:28:03
We gave that optical to Glenn Freemantle
:28:07
and what he did was create the signature sound.
:28:11
So even if it happens off camera, later in the film,
:28:14
you'll understand what it is
because you've referenced it a few times.
:28:20
This sequence is virtually created
from smoke and mirrors.
:28:24
Most of these changeovers were CG.
:28:29
The desktops rising up... The only thing
that really happened was the floor spun.
:28:35
But you'd never know it.
:28:38
And any moment, Jack...
:28:42
Meanwhile, back on Thunderbird 5...
:28:46
which was like shooting on the Enterprise,
:28:48
complete with sparks, explosions,
constant wind machines, fire...
:28:55
So it had all the charm of shooting the Enterprise
:29:00
after being attacked by Klingons.
:29:16
We introduce yet another character.
:29:26
Tintin's father and mother...
:29:29
Tintin's father happens to be The Hood's brother.
:29:35
Great reading.
:29:38
So offhand. So unpredictable.
:29:41
It was that kind of work.
:29:44
Sir Ben had an approach that...
:29:47
a lot of confident, experienced actors
:29:51
will share with you
if they feel comfortable and generous.
:29:56
He would say to me after I'd print a take,
:29:59
"If you've got a print, do you mind if I play?"