00:10And action!
00:11And action!
00:12And action!
00:13And action!
00:14And action!
00:15And action!
00:16And action!
00:17And action!
00:18And action!
00:19And action!
00:20And action!
00:21And action!
00:22And action!
00:23And action!
00:24And action!
00:25And action!
00:26And action!
00:27And action!
00:28And action!
00:29And action!
00:30And action!
00:31And action!
00:32And action!
00:33And action!
00:34And action!
00:35And action!
00:36And action!
00:37And action!
00:38And action!
00:39A young man who worked for me in delivered.
00:40In 1984, I sent him down to the book fair to see the new books that are coming out.
00:52He came back with this book from the Naval Institute press and it was The Hunt for Red
00:58So I took it home and I had it on my night table.
01:02I contacted the press.
01:04The press referred me to an agent here
01:08who was representing this new writer, Tom Clancy,
01:13and I began to negotiate an option
01:16for the rights to the book.
01:17The book, I believe, came out in Europe before
01:21it came out in the States,
01:22and I happened to be working in England,
01:24and I read it and loved it
01:25and wanted to make a movie out of it,
01:27but I was like a week too late to try to option it,
01:30and I snuff out, got there first.
01:32I optioned the rights and the right to see
01:34any subsequent books and use any subsequent characters
01:37that were used in the original book.
01:39That was the thing that I remember most
01:41was the saturation of Clancy's books
01:44in the culture at that time.
01:45I mean, that was when he was,
01:47you'd be in the first-class cabinet of a plane
01:49and 8 out of 10 people on the plane
01:51were reading a Tom Clancy novel.
01:53There was something I smelled about the novel
01:56that I thought was underneath what Clancy put together,
01:59and that was that it was Treasure Island.
02:02John McTiernan was directing Predator,
02:04so I went over to, I believe it was Fox,
02:07with Ned Tannen, who was then running
02:10production at Universal.
02:11We looked at some footage, we came back and hired him.
02:16I was working at Paramount,
02:18and I had just finished Presidio
02:24and Beverly Hills Cop II.
02:26And Ned Tannen said to me,
02:29why don't you do The Hunt for Red October?
02:32I didn't know what The Hunt for Red October was,
02:34so I read the book, and after I read the book,
02:38I saw there were a lot of problems
02:40in terms of turning it into a movie.
02:42It's very intimidating when you look at that book
02:45just in terms of the scope of it and the size of it,
02:48to reduce it to one simple human story.
02:51Tom could describe a pencil for three pages.
02:53It would have been a government-issued pencil.
02:55It would have been impossible
02:56to put all the information in the book in the screenplay.
02:59And I just had an intuition about what Clancy had done.
03:03When John McTiernan first came aboard,
03:05he had a vision of the script
03:08which was much closer to the book.
03:11And I went in there and said,
03:13Larry, I like your screenplay very much.
03:16I don't want to use any of it.
03:18And we sat and talked through it,
03:20and Larry was, uh, had a large enough heart
03:26that he just let go of the story that he'd told.
03:29And we just started on a different one.
03:32What's important enough to get you on a plane
03:34in the middle of the night?
03:36British intelligence obtained these pictures two days ago.
03:39She's the Red October, the latest typhoon class.
03:42Big son of a bitch.
03:4412 meters longer than the standard typhoon,
03:463 meters wider.
03:48Captain's name is Ramius.
03:50The Russians call him Vilnius Nastavnik,
03:54the Vilnius schoolmaster.
03:56I'd gotten quite friendly with Kevin Costner,
03:59and I went to Kevin about playing Jack Ryan,
04:03but Kevin was up to his neck
04:07and very enthusiastic about doing this,
04:11this Buffalo movie.
04:13And I, I said,
04:15you'd rather do a Buffalo movie than a submarine movie.
04:18We then decided we would go looking for an actor
04:21who was up and coming
04:23and build a movie star with this role
04:27because it was a star-building role.
04:30The next thing you know, I got a phone call
04:33to go to Paramount to meet with McTiernan and with Mace.
04:39So we flew him out.
04:41We read him.
04:43Kevin loved him, and we decided we'd take a chance
04:46on the young Alec Baldwin.
04:48It was kind of incredible
04:50because that's the first really big film
04:53and the first big part in the film I ever played.
04:56Gentlemen, the last 24 hours
04:59have seen some extraordinary Soviet naval activity.
05:03First to sail was this ship,
05:06we believe called the Red October
05:08in reference to the October Revolution of 1917.
05:11Alec could memorize pages upon pages of tri-dialogue.
05:18When they asked him to stand up in that boardroom,
05:22all those admirals and generals
05:24who were trying to figure out whether the Red October
05:27was up to no good or whether they were defecting
05:30from the Russian navy,
05:32all that Alec says, he memorized it overnight.
05:35And I said, this guy is a super brain.
05:39I remember I was talking to John,
05:41and we shot the scene where I go into the water
05:45to get picked up and brought onto the submarine.
05:48I said to John, you know,
05:50you need a shot of me hanging from this helicopter.
05:53I think I said to him,
05:55wouldn't it be cool if you had a shot of me
05:57where the camera was in the door of the helicopter
06:00looking down at me hanging there,
06:02and we disengaged the pin,
06:04and you see me fall away from the camera into the water.
06:07And I just said it to him, you know, theoretically,
06:11and John said, yeah, that would be a good shot.
06:13Let's try to do that.
06:15And he said, would you do that?
06:17I said, yeah, I'd love to.
06:19Alec is really, really a committed actor,
06:21and there is nothing that Alec won't do
06:23in order to make something believable
06:25and in order to make it good.
06:27When we did the film, you know,
06:29like any film you want to go and see for yourself,
06:32and you want to see what people's attitude
06:35about what they do is really like.
06:37If you want to make your characters believable,
06:39you go and find those people,
06:41you spend time with them, you hang out with them.
06:43I went to Washington, and they set me up
06:45with a couple guys who were CIA information specialists.
06:50I got a line on those doors.
06:54You know what they are?
06:59A nearly silent propulsion system?
07:01How did you know that?
07:03The captain of the sub we had following us radioed in,
07:06came up and disappeared right in front of him.
07:09That's what went to half of it, Reed.
07:12I have no idea how I was cast in the role.
07:15Except great fortune, you know, good luck.
07:18James Earl Jones, of course, didn't read for us,
07:21but he was a very key player for us,
07:23because the minute James Earl decided to come on this film,
07:28every major actor in California
07:33said that they'd love to play in it.
07:38Greer was always what you call a modest-sized character,
07:42a bit part.
07:44I don't know why Admiral Greer is black
07:47and not, you know, Hispanic or Asian, I have no idea.
07:52Maybe it was a little new in the movies
07:55to have an admiral who's black,
07:57a man pictured as an authority figure
08:02where everyone else respects him and takes his instructions,
08:08and his race is simply not an issue.
08:11He happens to be black, but nobody pays any attention to it.
08:15What this movie had, this movie just had so many great movie actors,
08:19people that could really, really squeeze every moment
08:22out of it in front of a camera.
08:24Do we have any sonar contacts, Mr. Cameron?
08:27No contacts, Captain. The sonar is clear.
08:30Good. Do we have any surface contacts, Mr. Borrigan?
08:33No contacts, sir. Scope is clear.
08:35Good. Then it is time I explain our orders to the crew.
08:38Very, very early on, there was talk of casting
08:42Klaus Maria Brandauer in that part,
08:45and two or three days after I realized that Klaus couldn't do it,
08:49Sean Connery's agent called me and said,
08:51What about that Hunt for Red October?
08:54So I said, Great.
08:56And we faxed the screenplay to him in Marbella.
09:00I was ready to take a golfing holiday home to Scotland,
09:06and suddenly they caught me in London
09:09and sent me the fax of what they had.
09:14So once I got caught up in it,
09:18it was very difficult not to agree to do it.
09:21He called about three days later, and I had never spoken to him at all.
09:26And I got on the phone, and he said,
09:28Mr. Neufeld, this is Sean Connery.
09:30I said, Oh, how are you, sir?
09:32He said, Fine.
09:33He said, I don't think I can do your movie.
09:35I said, Why not?
09:37He said, Well, it doesn't make any sense in the political situation here.
09:41He says, You know, we have detente with Russia, Perestroika,
09:45and this is all about defecting to the United States.
09:49I said, No, but it's said in the past, Mr. Connery.
09:52He says, No, it's not.
09:54I said, Yes, it is.
09:55Just look at the first printed matter
09:59that goes up on the screen before the movie starts.
10:03And he said, I don't have that.
10:05They sent the script to me, but they had not put the,
10:07because it was faxed, there was no foreword on it.
10:10The foreword explained that it happened before Gorbachev.
10:14So we faxed him the first page.
10:16And about an hour later, he called.
10:20He said, Oh, now you're talking.
10:23Now this makes sense.
10:25I remember when they said Sean's going to be in the movie,
10:27I thought, Oh, wow, I'm dead.
10:29No one's even going to notice me in this movie.
10:31I'm going to be invisible in this movie.
10:33Alex, Mal, Sean Connery, all of them, I was dropped.
10:39I was really pleased when Sean came aboard,
10:41because aside from being a great actor,
10:43he carries with him a tremendous amount of antecedent goodwill.
10:49People want to like Sean.
10:52I heard a lot of things about Sean.
10:54He was tough and rough and all that kind of stuff.
10:57For me, he was nothing but really nice and funny
11:02and irreverent and very generous.
11:05Weapons control, I want full safeties.
11:07We're so close, I don't want those fish coming back at us.
11:09Full safety, aye, sir.
11:11I know this man.
11:15Has he made any crazy Ivans?
11:17What difference does that make?
11:18Because the next one will be to starboard.
11:20Why, because his last was to port?
11:21No, because he always goes to starboard in the bottom half of the hour.
11:26Scotland was one of the actors that was suggested,
11:29and the minute his name came up,
11:31we knew he had the kind of strength,
11:35and, of course, chops, as they say,
11:38to play the role of Mancuso, and he was hired.
11:41And they called me up and they said,
11:43Do you want to take a ride on a fast-attack sub for real?
11:47And I said, Yeah, sure.
11:49Tom Fargo, who was the captain of the Salt Lake City,
11:55which was the nuclear submarine that we visited
12:00and dove to 600 feet off the coast of San Diego
12:04and spent the night on to do research for the film,
12:07to be on a real nuclear 688 attack-class submarine,
12:12Tom Fargo was the captain of that ship.
12:16The skipper of the boat, who wound up being a great guy,
12:20and we became friends, he said,
12:23Scott, I hope you don't mind, but I've given orders
12:27to all the guys on board to treat you of equal rank with me,
12:32so every time for the next few days that we're out,
12:36when someone comes up and reports to me,
12:39they're going to turn right around
12:41and they're going to report to you,
12:43and then I'm going to tell you what we're going to do about it.
12:46He said, There may be once or twice
12:48when I'm going to ask you to just go to your quarters
12:51when we'll be dealing with stuff that's top secret,
12:54that's classified.
12:55Now, how he knew to do that,
12:57I mean, it was like giving me an acting lesson.
13:00Scott Glenn,
13:01I would love to take all sorts of credit for his performance,
13:05the captain of the Salt Lake City.
13:08What I discovered when I came on board the Salt Lake
13:12was that in important matters,
13:16Tom Fogga certainly was, you know, a strong, tough commander,
13:23but he had a degree of relaxation and looseness with his men
13:29that I never would have expected.
13:31And he was this incredibly confident
13:34and really just this incredibly,
13:36he was like this guy you'd follow into hell,
13:38you know what I mean?
13:39He was this really tough guy, you know?
13:41And he never raised his voice.
13:43He would say things almost by way of suggestion,
13:46and of course they would be done just like that.
13:49And so for the hunt for Red October, I thought,
13:52Well, hell, you know, why bother even working?
13:55I'm just going to copy him.
13:57I'm just going to, you know,
14:00So that's all I did in that movie.
14:02Whatever good happened in that performance,
14:05basically, you know, I owe to now Admiral Fargo.
14:10So thank you, sir.
14:11You know, I've seen me a mermaid once.
14:16I've even seen me a shark eat an octopus.
14:20I ain't never seen no phantom Russian submarine.
14:23Many years ago, before I put away the toys of childhood,
14:27I used to be an actor.
14:29And one of the ways that I write,
14:32I have always done this, is I play all the parts.
14:35I'd get up, walk around the room,
14:37and shout as Jack Ryan or walk as Ramius, whatever.
14:41And while we were doing it,
14:42John kept looking at me and he said,
14:44You know, I want you, you should play the cop.
14:47Then come after the movie was cast and everything,
14:51I saw a call sheet.
14:54And I still hadn't talked to John about it.
14:56And I looked at the call sheet,
14:57and there was my name after the cop.
15:00Now, I had not acted in 16 years.
15:05I ran out to an acting teacher and said, Help me.
15:11Then, since I was the writer,
15:12I tried to write myself into every other scene
15:16that I could find.
15:17Torpedo in the water.
15:19Stand by.
15:21Torpedo is active.
15:25Torpedo has acquired.
15:28Launch countermeasures.
15:29Launch countermeasures, aye, sir.
15:37You had to look at real submarines first
15:39and see what they look like.
15:42And the first thing I noticed is that basically
15:45you hit your head wherever you go on a submarine.
15:48We did build, and it was really absolutely amazing,
15:52the whole deck and the comm tower of the Russian submarine
15:56was built in Long Beach.
15:58They wouldn't let us take it outside the breakwater,
16:01which, since I'd dilted to stage the whole submerging scene
16:05and the men getting off the ship and all of that,
16:08made it kind of difficult if we didn't have any wake,
16:11any surf at all, any supposedly a storm in the North Atlantic.
16:16I got this bunch of boats,
16:17and I had them driving circles around us
16:19in order to make a wake.
16:21And we had other boats with big fog-making machines.
16:25The promise was that we had, as a crew member,
16:28and as a camera operator, we had to be on the deck
16:31as it was going down again.
16:33You know, when the ship goes down,
16:35when they see the American cruise ship approaching,
16:38those pumps are not really high-tech piece of equipment,
16:41and we thought it was going to go relatively slowly.
16:44So we had the whole camera crew, several cameras,
16:46and equipment on the deck, and all of a sudden,
16:48that whole thing went, and everything was in the water.
16:51The cameras disappeared to the bottom of the ocean.
16:54I mean, obviously, we couldn't shoot in a...
16:59in a real submarine for any length of time,
17:02although we did use an old diesel sub
17:04for the interior of the Russian submarine in the movie.
17:08It is claustrophobic in an actual submarine,
17:11but there's only so much that you can do with a camera.
17:14The only thing that I really wanted to do,
17:16and I was convinced it was very important,
17:19is when you're inside submarines,
17:21and you cut from one submarine to the other submarine,
17:24they all look so similar that I had to find a way
17:28that the audience would instantly know,
17:30we're in the Dallas, now we're in the Red October,
17:32because quite often you're in the back of people's heads,
17:35so you don't know yet who the characters are.
17:37So I made a very distinctive choice,
17:39and that was John and Terry Myers, the production designer,
17:44to create a light scheme that is very recognizable.
17:48The Dallas is red, the Red October is blue,
17:51and the surface of the submarine is green.
17:53And it's done subtly, not like really bright,
17:55but it is, you know right away where you are.
17:58It helps the audience to kind of give a feeling of choreography,
18:02because if you cut from one close-up on one boat,
18:05you have otherwise no idea.
18:07So I felt the biggest job for me was, as cinematographer,
18:12to really help the audience,
18:14because they would be so confused so quickly
18:16if you wouldn't tell that story and make that very, very clear.
18:19The camera is always exactly where it needs to be
18:24to tell that story.
18:25Yanni and I would work out these great elaborate camera moves,
18:30and we were content to do them
18:32over the course of four or five takes.
18:35I'd see what was working and what wasn't working,
18:39and I'd fix the actors to help the move.
18:42And he'd see it from the other direction,
18:44and he'd fix the camera move or the lighting
18:48to make it work better.
18:49And I told him, listen, we have to also build scenes in the set.
18:53I mean, like, you tend to think, well,
18:55the Americans have to have the most modern submarine.
18:58I think the Russians should have, this is the newest one,
19:01that should be the slickest looking,
19:03the most high-tech looking,
19:05and the American is just pretty neutral.
19:07The Russian Red October submarine
19:09is an entirely different boat from Scott Glenn's Dallas.
19:13And I just said, suppose the Navy, for their next submarine,
19:18brought in a bunch of aeronautical designers
19:21and said, leave every gauge where it is,
19:25leave every control, every handle, every screen,
19:30leave everything exactly where it is,
19:32but just do it with your materials instead of our materials.
19:36Do it with aircraft materials in aircraft style.
19:39And that's how we did the interior of the Dallas.
19:43We built the interior of a Los Angeles-class attack submarine.
19:49The studio did.
19:51And it was accurate to the smallest detail.
19:55It's amazing.
19:57The gauges worked.
19:58And it was on a gimbal, and it was up in the air,
20:01and it was just this interior shell.
20:03But the gauges inside worked,
20:04and they were hooked to a computer.
20:06So as the sub started to descend, the gauges would descend.
20:10The entire interior that we used to shoot
20:15was set on a gimbal which was constructed on the Paramount lot,
20:20an enormously strong gimbal.
20:25It was anchored to the concrete floor.
20:27It is gimbaled to do 45 degrees forwards, backwards, sideways,
20:33which in itself is seasickening.
20:36Usually when I'm making a movie, I like to get to the set way early,
20:40way before anybody else,
20:42and figure out how everything works and feel comfortable with it
20:46and just be there all day long.
20:48And that's just my way of working.
20:50With Hunt for Red October,
20:52I basically didn't get up into that gimbal
20:54until I knew they were about ready to shoot,
20:56and then I would get into it, and we would start to work there.
21:00But it wasn't, like, super comfortable for me.
21:02It must have been rough for Jan because of the kind of lighting restrictions
21:07and the fact that when they turned it on,
21:09I mean, it was bouncing all over the place.
21:11Quite often the camera was, like, on top of a titan crane,
21:15a long extended arm with hot hats on the end.
21:18So it was like the base of the camera quite often was 45 feet away,
21:21if not more.
21:22So the communication was really, really tough,
21:24and very few people could be inside the set
21:26because the set was always moving,
21:28and people had to be tied off to guardrails and helmets and all that stuff.
21:33I got involved with Hunt for Red October
21:36after they'd completed production on the movie.
21:39They were having another facility actually work on the post-production,
21:43the special effects,
21:44and Paramount and the director decided they wanted an alternative.
21:49So they contacted ILM,
21:51and so ILM put me on to the project at that point.
21:55John wanted us to make it look like we were really underwater,
21:59but obviously they had to take certain cinematic license
22:02so that we could actually see the subs at those distances.
22:06So we wanted a lot of feeling of depth and scale
22:09because the Hunt for Red October is supposed to be over 600 feet long in scale.
22:15So that was our aim with that.
22:17So we tried to find out what he visually wanted to achieve.
22:20There was this really fantastic shot
22:22where they ran the camera over the large model,
22:26and they used a series of mirrors
22:28because they couldn't get the camera close enough.
22:30It was just too big and bulky.
22:31Well, because John wanted a lot of the shots
22:33to be extremely close to the submarine,
22:36we didn't want to shoot them far away to make them look like they were miniature,
22:40so we wanted to really scrape the sides of them.
22:43So there were a few shots where we actually had mirrors involved,
22:47and we would basically build like a triangular mirror system
22:51with it right up next to the lens,
22:53and then the lens would photograph through that mirror onto the model itself.
22:57So the mirror was literally scraping the model itself.
23:01We had to develop a special rig to hang the Red October
23:05so that it would stay well out of view of the camera for the distance shots.
23:09Tad Chonowski redeveloped a rig that he had invented for batteries not included,
23:15and what it was was a hanging frame from which were suspended 12 wires,
23:21and the 12 wires were connected to the Red October at four points,
23:25so each point had three wires attached to it,
23:28which triangulated the possible motion at each one of those points.
23:34So as a result, we had a rig that was electronically operated
23:39and could make the Red October pitch and yaw
23:42in a really smooth fashion, which was very believable.
23:47Because the production schedule was so tight,
23:50we had two motion control crews working on the project.
23:53Well, motion control, as it's become, is a computer-controlled camera
23:57that runs generally at a very slow speed.
24:01One of the things that we knew we had to do since we had to photograph this in smoke
24:05is we didn't want to spend a lot of time doing blue screen or matting
24:09and trying to combine that depth.
24:11So what we decided to do was shoot it in smoke, suspend these by very thin wires,
24:16and Joel Fulmer basically designed a rig that we could motion control
24:21that would suspend the submarines,
24:23and they connected onto an entire motion control crane system.
24:28It's one thing to do a submarine just tracking through the water,
24:32which in our case was heavy smoke,
24:35but things got very complicated when the Red October
24:40has to traverse a rocky terrain, subterranean area.
24:45One of the frustrating things was, with this particular project,
24:49we were just on the verge of making computer graphics work for a lot of things,
24:53and of course John McTierney and a lot of people in Hollywood
24:56had been hearing things, and so they wanted the whole thing done,
24:59computer graphics and compositing.
25:02We said, well, we're not at that point where we can actually do all of that,
25:06but we did want to make sure that we did all the ripple effects and the distortions
25:10and get those added in as computer graphics.
25:14The computer effects were kind of primitive,
25:17but they were the best that was available at the time.
25:21When you're creating a composite of multiple live elements or CGI and live elements,
25:27the hardest thing is always trying to get them to look like they were photographed at the same time.
25:33We had these beautiful models photographed in these big smoky warehouses,
25:37which gave a really nice murkiness and feel, but there was still a lot missing.
25:42We needed to add particulate in the waters, like plankton and stuff drifting around,
25:47and most importantly we had to add the trail of bubbles
25:51and wake distortion behind the submarines so it would feel like they were actually in water.
25:57Those were the biggest things that we had to add.
26:00John wanted things always dynamic. I think that's really obvious if you look at the film.
26:04The camera's moving, the submarines are always moving.
26:07Some other films may not portray their action that way,
26:10but stuff was always moving, even if it wasn't moving. Something was moving.
26:14I think the thing that I'm most proud of with it is just the quality of the work,
26:19the speed at which we did it, the way the entire crew worked together.
26:24When we saw the final product, we felt it worked very well.
26:28If you look carefully at the movie, every scene ends with a provocative question.
26:41It's so funny.
26:44The captain seems to think you're some sort of cowboy.
26:49Not in Russian.
26:52A little.
27:03It is.
27:04And can you believe to this day I still remember the line I say?
27:07He knows his Russian lines.
27:13That kind of mind doesn't let go of stuff.
27:16Everybody wishes it did let go of stuff.
27:20This was like the big event in my life.
27:22I did this movie, and after this movie, I got offered other movies.
27:26The script and the way it's filmed and the way it's directed is quite unique,
27:31and it feels very modern.
27:33It is not one shot that feels old in this whole movie.
27:36We've done 13 movies.
27:38That was the best time I have ever spent with a director.
27:42Submarine movies generally deal with brave men
27:47in confined circumstances under enormous pressure.
27:52That makes for what can be great movie drama.
28:42THE END