I'm ready to joy-ride this motherf- [bleep]
So here we are, on the set of Passengers
and we're crushing it.
It's Jim, driving this awesome souped-up 4x4 golfcart,
and I'm about to crash it into some wall.
So that's what I'm doing for work.
Can you eat this?
Anything is possible!
That's what you call...
a stunt.
Give me a lot of sake.
Arigato!
They've put together amazing robots.
And it's really cool, the detail is really incredible.
This robot here is a waiter robot.
There's three different versions.
A French robot, a Japanese robot and a Mexican robot.
Si, señor!
Gracias.
They're articulated by the two guys back here. They move it on an arm.
It's similar to a camera dolly that we designed and built?
Took about two and a half weeks to build the robot. It took about a month to build the custom dolly
that the guys are sitting on back there. So, about a month and a half total.
It's easier for the actors to actually see something that they can interact with.
Probably one of the most positive things about actually building it.
They were awesome.
It's really incredible to watch.
Huh. You're a robot.
Android, technically.
Arthur had to move very swiftly and smoothly.
We wanted Arthur to have the ability to go anywhere in the bar.
So what we designed was a motion control system for Arthur.
It's a sort of machine that is on a track that's operated by computer,
and I kneel into that, and then there's a kind of bicycle seat that I sit on.
We record a move on a computer, and we smooth it out.
We can play it back, pretty much at any speed.
We can stretch it, shrink it, make Arthur move, motion control.
To begin with, I didn't want to do anything in the rig. I felt like it would be restrictive,
and then, at times I have to do certain shots where I'm not in the rig,
and then that feels odd.
That's just become part of the character. You rely on it, then, to kind of get into the character again.
So, it's the same process happens with any character, but just on this particular role,
there's some slightly unusual ones.
This is me inside of what's called a light box.
It might just be a torture device
that they've created because I was late today.
I'm gonna have to walk out of there.
[groan]
It's about twenty-seven thousand lights on the floor.
About forty thousand lights on either side.
So we're looking at upwards of two point eight billion lights.
The trick is if you lose one bulb the whole thing goes out.
We're gonna shoot the rehearsal?
Yeah. If you're good with it.
Why not? You know I'm gonna nail it first try.
Action.
How you feeling? How dizzy are you getting?
Why am I standing here, again?
Oh, my God, this is gonna be insane.
Cut it.
All right. We got it on the first take. Which means...
they're gonna animate it.
Welcome to the observatory.
This space is the observation deck.
It sits right at the front of the ship.
The curved walls were a very big challenge.
Each of these pieces is actually an enormous jigsaw puzzle.
So for one section here you're looking at about three or four pieces to form these enormous shades.
One of the nice details is actually a series of meteorites.
You have this wonderful sort of an earthy feel to the place.
That's why we also put the zen garden in here as well,
which again is another wonderful architectural feature which involves a lot of oval shapes and circles.
It just keeps your eye moving.
We really wanted to have one or two sets that really stood out.
When you put a single actor in a set of this scale, you really start to relate to their isolation
and also their predicament.
We're here at the Vienna suite.
The most luxurious suite in the vessel.
I think one of the interesting features about the Vienna suite is its scale.
It's a two-story abode. You would walk in, there's a sort of a lounging area,
there's a dining area, and of course the stairs here, which we're very proud of.
Those actually go up to the bedroom area.
There is a certain wow factor, because we're not used to seeing something like this.
Here we are in the bedroom part of the Vienna suite.
Up at the top of the stairs, everything happens here.
It's a labor of love of about five different departments.
It really is breathtaking.
I think when the scenes are cut together, we'll all be extremely proud of what we've done here.
Wow.