:58:00
floated in front of the camera,
the poles were erased in postproduction.
:58:05
So each of these actors had to get fit
for what is essentially an armour plate
:58:10
and attached to a pole
and then shot in front of a green screen.
:58:16
Those individual elements were then cut into
the plates of the Thunderbird 5 set,
:58:24
and we could move the actors,
the Tracy brothers, around in the shot.
:58:30
In addition, Mark Nelmes,
who did this sequence,
:58:34
created floating bits of debris that would've been
residue from the explosion,
:58:40
we added the fire extinguisher,
which rolls toward us.
:58:44
The oxygen mask and its unit that it's connected to
:58:49
aren't entirely added in postproduction,
:58:52
Paxton had to mime putting the mask
over his son, John's, face.
:58:57
It was tedious shooting again,
planning and rehearsal, and patience.
:59:04
And, again to Paxton's credit,
:59:07
he had done so much
zero gravity work on Apollo 13
:59:12
that he was able to help us
:59:14
with some physical acting techniques
:59:19
that, when we were tight,
we didn't have to go through all the rigmarole
:59:24
of having people actually on these poles
that floated
:59:27
that you could hopefully, if you were physically
adept enough,
:59:31
float around and make the audience believe that
you were in zero G in your close-ups.
:59:38
The Hood, obviously, has stolen
Thunderbird 2, it's about to take off.
:59:44
But clever Lady P
uses her apparel, appropriately.
:59:52
These sequences
between Lady P and Parker
:59:55
were enhanced by the wonderful Richard Curtis,
:59:59
who's a friend of Working Title
and came to our table read