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Downloaded from
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Official YIFY movies site:
YTS.LT
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[somber music playing]
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[Ross] It's one of my favorite parts of
the process is that early brainstorming.
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Okay. Let's figure this out.
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Where do you guys wanna sit? I think
this feels good here. This feels good.
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[Matt] It starts out so amorphous.
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It's just like
this misshapen blob of clay.
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And then you just keep working it.
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One day at a time, one minute at a time.
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You get tired and you go off on tangents.
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[Ross] There's always a sense of panic
that it's not going to come together.
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[Matt] Then you go, "Wait,
let's go back to the ball of clay."
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"Let's keep working it and kneading it."
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And then eventually
it just starts to take shape.
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And when it starts to take shape,
it just gets really exciting.
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Ready, and action.
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[upbeat music playing]
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[Ross] Action.
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What was the test on again? Human anatomy?
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[Matt] It's been a journey.
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[Ross] Yeah, 10 years.
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That's a quarter of our lives,
a bigger chunk of our actors' lives.
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Swallowed in darkness.
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It is almost here.
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What is it?
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[Mike] The Demogorgon.
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Will!
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- [Jonathan] Will!
- Will!
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[Matt] Season 1 feels so tiny
in comparison to where we are now.
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[Matt] We like the idea
of slowly scaling up the show,
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just like you would a movie sequel.
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[screaming]
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[Matt] Each episode is its own movie
in terms of the amount of time,
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the amount of pages
we're shooting every day,
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the complexities of the visual effects,
the stunts, the various locations.
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[Ross] I don't think we imagined
reaching this sort of scale.
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[Matt] It's terrifying because
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you see these shows
that people love and adore,
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and the ending falters.
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And they just discard
the rest of the show.
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[Ross] You can't leave anything dangling.
You have to wrap everything up.
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[Matt] But at the end of the day,
it hasn't changed from season 1
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in the sense that
it all comes down to these characters,
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and that's what people care about.
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That's sick.
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Yeah. Let's do it again.
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{\an8}[Matt] We went into production without
having a finished script for the finale.
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{\an8}That was scary
because we wanted to get it right.
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It was the most important script
of the season.
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{\an8}The whole episode has to be building
towards "Eleven is going to kill herself."
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{\an8}Like, if we're trying to sell it
as she's going to kill herself,
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{\an8}and then she kills herself...
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{\an8}[Ross] Yeah.
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{\an8}I think that it's like,
is she still deciding?
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{\an8}Has she already decided?
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{\an8}[Ross] You have to
keep toying with the audience
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{\an8}because I think what works
in seven is this, like, "Oh my God."
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Like, "Is she really
going to go through with this?"
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And it's what
everyone's gonna keep expecting.
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We think she's made the choice to live.
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- [Ross] I don't know--
- Just kidding. She hasn't.
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- [Kate] Just kidding. She has.
- That's where I start...
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[Ross] I don't know
if we have to play it like that.
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- That is...
- [Ross] I don't know if we have to.
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- How would we play it?
- We keep it ambiguous.
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We keep it ambiguous till the moment--
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[Matt] No. If she comes back and has...
In a moment with Hopper...
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If she comes back and has this moment
with Hopper and gets in the van,
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I feel she has clearly made
a choice to live.
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[Ross] No. Not necessarily.
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{\an8}[Matt] If you show me those images,
she's made a choice to live.
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- I'm so--
- [Ross] Don't do the 100% thing.
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- You have an image--
- I'm 100%.
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- [all laughing]
- [Matt] What's the other option?
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God, I don't know how to play this.
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[Matt] The longer it goes,
the more stories you have to tie up,
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the more character arcs
you have to tie up,
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the more expectations
there are with the audience.
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And how do you meet those expectations
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but surprise the audience still?
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So close.
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[Matt] Ross and I had no interest
in writing at all.
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We wanted to direct.
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We realized that the best way in
was probably writing.
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[Ross] We were focused on what
we thought the industry wanted.
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Writing bad script after bad script
and just going, "Why is this not working?"
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[Matt] Eventually we realized
we just needed to listen to our gut,
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and write for ourselves.
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{\an8}[Ross] I remember when we came up
with Stranger Things for the first time.
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We just wrote
the basement scene with the kids,
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and it came so easily.
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I was like, okay,
now we're onto something.
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Oh, we're going way back.
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Okay, let's go way back.
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{\an8}What's crazy is we're in the room
with the pieces of furniture
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{\an8}on which the Duffers and I first sat
when we first met almost a decade ago.
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The rules of movies and TV back then said
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you can't make a show about kids
that isn't for kids.
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- Are you out of your mind?
- Just listen to me.
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You are out of your mind.
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[Shawn] You can't combine horror genre
and coming-of-age.
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[Demogorgon screeching]
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It was that transgression
that made it feel so fresh.
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It was immediately clear
that he understood the script,
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and what Shawn did,
which was so incredible,
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because he was
a respected director and producer...
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What he did is he goes,
"I trust you, and I trust your vision."
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The only chance
of making something hard happen
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is by being convinced it will happen.
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And so it starts with one person,
or a couple of twins,
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or then it's ten people,
then it's a whole writers' room,
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and then suddenly it becomes 1,000 people,
who are like, "Oh, you know what?"
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"Yeah, we're going to make
this impossible thing happen."
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{\an8}[Matt] Season 1, we had no idea
if anyone was even going to like the show.
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[Tweets chiming]
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We had seen that, okay,
a lot of people have already finished it.
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They stayed up all night and were done,
and then it just snowballed.
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[crowd cheering]
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Oh my God!
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[Matt] The global phenomenon is,
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well, it's surreal.
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It's honestly hard to comprehend.
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[reporter 1] Stranger Things topped
the TV streaming charts.
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The gang from Hawkins nabbed
a whopping 52 billion minutes streamed.
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[reporter 2] Horror legend Stephen King
is hooked on the show.
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He tweeted about our show
and we've exchanged emails with him,
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and that still blows my mind because he,
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growing up, he was such an inspiration.
He's like a god to us.
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I think everything gets bigger,
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and every year,
there's so much more expectation.
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{\an8}[Lampton] It's a beloved show,
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{\an8}and Matt and Ross
have to bring it to an end.
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You know, the stakes are high.
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{\an8}[intriguing music playing]
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[all chattering indistinctly]
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Yeah, this is a ton of people.
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Um...
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Probably should've killed some of you off.
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- Um...
- [all laughing]
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The, um... Millie was right.
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So we're going to start,
obviously, with one.
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We can only do three in a day.
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They're long. Let's do it. Let's just go.
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Ah.
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[Millie] You did not think I could
make the time, did you?
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[David] I think you can, but today, no,
I don't think that you made the time.
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Are you saying that I lie?
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No, I'm saying that you're mistaken.
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I'm not mistaken.
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[Cara] Holly?
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Holly? Holly!
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I've been calling you.
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[Nell] Sorry.
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- Can you round up the troops?
- Breakfast!
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[scattered chuckling]
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[vehicle beeping]
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[Heymann] We are here to execute
Matt and Ross's vision.
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No matter what it is,
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how big and crazy it is
when you read it on the page.
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It all starts with the script.
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{\an8}My goal is always to kind of help distill
whatever vision is on the page.
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{\an8}As much as possible,
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{\an8}I really try and dive deep into
photo archives of the time period.
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We knew we wanted some sort of spooky
basement and a little Poltergeist-y vibes.
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When I was first conceiving
of what Hopper's world might look like...
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{\an8}He's in a pretty dark
and slightly addicted place
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{\an8}when we meet him in the show.
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{\an8}Looking back through this, I feel we were
really able to accomplish in so many ways
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a lot of what we were setting out to do.
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I need cushions
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to make a bed for her
that's like a makeshift bed.
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{\an8}When you get a script
and you see a character on paper,
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{\an8}you have to kind of build out a world.
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So you start with
the little pieces of information,
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then we start filling them
with color palettes and textures.
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{\an8}[Amy] When I get a script, I like to read
it as a fan because I do enjoy the show.
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You can't help
but start to visualize stuff already.
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Each decade is defined by its silhouette.
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A color can read through the screen
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passion or sadness.
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This group of actors is very involved.
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{\an8}That's...
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{\an8}- terrifying.
- [Amy] I know!
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{\an8}I love it.
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{\an8}With these scripts,
the words kind of jump off the page.
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{\an8}You really get a colorful image
in your mind's eye
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{\an8}of what this could look like.
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{\an8}This season,
there's just so much to shoot.
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[Ross] Action.
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We have 250 shooting days,
but it's not enough. [laughs]
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{\an8}[Tudor] When I get
a script from the brothers,
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{\an8}I first read it for, like, story.
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{\an8}Then I go through
and I tear everything apart by elements,
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meaning props, set dressing, time of day,
stunt performers, cast members.
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I'm constantly tracking every crew member
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and every cast member
like a border collie.
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It's just the way that my brain works.
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[woman] What's the difference between
season 1 and season 5?
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Something like 180 days.
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[Tudor] Welcome back.
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Hey, guys. When was the last time
we got to sit in a room together?
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[Matt] When we write,
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we try to keep production in mind.
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But you do your best
to put some of that aside
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and not worry about the pain of
what it's going to take to pull it off.
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Because then you wouldn't write anything.
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I don't think we ever imagined
it becoming this big in season 5.
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[Tudor] We have 12 stages filled,
filled with sets.
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And countless location locations.
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It's massive.
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Massive.
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Most films are half the size
of a single Stranger Things episode.
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[Matt] But if you're making a movie,
you have a lot more time to prep.
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We are laying down the tracks
as the train is going.
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[Lampton] We are making
something incredibly special
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in a particular time in our industry.
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{\an8}It's an opportunity
that may not come around again.
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Movies was just
such a huge part of our childhood.
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We were really young when we said
this is what we want to do with our lives.
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The visual nature of it had a big part.
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We fell in love with Tim Burton
really early on.
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His art direction is so distinct,
it felt like magic to us.
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Movies like Batman, Beetlejuice,
and Edward Scissorhands.
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[Ross] We love these stories
of the ordinary and the extraordinary.
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Because I think we had a lovely childhood,
but it was a fairly safe one.
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It was a bit of a bubble
in suburban North Carolina.
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We had grown up on Spielberg.
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His movies allowed us to travel
and go on these journeys and adventures.
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- [Matt] Real places, fictional places.
- [Ross] Anything.
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[screaming]
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When I think of movies,
I think about my dad.
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Because we would go to the movies
every weekend with him.
234
00:14:13,602 --> 00:14:16,438
[Matt] I think we were nine years old
when our parents, for Christmas,
235
00:14:16,522 --> 00:14:18,607
got us a Hi8 video camera.
236
00:14:19,191 --> 00:14:21,610
I don't think they realized
that this was going to be
237
00:14:21,694 --> 00:14:24,738
the best Christmas present
they've ever given us.
238
00:14:25,906 --> 00:14:28,784
It was the summer of fourth grade
239
00:14:28,868 --> 00:14:33,831
that we decided that we were
going to make a live-action feature film
240
00:14:33,914 --> 00:14:37,459
with our best friend, Tristan,
who lived next door to us.
241
00:14:38,377 --> 00:14:41,881
We sketched out a rough plot,
and then we just started filming.
242
00:14:42,381 --> 00:14:45,718
We couldn't edit, so you're editing
in camera, stopping and starting.
243
00:14:46,760 --> 00:14:48,971
Onward to battle!
244
00:14:49,555 --> 00:14:52,391
[Ross] We learned
how to really move the camera.
245
00:14:53,559 --> 00:14:58,147
And so we started
to develop a little bit as filmmakers.
246
00:14:58,647 --> 00:15:03,319
It was Sam Raimi, John Woo,
and then Shyamalan.
247
00:15:03,402 --> 00:15:07,156
[Matt] We spent a long time
trying to figure out their style,
248
00:15:07,239 --> 00:15:11,535
and in that way,
learning filmmaking through their eyes.
249
00:15:13,454 --> 00:15:14,997
Let's go Evil Dead.
250
00:15:16,290 --> 00:15:17,499
- And then boom!
- [Derek] Holly!
251
00:15:18,000 --> 00:15:20,002
[mechanical whirring]
252
00:15:28,761 --> 00:15:30,554
[man] Get on in there. Get in!
253
00:15:31,597 --> 00:15:34,683
[woman] If you don't need to be
inside the room, don't go.
254
00:15:35,643 --> 00:15:37,937
[Matt] "Chapter One: The Crawl."
255
00:15:38,896 --> 00:15:43,233
We cut to an ammo bag slamming
on the base of an assault rifle.
256
00:15:43,734 --> 00:15:46,278
Hopper's arming up
in the basement of the Squawk,
257
00:15:46,362 --> 00:15:49,031
{\an8}where the rest of the party
prepare for the crawl.
258
00:15:49,615 --> 00:15:50,574
{\an8}Good to see you.
259
00:15:51,075 --> 00:15:53,035
- This is a big scene for everybody.
- Yeah.
260
00:15:53,118 --> 00:15:56,121
- [David] It's a home run, this scene.
- [man] First scene of the season.
261
00:15:56,205 --> 00:15:58,207
- Is this the map of Hawkins?
- [Matt] Yes.
262
00:15:58,958 --> 00:16:01,710
- That's awesome. This set's great.
- Yeah.
263
00:16:01,794 --> 00:16:04,797
Maybe, Noah,
you're like loading those batteries in.
264
00:16:04,880 --> 00:16:07,007
[Matt] It's...
You guys have done this a lot.
265
00:16:07,091 --> 00:16:10,803
You've been doing it for a year.
It's more like you're dialed in.
266
00:16:10,886 --> 00:16:12,221
It's not like you're relaxed.
267
00:16:12,304 --> 00:16:15,224
Charlie, as long as you throw
a look my way, it makes sense.
268
00:16:15,307 --> 00:16:17,601
Tag is active! One of those?
269
00:16:17,685 --> 00:16:19,853
- [Maya] Yeah.
- That's great. Do it like that.
270
00:16:25,859 --> 00:16:29,405
That Steadicam shot
takes us into this thing. Yeah.
271
00:16:30,447 --> 00:16:33,033
All right. I know it's not
the most exciting first scene.
272
00:16:33,117 --> 00:16:36,036
- No, this is a good way to ease...
- Warm up.
273
00:16:36,120 --> 00:16:38,038
- You don't want a monologue right now.
- No.
274
00:16:38,122 --> 00:16:39,873
Let's head to our spots.
275
00:16:41,166 --> 00:16:43,210
- [Tudor] Ring the bell.
- [alarm sounding]
276
00:16:44,962 --> 00:16:47,589
[Tudor] Picture's up.
Take one, scene on my mark.
277
00:16:48,590 --> 00:16:50,134
We haven't even tried this.
278
00:16:51,176 --> 00:16:52,469
This is gonna be a shit-show.
279
00:16:52,553 --> 00:16:53,512
[Tudor] Action!
280
00:17:03,355 --> 00:17:04,398
[David] Thank you.
281
00:17:06,275 --> 00:17:08,444
- Good luck.
- Tag is active.
282
00:17:10,070 --> 00:17:11,071
Tag is active.
283
00:17:11,155 --> 00:17:13,824
Harrington, tag's active.
You getting a signal?
284
00:17:14,783 --> 00:17:15,659
[Matt] Let's cut.
285
00:17:15,743 --> 00:17:16,994
What is Maya doing there?
286
00:17:17,077 --> 00:17:17,995
[woman] Cutting.
287
00:17:18,495 --> 00:17:20,164
{\an8}- Did it feel what?
- Delayed on Maya?
288
00:17:20,247 --> 00:17:23,542
{\an8}- I think she should be distracted.
- Doing some stuff.
289
00:17:23,625 --> 00:17:25,836
{\an8}So that she has to go "shit"
and then press the button.
290
00:17:25,919 --> 00:17:28,255
{\an8}- So there's a reason for it.
- [Tudor] Wanna give a note?
291
00:17:28,338 --> 00:17:30,132
- I'll just shout.
- Matt's gonna shout a note.
292
00:17:30,215 --> 00:17:32,217
Maya, because there's
a little bit of delay,
293
00:17:32,301 --> 00:17:34,845
maybe you're adjusting a knob
when we find you and then--
294
00:17:34,928 --> 00:17:36,472
- [Maya] I think that's a good idea.
- Yeah.
295
00:17:36,555 --> 00:17:39,975
[Tudor] Okay. Here we go.
Ready there, Nikolai?
296
00:17:40,059 --> 00:17:43,312
Okay. Camera's set and action!
297
00:17:47,983 --> 00:17:49,068
Tag is active.
298
00:17:51,737 --> 00:17:54,198
Harrington, you getting any signal?
Tag is active.
299
00:17:54,281 --> 00:17:55,783
- That was it.
- [Matt] Let's cut.
300
00:17:55,866 --> 00:17:57,785
- [Heymann] Cutting.
- [woman] Cutting. Cut, cut.
301
00:17:57,868 --> 00:18:00,871
- [Ross] That was good. That feels right.
- [Hilary] Awesome. You got it.
302
00:18:09,254 --> 00:18:13,092
[Gaten] I think there's like
a weird electricity between all of us.
303
00:18:13,175 --> 00:18:15,552
We tend to bounce off each other
really, really well.
304
00:18:15,636 --> 00:18:17,471
Okay. Give me the umbrellas.
305
00:18:17,554 --> 00:18:19,473
- [Gaten] No! Double.
- I love you.
306
00:18:20,057 --> 00:18:23,060
[Noah] The first season,
it just didn't feel like acting.
307
00:18:23,143 --> 00:18:26,396
{\an8}It was just all these real kids
and real interactions.
308
00:18:26,980 --> 00:18:32,486
{\an8}We were insane children. Definitely
just off the wall, just saying anything.
309
00:18:32,569 --> 00:18:34,279
[Sadie] I mean, ten years?
310
00:18:34,780 --> 00:18:38,992
{\an8}That kind of chemistry,
you can't really fake that.
311
00:18:39,576 --> 00:18:42,037
Ready, and action!
312
00:18:42,121 --> 00:18:44,748
- [Hilary] I like both of these shots.
- It says Stranger Things.
313
00:18:46,792 --> 00:18:47,918
- Look at that.
- [Hilary] Cool.
314
00:18:48,502 --> 00:18:50,295
[Millie] I think
it's your chosen family, right?
315
00:18:51,004 --> 00:18:56,552
There's just this profound love
and admiration and friendship.
316
00:18:56,635 --> 00:19:01,682
{\an8}It does feel like a family.
That's a little cliché, but it does.
317
00:19:01,765 --> 00:19:04,059
Lucas, you and I will take
our usual observation posts.
318
00:19:05,394 --> 00:19:08,814
{\an8}Mike and the group, they have to put
their toys away at some point
319
00:19:08,897 --> 00:19:10,607
{\an8}and kind of grow up a little bit.
320
00:19:10,691 --> 00:19:12,901
One, two, three! Kill Vecna!
321
00:19:12,985 --> 00:19:14,611
Kill Vecna!
322
00:19:14,695 --> 00:19:17,948
[Gaten] It's been easier to kind of hold
onto our childhood a little bit longer,
323
00:19:18,031 --> 00:19:20,909
{\an8}and that's going to be
a bit of a wake-up call.
324
00:19:22,119 --> 00:19:23,787
[Noah] You remember season 1?
325
00:19:23,871 --> 00:19:24,913
Vividly.
326
00:19:24,997 --> 00:19:27,374
- You don't remember it much?
- Well, I wasn't there.
327
00:19:27,457 --> 00:19:29,168
- Oh, yeah.
- Yeah, you were.
328
00:19:29,251 --> 00:19:31,670
- For like one day.
- Season 1, I just felt like...
329
00:19:32,171 --> 00:19:34,882
I remember any time you were in,
we were like, "Noah's here!"
330
00:19:34,965 --> 00:19:37,968
- Whoa! The famous guy!
- Like, the elusive Schnapp.
331
00:19:38,802 --> 00:19:41,471
[Matt] I want to establish that VFX.
They want this whole...
332
00:19:43,390 --> 00:19:47,144
{\an8}For us, Will really is
the heart and soul of season 5.
333
00:19:47,978 --> 00:19:49,062
{\an8}[Will singing softly]
334
00:19:49,146 --> 00:19:50,689
{\an8}[Matt] After season 2,
335
00:19:50,772 --> 00:19:54,234
{\an8}we had put the brakes
on his storyline a little bit.
336
00:19:54,318 --> 00:19:58,697
{\an8}He had not come of age in the same way
some of the other characters had.
337
00:19:58,780 --> 00:20:00,532
{\an8}[Demogorgon roaring]
338
00:20:02,075 --> 00:20:03,827
[Noah] Wow, such a good match.
339
00:20:04,328 --> 00:20:05,746
So gooey.
340
00:20:05,829 --> 00:20:07,080
[woman] So gooey.
341
00:20:08,123 --> 00:20:12,294
I mean, this, we're just exactly trying
to match what you did previous seasons.
342
00:20:12,794 --> 00:20:14,338
Once we get to the tree...
343
00:20:15,214 --> 00:20:16,965
- it's what you would have done...
- Yeah.
344
00:20:17,049 --> 00:20:19,676
- ...we think, you know, back in 2015.
- Damn.
345
00:20:19,760 --> 00:20:23,180
You wanna be kinda like shivering,
346
00:20:23,263 --> 00:20:26,642
and your jaw, tense your arms.
347
00:20:28,769 --> 00:20:32,064
[Noah] The Duffers really listen
and really collaborate with us,
348
00:20:32,147 --> 00:20:34,399
from when I was, like, ten years old.
349
00:20:34,483 --> 00:20:37,486
{\an8}Like, it just shocks you, you know?
350
00:20:38,904 --> 00:20:43,283
{\an8}[Noah] It's been really cool to kind of
step into these, like, director shoes.
351
00:20:43,367 --> 00:20:46,328
{\an8}What does Noah think?
We're going to defer to you.
352
00:20:46,411 --> 00:20:49,998
And I'm like, "Oh, okay,
I guess you guys trust me,"
353
00:20:50,082 --> 00:20:51,917
which is a really nice feeling.
354
00:20:52,000 --> 00:20:53,710
Get up, like, grab your...
355
00:20:54,336 --> 00:20:56,046
Like that, yeah. Yeah.
356
00:20:56,129 --> 00:20:57,798
- All right.
- You got that?
357
00:20:57,881 --> 00:20:59,258
Oh, yes. Thanks.
358
00:21:00,384 --> 00:21:01,468
[Tudor] All right.
359
00:21:01,969 --> 00:21:03,387
Very good. Camera's set.
360
00:21:04,513 --> 00:21:06,306
[Will singing softly]
361
00:21:06,390 --> 00:21:08,392
[Demogorgon roaring]
362
00:21:09,685 --> 00:21:10,978
[Matt] That was really well done.
363
00:21:11,061 --> 00:21:12,980
That was, like, perfect.
364
00:21:13,063 --> 00:21:14,731
[Noah] That's so cool!
365
00:21:17,734 --> 00:21:20,570
{\an8}[Ross] We spent
a long time casting the kids.
366
00:21:20,654 --> 00:21:21,822
{\an8}[Matt] Action.
367
00:21:21,905 --> 00:21:23,991
[Millie] It was very exciting to audition.
368
00:21:24,074 --> 00:21:25,617
You have to try this on.
369
00:21:27,119 --> 00:21:28,161
What do you think?
370
00:21:29,037 --> 00:21:30,038
Pretty.
371
00:21:30,622 --> 00:21:34,918
Oh! So you're telling me
she can make things fly,
372
00:21:35,002 --> 00:21:37,713
slam doors,
and talk to Will in other dimensions,
373
00:21:37,796 --> 00:21:39,548
and can't tell us where the gate is?
374
00:21:39,631 --> 00:21:40,716
Now that's bullshit!
375
00:21:41,300 --> 00:21:43,510
- [Mike] She's not a weirdo.
- [Ross] She's a weirdo and a freak.
376
00:21:43,593 --> 00:21:45,470
- [Mike] Screw you!
- Stop it!
377
00:21:46,221 --> 00:21:47,973
I'm sick of this. I'm sick of it!
378
00:21:48,056 --> 00:21:49,474
[Ross] Oh, shut up, Dustin.
379
00:21:49,558 --> 00:21:50,892
You shut up!
380
00:21:50,976 --> 00:21:53,395
All this fighting, it's gotta stop!
381
00:21:53,478 --> 00:21:56,106
[Matt] You go through hundreds
and hundreds and hundreds of kids.
382
00:21:56,189 --> 00:21:57,566
I don't remember how many.
383
00:21:57,649 --> 00:21:59,526
- And then--
- [Ross] Well over a thousand.
384
00:21:59,609 --> 00:22:01,028
[Matt] It was like, these are the kids.
385
00:22:01,111 --> 00:22:04,781
[Ross] There was really no one else
that we saw that could do these roles.
386
00:22:05,407 --> 00:22:07,534
Dustin wasn't Dustin until we found Gaten.
387
00:22:08,452 --> 00:22:12,289
I bet that she could make this fly.
388
00:22:14,333 --> 00:22:17,419
Hey, hey. Okay, concentrate, okay?
389
00:22:18,170 --> 00:22:19,421
[clattering]
390
00:22:19,504 --> 00:22:20,797
Okay, one more time.
391
00:22:21,465 --> 00:22:23,008
[Matt] We cast them very early on,
392
00:22:23,091 --> 00:22:26,219
and they all bonded, they became friends.
393
00:22:26,303 --> 00:22:28,638
We were able to write to them,
394
00:22:28,722 --> 00:22:31,933
and they inspired
the characters in a major way.
395
00:22:36,646 --> 00:22:39,316
I've done this drive for so many years.
396
00:22:41,360 --> 00:22:46,156
I've done this drive before I could drive,
so I started when I was 10.
397
00:22:46,907 --> 00:22:50,243
And I'm now turning 20 years old.
398
00:22:51,453 --> 00:22:53,789
To know that
there's not going to be a next time...
399
00:22:54,956 --> 00:22:56,083
It feels very weird.
400
00:23:01,088 --> 00:23:03,382
[Ross] Where do we pick Millie up,
you know?
401
00:23:03,465 --> 00:23:05,926
We go this, and then to the--
402
00:23:06,009 --> 00:23:08,804
- To the other one and then...
- [Hiro] We cut into...
403
00:23:08,887 --> 00:23:11,223
[Ross] And then to Millie
and it goes down. Okay.
404
00:23:12,516 --> 00:23:14,643
[Tudor] Ready, and action!
405
00:23:17,020 --> 00:23:17,854
[grunts]
406
00:23:17,938 --> 00:23:19,689
- [Hiro] There you go.
- [Jahnel] You good?
407
00:23:21,066 --> 00:23:23,151
- But it was amazing.
- We should have shot it.
408
00:23:23,235 --> 00:23:24,694
That was the one.
409
00:23:24,778 --> 00:23:26,029
My legs.
410
00:23:26,113 --> 00:23:28,573
I'm never doing that again.
411
00:23:29,282 --> 00:23:30,534
Yesterday sucked.
412
00:23:30,617 --> 00:23:32,577
Okay, let's do it again. Let's go.
413
00:23:32,661 --> 00:23:35,872
She looks trepidatious, for sure.
Rather than, like, aggressive.
414
00:23:35,956 --> 00:23:37,290
Let me talk to her.
415
00:23:37,374 --> 00:23:39,084
- [Hiro] How'd that speed feel?
- It felt good.
416
00:23:39,167 --> 00:23:41,503
- [Millie] That felt like not faster to me.
- [Hiro] Okay.
417
00:23:41,586 --> 00:23:42,796
Good. It felt good.
418
00:23:42,879 --> 00:23:46,091
Millie, you are looking terrified
as you go down.
419
00:23:46,174 --> 00:23:47,676
Just letting you know.
420
00:23:48,176 --> 00:23:50,262
Okay. That's my note.
421
00:23:51,179 --> 00:23:52,514
[Millie] I am half their age.
422
00:23:52,597 --> 00:23:54,891
Okay, I'm 20. They're 40 years old.
423
00:23:56,852 --> 00:23:59,146
And yet we get along like a house on fire.
424
00:23:59,229 --> 00:24:02,190
It's just like, we're not really meant
to be friends, but we are.
425
00:24:02,274 --> 00:24:04,734
We are tied to each other forever.
426
00:24:04,818 --> 00:24:05,735
[Tudor] Action!
427
00:24:07,863 --> 00:24:11,241
- [Hiro] Yes! There you go!
- [Millie screaming excitedly]
428
00:24:12,576 --> 00:24:13,660
[man] Yeah!
429
00:24:14,494 --> 00:24:16,204
{\an8}[Millie] Starting with season 1,
430
00:24:16,288 --> 00:24:20,208
{\an8}Eleven was so vulnerable and scared and...
431
00:24:20,959 --> 00:24:23,837
{\an8}she didn't know what love was,
she didn't know friendships.
432
00:24:23,920 --> 00:24:25,213
{\an8}Papa!
433
00:24:25,297 --> 00:24:28,341
{\an8}In season 5, she knows what love is,
434
00:24:28,425 --> 00:24:31,887
and she knows what anger is,
and she knows what her emotions are.
435
00:24:31,970 --> 00:24:33,847
She kind of knows who she is.
436
00:24:33,930 --> 00:24:38,852
She has many friendships
and many loves and I think...
437
00:24:39,895 --> 00:24:44,900
kind of learning the foundation of how to
be a human within five seasons has been...
438
00:24:44,983 --> 00:24:47,068
yeah, the biggest growth of all.
439
00:24:51,948 --> 00:24:55,243
Yeah, so maybe next time you get scared,
you won't need Mr. Whatsit.
440
00:24:55,327 --> 00:24:57,787
Maybe you just need Holly the Heroic.
441
00:24:59,080 --> 00:25:01,291
She'll keep you safe. I promise.
442
00:25:03,835 --> 00:25:05,212
- Do I...
- Something like that?
443
00:25:05,712 --> 00:25:08,089
- I love that scene.
- [Matt] Yeah, it feels really nice.
444
00:25:08,173 --> 00:25:11,551
It's almost like talking to
a younger version of yourself.
445
00:25:11,635 --> 00:25:13,887
- Yeah, it is.
- Yeah. It's really nice.
446
00:25:15,764 --> 00:25:18,642
- [Matt] So, Hope, you're going to be here.
- Am I sitting down?
447
00:25:19,643 --> 00:25:22,270
{\an8}[Ross] In high school,
we were really shy kids.
448
00:25:22,354 --> 00:25:23,939
{\an8}We didn't have a lot of friends,
449
00:25:24,022 --> 00:25:28,610
{\an8}but Hope immediately,
even when we were so tiny freshmen,
450
00:25:28,693 --> 00:25:31,196
uh, she saw something in us right away.
451
00:25:31,279 --> 00:25:34,491
Aside from being
this really wonderful drama teacher,
452
00:25:34,574 --> 00:25:37,118
she also gave us a lot of confidence.
453
00:25:37,202 --> 00:25:39,955
[Ross] I don't know if we would've
survived high school without her.
454
00:25:40,038 --> 00:25:42,249
Do we have the principal?
Is the principal here?
455
00:25:42,332 --> 00:25:45,544
Hope, when you have meetings,
you don't have the principal here, do you?
456
00:25:45,627 --> 00:25:50,840
No, well, I mean, it's kind of
mental health-y, right? Like...
457
00:25:50,924 --> 00:25:53,218
- It is mental health-y.
- I think we would talk first.
458
00:25:53,301 --> 00:25:54,886
- But not in the '80s though.
- No.
459
00:25:55,470 --> 00:25:57,722
[Ross] She was a big,
big inspiration for us,
460
00:25:57,806 --> 00:26:00,809
and it was really exciting
to put her in the show.
461
00:26:01,643 --> 00:26:03,186
[Hope] Even in high school,
462
00:26:03,270 --> 00:26:08,984
they were both more fearless
and more considered than their peers.
463
00:26:10,026 --> 00:26:12,153
The boys were really aware
464
00:26:12,237 --> 00:26:15,031
of how much they didn't know
and how much they had to learn,
465
00:26:15,115 --> 00:26:17,742
and they were never afraid of failing,
466
00:26:17,826 --> 00:26:20,328
so they took big swings.
467
00:26:22,247 --> 00:26:25,000
These boys didn't spring up
out of the ground.
468
00:26:25,083 --> 00:26:26,585
They're 40 years in the making.
469
00:26:26,668 --> 00:26:32,132
They're a parent who didn't say it's
ridiculous to buy third-graders a camera.
470
00:26:33,133 --> 00:26:36,261
[Montana] Everyone, if you want
a gold star, what do we be?
471
00:26:36,886 --> 00:26:38,388
[kids] Quiet!
472
00:26:38,471 --> 00:26:40,056
[Montana] Good job.
473
00:26:40,765 --> 00:26:42,434
Everyone shush your neighbor walking in.
474
00:26:42,517 --> 00:26:45,395
A single file line, everybody.
Single file line.
475
00:26:46,896 --> 00:26:50,191
{\an8}- [Matt] Have you guys all seen the show?
- Oh, yeah. I've watched all of it.
476
00:26:50,275 --> 00:26:52,319
{\an8}- I love it.
- I'm in the middle of season 2.
477
00:26:52,402 --> 00:26:53,236
It's a good show.
478
00:26:54,279 --> 00:26:56,781
[Natalia] I think they actually love
working with kids.
479
00:26:56,865 --> 00:26:58,366
It matches their energy.
480
00:26:59,075 --> 00:27:01,286
They remember what it was like
when your imagination could
481
00:27:01,369 --> 00:27:03,830
take you to these places
and create these things.
482
00:27:05,123 --> 00:27:07,417
[Finn] They're still like our characters
in the basement.
483
00:27:07,500 --> 00:27:09,961
That's also what makes them
amazing filmmakers,
484
00:27:10,045 --> 00:27:11,588
that childlike sense of wonder.
485
00:27:12,631 --> 00:27:14,633
[Matt] And then just go to the bathroom.
486
00:27:14,716 --> 00:27:16,343
That will become
the scene we already shot.
487
00:27:16,426 --> 00:27:18,970
- What? Y'all made two bathrooms?
- We made two bathrooms.
488
00:27:19,721 --> 00:27:21,306
That's crazy!
489
00:27:23,058 --> 00:27:24,476
[Heymann] Rolling, rolling.
490
00:27:28,063 --> 00:27:29,606
[Matt] We had this idea that
491
00:27:29,689 --> 00:27:32,984
our characters would
need to leave their childhood behind.
492
00:27:33,068 --> 00:27:35,362
And then pass the baton
493
00:27:35,445 --> 00:27:36,905
to the next generation,
494
00:27:36,988 --> 00:27:38,657
Holly and her friends.
495
00:27:38,740 --> 00:27:39,949
[gasping]
496
00:27:41,076 --> 00:27:44,788
It's interesting. I mean, of course,
Holly was always there, but...
497
00:27:44,871 --> 00:27:47,999
nobody was really minding her.
498
00:27:53,588 --> 00:27:57,884
[Matt] "Chapter Two:
The Vanishing of Holly Wheeler."
499
00:27:58,885 --> 00:28:00,053
We're in the Wheeler house.
500
00:28:00,136 --> 00:28:03,264
We begin with a Demogorgon
roaring at Holly through the rift.
501
00:28:03,348 --> 00:28:05,600
Holly doesn't wait around
for this thing to come for her.
502
00:28:05,684 --> 00:28:08,436
She lets go of her
Holly the Heroic necklace and runs.
503
00:28:08,520 --> 00:28:11,314
{\an8}[Tudor] Okay. Ready, and action.
504
00:28:15,944 --> 00:28:18,488
[Matt] You're like
a little Speedy Gonzales there.
505
00:28:19,114 --> 00:28:19,989
[Nell] What?
506
00:28:20,073 --> 00:28:22,325
You're Speedy Gonz...
You know who Speedy Gonzales is?
507
00:28:22,409 --> 00:28:25,203
- This is so depressing. Okay. Let's...
- [all laughing]
508
00:28:25,286 --> 00:28:27,872
- Do you feel old yet?
- I do.
509
00:28:27,956 --> 00:28:30,291
[Tudor] Ready, and action, Nell.
510
00:28:32,627 --> 00:28:34,379
[panting]
511
00:28:36,840 --> 00:28:39,509
- [Ross] What's... What happened?
- [Matt] What's wrong?
512
00:28:39,592 --> 00:28:41,010
Why are you so dirty?
513
00:28:41,094 --> 00:28:43,596
- Holly.
- [Heymann] Cutting on rehearsal.
514
00:28:43,680 --> 00:28:45,014
[woman] Rolling, rolling.
515
00:28:46,224 --> 00:28:47,183
Action.
516
00:28:49,185 --> 00:28:50,562
Mom! Mom!
517
00:28:50,645 --> 00:28:53,773
[Cara] The moms in the '80s movies
weren't just the mom.
518
00:28:54,274 --> 00:28:55,984
You look at Sigourney Weaver.
519
00:28:56,067 --> 00:29:00,071
And Linda Hamilton in Terminator.
I mean, like, kick-ass mom.
520
00:29:00,739 --> 00:29:04,033
- Mom! Mom!
- Baby, it's just a nightmare. Come here.
521
00:29:04,117 --> 00:29:07,412
- It's not a nightmare.
- [Matt] All right, cut. That was great.
522
00:29:07,912 --> 00:29:09,622
[Cara] Season 1, she's the mom.
523
00:29:10,331 --> 00:29:12,876
And then she starts to evolve.
524
00:29:13,626 --> 00:29:15,670
The evolution to being an action hero
525
00:29:15,754 --> 00:29:17,714
{\an8}is the natural progression for me.
526
00:29:17,797 --> 00:29:20,383
{\an8}I think maybe
that's all I ever wanted to do.
527
00:29:21,217 --> 00:29:22,343
Cut!
528
00:29:23,219 --> 00:29:24,387
That seemed good.
529
00:29:28,266 --> 00:29:30,059
- Mom!
- [Matt] No, Mom!
530
00:29:32,520 --> 00:29:33,980
- [Nell] Come on!
- Up.
531
00:29:34,063 --> 00:29:36,649
- [Ross] Go, go, go, go.
- The wine. Go, go, go.
532
00:29:36,733 --> 00:29:39,027
Right, for her to go out, actually.
533
00:29:39,110 --> 00:29:41,321
[Ross] You just go,
"Stay back," is what you say.
534
00:29:41,404 --> 00:29:42,947
- [Cara] Stay back.
- [Ross] Stay back.
535
00:29:43,031 --> 00:29:44,032
[Cara] Holly, stay back!
536
00:29:44,115 --> 00:29:46,993
[Nell] You think you can fight
this thing off, maybe?
537
00:29:47,076 --> 00:29:48,161
[Cara] Hell, yeah.
538
00:29:49,078 --> 00:29:52,582
- I'm going to save your life.
- You are. Thank you, Mom.
539
00:29:52,665 --> 00:29:54,042
That's what moms do.
540
00:29:54,125 --> 00:29:55,919
- [Cara exclaiming]
- [Ross grunting]
541
00:29:56,711 --> 00:30:01,174
The blood from your mom
is going to hit you...
542
00:30:02,133 --> 00:30:03,760
in the face. [laughing]
543
00:30:04,260 --> 00:30:07,055
I'm sorry, it's not funny. And then, um...
544
00:30:07,764 --> 00:30:08,890
[laughs]
545
00:30:09,641 --> 00:30:12,101
And then, yeah, that's it.
Then it's coming for you.
546
00:30:12,185 --> 00:30:15,146
You're so terrified that you can't move.
547
00:30:15,230 --> 00:30:17,148
And then end of scene.
548
00:30:18,775 --> 00:30:22,111
[Ross] We had always wanted to have
a Wheeler house attack sequence,
549
00:30:22,195 --> 00:30:25,949
and have held back on that
for the last seven years.
550
00:30:27,367 --> 00:30:30,370
What would Karen do
if she encounters a Demogorgon?
551
00:30:31,246 --> 00:30:34,582
She shares so many qualities with Nancy.
552
00:30:35,708 --> 00:30:40,964
So we wanted to see
that ferocity within her unleashed.
553
00:30:42,048 --> 00:30:44,634
[Tudor] Ready, and action!
554
00:30:44,717 --> 00:30:46,010
[both screaming]
555
00:30:46,094 --> 00:30:48,012
Go, baby, go. Go!
556
00:30:51,099 --> 00:30:52,141
[Nell] Mom!
557
00:30:52,225 --> 00:30:53,935
- [Matt] The timing was good...
- [Tudor] Cut!
558
00:30:54,018 --> 00:30:55,812
- [Ross] Cut.
- [Hiro] I know.
559
00:30:56,312 --> 00:30:57,647
[Matt] But the timing was better.
560
00:30:57,730 --> 00:30:59,524
- [Hiro] Timing was better, right?
- Much better.
561
00:30:59,607 --> 00:31:03,152
[Matt] So satisfying, isn't it?
It looks like we're hurting our actors.
562
00:31:03,236 --> 00:31:04,195
I know, right?
563
00:31:04,779 --> 00:31:05,613
I love it.
564
00:31:05,697 --> 00:31:07,699
[Matt] It's the kind of thing
no one's gonna think about,
565
00:31:07,782 --> 00:31:10,118
but it's going to have an effect.
566
00:31:10,201 --> 00:31:15,123
Audiences are getting increasingly savvy
to lots of cuts.
567
00:31:15,206 --> 00:31:17,375
[Tudor] Locked in, quiet,
ring the bell, please.
568
00:31:17,458 --> 00:31:18,835
- [people shushing]
- [alarm ringing]
569
00:31:18,918 --> 00:31:21,546
[Cara] I love that
the Duffers wrote this for me.
570
00:31:22,714 --> 00:31:26,426
They could've written, "She's screaming,
running away, and cowering."
571
00:31:26,509 --> 00:31:30,013
But she's in her wet nightgown
coming out to kick ass.
572
00:31:30,096 --> 00:31:32,390
Transforming into a warrior.
573
00:31:32,473 --> 00:31:33,808
[grunting loudly]
574
00:31:35,226 --> 00:31:40,523
Stay away from my daughter!
575
00:31:40,607 --> 00:31:41,858
[roaring]
576
00:31:41,941 --> 00:31:43,109
No, Mom!
577
00:31:43,943 --> 00:31:45,778
- [Matt] Yeah, let's cut.
- [Heymann] Tail sticks.
578
00:31:45,862 --> 00:31:47,614
- So good.
- She's badass.
579
00:31:48,573 --> 00:31:51,200
[Natalia] They've always written
strong women.
580
00:31:51,951 --> 00:31:54,037
I've always loved
what they've given me to do.
581
00:31:54,621 --> 00:31:57,248
[man] Look out, Phil,
she might be after your job.
582
00:31:57,332 --> 00:32:02,211
[Natalia] It's a lot of body positioning
and, like, looking a certain way.
583
00:32:02,295 --> 00:32:05,423
Go to hell!
584
00:32:06,049 --> 00:32:07,508
I find that fun.
585
00:32:07,592 --> 00:32:11,763
It's a more exciting day to me
than just sitting and talking.
586
00:32:11,846 --> 00:32:13,097
Those are great too,
587
00:32:13,181 --> 00:32:16,351
but you're kind of moving,
and it feels very kinetic.
588
00:32:16,434 --> 00:32:17,393
[girl] I'm coming.
589
00:32:17,977 --> 00:32:21,606
- [Mike] There's no way that's Mad Max.
- Yeah, girls don't play video games.
590
00:32:22,106 --> 00:32:24,943
When I was younger,
I didn't really understand the impact
591
00:32:25,026 --> 00:32:30,615
of playing a female character like this
on a show of...
592
00:32:30,698 --> 00:32:32,116
at this scale.
593
00:32:32,200 --> 00:32:35,286
Now that I have
a little bit more perspective,
594
00:32:35,370 --> 00:32:40,333
I can see that, yeah, Max is
a good role model for girls out there.
595
00:32:42,961 --> 00:32:45,421
[Mekash] Put this one on first,
put that one a bit closer,
596
00:32:45,505 --> 00:32:47,840
{\an8}and put that one
there so it looks like he...
597
00:32:47,924 --> 00:32:48,800
{\an8}Oh, yeah.
598
00:32:49,717 --> 00:32:51,886
{\an8}'Cause doesn't he, like...
he impales, right?
599
00:32:51,970 --> 00:32:53,680
Yeah. Did you see the pre-vis?
600
00:32:53,763 --> 00:32:55,974
In the pre-vis,
it went up through your back.
601
00:32:56,057 --> 00:32:56,975
That's what I saw.
602
00:32:57,058 --> 00:33:00,019
They were like, "I don't think
that's gonna be a thing. She'd be dead."
603
00:33:00,103 --> 00:33:01,771
[Gambi] You would die. Exactly.
604
00:33:02,647 --> 00:33:04,232
- [Mekash] That's better.
- [Cara] I survive.
605
00:33:04,315 --> 00:33:05,692
{\an8}[Mekash] Like that.
606
00:33:05,775 --> 00:33:07,485
{\an8}Want to take a quick pic?
607
00:33:07,568 --> 00:33:09,570
- [Cara] Oh, God, it's gruesome.
- Slashy.
608
00:33:09,654 --> 00:33:11,864
Yeah, look at that. [gagging]
609
00:33:13,366 --> 00:33:16,536
- How much Demo blood do we want?
- We need to establish a fair amount.
610
00:33:16,619 --> 00:33:20,623
Because they track the Demo
in the Upside Down via the blood.
611
00:33:20,707 --> 00:33:21,624
Right.
612
00:33:24,002 --> 00:33:27,422
{\an8}[Matt] In some ways,
this show is an ode to our childhood.
613
00:33:28,423 --> 00:33:31,300
We like the idea
that young kids are watching this,
614
00:33:31,384 --> 00:33:36,097
maybe feeling like it's right on the edge
of what they shouldn't be seeing.
615
00:33:37,223 --> 00:33:40,768
I don't know what I'm gonna do.
Just not touch anything, right?
616
00:33:42,103 --> 00:33:44,063
Had a... Had a little accident.
617
00:33:44,731 --> 00:33:49,402
And here, and then this is your knee here...
618
00:33:49,485 --> 00:33:51,738
- Like this?
- Yep. And your foot here.
619
00:33:52,238 --> 00:33:54,907
[Matt] We're trying to see your feet,
then the phone, then your hand.
620
00:33:54,991 --> 00:33:58,453
I'm sorry. If I may, I'm just gonna touch
your foot and your knee here.
621
00:33:58,536 --> 00:34:00,455
- Yes.
- Like that. That's what we want.
622
00:34:00,538 --> 00:34:03,249
[Tudor] So let's get some blood
and some water on her. Let's go.
623
00:34:03,332 --> 00:34:05,043
Now that looks good.
624
00:34:05,626 --> 00:34:08,963
- I feel like I don't know how I survived.
- [Matt] I don't... You should be dead.
625
00:34:09,047 --> 00:34:10,673
- It's a miracle.
- [Ross] Is it too much?
626
00:34:12,050 --> 00:34:13,885
- Is it too much?
- [Cara chuckles]
627
00:34:15,553 --> 00:34:19,390
[Matt] I think the show and working
on the show is an acquired taste.
628
00:34:19,474 --> 00:34:24,854
It's not a typical television show,
and it's an insane amount of work.
629
00:34:25,354 --> 00:34:30,651
But it attracts people who want
to be working at the highest level.
630
00:34:34,989 --> 00:34:37,116
Do you guys have a minute for Amy?
631
00:34:37,617 --> 00:34:38,618
Of course.
632
00:34:40,620 --> 00:34:42,455
[Amy] Kali... Without knowing the ending,
633
00:34:42,538 --> 00:34:44,832
I'm assuming
it should feel kind of powerful.
634
00:34:44,916 --> 00:34:47,585
- She is going to be shot.
- Okay.
635
00:34:48,086 --> 00:34:50,088
Which is a big story point.
636
00:34:50,171 --> 00:34:53,049
If she's shot, I kind of imagine
her getting shot in the gut.
637
00:34:53,132 --> 00:34:53,966
Yeah.
638
00:34:54,050 --> 00:34:55,760
It's a shot that will kill her.
639
00:34:55,843 --> 00:34:57,762
- Oh, okay.
- Sorry, spoiler.
640
00:34:57,845 --> 00:34:58,888
No, it's...
641
00:34:59,847 --> 00:35:02,767
It's not like we don't know
what the ending is. It's all plotted out.
642
00:35:02,850 --> 00:35:03,851
I just have to...
643
00:35:04,435 --> 00:35:06,395
I have to write it.
644
00:35:06,479 --> 00:35:09,690
- And we're just like, low on time.
- Yeah.
645
00:35:09,774 --> 00:35:12,985
I used to be like, seven days a week,
blah, blah, blah,
646
00:35:13,069 --> 00:35:14,487
and I can't do it anymore.
647
00:35:14,570 --> 00:35:17,865
- I have two kids now, and I just like...
- Yeah.
648
00:35:18,866 --> 00:35:20,576
Do you guys have kids?
649
00:35:20,660 --> 00:35:21,994
Yeah, but they're 40.
650
00:35:22,078 --> 00:35:25,289
They're 40.
Yeah, but you remember. Do you remember?
651
00:35:25,790 --> 00:35:28,126
I mean, I was working
when they were young.
652
00:35:28,209 --> 00:35:30,211
And, you know, I mean...
653
00:35:30,294 --> 00:35:33,673
- It's a tough career to have with kids.
- It's very tough.
654
00:35:36,175 --> 00:35:38,761
[Matt] Because it is so... difficult,
655
00:35:38,845 --> 00:35:41,764
and it can feel
like such a grind sometimes,
656
00:35:41,848 --> 00:35:45,476
you have to enjoy challenges.
657
00:35:46,894 --> 00:35:49,772
Everyone loves a challenge,
and we certainly gave it to them.
658
00:35:49,856 --> 00:35:52,441
- Oh, shit, I'm sorry. I didn't even...
- No, it's all right.
659
00:35:52,984 --> 00:35:55,236
- [crew members chuckle]
- We have a backlot.
660
00:35:56,737 --> 00:35:58,239
[Ross] Just another backlot.
661
00:35:58,865 --> 00:35:59,699
[man] No biggie.
662
00:35:59,782 --> 00:36:01,159
{\an8}That's so sick.
663
00:36:01,242 --> 00:36:02,910
{\an8}- [Hilary] It's really cool.
- That is crazy.
664
00:36:03,494 --> 00:36:06,372
{\an8}[Matt] The MAC-Z is our first backlot set.
665
00:36:06,455 --> 00:36:07,748
It's so rad.
666
00:36:08,374 --> 00:36:10,960
I've always wanted to shoot on a backlot.
667
00:36:11,043 --> 00:36:13,546
Me too. I've always wanted to build one.
668
00:36:14,964 --> 00:36:16,674
Yeah, it should be good.
669
00:36:16,757 --> 00:36:20,303
'Cause I remember when we were kids
and we saw the one in Wilmington,
670
00:36:20,386 --> 00:36:23,598
where they shot The Crow and stuff,
just thinking it was so cool.
671
00:36:24,307 --> 00:36:27,476
{\an8}[Chris] When we first started,
we felt like kids.
672
00:36:27,560 --> 00:36:29,645
{\an8}When we were
first building the Wheeler house,
673
00:36:29,729 --> 00:36:32,231
{\an8}we were like, "I can't believe
they're letting us do this."
674
00:36:32,315 --> 00:36:35,359
But, you know,
you always envision these giant backlots.
675
00:36:35,443 --> 00:36:38,946
That's kind of a benchmark
of a really big show.
676
00:36:40,031 --> 00:36:42,950
We recreated downtown Hawkins
677
00:36:43,034 --> 00:36:45,077
where our MAC-Z is going to be.
678
00:36:47,038 --> 00:36:51,000
{\an8}[Matt] It took forever to build.
It took forever to build.
679
00:36:54,128 --> 00:36:56,631
{\an8}Early on,
when we were breaking this season,
680
00:36:56,714 --> 00:36:59,050
we knew that it was gonna be split
in the middle.
681
00:36:59,133 --> 00:37:02,929
And so we wanted to build to a big climax
before the break
682
00:37:03,012 --> 00:37:06,766
because we knew the audience was going
to have to wait for the next episode.
683
00:37:07,350 --> 00:37:09,727
But it ended up being even bigger
684
00:37:09,810 --> 00:37:11,896
and more complicated
than we could ever imagine.
685
00:37:13,814 --> 00:37:17,193
[Matt] There's no question,
the MAC-Z action sequence is the biggest
686
00:37:17,276 --> 00:37:19,862
and most challenging sequence
we've ever done.
687
00:37:21,364 --> 00:37:25,243
I think it's a great example of
multiple departments collaborating.
688
00:37:26,244 --> 00:37:28,829
[Ross] It really helps that
so many of these department heads
689
00:37:28,913 --> 00:37:32,959
we've been working with for a long time.
So there's a lot of trust there.
690
00:37:33,042 --> 00:37:35,962
They're not coming to us with problems.
They're usually coming to us with,
691
00:37:36,045 --> 00:37:38,547
"This is our solution to this problem."
692
00:37:39,757 --> 00:37:41,676
- [Maher] Can you guys hear me all right?
- Yeah.
693
00:37:41,759 --> 00:37:44,262
All right, so we have
a revised version of the oner.
694
00:37:44,345 --> 00:37:46,180
I'll just let it play.
695
00:37:49,767 --> 00:37:51,811
[Ross] When the Demos come in
and start attacking,
696
00:37:51,894 --> 00:37:54,897
we wanted to go into a single shot.
697
00:37:55,564 --> 00:37:59,402
We wanted to feel like you're truly with
these characters and there's no escape.
698
00:37:59,485 --> 00:38:02,571
Don't give the audience any edits
to give them any room to breathe.
699
00:38:02,655 --> 00:38:04,657
[soldiers shouting]
700
00:38:05,574 --> 00:38:06,826
[Matt] Oh, wow, yeah.
701
00:38:09,245 --> 00:38:10,246
Yes.
702
00:38:13,249 --> 00:38:15,251
Oh, that's cool. [chuckles]
703
00:38:15,334 --> 00:38:16,627
That's awesome. Yeah.
704
00:38:16,711 --> 00:38:18,004
It's really cool.
705
00:38:18,087 --> 00:38:20,298
Well, this will be easy to do.
Right, Peter?
706
00:38:20,381 --> 00:38:22,466
[Peter] Shouldn't be a problem. Yeah.
707
00:38:23,175 --> 00:38:24,010
{\an8}You good, Nel?
708
00:38:24,093 --> 00:38:27,054
{\an8}Yeah, guys, let's get ready
to shoot one of these with pulls.
709
00:38:27,138 --> 00:38:28,556
[men] With pulls.
710
00:38:29,223 --> 00:38:31,976
[Matt] Hiro's the one that really has to
make this stuff come alive.
711
00:38:32,059 --> 00:38:35,021
We can have a Demogorgon
do anything we want it to do
712
00:38:35,104 --> 00:38:36,439
because it's animated,
713
00:38:36,522 --> 00:38:40,067
but when it's involving real people,
it becomes that much more complicated.
714
00:38:40,776 --> 00:38:41,986
Ready, and go!
715
00:38:42,069 --> 00:38:44,905
[Hiro] The bros' most important thing
was the big oner.
716
00:38:44,989 --> 00:38:48,117
That was the thing
that we concentrated on first.
717
00:38:49,952 --> 00:38:53,873
[Jahnel] We'll be down here prepping
for a solid six weeks.
718
00:38:54,457 --> 00:38:58,085
It's such a puzzle piece
to put this whole thing together. Um...
719
00:38:58,169 --> 00:39:00,212
{\an8}Yeah. I hope it works.
720
00:39:00,296 --> 00:39:02,882
{\an8}I can't wait to see it.
I hope it all comes together.
721
00:39:04,633 --> 00:39:06,010
Ready, and go!
722
00:39:06,510 --> 00:39:08,846
An action sequence this enormous
723
00:39:08,929 --> 00:39:12,391
could have very easily
been taken over by visual effects,
724
00:39:12,475 --> 00:39:14,685
but the Duffer brothers say,
"Do it practically."
725
00:39:14,769 --> 00:39:19,940
"We want to see it in actuality
rather than computer generated."
726
00:39:20,024 --> 00:39:20,983
Go!
727
00:39:22,485 --> 00:39:23,569
[Hiro] Stop!
728
00:39:32,703 --> 00:39:35,581
{\an8}[Ross] There's a slightly larger
discussion to be had
729
00:39:35,664 --> 00:39:38,542
just as we think about this
that's even beyond...
730
00:39:39,293 --> 00:39:41,796
the character arc,
which is the series arc.
731
00:39:42,505 --> 00:39:46,592
This show is about how life
does throw this stuff at you,
732
00:39:46,675 --> 00:39:48,344
the hard stuff, but you overcome it.
733
00:39:48,427 --> 00:39:52,264
But it's not just about
overcoming these obstacles.
734
00:39:52,348 --> 00:39:54,308
[Caitlin] No,
it's like the joy of the adventure.
735
00:39:54,392 --> 00:39:58,771
And that's what people don't understand
when we're not killing people off
736
00:39:58,854 --> 00:40:02,775
because we're always like,
"We have to maintain this sense of fun
737
00:40:02,858 --> 00:40:05,903
in the show
or it doesn't become the show anymore."
738
00:40:05,986 --> 00:40:09,949
So... Or, you know,
it just becomes depressing.
739
00:40:10,032 --> 00:40:11,784
Which is why I think Eleven...
740
00:40:11,867 --> 00:40:14,453
I know we all talked about the trauma
that she's experienced,
741
00:40:14,537 --> 00:40:18,207
and I think that you have to be able
to move on from that.
742
00:40:19,208 --> 00:40:23,546
[Matt] Um, like, I always thought
that she kind of represents magic.
743
00:40:23,629 --> 00:40:26,006
- And so she has to leave.
- [Kate] Yeah.
744
00:40:26,090 --> 00:40:29,677
She has to be gone
in order for them to move on.
745
00:40:29,760 --> 00:40:31,720
[Paul] Like the door
to Narnia closes for you,
746
00:40:31,804 --> 00:40:35,474
and then some other kids are gonna find
another door to Narnia later.
747
00:40:35,558 --> 00:40:37,184
- But you're never going back.
- [Kate] Yeah.
748
00:40:37,268 --> 00:40:40,896
[Ross] You never lose this piece of you
but you have to grow...
749
00:40:40,980 --> 00:40:42,773
- [Kate] Right.
- ...and move on from it.
750
00:40:45,734 --> 00:40:47,736
[keyboard clacking]
751
00:40:48,737 --> 00:40:50,698
[Matt] The show is so large,
752
00:40:50,781 --> 00:40:53,451
and there's so many pages to shoot
753
00:40:53,534 --> 00:40:56,495
that Ross and I can simply
not direct the whole thing.
754
00:40:56,579 --> 00:40:59,373
{\an8}It's impossible.
This is something we realized in season 1.
755
00:40:59,915 --> 00:41:02,585
{\an8}We were either going to
have to rush the scripts,
756
00:41:02,668 --> 00:41:05,838
{\an8}and have them not at the quality we wanted
in order to direct them all,
757
00:41:05,921 --> 00:41:07,214
{\an8}or bring in guest directors.
758
00:41:07,298 --> 00:41:08,132
{\an8}[Shawn] Cut.
759
00:41:08,215 --> 00:41:11,177
{\an8}[Matt] And something crazy happened
in that Shawn Levy,
760
00:41:11,260 --> 00:41:14,847
{\an8}who's, you know, a very established
and successful director,
761
00:41:14,930 --> 00:41:17,224
{\an8}who was our producer at the time,
raised his hand.
762
00:41:17,308 --> 00:41:19,768
{\an8}He really liked the scripts
and offered to direct.
763
00:41:19,852 --> 00:41:22,521
{\an8}We'll shoot this. I'm gonna cut it,
Bobby, before the push in.
764
00:41:22,605 --> 00:41:26,859
[Matt] So from that point on, we've had
directors on board every season.
765
00:41:26,942 --> 00:41:28,652
{\an8}- Nick. A-Cam Nick?
- [Nick] Yeah.
766
00:41:28,736 --> 00:41:31,947
{\an8}Oh, there you are.
I was thinking that on that...
767
00:41:32,031 --> 00:41:35,034
{\an8}[Matt] Frank Darabont is
a real personal hero of ours.
768
00:41:35,117 --> 00:41:38,662
He's directed some
of my favorite films of all time.
769
00:41:38,746 --> 00:41:42,917
Shawshank Redemption,
The Green Mile, The Mist.
770
00:41:43,000 --> 00:41:45,294
We took the risk
of a little bit of embarrassment,
771
00:41:45,377 --> 00:41:48,672
emailed him asking, you know,
"No pressure at all,
772
00:41:48,756 --> 00:41:52,426
just want to see if, by chance,
I know you probably won't want to,
773
00:41:52,510 --> 00:41:56,096
but is there any world
in which you would want to direct?"
774
00:41:56,180 --> 00:41:59,058
Why not? Why not?
We love the show that much.
775
00:42:00,100 --> 00:42:05,940
It's very much a throwback to the kind of
movies I grew up with and grew up loving.
776
00:42:06,023 --> 00:42:07,399
And action.
777
00:42:07,483 --> 00:42:13,155
For the most part, everything
that you see on screen is actually there.
778
00:42:13,864 --> 00:42:17,076
It's kind of a more of
an old school way to do things.
779
00:42:17,159 --> 00:42:21,872
You don't want to be hurting this guy.
You don't want to be fighting him at all.
780
00:42:21,956 --> 00:42:24,333
What you're trying to do is talk him down.
781
00:42:24,416 --> 00:42:26,544
[Hopper] God damn it!
782
00:42:26,627 --> 00:42:27,878
[Frank] Building the sets,
783
00:42:27,962 --> 00:42:32,508
{\an8}creating a real environment for the crew
to work in and for the cast to work in,
784
00:42:32,591 --> 00:42:34,510
{\an8}there's just a difference to it.
785
00:42:34,593 --> 00:42:36,637
{\an8}But it's ambitious.
786
00:42:36,720 --> 00:42:40,266
{\an8}And, uh, Matt and Ross
do not write simple scenes.
787
00:42:41,934 --> 00:42:42,810
Action!
788
00:42:42,893 --> 00:42:46,272
Every scene in this
has some layers of complication.
789
00:42:47,731 --> 00:42:48,732
Wow.
790
00:42:49,358 --> 00:42:51,819
Excellent. Excellent. One more.
791
00:42:51,902 --> 00:42:54,321
It's one of the things
that makes the show special,
792
00:42:54,405 --> 00:42:56,824
but it's also one of the things
that makes the show
793
00:42:56,907 --> 00:42:59,868
a real challenge to shoot day to day.
794
00:42:59,952 --> 00:43:00,953
Lean out.
795
00:43:01,453 --> 00:43:02,413
And...
796
00:43:03,789 --> 00:43:04,665
Clear.
797
00:43:05,583 --> 00:43:06,542
Let's go back.
798
00:43:07,751 --> 00:43:12,006
When you turn to her, you actually
did turn your shoulder as well.
799
00:43:12,089 --> 00:43:13,048
Yeah.
800
00:43:14,758 --> 00:43:15,676
Okay.
801
00:43:15,759 --> 00:43:17,428
[man] Sound is speeding.
802
00:43:20,514 --> 00:43:21,515
[Tudor] Sadie.
803
00:43:24,268 --> 00:43:27,313
[Frank] Okay, that's looking good.
Keep going.
804
00:43:27,396 --> 00:43:28,814
[Tudor] And act clear.
805
00:43:29,690 --> 00:43:32,484
[Frank] Yeah, there you go.
That one looked really good.
806
00:43:34,069 --> 00:43:37,698
This is a very early Orson Welles trick.
807
00:43:38,782 --> 00:43:40,784
They did that in Citizen Kane,
808
00:43:40,868 --> 00:43:42,161
going through a neon sign,
809
00:43:42,244 --> 00:43:44,705
and the neon sign
literally just was pulled apart
810
00:43:44,788 --> 00:43:46,498
as the camera went through.
811
00:43:46,582 --> 00:43:48,709
{\an8}Very innovative stuff back in its day.
812
00:43:48,792 --> 00:43:50,377
{\an8}- It's a magic trick.
- Yeah.
813
00:43:53,505 --> 00:43:54,923
[Ross] What's going on in The Abyss?
814
00:43:56,050 --> 00:43:58,218
I just am feeling like
815
00:43:58,302 --> 00:44:00,763
there's such a promise
of some sort of battle
816
00:44:01,972 --> 00:44:03,015
there.
817
00:44:04,308 --> 00:44:05,684
And how do we do it?
818
00:44:09,188 --> 00:44:12,399
I mean, the thing that's cool
is the giant monster.
819
00:44:14,068 --> 00:44:15,653
I mean, that's what's new.
820
00:44:16,236 --> 00:44:17,655
Oh wait, we have this VFX test.
821
00:44:18,238 --> 00:44:20,449
If you want the teens
and Will and all them
822
00:44:20,532 --> 00:44:22,951
to face off against
this giant Mind Flayer,
823
00:44:23,035 --> 00:44:25,621
they need to be outside of here
when it comes alive.
824
00:44:25,704 --> 00:44:29,208
[Kate] Ideally, the thing stands up
like a big spider,
825
00:44:29,291 --> 00:44:30,918
and can do a chase.
826
00:44:31,001 --> 00:44:32,670
Some version of a chase.
827
00:44:32,753 --> 00:44:35,005
[Ross] I don't even know
what a chase looks like.
828
00:44:35,089 --> 00:44:37,299
It'll outrun them so quickly.
829
00:44:39,760 --> 00:44:41,845
The kids, they've all expressed to me,
Mike,
830
00:44:41,929 --> 00:44:43,430
and I think they do have a point,
831
00:44:43,514 --> 00:44:47,184
that they would like
to take part in that fight.
832
00:44:47,267 --> 00:44:49,269
Especially Finn's like, you know,
833
00:44:49,353 --> 00:44:51,855
- "Don't give me a candlestick, please."
- [Kate] Candlestick?
834
00:44:51,939 --> 00:44:53,190
Um, which is fair.
835
00:44:53,273 --> 00:44:56,902
He really wants a gun
and I'm just like, "I don't think so."
836
00:44:56,985 --> 00:44:57,986
No.
837
00:44:59,988 --> 00:45:03,242
[Caitlin] Does it kind of feel like
they should all be in the rib cage? Like...
838
00:45:03,325 --> 00:45:04,827
Yeah, I think so.
839
00:45:04,910 --> 00:45:08,163
Even if there are monsters attacking,
run inside the rib cage.
840
00:45:09,206 --> 00:45:10,624
Get the kids out.
841
00:45:11,542 --> 00:45:16,714
There's a version of they...
The teens stay outside.
842
00:45:16,797 --> 00:45:17,965
They've got the weapons.
843
00:45:18,048 --> 00:45:22,261
So if they have to fend off, whatever,
Demos or whatever it is that are coming,
844
00:45:22,344 --> 00:45:23,762
it's like, go get the kids.
845
00:45:24,346 --> 00:45:26,557
There have to be
some monsters in The Abyss.
846
00:45:26,640 --> 00:45:30,185
- [Matt] I agree.
- There has to be Demogorgon, bat,
847
00:45:30,686 --> 00:45:32,312
dog, like something.
848
00:45:32,980 --> 00:45:35,232
It's crazy if there's nothing there,
I think.
849
00:45:36,608 --> 00:45:37,568
[Matt] Hm.
850
00:45:38,277 --> 00:45:40,946
You know, in the MAC-Z, it is insane,
851
00:45:41,029 --> 00:45:43,991
insane and so climactic and that...
852
00:45:44,074 --> 00:45:46,326
it is climactic because we have
853
00:45:46,410 --> 00:45:50,706
- six Demos attacking simultaneously.
- [Paul] Yeah. Yeah, it's a lot.
854
00:45:51,206 --> 00:45:54,752
[Kate] Yeah, I guess I maybe feel...
855
00:45:54,835 --> 00:45:57,337
wonder about Demo fatigue at the...
856
00:45:58,172 --> 00:46:00,340
[Matt] Yeah, I mean, that's fair.
857
00:46:05,220 --> 00:46:08,182
Like, how exhausting, right?
This is crazy.
858
00:46:08,265 --> 00:46:09,266
[Kate laughs]
859
00:46:10,225 --> 00:46:11,226
It's a lot.
860
00:46:16,899 --> 00:46:18,442
{\an8}- [Ross] Hey!
- [Matt] What up, dude?
861
00:46:19,276 --> 00:46:21,987
[Caleb] Oh! What's up, dog!
862
00:46:22,070 --> 00:46:24,406
Finnster said you're crushing it
in this scene.
863
00:46:24,490 --> 00:46:26,325
He's crushing it. How you guys doing?
864
00:46:26,408 --> 00:46:28,118
We're good. How you been doing? Good?
865
00:46:28,202 --> 00:46:29,369
- Chilling.
- Chilling?
866
00:46:29,453 --> 00:46:31,079
- Just vibing.
- Just vibing?
867
00:46:31,163 --> 00:46:32,664
Kicking some Demogorgon butt?
868
00:46:32,748 --> 00:46:34,583
- Yeah. How's scriptwriting?
- Good.
869
00:46:34,666 --> 00:46:36,543
- Good, it's gonna be sweet.
- Yeah?
870
00:46:36,627 --> 00:46:38,003
Good stuff. Pretty epic shit.
871
00:46:38,086 --> 00:46:40,881
- Do I have another running scene?
- There's definitely running.
872
00:46:40,964 --> 00:46:42,925
When you're sweating,
I'm going to remind you.
873
00:46:43,008 --> 00:46:45,677
- I don't care. I been working out.
- Dust is in your face.
874
00:46:45,761 --> 00:46:47,513
- Really?
- It's gonna be intense.
875
00:46:47,596 --> 00:46:48,847
Oh, it's gonna be awesome.
876
00:46:51,016 --> 00:46:52,768
[bell ringing]
877
00:46:53,560 --> 00:46:55,062
[Ross] Is this how we are doing this?
878
00:46:55,145 --> 00:46:56,522
Class is in session?
879
00:46:57,272 --> 00:46:59,525
- [Matt] Ross, where are you going?
- Wherever.
880
00:47:01,068 --> 00:47:02,402
[Matt] Wait, where...
881
00:47:02,486 --> 00:47:06,406
We're just going to kind of
step you through the big beats.
882
00:47:06,907 --> 00:47:10,661
Basically, this stuff we're imagining
is, like, them splitting up.
883
00:47:10,744 --> 00:47:12,538
There's two teams. They're splitting up.
884
00:47:12,621 --> 00:47:15,457
[Ross] Yeah, so they stop The Abyss
from coming down,
885
00:47:15,541 --> 00:47:17,918
and so the needle is pierced through.
886
00:47:18,001 --> 00:47:19,962
The problem is, as we get later,
887
00:47:20,045 --> 00:47:23,423
we see that bottom side of
The Abyss that we're not seeing.
888
00:47:23,507 --> 00:47:25,884
It's like all these roots and stuff
beneath the dirt,
889
00:47:25,968 --> 00:47:29,429
and it's just like all these...
It's like really membrane-y.
890
00:47:29,513 --> 00:47:33,183
So the challenge is, how do we...
We've got to sell this root system
891
00:47:33,267 --> 00:47:34,434
interlocking and pulling,
892
00:47:34,518 --> 00:47:37,729
and then we have to sell
that there's a rift directly over top.
893
00:47:37,813 --> 00:47:41,567
{\an8}So we have The Abyss
with its mountains and floating boulders,
894
00:47:41,650 --> 00:47:44,027
{\an8}then we have
an Upside Down version of The Abyss
895
00:47:44,111 --> 00:47:46,238
{\an8}- with mountains and floating boulders.
- [Matt] Exactly.
896
00:47:46,321 --> 00:47:48,740
{\an8}- And then the sky of the Upside Down.
- That's right.
897
00:47:48,824 --> 00:47:51,743
So if you went through the clouds
in the Upside Down,
898
00:47:51,827 --> 00:47:54,538
you'd hit upside-down boulders.
899
00:47:54,621 --> 00:47:58,542
[Matt] Yeah. And then when it moves,
the boulders move with it.
900
00:47:58,625 --> 00:48:02,880
- And then there's just the final battle.
- [Betsy] Yeah.
901
00:48:02,963 --> 00:48:05,966
We got rid... There used to be
a midway battle that we got rid of,
902
00:48:06,049 --> 00:48:07,718
so we're just like, final, you know,
903
00:48:07,801 --> 00:48:09,803
then there's a helicopter explosion
but that's...
904
00:48:09,887 --> 00:48:11,889
Then there's the final battle,
905
00:48:11,972 --> 00:48:15,934
which is the Mind Flayer
and then all the Vecna stuff inside.
906
00:48:16,018 --> 00:48:19,021
We tried to not go too crazy.
907
00:48:19,104 --> 00:48:22,941
And inevitably it's gonna change
as we keep writing it.
908
00:48:23,817 --> 00:48:25,694
All right. Wow.
909
00:48:26,528 --> 00:48:27,654
Thank you, guys.
910
00:48:32,075 --> 00:48:34,453
[Tudor] I can't tell
from my branch of government
911
00:48:34,536 --> 00:48:39,333
if I need to raise an alarm bell in terms
of the amount of shoot days that I foresee
912
00:48:39,416 --> 00:48:41,376
just from that meeting in absentia.
913
00:48:41,460 --> 00:48:42,502
[Sean] Yeah, I think so.
914
00:48:42,586 --> 00:48:45,797
I don't know if you have enough intel
from that to raise an alarm bell.
915
00:48:45,881 --> 00:48:47,925
I can't get these sets ready in time.
916
00:48:48,008 --> 00:48:50,636
{\an8}We need to be building
by basically June 3rd
917
00:48:50,719 --> 00:48:56,308
{\an8}to hit the November mark
for the Pain Tree on stage.
918
00:48:56,391 --> 00:48:59,353
[Chris] It's essentially
a set that's a creature.
919
00:48:59,436 --> 00:49:01,772
- And it's going to physically move.
- [man] I know.
920
00:49:01,855 --> 00:49:06,026
And they just threw a whole new concept
of what the floor is like,
921
00:49:06,109 --> 00:49:09,279
and the nature of the roots,
and the membranous nature of it all,
922
00:49:09,363 --> 00:49:12,866
and it's like, do we need to factor that
into the physical build of this set?
923
00:49:13,367 --> 00:49:15,535
I mean, the devil's
in the screen direction.
924
00:49:15,619 --> 00:49:18,121
We're gonna get a script,
and it's gonna be like, "Oh,
925
00:49:18,205 --> 00:49:22,250
there's the other like 70% of business
that we couldn't account for," you know?
926
00:49:22,334 --> 00:49:23,418
[Tudor] Yeah, exactly.
927
00:49:23,502 --> 00:49:25,545
Why do we have to have them in the desert?
928
00:49:25,629 --> 00:49:28,215
[Sean] Because they run through
the entire cave system.
929
00:49:28,298 --> 00:49:29,675
Henry is chasing them now.
930
00:49:29,758 --> 00:49:33,929
They run out the upper exit
and then down into the desert.
931
00:49:34,012 --> 00:49:35,764
Then I don't know what the fuck happens.
932
00:49:35,847 --> 00:49:38,976
[Lampton] We're not going to get
a final script in time for you to do this,
933
00:49:39,059 --> 00:49:41,645
so we're gonna have to base it
on conversations with them.
934
00:49:41,728 --> 00:49:44,564
[Sean] That's it.
We're just gonna have to figure it out.
935
00:49:45,691 --> 00:49:47,442
[Tudor] And it has to be great.
936
00:49:47,943 --> 00:49:51,530
You know what I'm saying?
Like, let's not forget that part of it.
937
00:49:51,613 --> 00:49:54,491
[Sean] Well, yeah, we're not going to
shit the bed at the end.
938
00:49:54,574 --> 00:49:56,702
That's why I'm saying. It's not...
939
00:49:56,785 --> 00:49:59,287
Not that we've ever half-assed
anything on this show.
940
00:49:59,371 --> 00:50:01,415
[Sean] It's not going to be,
"That'll be good enough."
941
00:50:01,498 --> 00:50:02,916
We'll never hear that once.
942
00:50:03,000 --> 00:50:05,210
And nor do we want to. You know?
943
00:50:06,795 --> 00:50:09,589
We just got the verbal pitch
for episode eight.
944
00:50:09,673 --> 00:50:11,883
The main topic today
945
00:50:11,967 --> 00:50:15,470
is interior, The Abyss Pain Tree.
946
00:50:15,554 --> 00:50:20,142
It's a big set.
130 feet long and it's 80 feet wide.
947
00:50:20,225 --> 00:50:22,811
We got the meaty, gutty kind of shit.
948
00:50:22,894 --> 00:50:26,064
Bones protruding out of that.
Sinewy connective tissue.
949
00:50:26,148 --> 00:50:28,233
Vines. Thick, black veins.
950
00:50:28,316 --> 00:50:29,943
It's such a bizarre thing.
951
00:50:30,027 --> 00:50:33,321
We're inside the ribs of this monster, basically.
952
00:50:33,405 --> 00:50:36,700
It's like... What's the guy
with the nose that grows?
953
00:50:36,783 --> 00:50:38,368
- [man] Pinocchio.
- Pinocchio.
954
00:50:38,452 --> 00:50:40,996
It's like when Pinocchio
gets swallowed by the whale.
955
00:50:41,079 --> 00:50:43,081
You got 16 weeks now to build that set.
956
00:50:43,165 --> 00:50:46,251
[upbeat music playing]
957
00:50:47,711 --> 00:50:51,548
[Sean] We now have an opportunity to
regain some much-needed stage space.
958
00:50:51,631 --> 00:50:53,967
Because all this shit
that's coming up in eight
959
00:50:54,051 --> 00:50:57,471
ain't going to fit
unless we can start striking sets.
960
00:51:11,234 --> 00:51:12,986
[Sean] There's definitely challenges.
961
00:51:13,070 --> 00:51:14,362
I started on season 2.
962
00:51:14,446 --> 00:51:16,865
Season 2 ballooned and got a lot bigger.
963
00:51:16,948 --> 00:51:19,534
Season 3 was bigger. Season 4 was bigger.
964
00:51:19,618 --> 00:51:21,328
You have to grow with the show.
965
00:51:21,995 --> 00:51:25,290
Like you have a melting office building.
966
00:51:25,373 --> 00:51:26,875
I don't know what to say.
967
00:51:28,585 --> 00:51:31,922
- This is looking pretty sweet.
- [Chris] This is the most recent one.
968
00:51:32,005 --> 00:51:34,800
- That is what I imagined.
- [Matt] It's pretty sweet.
969
00:51:34,883 --> 00:51:36,468
- [Chris] This is our favorite.
- For sure.
970
00:51:36,551 --> 00:51:37,677
That's the like--
971
00:51:37,761 --> 00:51:39,805
And the mix of the brown and stuff.
972
00:51:39,888 --> 00:51:41,807
Mm-hmm. Showing the weeping colors.
973
00:51:41,890 --> 00:51:44,768
Whatever subsurface is on there
is what is leeching out as well.
974
00:51:44,851 --> 00:51:46,603
- I like that.
- [Matt] Looks great.
975
00:51:46,686 --> 00:51:47,813
What is this stuff?
976
00:51:47,896 --> 00:51:52,484
It's a sculpted foam underneath
three different densities of poured foam.
977
00:51:52,567 --> 00:51:54,945
- This is an actual...
- That's what I thought it was.
978
00:51:55,028 --> 00:51:59,407
And then it's unified with a rubber spray,
and then it's painted.
979
00:51:59,491 --> 00:52:01,409
- It's a deal.
- [Sean] It's like 12 steps.
980
00:52:01,493 --> 00:52:03,662
It's gonna be a motherfu... Yeah.
981
00:52:04,246 --> 00:52:06,998
[Chris] This is what we've conceived of
for the upper floor build
982
00:52:07,082 --> 00:52:11,002
as Jonathan and Nancy are discovering
the more dramatically melted section.
983
00:52:11,086 --> 00:52:12,921
They round this corner.
984
00:52:13,004 --> 00:52:14,548
This is pretty melty.
985
00:52:14,631 --> 00:52:18,218
[Ross] That idea came about
because of the Jonathan and Nancy talk.
986
00:52:18,301 --> 00:52:20,428
We need to put them in a situation
987
00:52:20,512 --> 00:52:23,765
where they feel that they're going to die,
988
00:52:23,849 --> 00:52:27,435
and it forces them
to have this emotional talk.
989
00:52:28,019 --> 00:52:31,773
The physical stakes are so high,
it forces the emotional stakes to rise.
990
00:52:32,440 --> 00:52:34,818
So we're working backwards from that.
991
00:52:38,822 --> 00:52:40,157
That spring break,
992
00:52:41,158 --> 00:52:43,118
when you were in Lenora,
993
00:52:43,201 --> 00:52:46,288
I didn't really have to stay behind
to work.
994
00:52:46,371 --> 00:52:48,999
I just... I needed space.
995
00:52:50,750 --> 00:52:53,837
Our feeling is still
that it's a flood set, and we build,
996
00:52:53,920 --> 00:52:57,799
essentially, you know, a 30-inch,
you know...
997
00:52:57,883 --> 00:53:00,677
You can fill it up as much
as it would ever need to be filled.
998
00:53:00,760 --> 00:53:03,054
We just do it practically.
We flood the set.
999
00:53:03,138 --> 00:53:05,140
It's not cheap to VFX
the whole thing either.
1000
00:53:05,223 --> 00:53:07,893
- [Sean] It's almost an impossible task.
- [Ross] We've got to flood it.
1001
00:53:07,976 --> 00:53:09,978
It's gonna be one of
the more memorable things.
1002
00:53:10,061 --> 00:53:12,397
- As crazy as it is.
- Definitely. It's gonna be awesome.
1003
00:53:12,480 --> 00:53:15,984
- [Chris] Sean'll have nightmares about it.
- I don't want to be there when we shoot.
1004
00:53:16,067 --> 00:53:18,069
- [Chris] It's such a great scene.
- It's gonna great.
1005
00:53:18,153 --> 00:53:18,987
Yeah.
1006
00:53:19,529 --> 00:53:20,989
[Amy] When I read that script,
1007
00:53:21,072 --> 00:53:24,117
{\an8}all the crew members would walk by
and go, "Have you read it yet?"
1008
00:53:24,201 --> 00:53:26,286
{\an8}You know, it was like they knew... Mmm.
1009
00:53:27,412 --> 00:53:30,999
It's not so much that the Duffers
are trying to challenge us purposefully.
1010
00:53:31,082 --> 00:53:33,376
I think that the challenges
mean they trust us.
1011
00:53:33,460 --> 00:53:37,255
If they didn't trust us, they would
not write a melty room into the script.
1012
00:53:38,006 --> 00:53:40,717
It's going to melt from the wall
so it should look like drips.
1013
00:53:40,800 --> 00:53:43,136
- [woman] Ooh, okay.
- [Amy] Gravity.
1014
00:53:43,220 --> 00:53:45,680
- Getting up.
- [Amy] So let's get onto your knees first.
1015
00:53:45,764 --> 00:53:47,057
- Okay.
- Yep.
1016
00:53:51,269 --> 00:53:54,773
[Brynn] We're very lucky that all of our
departments work so well together.
1017
00:53:55,941 --> 00:53:59,486
{\an8}Us, makeup, wardrobe would always
get together and just be like,
1018
00:53:59,569 --> 00:54:03,448
{\an8}"Hey, what do you have?
Because this is what I have."
1019
00:54:03,531 --> 00:54:07,077
{\an8}"Do they work together? Do they look
like they belong in the same family?"
1020
00:54:07,160 --> 00:54:09,246
You could have gone really far with it
1021
00:54:09,329 --> 00:54:12,207
but it would have taken away
from that beautiful moment.
1022
00:54:12,290 --> 00:54:13,583
- [woman] Hi, guys.
- Hey.
1023
00:54:15,126 --> 00:54:17,587
[chatting indistinctly]
1024
00:54:18,338 --> 00:54:21,883
Wow, you guys are a mess.
Looks like you painted a house.
1025
00:54:21,967 --> 00:54:23,551
Oh my gosh. Okay.
1026
00:54:24,552 --> 00:54:29,849
Amy, is this what you're thinking
for when they...
1027
00:54:29,933 --> 00:54:32,185
[Amy] This is what I want to ask.
Do you think this too much?
1028
00:54:32,269 --> 00:54:34,813
This could be before
they clean up at the Squawk.
1029
00:54:34,896 --> 00:54:36,940
No, I think they need to be a mess.
1030
00:54:37,565 --> 00:54:40,443
The challenge of it is
when Shawn's shooting that scene...
1031
00:54:40,527 --> 00:54:41,569
- [Amy] Right.
- I know.
1032
00:54:41,653 --> 00:54:42,529
...how much...
1033
00:54:42,612 --> 00:54:44,489
The emotional dialogue scene,
1034
00:54:44,572 --> 00:54:47,784
like, do you want
Natalia to look like that?
1035
00:54:49,202 --> 00:54:52,122
- I mean, I kind of do.
- [man] We're gonna do rehearsal. Come on...
1036
00:54:52,205 --> 00:54:53,748
- [Ross] Matt, we've got to...
- Okay.
1037
00:54:53,832 --> 00:54:56,459
Can you guys just look at each other?
1038
00:54:57,043 --> 00:54:58,044
Okay.
1039
00:54:59,504 --> 00:55:01,965
This is so hard, to do this backwards.
1040
00:55:04,009 --> 00:55:05,176
[Matt] At the end of the day,
1041
00:55:05,260 --> 00:55:09,306
the audience cares most about
the characters and not the spectacle.
1042
00:55:09,389 --> 00:55:13,560
But the ultimate goal
is to collide the two.
1043
00:55:13,643 --> 00:55:17,689
Max emotion, max spectacle
colliding at the same time.
1044
00:55:31,703 --> 00:55:34,539
{\an8}[Alex] The beauty of
what we get to do as sculptors is
1045
00:55:34,622 --> 00:55:37,292
we kind of get to use
both sides of the brain.
1046
00:55:38,668 --> 00:55:41,796
We are doing the super elegant lines
1047
00:55:41,880 --> 00:55:45,300
and making that beautiful visual contrast,
1048
00:55:45,383 --> 00:55:48,178
but also incorporating,
1049
00:55:48,261 --> 00:55:52,098
you know, structure or practicality,
things that move.
1050
00:55:53,892 --> 00:55:58,396
There's purpose, there's intent, there's
life to these things that we're creating.
1051
00:56:03,151 --> 00:56:05,945
[Melissa] We work on a lot of shows where
1052
00:56:06,029 --> 00:56:08,865
{\an8}the only thing that sculptors
get to make is a cave.
1053
00:56:09,741 --> 00:56:12,243
{\an8}You watch a show like Stranger Things,
and you're like,
1054
00:56:12,327 --> 00:56:14,871
"Oh, they're actually sculpting
really cool things."
1055
00:56:14,954 --> 00:56:16,456
"I want to be a part of that."
1056
00:56:18,124 --> 00:56:22,670
{\an8}My tentative goal is all 12 columns
are up by the end of July.
1057
00:56:33,723 --> 00:56:37,143
[Alex] This is what Sean likes
as far as that outer texture.
1058
00:56:37,227 --> 00:56:39,187
The bigger and bolder the better,
1059
00:56:39,270 --> 00:56:42,399
with these kind of dragon skin
almost looking details.
1060
00:56:42,899 --> 00:56:44,901
[dark music playing]
1061
00:56:49,364 --> 00:56:54,202
{\an8}[Jamie] I find playing characters
that are too happy really uncomfortable.
1062
00:56:57,956 --> 00:57:02,752
{\an8}You have to empathize with your characters
and you have to be able to feel for them,
1063
00:57:02,836 --> 00:57:04,629
to be able to fight for them,
1064
00:57:05,213 --> 00:57:06,840
to be able to play them.
1065
00:57:08,758 --> 00:57:11,261
And if you really involve yourself,
1066
00:57:11,344 --> 00:57:14,305
there is a nugget of gold waiting for you.
1067
00:57:40,290 --> 00:57:44,669
[Jamie] Oh, we've got company.
How are you?
1068
00:57:44,752 --> 00:57:45,753
I'm good.
1069
00:57:45,837 --> 00:57:47,172
Ooh, yeah. What do you think?
1070
00:57:47,255 --> 00:57:48,756
- It's great.
- Yeah.
1071
00:57:49,382 --> 00:57:51,551
It's super malleable. It's great.
1072
00:57:52,051 --> 00:57:53,052
Yeah.
1073
00:57:54,262 --> 00:57:56,389
Yeah, can I see some expressions?
1074
00:57:56,890 --> 00:57:59,267
Yeah. [laughs]
1075
00:58:01,769 --> 00:58:02,979
- Yeah.
- [Ross] Holy shit.
1076
00:58:04,147 --> 00:58:07,525
It's perfect. 'Cause you're still Vecna.
It's just like Vecna 2.0.
1077
00:58:08,902 --> 00:58:10,570
- How do you feel, Jamie?
- Good.
1078
00:58:10,653 --> 00:58:14,949
It feels the same. I know exactly how much
I've got to put on. What I gotta...
1079
00:58:15,033 --> 00:58:16,784
- The movement.
- ...bring out. Yeah.
1080
00:58:16,868 --> 00:58:20,330
It looks beautiful, Barrie. I want to get
some nice close-ups of that.
1081
00:58:20,413 --> 00:58:22,373
{\an8}So we've glossed up the majority,
1082
00:58:22,457 --> 00:58:26,503
{\an8}but we've tried to keep
these sort of charcoal blacks matter.
1083
00:58:27,170 --> 00:58:29,631
We've got areas on the skin
which are a bit more burnt,
1084
00:58:29,714 --> 00:58:31,799
and we've got a bit
of fresh blood in there--
1085
00:58:31,883 --> 00:58:34,594
Yeah, that's really nice.
1086
00:58:36,304 --> 00:58:38,223
[Jamie] I also had
some great thoughts last night.
1087
00:58:38,306 --> 00:58:41,226
I think what's really interesting is that
1088
00:58:41,851 --> 00:58:44,437
in his mind, he's gone back home.
1089
00:58:44,521 --> 00:58:48,024
He could go anywhere. This is a choice.
You could be anywhere, right?
1090
00:58:48,107 --> 00:58:49,943
- Yeah.
- He's decided to go back home.
1091
00:58:50,026 --> 00:58:53,488
And he's living in the same house.
It's almost like it becomes this...
1092
00:58:54,072 --> 00:58:57,367
perfect vision of what he wanted it to be,
and what it never was...
1093
00:58:57,450 --> 00:58:59,327
- That's good.
- ...which makes it so human.
1094
00:58:59,410 --> 00:59:02,413
Yeah. And what you wanted
your dad to be, and... Yeah.
1095
00:59:02,497 --> 00:59:05,291
Right. And these are my...
And I had no friends.
1096
00:59:05,375 --> 00:59:08,253
- No one but Patty was nice to me.
- Oh, yeah.
1097
00:59:09,754 --> 00:59:12,632
That's great. That's a great way of...
I love that.
1098
00:59:12,715 --> 00:59:16,844
That's the reality, right?
It feels much more, um... real.
1099
00:59:16,928 --> 00:59:18,555
- And sad.
- And sad.
1100
00:59:19,222 --> 00:59:22,058
And gives it a purpose, which is lovely.
1101
00:59:23,685 --> 00:59:28,940
{\an8}Season 4, when Vecna showed up
as kind of our big bad,
1102
00:59:29,023 --> 00:59:32,902
{\an8}uh, the bros turned to me
for that creature design.
1103
00:59:33,695 --> 00:59:38,366
We must have went through
maybe a hundred different looks.
1104
00:59:38,449 --> 00:59:43,413
Anywhere from a person
who's actually fully clothed with a cloak,
1105
00:59:43,496 --> 00:59:46,457
to somebody who was really diseased.
1106
00:59:46,541 --> 00:59:50,712
And then finally, we used some vines
as kind of a disease for him,
1107
00:59:50,795 --> 00:59:52,505
and that really made it click.
1108
00:59:53,923 --> 00:59:56,676
The MAC-Z in episode four,
that whole sequence
1109
00:59:56,759 --> 01:00:00,263
with Vecna coming out of the gate,
I think it'll be something iconic.
1110
01:00:02,557 --> 01:00:06,728
[Heymann] The Duffers love to move
the camera in a very expressive way.
1111
01:00:06,811 --> 01:00:10,940
{\an8}There's seldom a scene
where there's not some ambitious
1112
01:00:11,024 --> 01:00:15,612
{\an8}or challenging element
that needs to get worked out in advance.
1113
01:00:16,571 --> 01:00:18,906
We like to keep
the camera pretty close to people
1114
01:00:18,990 --> 01:00:22,076
because there's a sense
of intimacy that comes from that.
1115
01:00:22,660 --> 01:00:27,040
We're typically in,
like, the three to five feet range,
1116
01:00:27,123 --> 01:00:29,125
so it's like you would in a conversation.
1117
01:00:29,208 --> 01:00:32,545
But then that also causes you to be
on a slightly wider lens
1118
01:00:32,629 --> 01:00:34,422
so that you're not always like this.
1119
01:00:34,505 --> 01:00:36,674
So you also end up seeing
more of the background.
1120
01:00:37,592 --> 01:00:42,639
With the MAC-Z battle,
we kind of took that one step further,
1121
01:00:42,722 --> 01:00:44,682
where we're on an 18-mil.
1122
01:00:44,766 --> 01:00:46,851
It brings you closer to the actors,
1123
01:00:46,934 --> 01:00:50,271
and you get a sense
of the environment at the same time.
1124
01:00:50,355 --> 01:00:53,024
Would you be cool if we walked
through it together in the space?
1125
01:00:53,107 --> 01:00:54,108
Of course.
1126
01:00:57,820 --> 01:00:59,030
{\an8}[Nick] I got together with Hiro
1127
01:00:59,113 --> 01:01:02,241
to try to understand
the choreography that he was creating
1128
01:01:02,325 --> 01:01:04,994
so I could try to memorize
that ahead of time.
1129
01:01:08,373 --> 01:01:11,125
How do you get
a camera through these spaces
1130
01:01:11,209 --> 01:01:15,880
and not have any sort of bumps
or anything and just make it perfect?
1131
01:01:15,963 --> 01:01:19,717
Because the brothers, they want
a perfect camera move every take.
1132
01:01:20,426 --> 01:01:22,679
There's a guard over here going,
"Hey, come on."
1133
01:01:22,762 --> 01:01:24,555
Boom, he gets taken out.
1134
01:01:24,639 --> 01:01:26,516
And then we go up the hill...
1135
01:01:27,767 --> 01:01:31,145
[Nick] I was a dancer as a kid growing up,
1136
01:01:31,229 --> 01:01:36,401
and so I knew that I'd have to be prepared
for it physically and mentally.
1137
01:01:36,484 --> 01:01:39,237
[Hiro] ...out behind the Humvee.
[mimics gunfire]
1138
01:01:40,321 --> 01:01:41,531
Peek out...
1139
01:01:42,240 --> 01:01:43,533
And then...
1140
01:01:45,159 --> 01:01:47,120
[Nick] It's all choreography
at the end of the day.
1141
01:01:47,203 --> 01:01:51,416
If your partner is the actor,
you have to anticipate them.
1142
01:01:51,499 --> 01:01:52,750
[Hiro laughing]
1143
01:01:52,834 --> 01:01:54,001
Okay.
1144
01:01:54,794 --> 01:01:56,045
[Hiro] Damn, son.
1145
01:01:57,547 --> 01:01:59,424
Sweet. All right.
1146
01:02:03,177 --> 01:02:06,139
I definitely need to start understanding
1147
01:02:06,222 --> 01:02:09,642
what the rehearsal period
is going to look like around MAC-Z.
1148
01:02:11,227 --> 01:02:14,480
We're definitely hurting stuntman-wise.
1149
01:02:14,981 --> 01:02:16,607
- It is massive. It's a big scene.
- Yeah.
1150
01:02:16,691 --> 01:02:20,737
I don't know if we can...
If I can even get that many people here.
1151
01:02:20,820 --> 01:02:26,701
{\an8}There's like 75 army extras
and 50 stunt people... Yeah. Crazy.
1152
01:02:27,577 --> 01:02:30,079
Is this the most expensive thing
we've ever done?
1153
01:02:34,417 --> 01:02:36,043
Action, whip!
1154
01:02:39,255 --> 01:02:42,133
Jump, ready, and go!
1155
01:02:42,216 --> 01:02:44,677
There's all those guys
that come from like nowhere.
1156
01:02:44,761 --> 01:02:46,429
It just looks like they're waiting.
1157
01:02:46,512 --> 01:02:48,389
We want to give them
something to run past.
1158
01:02:48,473 --> 01:02:50,683
I would say it could...
Maybe it's the 5 ton?
1159
01:02:53,186 --> 01:02:58,274
Are we trying to engage special effects
at all for any of this rehearsal work?
1160
01:02:58,357 --> 01:02:59,776
[Lampton] Yeah. Yeah, yeah.
1161
01:03:02,320 --> 01:03:06,574
{\an8}We are trying to get up to
maybe a version of a dress rehearsal.
1162
01:03:06,657 --> 01:03:10,411
Put all of the elements in place.
So that we're as rehearsed as possible
1163
01:03:10,495 --> 01:03:13,164
for when the main unit
comes in on the next two weeks.
1164
01:03:13,247 --> 01:03:15,708
Start clearing back. Thank you.
We'll get a rehearsal.
1165
01:03:15,792 --> 01:03:16,876
- Is it heavy?
- It's heavy.
1166
01:03:16,959 --> 01:03:18,503
- It's really sweet.
- Oh my God!
1167
01:03:21,547 --> 01:03:23,049
Stand down.
1168
01:03:25,301 --> 01:03:26,427
[man] That's good.
1169
01:03:28,971 --> 01:03:30,473
How are you, man? You good?
1170
01:03:30,556 --> 01:03:33,851
Can you see the children?
1171
01:03:37,396 --> 01:03:39,148
- Looking good.
- [man] Yeah.
1172
01:03:39,816 --> 01:03:44,529
I feel like we could almost spread
that one that way a little further.
1173
01:03:44,612 --> 01:03:45,446
- Okay.
- You know?
1174
01:03:52,411 --> 01:03:54,539
[Matt] "Chapter Four: Sorcerer."
1175
01:03:55,540 --> 01:03:59,210
A steel trench plate suddenly jerks
upward with a thunderous clang.
1176
01:03:59,293 --> 01:04:00,795
Soldiers ready their rifles.
1177
01:04:02,380 --> 01:04:04,757
[Champion] Rifles out.
On your marks, please!
1178
01:04:06,050 --> 01:04:08,928
[Matt] We've never
done anything so complex,
1179
01:04:09,011 --> 01:04:12,431
and we've never involved
so many people in a single sequence.
1180
01:04:12,515 --> 01:04:14,016
We wanted it to be spectacular
1181
01:04:14,100 --> 01:04:18,729
but I think we underestimated
how complicated it was going to be.
1182
01:04:18,813 --> 01:04:21,065
Our last Demo, when it arrives here,
1183
01:04:21,148 --> 01:04:23,109
it jumps out of there
and squishes a guard.
1184
01:04:23,192 --> 01:04:25,611
When that guy squishes,
you guys take off this way.
1185
01:04:25,695 --> 01:04:27,280
There's a Demo there, there.
1186
01:04:27,363 --> 01:04:29,490
And when this Demo
takes out all these guys,
1187
01:04:29,574 --> 01:04:30,825
you guys have stopped here.
1188
01:04:30,908 --> 01:04:34,078
Ramirez moves past.
That's when you're gonna be like, "Okay."
1189
01:04:34,161 --> 01:04:36,455
- You're trying to find a place to get out.
- [Finn] Right.
1190
01:04:36,539 --> 01:04:38,499
- Hey, how's it going?
- Hey.
1191
01:04:38,583 --> 01:04:41,669
- Sorry, we're shaping the beginning.
- No, great. Great.
1192
01:04:41,752 --> 01:04:46,048
- But we do need you to help Noah...
- No, I know. There... I mean...
1193
01:04:46,132 --> 01:04:48,509
[Tudor] Set up team, sound here,
right, on your marks.
1194
01:04:48,593 --> 01:04:50,386
First team's watching. Right over here.
1195
01:04:50,469 --> 01:04:51,888
Rehearsing!
1196
01:04:52,597 --> 01:04:56,017
Watch, guys. Giancarlo, Alyssa,
watch your doubles.
1197
01:04:58,227 --> 01:05:01,188
Jump! Ready, and jump!
1198
01:05:01,272 --> 01:05:02,273
Watch out!
1199
01:05:02,815 --> 01:05:04,483
[Finn] It's such an ambitious sequence.
1200
01:05:04,567 --> 01:05:10,156
It's five one-take shots
made to look like one long take.
1201
01:05:10,239 --> 01:05:12,450
[Hiro] You back out, and go, guys.
1202
01:05:12,533 --> 01:05:16,454
[Finn] I think a oner is
incredibly captivating for audiences.
1203
01:05:16,537 --> 01:05:19,749
It builds tension because you're
with the characters the whole time.
1204
01:05:19,832 --> 01:05:21,959
There's no coverage,
no cutting to anything.
1205
01:05:22,043 --> 01:05:24,837
You're watching it all play out
in front of your eyes.
1206
01:05:24,921 --> 01:05:26,339
[Tudor] ...be in this area, step away.
1207
01:05:26,422 --> 01:05:28,382
We're gonna be doing
a full first team rehearsal.
1208
01:05:28,466 --> 01:05:30,760
Please go away
if you don't need to be here.
1209
01:05:30,843 --> 01:05:32,803
There's enough people here as it is.
1210
01:05:32,887 --> 01:05:35,765
[Champion] Ready, and Justin.
1211
01:05:36,682 --> 01:05:37,642
Jump!
1212
01:05:38,601 --> 01:05:41,270
[Matt] I'm debating about this line,
1213
01:05:41,354 --> 01:05:45,149
and whether... you kind of
skipped over it in the pre-vis
1214
01:05:45,232 --> 01:05:47,026
but we're not married to the pre-vis
1215
01:05:47,109 --> 01:05:50,112
because I feel like you've got
to have a moment with the kids.
1216
01:05:50,196 --> 01:05:53,282
I want to try it the way we thought
about it, which is like right here.
1217
01:05:53,366 --> 01:05:54,617
[Champion] Whip!
1218
01:05:54,700 --> 01:05:57,495
[Finn] Stay close,
keep your eyes down. Got it?
1219
01:05:57,578 --> 01:06:00,331
- [Champion] Demo!
- [Jahnel] Ready. Three, two, one, go!
1220
01:06:01,248 --> 01:06:02,375
Duck!
1221
01:06:03,417 --> 01:06:07,171
My character has to lead these kids
to hopefully not die, which is fun.
1222
01:06:07,922 --> 01:06:09,840
Mike kind of gets to be a leader.
1223
01:06:09,924 --> 01:06:12,218
It's been a long time
since we've seen that.
1224
01:06:13,302 --> 01:06:15,429
Listen to me! Keep your eyes on me!
1225
01:06:17,056 --> 01:06:18,182
Good impression.
1226
01:06:18,265 --> 01:06:20,559
Thank you. I should have been an actor.
1227
01:06:20,643 --> 01:06:22,311
Just be proud of what you are.
1228
01:06:22,395 --> 01:06:24,355
I'm... Thank you. [laughs]
1229
01:06:24,855 --> 01:06:26,941
[Tudor] Ready, and action!
1230
01:06:31,570 --> 01:06:35,241
We're gonna get out of here, okay?
Stay close, keep your eyes on me. Got it?
1231
01:06:35,324 --> 01:06:38,035
- [Champion] Demo!
- [Jahnel] Three, two, one, go!
1232
01:06:38,577 --> 01:06:40,079
- [Champion] Get down!
- [Finn] Watch out!
1233
01:06:40,162 --> 01:06:42,790
[Matt] It's feeling
a little dead over there.
1234
01:06:43,708 --> 01:06:44,959
Whoops.
1235
01:06:45,042 --> 01:06:45,960
[Champion] Cut, cut.
1236
01:06:46,043 --> 01:06:49,422
Did anyone... Did they talk to you
about maybe trying to look back?
1237
01:06:49,505 --> 01:06:50,381
[kid] Yep.
1238
01:06:50,464 --> 01:06:51,674
Monsters everywhere, gunfire,
1239
01:06:51,757 --> 01:06:54,677
you're not going to be hearing it,
but imagine bam, bam, everywhere.
1240
01:06:54,760 --> 01:06:55,761
{\an8}Chaos.
1241
01:06:55,845 --> 01:06:57,888
{\an8}Soldiers shouting, screaming, all of that.
1242
01:06:57,972 --> 01:06:59,348
{\an8}- I gotcha.
- Okay.
1243
01:07:00,182 --> 01:07:01,559
You're in a war zone.
1244
01:07:01,642 --> 01:07:04,353
[Ross] What's that guy doing
that's just walking around?
1245
01:07:04,437 --> 01:07:06,689
[Tudor] They're again watching a Demo
that we can't see.
1246
01:07:08,357 --> 01:07:12,278
[Matt] Oh, God. I mean, it's better.
What do you guys think?
1247
01:07:12,778 --> 01:07:15,031
[Ross] I think it could be better.
1248
01:07:16,282 --> 01:07:18,409
Back it up to this dead spot here.
1249
01:07:18,492 --> 01:07:20,995
[Noah] I feel like you have to
just like paint in people.
1250
01:07:22,038 --> 01:07:23,664
Like, it's just so empty.
1251
01:07:23,748 --> 01:07:25,958
[Matt] There's
a Demogorgon right there too.
1252
01:07:27,585 --> 01:07:30,713
And then it would go there. There?
1253
01:07:30,796 --> 01:07:32,715
Then I say ready and then just stay here.
1254
01:07:32,798 --> 01:07:34,925
Stay up
and then I'm gonna get behind you here.
1255
01:07:35,009 --> 01:07:37,303
[Champion] Ready, and action!
1256
01:07:37,386 --> 01:07:40,347
- [Jahnel] Three, two, one...
- [Hiro] And action!
1257
01:07:41,223 --> 01:07:42,433
[Matt] Stop.
1258
01:07:42,516 --> 01:07:43,517
[Champion] Resetting!
1259
01:07:43,601 --> 01:07:44,977
- [Nick] Hey, Hiro.
- Yes, sir.
1260
01:07:45,061 --> 01:07:47,563
The second pull was late.
1261
01:07:47,646 --> 01:07:49,315
- I'll go earlier.
- Cool, thank you.
1262
01:07:49,398 --> 01:07:50,232
You got it.
1263
01:07:50,316 --> 01:07:51,859
[Champion] Ready, and action!
1264
01:07:51,942 --> 01:07:53,861
- Three, two, one, go!
- What, no, hey, hey!
1265
01:07:53,944 --> 01:07:55,279
[Champion] Action.
1266
01:07:56,238 --> 01:07:58,616
- [Matt] Cut, cut, cut.
- [Tudor] Cut!
1267
01:07:59,283 --> 01:08:00,367
[Heymann] Rolling, rolling.
1268
01:08:00,451 --> 01:08:01,619
[Matt] Oh, take eight.
1269
01:08:01,702 --> 01:08:04,747
Dude, this can't take
longer than last night.
1270
01:08:04,830 --> 01:08:06,999
- [Jahnel] Tudor's going to give an action.
- Yes.
1271
01:08:07,083 --> 01:08:09,376
I'm going to give a three, two, one, go.
1272
01:08:09,460 --> 01:08:11,712
I need you to react,
but then also be fast.
1273
01:08:13,464 --> 01:08:15,466
[Tudor] All right,
here we go, camera's going up.
1274
01:08:15,549 --> 01:08:18,469
- [Matt] We figured out other problems...
- [Ross] Yeah. Yeah.
1275
01:08:18,552 --> 01:08:22,473
[Tudor] I think we've solved every problem
that we've created. Here we go, guys.
1276
01:08:26,060 --> 01:08:29,688
[Finn] Okay. Radio Shack. If we move
quick, I think we can get there.
1277
01:08:29,772 --> 01:08:32,608
Get into the tunnels
and get the hell out of here. Okay?
1278
01:08:32,691 --> 01:08:36,028
[Matt] I don't know if we had the same
intensity as that other take. Eight.
1279
01:08:37,738 --> 01:08:39,323
Like something felt...
1280
01:08:39,406 --> 01:08:42,409
Alive? Or are we getting bored with it?
1281
01:08:42,493 --> 01:08:44,036
[Finn] Is this ten or whatever?
1282
01:08:44,120 --> 01:08:45,204
[woman] This is eight.
1283
01:08:45,287 --> 01:08:47,289
- [Matt] This is still eight.
- [Ross] This is eight.
1284
01:08:47,373 --> 01:08:50,417
- [Finn] Stop!
- [Matt] I think we live with that bump.
1285
01:08:50,918 --> 01:08:53,045
- And we smooth it out.
- Yeah.
1286
01:08:53,129 --> 01:08:54,880
- [Noah] You can barely tell.
- Okay.
1287
01:08:55,381 --> 01:08:57,800
- You guys think eight's the best?
- [Finn] Eight's the best.
1288
01:08:57,883 --> 01:09:00,636
I think we all thought eight was
the best right when we did it.
1289
01:09:00,719 --> 01:09:03,097
It's one of those sequences
that you look at on paper,
1290
01:09:03,180 --> 01:09:06,016
and you're like, "Oh no,
this is gonna be impossible."
1291
01:09:06,100 --> 01:09:07,601
But we totally did it.
1292
01:09:12,106 --> 01:09:16,068
I feel like half our job right now is
to be college minors in meteorology.
1293
01:09:17,486 --> 01:09:19,655
{\an8}- Maybe we'll get lucky.
- Mm-hmm.
1294
01:09:20,197 --> 01:09:22,449
- Yeah, it's unavoidable.
- Yeah.
1295
01:09:22,950 --> 01:09:26,662
So you might as well now 'cause these guys
have to walk through. All right.
1296
01:09:27,288 --> 01:09:30,583
Hey, Mike, let's start getting
them up to 14-15, all right?
1297
01:09:30,666 --> 01:09:31,917
All right, my stunt guys.
1298
01:09:32,001 --> 01:09:35,129
We're going to start taking everybody
up to the holding area at 14-15.
1299
01:09:35,212 --> 01:09:37,214
[tense music playing]
1300
01:09:46,348 --> 01:09:47,641
[thunder cracking]
1301
01:09:54,607 --> 01:09:55,649
No.
1302
01:09:58,861 --> 01:10:00,154
This weather is bananas.
1303
01:10:00,237 --> 01:10:02,198
It is absolutely bananas.
1304
01:10:02,281 --> 01:10:05,868
[Matt] The last nine out of ten nights
there's been lightning.
1305
01:10:05,951 --> 01:10:09,622
Yeah. I think Wednesday was
the only day we did not have weather.
1306
01:10:09,705 --> 01:10:10,581
[Matt] Weather, yeah.
1307
01:10:28,891 --> 01:10:30,893
And so however you want to lift them...
1308
01:10:32,186 --> 01:10:33,854
With one hand.
1309
01:10:33,938 --> 01:10:35,439
[Tudor] And action.
1310
01:10:38,275 --> 01:10:41,237
[Jahnel] And three, two, one, go.
1311
01:10:41,820 --> 01:10:42,905
And drop.
1312
01:10:42,988 --> 01:10:44,281
[soldier screaming]
1313
01:10:44,823 --> 01:10:46,116
Yeah. Oh, yeah.
1314
01:10:46,200 --> 01:10:48,244
[Champion] All right, cut. Not bad.
1315
01:10:50,704 --> 01:10:54,250
Yeah, so it's like laying into the Demo.
You see him.
1316
01:10:55,167 --> 01:10:57,920
And then you start
to make your move over there.
1317
01:11:01,757 --> 01:11:03,008
Whoa!
1318
01:11:05,094 --> 01:11:06,095
Oh, shit.
1319
01:11:07,346 --> 01:11:09,139
[Jahnel] The adrenaline just keeps going.
1320
01:11:09,223 --> 01:11:12,810
Because we're here every single night
doing all this cool shit.
1321
01:11:12,893 --> 01:11:16,230
- And it's just one right after the other.
- Big action sequences. Yeah.
1322
01:11:16,313 --> 01:11:18,232
There's no time to come down off of it.
1323
01:11:20,985 --> 01:11:24,280
[Champion] All right. Flames are coming
up, guys. We're very close now. Thank you.
1324
01:11:24,363 --> 01:11:26,782
[Tudor] Ready, and action.
1325
01:11:33,163 --> 01:11:34,999
[Demogorgon growling]
1326
01:11:38,335 --> 01:11:39,378
[Matt] Okay, cut.
1327
01:11:39,962 --> 01:11:41,672
- [Tudor] Cut it. Save it.
- [Jahnel] Cut.
1328
01:11:45,301 --> 01:11:48,762
[Noah] There's so many things this year
that I've just never done before,
1329
01:11:48,846 --> 01:11:50,639
as an actor or in this role.
1330
01:11:51,974 --> 01:11:54,768
Will has always been this weakling,
1331
01:11:54,852 --> 01:11:59,023
and the one who's made fun of,
and he's always felt different.
1332
01:11:59,106 --> 01:12:03,736
And then this season,
he's able to fight this monster,
1333
01:12:03,819 --> 01:12:08,198
but also his internal demons with
his own struggles and his own sexuality.
1334
01:12:08,699 --> 01:12:11,201
He kind of becomes a superhero.
1335
01:12:15,622 --> 01:12:17,833
[Jamie] I felt closer
to Vecna this season.
1336
01:12:18,584 --> 01:12:20,252
Knowing more,
1337
01:12:20,961 --> 01:12:25,299
so being able to... ask for it
1338
01:12:25,382 --> 01:12:32,056
and access it has been easier
and more powerful.
1339
01:12:38,020 --> 01:12:39,605
I described it to Noah.
1340
01:12:39,688 --> 01:12:44,651
We can have these beautiful moments
where we step outside of ourselves.
1341
01:12:45,736 --> 01:12:48,030
I'm not pushing. I'm not trying.
1342
01:12:48,864 --> 01:12:51,283
I'm not... forcing it.
1343
01:12:52,326 --> 01:12:56,080
And you can feel
you've become this vessel.
1344
01:13:01,460 --> 01:13:02,711
[Noah] After all these years,
1345
01:13:02,795 --> 01:13:06,799
finally he's getting all these moments
that he's overcoming.
1346
01:13:07,508 --> 01:13:12,930
It's out of this love for these people
that he's able to find this power.
1347
01:13:13,013 --> 01:13:17,226
I don't know. I just think it's really
cool how they... how they write it.
1348
01:13:18,560 --> 01:13:21,897
[Matt] Vecna lowers his hand and Will
drops, landing on his hands and knees.
1349
01:13:21,980 --> 01:13:24,858
As Will gasps for breath,
heaving and pale with shock,
1350
01:13:24,942 --> 01:13:26,026
Vecna walks away.
1351
01:13:26,110 --> 01:13:29,905
He steps through the gate
and vanishes back into the Upside Down.
1352
01:13:31,532 --> 01:13:33,992
Will slowly raises his arms,
1353
01:13:34,076 --> 01:13:37,204
and the Demogorgons
simultaneously lift off the ground.
1354
01:13:38,080 --> 01:13:39,498
He's doing this.
1355
01:13:40,249 --> 01:13:42,668
Mike, Lucas and Robin watch transfixed
1356
01:13:42,751 --> 01:13:45,879
as the monsters are violently killed
by a powerful force.
1357
01:13:47,256 --> 01:13:50,467
Will drops to his knees
in the middle of the burning battlefield.
1358
01:13:51,093 --> 01:13:52,511
His eyes are back to normal,
1359
01:13:52,594 --> 01:13:55,389
only they now reveal
a new sense of calm and strength.
1360
01:13:56,306 --> 01:13:59,393
He is now in control. He is a sorcerer.
1361
01:14:02,855 --> 01:14:04,690
[exhales slowly]
1362
01:14:12,156 --> 01:14:13,740
That has been shot.
1363
01:14:15,701 --> 01:14:17,161
That is done.
1364
01:14:23,208 --> 01:14:28,380
- We are at day 118, I believe.
- Seventeen.
1365
01:14:28,464 --> 01:14:32,593
A hundred and seventeen.
And that puts us halfway through.
1366
01:14:33,802 --> 01:14:36,513
So we only have like six months to go.
1367
01:14:37,556 --> 01:14:38,849
{\an8}Look at all these Post-its.
1368
01:14:41,018 --> 01:14:44,730
We're going to try to get the entire
remainder of this season in our heads
1369
01:14:44,813 --> 01:14:46,106
and understand it.
1370
01:14:47,024 --> 01:14:48,692
[Jackie] But do you have the script?
1371
01:14:49,443 --> 01:14:51,487
Uh, no. We don't.
1372
01:14:52,821 --> 01:14:54,656
Okay, I'll call it out.
1373
01:14:54,740 --> 01:14:57,701
- Episode six, church cemetery.
- [Jackie] Church cemetery.
1374
01:14:57,784 --> 01:15:01,497
Interior Hopper's cabin, six and seven.
1375
01:15:01,580 --> 01:15:04,333
Interior Hawkins Library.
1376
01:15:04,416 --> 01:15:06,001
Blue screen, Holly falls.
1377
01:15:06,084 --> 01:15:08,295
Seven, we're in the Creel house and six...
1378
01:15:08,378 --> 01:15:12,633
Interior Squawk, seven
and interior cave, six.
1379
01:15:12,716 --> 01:15:15,886
Wednesday is shooting eight. Cave.
1380
01:15:15,969 --> 01:15:18,972
- Episode eight is red.
- It's exciting. Episode eight.
1381
01:15:19,056 --> 01:15:22,518
[Jackie] Red for red alert. [laughing]
1382
01:15:27,397 --> 01:15:28,982
{\an8}[Montana] Today's a very interesting day.
1383
01:15:29,066 --> 01:15:32,819
{\an8}We are shooting episode eight,
which isn't completely written yet.
1384
01:15:32,903 --> 01:15:34,238
{\an8}Spoiler alert.
1385
01:15:34,321 --> 01:15:36,740
{\an8}So we don't even fully know
what's going on.
1386
01:15:37,741 --> 01:15:41,245
Everyone on set is walking around
with red script pages.
1387
01:15:42,287 --> 01:15:44,540
[Tudor] You don't want to jump out
of story order too much
1388
01:15:44,623 --> 01:15:47,125
because actors will get confused
as to where they are.
1389
01:15:47,209 --> 01:15:50,087
They haven't experienced
certain events or had certain emotions.
1390
01:15:50,170 --> 01:15:56,301
But the elements of summertime look
from episode eight need to be shot now.
1391
01:15:56,385 --> 01:15:58,512
[Ross] I've never read eight through.
1392
01:15:58,595 --> 01:16:00,264
And we're just shooting it.
1393
01:16:01,390 --> 01:16:03,600
I've never done anything like this before.
1394
01:16:08,063 --> 01:16:10,566
This is so weird jumping to eight.
1395
01:16:10,649 --> 01:16:12,693
- [Dena] Yeah.
- Don't love it.
1396
01:16:12,776 --> 01:16:16,905
- Don't love it, I gotta... be honest.
- [Dena] Have to do what you gotta do.
1397
01:16:22,077 --> 01:16:24,621
[Tudor] Here we go. Ready, and action.
1398
01:16:24,705 --> 01:16:26,707
[Derek panting]
1399
01:16:30,252 --> 01:16:32,754
Come on, we need to go. Come on.
1400
01:16:33,672 --> 01:16:35,591
- [Matt] Cut.
- [Ross] Cut.
1401
01:16:35,674 --> 01:16:38,552
- [Tudor] Again. Here we go.
- [Heymann] Okay, picture's up.
1402
01:16:38,635 --> 01:16:39,803
[Tudor] Let's roll please.
1403
01:16:39,886 --> 01:16:41,513
- [Heyman] Rolling.
- [woman] Rolling.
1404
01:16:46,643 --> 01:16:48,645
[all chattering excitedly]
1405
01:16:50,606 --> 01:16:51,815
You have to cock it, so.
1406
01:16:52,316 --> 01:16:54,192
No, not that close.
1407
01:16:55,110 --> 01:16:56,278
[Nell laughing]
1408
01:16:57,738 --> 01:16:58,947
Wait, The Abyss is...
1409
01:16:59,489 --> 01:17:03,660
Oh sorry, The Abyss is like...
Hilary, do you have that drawing?
1410
01:17:03,744 --> 01:17:06,705
So that's Hawkins, that's the Upside Down.
1411
01:17:06,788 --> 01:17:08,373
Those are the flesh walls.
1412
01:17:08,457 --> 01:17:09,291
[Noah] Oh my God.
1413
01:17:09,374 --> 01:17:12,169
[Matt] And then that's the...
This is The Abyss up here.
1414
01:17:12,252 --> 01:17:14,963
[Sadie] The Abyss is...
Hold on, okay. Where--
1415
01:17:15,047 --> 01:17:17,007
- [Noah] It's like in the sky.
- [Matt] It's in the sky.
1416
01:17:17,090 --> 01:17:18,800
Is this based on like...
1417
01:17:18,884 --> 01:17:20,886
- [Matt] Um...
- ...real scientific theory?
1418
01:17:20,969 --> 01:17:22,554
It's all very realistic.
1419
01:17:22,638 --> 01:17:24,222
Like, are you consulting somebody?
1420
01:17:24,306 --> 01:17:25,682
[Duffers] Uh...
1421
01:17:25,766 --> 01:17:28,018
When you guys read eight,
it will make more sense.
1422
01:17:28,101 --> 01:17:30,228
It's gonna probably be 120 pages.
1423
01:17:30,312 --> 01:17:31,563
115 maybe?
1424
01:17:31,647 --> 01:17:33,190
No way, dude.
1425
01:17:33,273 --> 01:17:35,359
Dude, we gotta cut it down.
1426
01:17:41,740 --> 01:17:44,826
[Matt] We were getting hammered constantly
1427
01:17:44,910 --> 01:17:48,830
by production and by Netflix
for episode eight.
1428
01:17:50,040 --> 01:17:52,209
[Ross] It was the most difficult
writing circumstances
1429
01:17:52,292 --> 01:17:54,002
we've ever found ourselves in.
1430
01:17:54,086 --> 01:17:58,048
Not just because there was the pressure of
we had to make sure the script was good,
1431
01:17:58,131 --> 01:18:00,967
but there's never been
so much noise at the same time.
1432
01:18:02,302 --> 01:18:05,764
It was the longest time we've ever spent
with the writers on a single episode,
1433
01:18:05,847 --> 01:18:07,474
just breaking it down beat by beat,
1434
01:18:07,557 --> 01:18:09,685
pushing that thing
to get as good as it could.
1435
01:18:11,061 --> 01:18:13,689
[Matt] Just being honest and truthful
with the show
1436
01:18:13,772 --> 01:18:15,565
has always worked out for us.
1437
01:18:17,025 --> 01:18:19,403
[foreboding music playing]
1438
01:18:22,739 --> 01:18:25,784
[Matt] "Chapter Six:
Escape from Camazotz."
1439
01:18:25,867 --> 01:18:28,870
We hard cut to Max's head
jostling up and down.
1440
01:18:28,954 --> 01:18:31,581
Lucas is carrying her
as he runs down the hallway.
1441
01:18:31,665 --> 01:18:33,500
Boombox hangs over his shoulder.
1442
01:18:34,000 --> 01:18:37,921
[Shawn] I feel for you.
That's got to be gnarly, gnarly...
1443
01:18:38,004 --> 01:18:41,299
We're gonna start the day
with a big, complicated oner.
1444
01:18:41,383 --> 01:18:43,343
- If you get tired--
- Oh, I'll let you know.
1445
01:18:43,427 --> 01:18:44,678
[Heymann] Rolling, rolling.
1446
01:18:44,761 --> 01:18:47,848
Set and... elevator.
1447
01:18:50,267 --> 01:18:52,561
[Shawn] Very often when you are directing,
1448
01:18:52,644 --> 01:18:56,898
your job is to make the thing
better than the script.
1449
01:18:57,399 --> 01:18:58,859
- [Robin] Let's go!
- [Lucas] Let's go!
1450
01:18:58,942 --> 01:19:01,820
[Shawn] But these scripts,
from beginning to end,
1451
01:19:01,903 --> 01:19:04,406
from 2014 to now,
1452
01:19:04,489 --> 01:19:11,329
they've always been so ridiculously good,
that my job is to do justice to them.
1453
01:19:11,413 --> 01:19:12,998
- [Shawn] Cut!
- [Zulu] Cut, cut, cut.
1454
01:19:13,081 --> 01:19:15,041
Caleb's a champ.
1455
01:19:15,625 --> 01:19:16,960
This ain't easy.
1456
01:19:18,211 --> 01:19:19,379
Look at that, boom.
1457
01:19:20,172 --> 01:19:21,506
Great, great.
1458
01:19:22,090 --> 01:19:24,301
- How many takes... This is like six?
- [Shawn] Six.
1459
01:19:24,384 --> 01:19:26,136
- Yeah.
- [Maya] Yeah, dude.
1460
01:19:26,219 --> 01:19:28,054
- [Shawn] No, we're good.
- This is six, guys.
1461
01:19:28,138 --> 01:19:31,933
I know exactly how to cut it. We're good.
Good job, everybody. Good job.
1462
01:19:34,936 --> 01:19:37,063
[Caleb] Every show has a specific rhythm.
1463
01:19:37,147 --> 01:19:39,065
- It's like a frequency.
- Green is Caleb.
1464
01:19:39,149 --> 01:19:42,402
In the scene, you don't really know
the rhythm until you do it.
1465
01:19:42,486 --> 01:19:45,113
It's the chemistry that
the actors kind of bring out of it.
1466
01:19:45,197 --> 01:19:47,491
Even the directors,
how they direct you into
1467
01:19:47,574 --> 01:19:51,495
this is how it goes, this is what it is,
and then the actors create the rhythm.
1468
01:19:52,370 --> 01:19:55,248
- We wanna try and get this up front.
- Yeah.
1469
01:19:55,332 --> 01:19:57,250
And then let's do the explosion.
1470
01:19:59,586 --> 01:20:02,130
- Make sure you label them.
- I'm going to. Yes, sir.
1471
01:20:02,214 --> 01:20:06,343
Zulu, is it too late to ask
if the fourth window could break?
1472
01:20:08,428 --> 01:20:10,555
{\an8}- It's never too late.
- [man] Copy.
1473
01:20:10,639 --> 01:20:12,057
{\an8}Let me do that.
1474
01:20:13,225 --> 01:20:14,476
[Maya] I have a question.
1475
01:20:14,559 --> 01:20:17,395
{\an8}It hasn't been talked about much
in the scenes we've been in together.
1476
01:20:17,479 --> 01:20:19,856
{\an8}- No one knows that we're dating.
- Yeah.
1477
01:20:19,940 --> 01:20:21,775
{\an8}- Including Caleb.
- Yeah.
1478
01:20:21,858 --> 01:20:23,151
{\an8}Can I do like a...
1479
01:20:23,235 --> 01:20:27,739
{\an8}I would like to play this scene
in a whisper.
1480
01:20:27,823 --> 01:20:30,200
- Yeah.
- I would like to do this.
1481
01:20:30,283 --> 01:20:31,868
- [Shawn] Yeah. Fine. Good.
- Is that okay?
1482
01:20:31,952 --> 01:20:34,955
Yeah. It says you take
one another's hand, right?
1483
01:20:35,038 --> 01:20:35,997
- We can.
- Yeah.
1484
01:20:36,081 --> 01:20:39,125
{\an8}- That's what... It would be here.
- Great.
1485
01:20:40,043 --> 01:20:42,170
{\an8}- Okay, good. Let's do that.
- Cool.
1486
01:20:42,254 --> 01:20:46,466
Okay, gang, I think it's gonna be messy,
but let's shoot it.
1487
01:20:46,550 --> 01:20:48,844
[Zulu] Okay, last looks now, please.
Last looks.
1488
01:20:48,927 --> 01:20:50,345
[man] I'm gonna pull the marks.
1489
01:20:50,428 --> 01:20:53,348
[Zulu] Three, two, one, go!
1490
01:20:57,811 --> 01:20:59,813
[Jess] I think once they're done
with those windows,
1491
01:20:59,896 --> 01:21:02,649
I'll throw more debris
over the top of the dryer
1492
01:21:02,732 --> 01:21:04,568
so that can get stuff back there.
1493
01:21:04,651 --> 01:21:07,571
I think you can go, Stephanie... Sorry.
...wider here
1494
01:21:07,654 --> 01:21:11,324
so that maybe we can get some
of that blood into this lighter area even.
1495
01:21:11,408 --> 01:21:14,828
- Okay.
- Even there. On both sides.
1496
01:21:19,124 --> 01:21:21,167
[Chris] It was just going to be
an exploding dryer,
1497
01:21:21,251 --> 01:21:23,670
but as is the nature of this show,
everyone was like,
1498
01:21:23,753 --> 01:21:28,592
"If we're already blowing up the dryer,
we should probably blow up these windows."
1499
01:21:28,675 --> 01:21:30,927
I don't think it's often
that you end up on a show
1500
01:21:31,011 --> 01:21:36,308
where there's that sort of flexibility
and a will to that fantasticness.
1501
01:21:37,809 --> 01:21:39,978
{\an8}[vehicle beeping]
1502
01:21:57,495 --> 01:21:58,663
[Alex] Last one.
1503
01:22:05,253 --> 01:22:06,421
Hey, guys.
1504
01:22:07,213 --> 01:22:08,214
Smile.
1505
01:22:11,509 --> 01:22:12,510
[woman] It's bittersweet?
1506
01:22:12,594 --> 01:22:13,553
Bittersweet.
1507
01:22:13,637 --> 01:22:17,432
This has been our life for six weeks
and now it's over.
1508
01:22:18,516 --> 01:22:20,393
On to the next phase.
1509
01:22:24,022 --> 01:22:26,775
[man] Hey, Adam,
over the top of the rail right behind you.
1510
01:22:26,858 --> 01:22:28,944
Turn around.
1511
01:22:34,074 --> 01:22:38,036
[Shawn] Nancy, does "shit"
feel in character or "stuff"?
1512
01:22:38,119 --> 01:22:41,581
I feel like I've never heard her swear.
But maybe I'm wrong.
1513
01:22:41,665 --> 01:22:43,917
Yeah, but like when she swears,
she swears.
1514
01:22:44,000 --> 01:22:47,921
"Right. Is it me
or is this stuff getting thicker?" Good.
1515
01:22:49,547 --> 01:22:55,178
- [shouting] Ready! And feel it! Feel it!
- [Zulu] Three, two, one, go.
1516
01:22:58,723 --> 01:23:00,266
Go, go! Go!
1517
01:23:02,727 --> 01:23:03,645
Go!
1518
01:23:04,479 --> 01:23:05,689
It's not just you!
1519
01:23:12,946 --> 01:23:14,990
- [Charlie] Someone!
- Help!
1520
01:23:15,824 --> 01:23:17,033
- Help!
- Help!
1521
01:23:17,117 --> 01:23:18,284
[Zulu] Cut.
1522
01:23:18,368 --> 01:23:19,327
[Ross] This goo?
1523
01:23:20,245 --> 01:23:22,080
[Shawn] Oh my God, honestly...
1524
01:23:22,664 --> 01:23:24,290
It's not sludgy enough.
1525
01:23:24,374 --> 01:23:26,918
Oh yeah, it looks kind of thin.
1526
01:23:27,002 --> 01:23:29,796
So literally,
they're faking it really well.
1527
01:23:31,965 --> 01:23:35,260
We're going to have to rely on VFX
more than I wanted to.
1528
01:23:35,343 --> 01:23:37,929
What's really heartbreaking
1529
01:23:38,013 --> 01:23:43,810
is that we all saw tests for months
that looked more like goo.
1530
01:23:43,893 --> 01:23:46,146
[Ross] It looks just like water.
1531
01:23:46,646 --> 01:23:48,440
That's not even close to right.
1532
01:23:49,399 --> 01:23:51,943
The thing about directing,
the thing about leadership,
1533
01:23:52,027 --> 01:23:55,989
is you can prepare rigorously, as I do.
1534
01:23:56,072 --> 01:24:00,702
But when you're in a moment,
and it's just not working out,
1535
01:24:00,785 --> 01:24:02,871
you can't have a tantrum.
1536
01:24:02,954 --> 01:24:04,289
You can't give up.
1537
01:24:04,372 --> 01:24:05,832
You can't shut down.
1538
01:24:05,915 --> 01:24:07,625
We have to shoot today.
1539
01:24:07,709 --> 01:24:10,336
And I got to get the story right.
1540
01:24:10,420 --> 01:24:13,965
I know that all that matters
is what's ultimately in the cut,
1541
01:24:14,049 --> 01:24:15,925
not what's happening here on set.
1542
01:24:16,009 --> 01:24:21,222
So I immediately go into Jedi-level,
rigorous problem-solving mode.
1543
01:24:21,306 --> 01:24:22,974
Okay, I'm going to shoot this angle.
1544
01:24:23,058 --> 01:24:25,435
I'm gonna hold this
until I can solve this problem.
1545
01:24:25,518 --> 01:24:28,354
Then if I put them together
and that's all the audience sees,
1546
01:24:28,438 --> 01:24:30,940
the audience will never know
that we failed today.
1547
01:24:31,024 --> 01:24:33,359
Your shots are awesome, though.
1548
01:24:33,443 --> 01:24:36,654
[Shawn] Yeah, I'm bummed. There's no...
1549
01:24:36,738 --> 01:24:39,949
You're where we were at
yesterday at 9:00 a.m.
1550
01:24:42,869 --> 01:24:45,497
- [Matt] Check out my stress score.
- This is just today?
1551
01:24:45,580 --> 01:24:47,248
I've been stressed for 3.5 hours.
1552
01:24:47,332 --> 01:24:50,376
{\an8}[laughing] Why have you
been spiking so hard?
1553
01:24:50,460 --> 01:24:53,671
{\an8}- You were relaxed this morning at 7:00--
- No, that's asleep.
1554
01:24:53,755 --> 01:24:56,549
That's... I was stressed
as soon as I woke up.
1555
01:25:01,096 --> 01:25:05,350
[David] Yo, let's read the last episode
of Stranger Things, shall we?
1556
01:25:05,433 --> 01:25:06,935
[all whooping]
1557
01:25:07,644 --> 01:25:09,521
Come on, everybody. Come on.
1558
01:25:13,817 --> 01:25:16,903
[Finn] We had a year
of being on the edge of our seats.
1559
01:25:17,570 --> 01:25:18,863
It was torture.
1560
01:25:21,950 --> 01:25:26,412
[Noah] Reading that episode, it signifies
an official goodbye to our childhood.
1561
01:25:28,498 --> 01:25:30,083
Brett, no cheating.
1562
01:25:30,166 --> 01:25:31,126
- Huh?
- No cheating.
1563
01:25:31,209 --> 01:25:33,628
- [Caleb] No cheating? We can't cheat?
- [Brett] Cold read?
1564
01:25:33,711 --> 01:25:37,257
Yeah. I think we're just gonna, um...
1565
01:25:38,299 --> 01:25:39,467
launch into it.
1566
01:25:39,551 --> 01:25:40,969
We finished on Wednesday.
1567
01:25:41,052 --> 01:25:42,428
This is fresh. Hot off the presses.
1568
01:25:42,512 --> 01:25:43,471
[Joe] Speech!
1569
01:25:43,555 --> 01:25:45,098
- [Matt] Speech?
- [all] Yeah!
1570
01:25:45,181 --> 01:25:49,185
I know. We thought about it.
I was like, I just feel like, uh...
1571
01:25:49,269 --> 01:25:52,730
everything we want to say
about the experience and the show,
1572
01:25:52,814 --> 01:25:55,150
and the characters,
and everything is in the script.
1573
01:25:55,775 --> 01:25:59,237
Ross and I are not as eloquent speaking
as we are at writing.
1574
01:25:59,320 --> 01:26:01,990
So I think we'd just rather read it.
1575
01:26:03,116 --> 01:26:06,911
"Chapter Eight: The Rightside Up."
This is it. Okay.
1576
01:26:08,037 --> 01:26:11,583
We're outside the MAC-Z. Starry night.
Beneath it, the rift gate.
1577
01:26:11,666 --> 01:26:15,753
The membrane is still torn from
when the Big Buy truck crashed through it.
1578
01:26:15,837 --> 01:26:18,882
As the massive planet continues
its relentless descent
1579
01:26:18,965 --> 01:26:21,176
on a collision course with Hawkins,
1580
01:26:21,259 --> 01:26:24,262
we go one last time to titles.
1581
01:26:24,804 --> 01:26:27,056
[mimics theme song] And then...
1582
01:26:27,140 --> 01:26:30,852
Steve gasps. He dangles midair,
swaying, seemingly held by nothing.
1583
01:26:30,935 --> 01:26:32,270
- [all exclaiming]
- [Gaten] No!
1584
01:26:32,353 --> 01:26:34,397
[Matt] But then our camera rises to reveal
1585
01:26:34,480 --> 01:26:37,483
a strong hand gripping tight to his wrist.
It's Jonathan.
1586
01:26:37,567 --> 01:26:38,693
He's caught him.
1587
01:26:38,776 --> 01:26:40,236
[all cheering]
1588
01:26:40,320 --> 01:26:42,989
[Matt] Henry snaps to find Eleven
stepping into the living room.
1589
01:26:43,072 --> 01:26:45,617
A tense moment here
as Henry takes in his sister
1590
01:26:45,700 --> 01:26:47,619
for the first time in a very long time.
1591
01:26:47,702 --> 01:26:49,621
His voice quivers with anger.
1592
01:26:50,788 --> 01:26:52,207
[Jamie] Where are they?
1593
01:26:53,291 --> 01:26:55,084
[Millie] With Max. Safe.
1594
01:26:55,168 --> 01:26:58,171
[Ross] Vecna suddenly appears behind
Hopper, faintly visible in the thick mist.
1595
01:26:58,254 --> 01:27:01,090
Hopper, sensing him,
whirls and opens fire. Bang, bang, bang.
1596
01:27:01,174 --> 01:27:03,551
But... his bullets have not struck Vecna.
1597
01:27:03,635 --> 01:27:05,595
They've pierced the door
of the isolation tank.
1598
01:27:05,678 --> 01:27:07,180
Water streams from the bullet holes.
1599
01:27:07,263 --> 01:27:08,932
He races forward in a panic.
1600
01:27:09,015 --> 01:27:12,435
He throws open the tank to find
Eleven floating in the bloody water.
1601
01:27:12,518 --> 01:27:14,520
- [David] No, no.
- Her body is riddled with bullets.
1602
01:27:14,604 --> 01:27:18,316
- He flips his gun and hammers the glass.
- [David] No, no, no, no. Holy shit.
1603
01:27:18,399 --> 01:27:20,318
I need one of those goddamn guns.
1604
01:27:20,401 --> 01:27:21,778
[Ross] Nancy considers, sighs.
1605
01:27:21,861 --> 01:27:23,529
She hands Mike a bulky,
Magnum-esque weapon
1606
01:27:23,613 --> 01:27:27,200
along with a bandolier loaded with
red shells. Mike can hardly believe it.
1607
01:27:27,283 --> 01:27:28,660
Holy shit, thanks!
1608
01:27:28,743 --> 01:27:32,038
[Ross] She nods, continues on her way.
Mike slips on the bandolier.
1609
01:27:32,121 --> 01:27:33,414
Those are flares.
1610
01:27:33,498 --> 01:27:34,916
[all laughing]
1611
01:27:34,999 --> 01:27:38,002
[Millie] When you found me in the woods,
I was just a kid.
1612
01:27:38,086 --> 01:27:40,713
I was scared.
I didn't understand this world.
1613
01:27:41,506 --> 01:27:43,424
Didn't understand people.
1614
01:27:43,508 --> 01:27:46,010
But you took me in and you taught me.
1615
01:27:49,305 --> 01:27:53,226
You protected me.
You raised me. You became my dad.
1616
01:27:53,893 --> 01:27:56,396
Don't do this. Please don't do this.
1617
01:27:56,479 --> 01:27:58,398
I need you to help them understand.
1618
01:27:59,565 --> 01:28:03,403
- Help them understand my choice.
- [Finn] But I don't. I don't understand.
1619
01:28:03,486 --> 01:28:04,696
[Millie] I love you, Mike.
1620
01:28:04,779 --> 01:28:07,240
[sniffs] Please don't leave me,
El, please.
1621
01:28:07,323 --> 01:28:09,659
[Ross] Through his sobs,
at the top of his lungs, he screams.
1622
01:28:09,742 --> 01:28:10,994
[Finn] El!
1623
01:28:11,744 --> 01:28:14,372
[Matt] Lucas wraps his arm
around Max's waist.
1624
01:28:14,872 --> 01:28:17,500
Okay, now you're definitely
getting ahead of yourself.
1625
01:28:18,459 --> 01:28:21,004
Can't help it.
You're looking super sexy right now.
1626
01:28:21,087 --> 01:28:22,422
[all laughing]
1627
01:28:22,505 --> 01:28:24,382
[Sadie] Yeah,
and you're looking super dorky.
1628
01:28:24,465 --> 01:28:28,511
A smile, then they kiss and kiss,
as they make out. Oh yeah.
1629
01:28:28,594 --> 01:28:30,471
[all laughing]
1630
01:28:30,555 --> 01:28:32,056
[David] Forget the damn bedsheet.
1631
01:28:32,140 --> 01:28:34,434
Yeah, the light's too strong.
It needs diffusion.
1632
01:28:34,517 --> 01:28:37,603
[David] This isn't The Godfather.
One more take.
1633
01:28:37,687 --> 01:28:43,776
You get one more take, Jonathan!
1634
01:28:43,860 --> 01:28:45,653
[all laughing]
1635
01:28:45,737 --> 01:28:48,823
Screw this school. Screw the system.
1636
01:28:48,906 --> 01:28:50,283
Screw conformity.
1637
01:28:50,366 --> 01:28:54,329
Screw everything and everyone trying
to hold us back and tear us apart,
1638
01:28:54,412 --> 01:28:57,415
because this, this is our year.
1639
01:28:57,498 --> 01:29:00,918
[Matt] He signals the band, and they start
a new tune, "At Last" by Etta James.
1640
01:29:01,002 --> 01:29:04,213
Before Joyce has time to process
what's happening, he's on one knee.
1641
01:29:04,297 --> 01:29:06,382
- [Caleb] Oh, my God.
- Whoa, bro!
1642
01:29:06,466 --> 01:29:08,801
[Matt] He holds up a modest
but pretty engagement ring.
1643
01:29:08,885 --> 01:29:10,595
- [Noah] Oh my God!
- Oh, shit.
1644
01:29:10,678 --> 01:29:11,929
Joyce Byers...
1645
01:29:12,972 --> 01:29:14,140
Joyce Byers.
1646
01:29:14,223 --> 01:29:16,017
[all exclaiming]
1647
01:29:16,642 --> 01:29:19,228
Will you spend the rest of your life
1648
01:29:19,312 --> 01:29:24,233
with an old, tired,
stubborn, grouchy son of a bitch
1649
01:29:24,317 --> 01:29:27,111
who loves you very, very much?
1650
01:29:27,195 --> 01:29:29,489
[Matt] Her eyes fill with tears. She nods.
1651
01:29:29,572 --> 01:29:30,948
Yes, yes, I will.
1652
01:29:31,491 --> 01:29:33,201
[all cheering]
1653
01:29:33,785 --> 01:29:35,536
[Matt] Hopper stands. He holds out a hand.
1654
01:29:35,620 --> 01:29:38,331
Back at the MAC-Z, as a panicked
Mike and Kay search for Eleven,
1655
01:29:38,414 --> 01:29:40,291
our attention turns to the Radio Shack.
1656
01:29:40,375 --> 01:29:41,793
A spell of invisibility.
1657
01:29:41,876 --> 01:29:46,047
The Radio Shack door opens on its own
as if by a ghost. It's Eleven.
1658
01:29:48,966 --> 01:29:51,469
Everyone's crying now,
but the moment is shattered
1659
01:29:51,552 --> 01:29:54,263
as Karen throws open
the basement door and shouts...
1660
01:29:54,347 --> 01:29:56,599
- Jesus!
- [sobbing] Oh, Karen!
1661
01:29:56,682 --> 01:30:00,728
Guys! What's going on?
Lasagna's getting cold.
1662
01:30:00,812 --> 01:30:03,689
[Matt] Mike watches Holly and her friends
from the top of the stairs.
1663
01:30:03,773 --> 01:30:06,484
The sound of their banter and laughter
fills the basement.
1664
01:30:06,567 --> 01:30:09,695
They're just like him
and his friends all those years ago.
1665
01:30:09,779 --> 01:30:13,366
A moment of sadness
as Mike remembers back to his childhood.
1666
01:30:13,449 --> 01:30:16,744
Then the sadness fades,
giving way to a smile.
1667
01:30:16,828 --> 01:30:18,121
He walks away
1668
01:30:18,204 --> 01:30:20,415
and closes the basement door.
1669
01:30:20,498 --> 01:30:21,874
End series.
1670
01:30:21,958 --> 01:30:23,960
[all applauding]
1671
01:30:39,475 --> 01:30:40,393
[Gaten] Cool.
1672
01:30:41,894 --> 01:30:42,854
[Finn] Thanks.
1673
01:30:43,688 --> 01:30:44,689
Oh, man.
1674
01:30:45,898 --> 01:30:48,234
- Now we just have to film it.
- [all laughing]
1675
01:30:50,361 --> 01:30:54,407
There was something so cathartic
about writing that last scene,
1676
01:30:54,490 --> 01:30:56,117
and it was really hard to do,
1677
01:30:56,200 --> 01:31:00,037
just writing the last lines
that these characters would ever say.
1678
01:31:01,747 --> 01:31:05,293
[Matt] I mean, I remember more
than anything just writing "end series."
1679
01:31:06,127 --> 01:31:08,713
Writing those two words
having the biggest impact.
1680
01:31:10,631 --> 01:31:14,427
And we're doing it
while filming is happening.
1681
01:31:17,597 --> 01:31:19,682
Why? Oh, no.
1682
01:31:20,558 --> 01:31:21,726
[camera clicking]
1683
01:31:30,443 --> 01:31:33,696
[Ross] We're proud that the show
has always, through nine years,
1684
01:31:33,779 --> 01:31:36,782
continued to make swings
in terms of storytelling.
1685
01:31:39,285 --> 01:31:43,164
[Matt] I think people like
the authenticity of the show.
1686
01:31:43,247 --> 01:31:46,792
That's how the show
came into existence in the first place.
1687
01:31:51,839 --> 01:31:56,219
We just try to listen to our gut,
and when it feels right, we go forward.
1688
01:32:00,515 --> 01:32:02,892
You know, the artists that I look up to
1689
01:32:02,975 --> 01:32:05,603
are true to themselves above all else.
1690
01:32:13,069 --> 01:32:13,986
{\an8}What is this?
1691
01:32:14,737 --> 01:32:16,280
{\an8}[Sean] Just a bunch of junk.
1692
01:32:17,782 --> 01:32:19,659
This show is such a unique show.
1693
01:32:20,535 --> 01:32:22,203
We've been afforded an opportunity
1694
01:32:22,286 --> 01:32:25,790
to build an incredible amount
of high-quality sets.
1695
01:32:25,873 --> 01:32:28,459
In this day and age,
those are rare things.
1696
01:32:30,586 --> 01:32:34,382
Most other shows would say,
okay, we just build this small amount,
1697
01:32:34,465 --> 01:32:36,467
everything else becomes VFX,
1698
01:32:36,551 --> 01:32:39,679
but it's important for the brothers
to have that physical playground.
1699
01:32:40,304 --> 01:32:42,181
We'll have to rectify with the brothers
1700
01:32:42,265 --> 01:32:45,268
where this blue goes
and how long of a travel it is.
1701
01:32:45,351 --> 01:32:46,811
- Right.
- Like, there's...
1702
01:32:46,894 --> 01:32:47,728
It's...
1703
01:32:47,812 --> 01:32:48,729
Yeah, there's...
1704
01:32:48,813 --> 01:32:52,233
There's going to be some issue,
like, just understanding the space.
1705
01:32:52,316 --> 01:32:53,859
I think we're thinking about,
1706
01:32:53,943 --> 01:32:55,528
because of just the distance,
1707
01:32:55,611 --> 01:32:58,197
minimum of 60 feet of blue,
1708
01:32:58,281 --> 01:33:01,075
60 feet of blue there,
and 60 feet of blue there.
1709
01:33:02,743 --> 01:33:04,704
[Sean] Yeah,
of course I'm proud of all this.
1710
01:33:04,787 --> 01:33:06,747
Like, it's an astounding achievement
1711
01:33:06,831 --> 01:33:11,210
that this thing hasn't gone off the rails
in a burning ball of fire.
1712
01:33:12,003 --> 01:33:14,839
It felt like it... could.
1713
01:33:16,173 --> 01:33:18,342
I don't know what we do after this.
1714
01:33:19,552 --> 01:33:22,638
Everything we do is going to be boring,
you know?
1715
01:33:28,769 --> 01:33:30,271
What's up?
1716
01:33:31,606 --> 01:33:34,650
- [Ross] Corey, can you get up the pre-vis?
- [Caleb] Wow, look at this.
1717
01:33:34,734 --> 01:33:36,319
- [Ross] Natalia giving Ripley.
- Holy shit.
1718
01:33:36,402 --> 01:33:39,322
- [Charlie] Yeah!
- [Maya] We did not bring enough weapons.
1719
01:33:39,405 --> 01:33:43,075
[Matt] It started out, season 1, us going,
"Everything has to be practical."
1720
01:33:43,159 --> 01:33:47,913
But we've got a monster that's the size
of, like, you know, three buildings,
1721
01:33:47,997 --> 01:33:51,417
and so obviously that's going to
have to be computer graphics.
1722
01:33:51,500 --> 01:33:53,878
We're out there
with our actors in the elements.
1723
01:33:53,961 --> 01:33:55,713
We're not on stage.
1724
01:33:56,255 --> 01:33:58,591
The more practical it is,
1725
01:33:58,674 --> 01:34:02,511
the easier it is for everyone
to lose themselves in the scene.
1726
01:34:02,595 --> 01:34:06,599
Oh, no! Oh, no! Oh, no! Whoa!
1727
01:34:07,141 --> 01:34:08,976
- [all exclaiming]
- Yeah! Sick, man.
1728
01:34:09,644 --> 01:34:10,895
[Matt] We gotta get going.
1729
01:34:12,730 --> 01:34:14,940
[Gaten] Sometimes they'll animate
your actions,
1730
01:34:15,024 --> 01:34:16,567
your facial expressions, your movements.
1731
01:34:16,651 --> 01:34:18,402
It is a prediction of what you'll do.
1732
01:34:18,486 --> 01:34:21,197
But do you want me to,
like, make that face when I turn?
1733
01:34:21,280 --> 01:34:24,492
I don't think that's their goal,
but that can be a little bit like,
1734
01:34:24,575 --> 01:34:27,578
"Ah, I kind of want to figure that out
when I get there."
1735
01:34:29,372 --> 01:34:31,123
[Tudor] Lock it up. Thank you, guys.
1736
01:34:31,207 --> 01:34:36,462
Here we go. Ready?
Three, two, one, action! Boom!
1737
01:34:37,421 --> 01:34:38,422
Boom!
1738
01:34:39,965 --> 01:34:41,300
Boom!
1739
01:34:41,384 --> 01:34:43,469
And... boom!
1740
01:34:43,552 --> 01:34:47,306
[Matt] That was so close, though.
All right, cut! Cut, cut, cut.
1741
01:34:47,390 --> 01:34:49,767
[Natalia] Dude, that last one was so fast.
1742
01:34:52,144 --> 01:34:55,898
[Matt] Working with blue screen
usually ends up looking not bad,
1743
01:34:55,981 --> 01:34:58,693
but if at all possible, we avoid it.
1744
01:34:59,193 --> 01:35:02,697
Frankly, Ross and I have
a lot of trouble framing up shots
1745
01:35:02,780 --> 01:35:05,241
when you're just looking
at an actor on blue screen.
1746
01:35:05,324 --> 01:35:08,661
I don't really understand what looks good,
what doesn't look good.
1747
01:35:08,744 --> 01:35:10,830
Nick, can you give it some, like...
1748
01:35:10,913 --> 01:35:14,333
On boulder hit,
can you give it, like, some shake?
1749
01:35:18,295 --> 01:35:23,217
- Set?
- [Tudor] Set, and rehearsal, and action!
1750
01:35:23,300 --> 01:35:24,468
[Matt] Roar!
1751
01:35:25,678 --> 01:35:27,680
And boulder!
1752
01:35:29,098 --> 01:35:32,393
- And... Yeah, get out of there. Just kinda...
- Go! Go, go, go!
1753
01:35:32,476 --> 01:35:34,437
- Which way?
- [Finn] And get out of there.
1754
01:35:34,520 --> 01:35:36,313
- What way are we going?
- [Tudor] Cut rehearsal.
1755
01:35:36,397 --> 01:35:37,440
Back?
1756
01:35:37,523 --> 01:35:41,694
Is it like we're running into this shot,
like, already having seen her?
1757
01:35:41,777 --> 01:35:45,531
No, we're running away from that thing,
and I think the motivation is...
1758
01:35:45,614 --> 01:35:48,576
- [Matt] Moving away.
- It's like, it's not chasing us anymore.
1759
01:35:48,659 --> 01:35:50,035
[Matt] Yeah, that's right.
1760
01:35:50,119 --> 01:35:53,289
- And then someone looks and sees Eleven.
- Did we...? Right.
1761
01:35:53,372 --> 01:35:54,915
Ames, where's the monster?
1762
01:35:54,999 --> 01:35:56,959
- They're running away, right?
- Yeah.
1763
01:35:57,042 --> 01:35:59,837
- So where is it?
- They were facing here. The monster's now...
1764
01:35:59,920 --> 01:36:01,756
That's what I thought, okay, yeah.
1765
01:36:01,839 --> 01:36:04,800
{\an8}[Sean] Part of the job of VFX
is to remind everybody
1766
01:36:04,884 --> 01:36:08,137
{\an8}and help everybody integrate
the aspects that aren't there yet
1767
01:36:08,220 --> 01:36:10,931
but will be on the final composite
1768
01:36:11,015 --> 01:36:12,725
so that everything looks like
1769
01:36:12,808 --> 01:36:17,354
it was framed for and shot
with the intention of it being there.
1770
01:36:17,438 --> 01:36:18,314
So where is she?
1771
01:36:18,397 --> 01:36:19,982
So she's at three o'clock.
1772
01:36:20,065 --> 01:36:23,903
They were facing here, because
she throws the rock from that direction.
1773
01:36:23,986 --> 01:36:25,237
- Oh, interesting.
- Yeah.
1774
01:36:25,321 --> 01:36:26,739
Hey, guys. Okay.
1775
01:36:28,032 --> 01:36:31,327
I got some clarity here. This is
actually going to make things easier.
1776
01:36:31,410 --> 01:36:35,206
As you're running this way, right, you'll...
1777
01:36:35,289 --> 01:36:37,583
Eleven's actually over here.
1778
01:36:37,666 --> 01:36:39,084
- Okay.
- The monster's here.
1779
01:36:39,168 --> 01:36:40,002
[Natalia] Oh.
1780
01:36:40,085 --> 01:36:42,254
So you guys can all start
to see her and slow down.
1781
01:36:42,338 --> 01:36:43,547
That makes a lot of sense.
1782
01:36:43,631 --> 01:36:46,217
[Matt] Here we go. Ready, and roar!
1783
01:36:46,300 --> 01:36:49,136
- [Nick] Go.
- It's coming to get you and boulder hit!
1784
01:36:50,012 --> 01:36:51,138
[grunting]
1785
01:37:16,038 --> 01:37:21,210
[Hiro] I haven't really fully put together
all that I want to do in here yet.
1786
01:37:21,919 --> 01:37:25,130
This is like a playtime tonight
1787
01:37:25,214 --> 01:37:28,801
to sort of just figure out
what works in here
1788
01:37:28,884 --> 01:37:32,847
and trying to come up with fun,
new things that make the bros excited.
1789
01:37:32,930 --> 01:37:36,684
They like violence,
so if we can do some good violent hits,
1790
01:37:36,767 --> 01:37:39,144
and make this pretty brutal,
I think it'll be good.
1791
01:37:39,228 --> 01:37:40,563
- [Shannon] Yes.
- Yeah.
1792
01:37:40,646 --> 01:37:43,566
[Shannon] I feel like there are a lot
of really brutal opportunities.
1793
01:37:44,149 --> 01:37:45,693
- Yeah.
- Yeah.
1794
01:37:54,159 --> 01:37:55,494
[muttering] Then she goes...
1795
01:38:00,124 --> 01:38:03,085
Shannon, be Eleven for me for a second.
1796
01:38:03,711 --> 01:38:06,505
- Throw some powers at Vecna over there.
- Okay.
1797
01:38:08,215 --> 01:38:10,134
Boom, he slides back.
1798
01:38:11,510 --> 01:38:14,179
Foo... Shoots his vines out at her,
1799
01:38:14,263 --> 01:38:16,515
and then she's gonna dive out of the way.
1800
01:38:18,934 --> 01:38:20,060
Maybe.
1801
01:38:28,152 --> 01:38:29,153
[Hiro] Go!
1802
01:38:30,154 --> 01:38:33,866
You might have to try
to fight the unwrap a little bit,
1803
01:38:33,949 --> 01:38:36,911
and let it ride you and pull you,
and then go.
1804
01:38:38,787 --> 01:38:40,414
Oh, that's cool.
1805
01:38:41,290 --> 01:38:42,499
- Bam!
- [man] Yeah.
1806
01:38:45,002 --> 01:38:47,338
I'm going backwards, though. [laughing]
1807
01:38:47,421 --> 01:38:49,840
I got the beginning.
Then I have like the very end.
1808
01:38:49,924 --> 01:38:51,842
I don't have the middle... yet.
1809
01:38:51,926 --> 01:38:53,135
Let's see this one.
1810
01:39:06,148 --> 01:39:08,442
These are going to be
kind of bones going through,
1811
01:39:08,525 --> 01:39:12,237
and we're going to be having
these teeth coming through the whole set.
1812
01:39:18,202 --> 01:39:21,246
I think that one and that one...
1813
01:39:22,081 --> 01:39:23,165
are my favorite.
1814
01:39:23,248 --> 01:39:27,044
Yeah, from this angle right there,
that one looks pretty excellent.
1815
01:39:27,127 --> 01:39:29,588
And once it gets
that yellow kind of shellac on it...
1816
01:39:29,672 --> 01:39:31,507
- Mm-hm.
- ...it really works.
1817
01:39:33,133 --> 01:39:34,927
[Kate] Trying to make it look...
1818
01:39:36,011 --> 01:39:38,263
{\an8}like flesh, but not human flesh,
1819
01:39:38,347 --> 01:39:40,516
{\an8}because then it would
just look like a big foot.
1820
01:39:40,599 --> 01:39:42,935
Always doing something gross over here.
1821
01:39:43,435 --> 01:39:45,396
They haven't finished sculpting on that.
1822
01:39:45,479 --> 01:39:48,357
They aren't going to be done
with that till the end of next week,
1823
01:39:48,440 --> 01:39:49,650
so we'll have...
1824
01:39:50,859 --> 01:39:52,987
{\an8}I think, a week and a half.
1825
01:39:53,654 --> 01:39:55,739
Hopefully it all comes together.
1826
01:40:09,378 --> 01:40:11,755
[Alex] It's gorgeous. Proud of those guys.
1827
01:40:13,340 --> 01:40:16,343
I feel like it's the end of an era.
Like, this is the end of giant...
1828
01:40:16,427 --> 01:40:19,388
- We may be making the last giant set.
- Yeah.
1829
01:40:21,098 --> 01:40:23,767
- [Alex] It's kind of a lost art.
- It's a bygone art, yeah.
1830
01:40:33,193 --> 01:40:34,570
[Tudor] Good morning, everyone.
1831
01:40:34,653 --> 01:40:37,406
Here we are in Pain Tree, finally.
1832
01:40:37,489 --> 01:40:39,199
Incredible work from our sculptors,
1833
01:40:39,283 --> 01:40:41,744
our painters,
the art department, Chris and his team.
1834
01:40:41,827 --> 01:40:45,789
Incredible, stunning work, guys.
Really beautiful set.
1835
01:40:53,547 --> 01:40:55,257
[Hilary] When did you guys start it?
1836
01:40:55,340 --> 01:40:57,301
Four months, right?
1837
01:40:57,384 --> 01:40:59,178
That feels about the time where I went,
1838
01:40:59,261 --> 01:41:01,972
"Oh my God,
this is the size of a football field."
1839
01:41:02,056 --> 01:41:05,601
I think that's when Melissa and I,
we probably, five months ago,
1840
01:41:05,684 --> 01:41:08,812
really started
our planning, plotting process.
1841
01:41:08,896 --> 01:41:10,439
Were you ever nervous?
1842
01:41:11,440 --> 01:41:13,275
Probably. I don't remember, though.
1843
01:41:13,358 --> 01:41:14,693
- Yeah. [chuckles]
- Probably.
1844
01:41:15,277 --> 01:41:17,946
[Hilary] So when you look
at the pictures of it,
1845
01:41:18,030 --> 01:41:24,328
that you kind of have an idea already
in your head of how to accomplish it.
1846
01:41:24,411 --> 01:41:26,497
Because I looked at that and went...
1847
01:41:26,580 --> 01:41:27,539
Yeah. Completely.
1848
01:41:27,623 --> 01:41:30,751
"Well, I don't know, forget it.
It's not happening."
1849
01:41:30,834 --> 01:41:31,752
It's been a journey.
1850
01:41:31,835 --> 01:41:35,589
I'm perfectly okay having this
be my peak of my career because...
1851
01:41:35,672 --> 01:41:39,510
- Well, it's been awesome.
- Yeah. Thank you. I really appreciate it.
1852
01:41:41,386 --> 01:41:43,972
[Matt] "Chapter Eight: The Rightside Up."
1853
01:41:44,890 --> 01:41:46,809
Vecna rises to his feet,
1854
01:41:46,892 --> 01:41:50,312
and once again, Eleven and Vecna
find themselves facing off.
1855
01:41:50,395 --> 01:41:53,482
Eleven takes in Vecna's new,
terrifying form.
1856
01:41:53,565 --> 01:41:56,652
- Look how many... Look at the scale.
- Oh my God.
1857
01:41:56,735 --> 01:41:58,821
- It's sick!
- [Ross] Look at this.
1858
01:41:59,738 --> 01:42:01,198
Wow.
1859
01:42:02,991 --> 01:42:05,953
Okay, I'm really happy
I get to see you like this first.
1860
01:42:06,036 --> 01:42:07,538
- Did you ask for this?
- No.
1861
01:42:07,621 --> 01:42:10,374
- Just happened this way?
- [Matt] I've never seen half Vecna.
1862
01:42:10,457 --> 01:42:12,668
That maybe is the way it's meant to be.
1863
01:42:14,378 --> 01:42:15,838
- [Matt] And then earthquake.
- Yeah.
1864
01:42:15,921 --> 01:42:18,382
- Fall, fall, fall...
- Then it'll go left, right.
1865
01:42:18,465 --> 01:42:23,887
It's left, right and then down.
The monster kind of lands.
1866
01:42:24,638 --> 01:42:27,850
[Heymann] You're in the belly of the beast
in the ribcage,
1867
01:42:27,933 --> 01:42:29,685
and then it starts moving.
1868
01:42:30,394 --> 01:42:33,480
We had to go old school
using interactive light
1869
01:42:33,564 --> 01:42:38,110
coming from outside the set to feel
like the shadow's moving around inside.
1870
01:42:38,193 --> 01:42:43,323
It was this kind of gloomy, diffused,
amber version of the sunlight,
1871
01:42:43,407 --> 01:42:45,409
imagining you're on Mars.
1872
01:42:45,909 --> 01:42:47,161
[Tudor] And action!
1873
01:42:47,244 --> 01:42:48,328
[Matt] Left!
1874
01:42:48,829 --> 01:42:49,830
Right!
1875
01:42:49,913 --> 01:42:51,540
[Millie grunting]
1876
01:42:51,623 --> 01:42:52,708
[Matt] Left.
1877
01:42:56,503 --> 01:42:58,088
- [Tudor] Cut it!
- [man] Tail sticks!
1878
01:42:58,172 --> 01:42:59,715
- [Hiro] You ready to go up?
- Oh yeah.
1879
01:42:59,798 --> 01:43:02,050
- Do a hang test, just to check everything.
- So ready.
1880
01:43:02,134 --> 01:43:04,052
- Okay, let's take Jamie up.
- So ready.
1881
01:43:07,264 --> 01:43:09,808
[Tudor] We're going to
turn our camera as well.
1882
01:43:09,892 --> 01:43:11,518
[Jamie] Oh, this is sick.
1883
01:43:12,019 --> 01:43:14,021
[dark music playing]
1884
01:43:20,986 --> 01:43:22,988
[pulsing]
1885
01:43:23,864 --> 01:43:26,658
[Finn] Is this year like the gnarliest
year, you think? The most violent?
1886
01:43:26,742 --> 01:43:29,828
I don't know
if it's gnarlier than last year.
1887
01:43:29,912 --> 01:43:33,373
Yeah, last year with the bone-break,
and that was pretty gnarly, man.
1888
01:43:33,457 --> 01:43:36,710
Even season 2, we don't have
anything as gnarly as Bob's death.
1889
01:43:38,378 --> 01:43:40,130
I'll never forget my mom called me up,
1890
01:43:40,214 --> 01:43:42,424
and she's like,
"You went too far on that."
1891
01:43:42,507 --> 01:43:44,676
- [Joe] Really? [laughs]
- "You went too far."
1892
01:43:44,760 --> 01:43:45,844
[Joe] She said that?
1893
01:43:45,928 --> 01:43:47,763
[Finn] I think she stopped watching.
1894
01:43:47,846 --> 01:43:51,016
She stopped watching!
No, they watch the dailies.
1895
01:43:51,099 --> 01:43:53,810
- That's amazing.
- They keep up with the dailies. I don't.
1896
01:43:53,894 --> 01:43:54,978
[Joe] Your parents?
1897
01:43:55,062 --> 01:43:56,772
I'll check in, and I'll be like,
1898
01:43:56,855 --> 01:43:59,775
"Is Frank doing okay?"
They're like, "He's doing great."
1899
01:43:59,858 --> 01:44:03,028
[Ross] It's less notes. It's more like,
"I'm not sure you got that scene."
1900
01:44:03,111 --> 01:44:05,280
And you're like, "Oh shit, Mom? God."
1901
01:44:05,364 --> 01:44:07,741
She does... They don't really say much.
1902
01:44:08,659 --> 01:44:11,620
She watches
till she makes sure we got it. Yeah.
1903
01:44:12,454 --> 01:44:16,208
[Tudor] Here we are rehearsing,
ready, and action.
1904
01:44:19,211 --> 01:44:20,504
And...
1905
01:44:20,587 --> 01:44:23,507
decapitation and victory.
1906
01:44:36,645 --> 01:44:39,022
[Noah] Dance party! We got Vecna!
1907
01:44:42,109 --> 01:44:43,735
Let's twerk on Vecna!
1908
01:44:45,153 --> 01:44:46,238
Vecna!
1909
01:44:46,822 --> 01:44:47,990
- What's up, dude?
- What's up?
1910
01:44:48,073 --> 01:44:49,324
You ready to make a show?
1911
01:44:49,408 --> 01:44:52,661
Everyone's surprisingly emotional at
your death, so I feel like you should be...
1912
01:44:52,744 --> 01:44:53,829
Should I cry?
1913
01:44:54,329 --> 01:44:56,123
- Should I cry?
- I don't think you should.
1914
01:44:56,206 --> 01:44:58,750
- There were tears over here.
- We're gonna weep watching you get killed.
1915
01:44:58,834 --> 01:45:01,086
- Yeah? People from the cast?
- Yeah.
1916
01:45:02,004 --> 01:45:06,883
- Oh. "They like me, they really like me."
- They were crying with joy, though.
1917
01:45:07,467 --> 01:45:09,720
- And relief.
- Tension relief... Yeah.
1918
01:45:13,890 --> 01:45:16,810
- You kill him. Separate him from Jamie.
- [Winona] Sweetheart.
1919
01:45:16,893 --> 01:45:19,646
- Look how disgusting he is.
- I don't want to swing at him.
1920
01:45:19,730 --> 01:45:21,440
- You're not gonna actually swing at him.
- Okay.
1921
01:45:21,523 --> 01:45:24,526
No, he's not gonna be there.
This is just to rehearse the...
1922
01:45:24,609 --> 01:45:26,528
To rehearse the dialogue.
1923
01:45:27,404 --> 01:45:29,990
- You're almost wrapped.
- Really?
1924
01:45:30,073 --> 01:45:32,034
- [Winona] Sweetie!
- How are you?
1925
01:45:32,117 --> 01:45:33,327
Oh my God.
1926
01:45:34,703 --> 01:45:36,204
Have you not shot with him?
1927
01:45:36,288 --> 01:45:39,166
No. This is our first time
shooting together.
1928
01:45:40,208 --> 01:45:42,085
[Tudor] Ready, and action!
1929
01:45:44,004 --> 01:45:47,132
[coughing]
1930
01:45:56,933 --> 01:45:59,186
You fucked with the wrong family.
1931
01:45:59,686 --> 01:46:00,520
[yells]
1932
01:46:00,604 --> 01:46:02,272
[Matt] And decapitation.
1933
01:46:02,356 --> 01:46:03,982
[grunting]
1934
01:46:04,066 --> 01:46:05,108
[Matt] And cut.
1935
01:46:09,863 --> 01:46:14,159
[Tudor] That's it for Jamie
and the Pain Tree! Good job, Jamie!
1936
01:46:14,993 --> 01:46:18,121
I'm not saying anything,
'cause I'm seeing you all on Thursday.
1937
01:46:18,663 --> 01:46:20,624
Wednesday. I love you. That was awesome.
1938
01:46:20,707 --> 01:46:22,125
- [Tudor] Love you.
- Thank you, Jamie.
1939
01:46:22,209 --> 01:46:24,544
[Hiro] You rock. Well done.
1940
01:46:26,004 --> 01:46:28,507
See you guys on... See you on Wednesday.
1941
01:46:34,554 --> 01:46:37,015
{\an8}- Jamie wrapped.
- How do you guys feel? Jamie's wrapped?
1942
01:46:37,099 --> 01:46:41,061
{\an8}He's done. And everyone was asking him,
like, "So, how'd it feel?"
1943
01:46:42,813 --> 01:46:44,773
- Ready?
- Uh, yeah.
1944
01:46:44,856 --> 01:46:48,110
[Matt] And the car's gonna skid
to a stop in here,
1945
01:46:48,193 --> 01:46:52,197
and then, before you know it,
probably within three seconds,
1946
01:46:52,280 --> 01:46:53,657
this door's gonna fly open,
1947
01:46:53,740 --> 01:46:55,951
and you're gonna be faced
with soldiers with guns
1948
01:46:56,034 --> 01:46:59,663
who're gonna be saying, "Get out!"
And they start to pull you out of the car.
1949
01:46:59,746 --> 01:47:02,707
I kinda wanna shoot it real,
make it feel real.
1950
01:47:02,791 --> 01:47:04,126
See you guys later.
1951
01:47:05,961 --> 01:47:06,962
[Matt] And I'll cue you.
1952
01:47:08,547 --> 01:47:11,425
Actually, you're gonna need
to wait till they're...
1953
01:47:11,508 --> 01:47:14,344
It's a bit of a cheat, but wait
until they're all pushed up
1954
01:47:14,428 --> 01:47:15,637
against the truck.
1955
01:47:15,720 --> 01:47:16,596
Right.
1956
01:47:16,680 --> 01:47:19,099
[Tudor] Ready, and action.
1957
01:47:27,149 --> 01:47:29,067
[Joe] It is a massive ensemble piece.
1958
01:47:31,111 --> 01:47:33,405
Like this giant moving circus.
1959
01:47:36,199 --> 01:47:38,076
[Sadie] When you come back to this show,
1960
01:47:38,160 --> 01:47:40,871
and you're with these people,
it's like you're 14 again.
1961
01:47:42,038 --> 01:47:44,040
Yeah, that never really goes away.
1962
01:47:46,501 --> 01:47:51,214
[Brett] These guys have brought me
the closest to being an action hero.
1963
01:47:53,008 --> 01:47:55,093
I'm in my childhood right now,
1964
01:47:55,177 --> 01:47:58,305
playing the character
that I would've wanted to play
1965
01:47:58,388 --> 01:48:00,015
if I was watching this.
1966
01:48:00,098 --> 01:48:01,766
[man grunts painfully]
1967
01:48:01,850 --> 01:48:04,144
[David] I'm sorry they did that to you.
1968
01:48:04,227 --> 01:48:07,105
- They won't be doing that to me.
- [all laughing]
1969
01:48:08,315 --> 01:48:09,900
Thank you, though, for taking the brunt...
1970
01:48:09,983 --> 01:48:12,652
- Your beard didn't make it.
- We gotta get some touch-up.
1971
01:48:14,571 --> 01:48:18,241
[Linda] Everyone
can justify their behaviors.
1972
01:48:18,825 --> 01:48:21,286
You don't need to know
whether you're good or bad.
1973
01:48:21,369 --> 01:48:25,582
Pretty much every bad character
thinks they're good in some way.
1974
01:48:28,210 --> 01:48:31,046
[Finn] The Duffers talk to us like equals.
1975
01:48:31,880 --> 01:48:36,051
It's the best feeling in the world
as a kid to feel taken seriously.
1976
01:48:36,134 --> 01:48:38,428
I feel like you guys are already all up.
1977
01:48:38,512 --> 01:48:41,556
I think as it... I'm not sure
if there's enough time. I think...
1978
01:48:42,057 --> 01:48:45,310
[Caleb] They helped me learn how
to talk to adults and explain myself,
1979
01:48:45,393 --> 01:48:48,897
and learn how to flesh out ideas
and understand a character.
1980
01:48:54,236 --> 01:48:57,072
[Gaten] We'll take a deep breath.
Things may work, things may not.
1981
01:48:58,406 --> 01:49:00,784
There's just a general level of respect.
1982
01:49:03,245 --> 01:49:05,872
[Joe] The foundation of the show
is built on trust.
1983
01:49:06,540 --> 01:49:09,709
Trust that all the different departments
have synergy.
1984
01:49:10,460 --> 01:49:13,255
[Caleb] I think that's why people
gravitate to Stranger Things,
1985
01:49:13,338 --> 01:49:16,633
because everyone's, like,
truly connected, even behind the scenes.
1986
01:49:17,926 --> 01:49:20,136
[Maya] It's a full undertaking.
1987
01:49:20,220 --> 01:49:22,973
You really get to be in and out
with these people,
1988
01:49:23,056 --> 01:49:27,018
and see them on good days and see them
on bad, and they see you that way too.
1989
01:49:28,603 --> 01:49:32,524
[Millie] I had found it really hard
to fit in in the past.
1990
01:49:34,234 --> 01:49:37,737
But here, I'm welcomed and loved.
1991
01:49:46,329 --> 01:49:49,749
It feels like it's a part of me
that I'm leaving behind as well,
1992
01:49:49,833 --> 01:49:51,626
not just a character.
1993
01:49:51,710 --> 01:49:53,211
I think it's just, um...
1994
01:49:55,505 --> 01:49:56,840
half of my life.
1995
01:49:58,508 --> 01:50:03,680
[Matt] This is a series wrap for
the one and only Millie Bobby Brown.
1996
01:50:04,389 --> 01:50:06,391
[all cheering]
1997
01:50:13,064 --> 01:50:14,858
[Millie] I'm not ready to let go.
1998
01:50:23,908 --> 01:50:26,953
[Tudor] Ladies and gentlemen,
that is a series wrap...
1999
01:50:28,288 --> 01:50:32,042
for Charlie, Natalia, Joe and Maya.
2000
01:50:33,585 --> 01:50:36,296
[Joe] There's so much work that goes in
when we're not here.
2001
01:50:36,379 --> 01:50:38,423
Thanks to everyone here, really.
2002
01:50:56,858 --> 01:50:58,443
{\an8}[woman] Happy last day.
2003
01:50:58,526 --> 01:51:00,028
Happy last day!
2004
01:51:04,407 --> 01:51:05,867
- Hey, buddy.
- Hey.
2005
01:51:09,412 --> 01:51:12,082
Good morning.
Fifteen more hours of crying to do.
2006
01:51:12,165 --> 01:51:15,043
I was about to say,
we have so much day ahead of us.
2007
01:51:16,127 --> 01:51:18,213
You can't be emotional already.
2008
01:51:18,880 --> 01:51:22,425
- Stinky got me first thing. I'm sorry.
- [Matt] Oh my God.
2009
01:51:23,051 --> 01:51:24,427
Don't, Stacey, don't.
2010
01:51:24,511 --> 01:51:26,096
I'm sorry.
2011
01:51:26,179 --> 01:51:28,556
- You have 12 hours to get through.
- Tudor just got me.
2012
01:51:28,640 --> 01:51:29,849
Oh, Jesus.
2013
01:51:30,475 --> 01:51:32,686
- Everything's fine.
- What do you mean Tudor got you?
2014
01:51:32,769 --> 01:51:35,105
- Tudor gave me a hug, and I lost it a bit.
- Oh, no.
2015
01:51:35,188 --> 01:51:36,272
Oh, no.
2016
01:51:36,981 --> 01:51:39,359
- Don't worry, I won't hug you.
- [Stacey chuckles]
2017
01:51:39,859 --> 01:51:42,028
- Happy last day, guys.
- Happy last day.
2018
01:51:44,280 --> 01:51:47,033
{\an8}[Tudor] It'll be an emotional day
for all of us and an emotional scene,
2019
01:51:47,117 --> 01:51:48,451
{\an8}especially for our actors.
2020
01:51:48,535 --> 01:51:51,955
Hard to believe we made it, guys.
Last day here. Let's get on it.
2021
01:51:52,038 --> 01:51:54,374
- Whoo, whoo!
- Yes!
2022
01:51:54,457 --> 01:51:56,376
[applause]
2023
01:51:59,796 --> 01:52:02,966
- Starting off the day on a high.
- Yeah.
2024
01:52:03,049 --> 01:52:06,636
We'll see where we are in 12 hours. Tudor!
2025
01:52:08,179 --> 01:52:09,806
Happy last day.
2026
01:52:09,889 --> 01:52:10,724
- Dandy.
- Peachy?
2027
01:52:10,807 --> 01:52:12,225
Yeah. Just dandy.
2028
01:52:15,729 --> 01:52:17,814
I want to do a quick huddle.
2029
01:52:22,318 --> 01:52:25,405
- All right, let's bring it home.
- [Caleb] Don't leave Ross out.
2030
01:52:25,488 --> 01:52:26,740
- Let's do it.
- Let's do it.
2031
01:52:26,823 --> 01:52:28,324
- [Matt] I don't have any special...
- What?
2032
01:52:28,408 --> 01:52:30,285
[Matt] I just wanna say I love you guys.
2033
01:52:30,368 --> 01:52:31,828
- [Caleb] Love you too.
- Love you too.
2034
01:52:31,911 --> 01:52:34,080
- [Matt] Okay. That's it.
- [Caleb] All righty.
2035
01:52:37,208 --> 01:52:40,086
- Ugh! Sadie, don't get me.
- Oh, boy.
2036
01:52:43,089 --> 01:52:44,132
Here we go.
2037
01:52:44,758 --> 01:52:47,218
Ready and action.
2038
01:52:48,595 --> 01:52:49,596
Come on.
2039
01:52:50,889 --> 01:52:53,808
What this means... This is you putting away...
2040
01:52:54,434 --> 01:52:56,853
Maybe... This is probably too... But whatever.
2041
01:52:56,936 --> 01:52:59,272
It's putting away childhood.
So just saying goodbye.
2042
01:52:59,355 --> 01:53:01,149
It's a saying goodbye feeling.
2043
01:53:01,649 --> 01:53:04,277
You would take your time.
You're not gonna shove it and walk off.
2044
01:53:04,360 --> 01:53:07,906
There's a weight to saying goodbye
to this part of your life.
2045
01:53:07,989 --> 01:53:09,991
[melancholy music playing]
2046
01:53:13,620 --> 01:53:16,956
So you put the book in.
Then we're slowly going to pull away.
2047
01:53:17,040 --> 01:53:18,958
Then I want to find you
looking to the stairs.
2048
01:53:19,042 --> 01:53:21,503
- And then we pan.
- Okay. Great. Awesome.
2049
01:53:23,922 --> 01:53:25,715
- [alarm ringing]
- [Heymann] Rolling, rolling.
2050
01:53:45,777 --> 01:53:49,030
[kids chattering]
2051
01:54:08,967 --> 01:54:09,843
Cut.
2052
01:54:14,305 --> 01:54:16,015
[Matt] Okay, we're going to check it.
2053
01:54:16,099 --> 01:54:18,101
[all cheering]
2054
01:54:44,711 --> 01:54:47,630
- That was great.
- Yeah. Yeah, yeah.
2055
01:54:57,015 --> 01:54:57,932
All right, everyone.
2056
01:54:58,016 --> 01:55:04,647
That is a series wrap on Sadie,
Caleb, Gaten, Noah, and Finn.
2057
01:55:04,731 --> 01:55:06,733
[Noah sobbing]
2058
01:55:17,368 --> 01:55:19,370
[air hissing]
2059
01:55:20,204 --> 01:55:21,331
Um...
2060
01:55:23,875 --> 01:55:26,210
I know something's definitely coming.
2061
01:55:26,294 --> 01:55:28,463
- [crew laughing]
- Um...
2062
01:55:29,839 --> 01:55:31,716
I just wanted to say that, uh...
2063
01:55:32,634 --> 01:55:38,389
I mean, I started, uh,
this show when I was 12
2064
01:55:38,473 --> 01:55:42,727
with these guys. And, um...
2065
01:55:43,728 --> 01:55:48,024
It's going to sound sad,
but I feel like I really didn't feel
2066
01:55:48,107 --> 01:55:50,568
like I had a lot of friends as a kid.
2067
01:55:50,652 --> 01:55:53,696
And like, when I talked to the Duffers
for the first time,
2068
01:55:53,780 --> 01:55:56,115
it felt like I had friends.
2069
01:55:56,199 --> 01:55:58,076
[Noah crying]
2070
01:55:58,159 --> 01:56:01,287
[Finn sniffles] And now
I have so many more friends.
2071
01:56:01,371 --> 01:56:02,872
[all applauding]
2072
01:56:12,173 --> 01:56:15,218
To the cast, um,
2073
01:56:15,301 --> 01:56:18,346
people fell in love with the show
because they fell in love with you.
2074
01:56:19,263 --> 01:56:23,518
Thank you for giving
so much of yourselves to the story...
2075
01:56:23,601 --> 01:56:26,020
For all the laughs, the tears...
2076
01:56:28,898 --> 01:56:30,400
Need me to do this one?
2077
01:56:30,483 --> 01:56:35,947
For being the little brothers,
little sisters we never had.
2078
01:56:37,198 --> 01:56:39,575
You're family. We love you always.
2079
01:56:45,623 --> 01:56:48,835
There are so, so many
on this production we need to thank.
2080
01:56:48,918 --> 01:56:51,379
This is, without a doubt,
without hyperbole,
2081
01:56:51,462 --> 01:56:53,464
the best crew we've ever worked with.
2082
01:56:53,548 --> 01:56:56,259
We felt your love and passion every day.
2083
01:56:56,342 --> 01:56:59,637
We came in here not knowing
what the hell we were doing,
2084
01:56:59,721 --> 01:57:01,931
and I learned from the crew.
2085
01:57:03,266 --> 01:57:05,351
And we made a lot of friends.
2086
01:57:06,728 --> 01:57:09,981
This is day 237.
2087
01:57:10,064 --> 01:57:14,027
We've had 6,725 setups.
2088
01:57:15,820 --> 01:57:19,449
Which adds up to 630 hours of footage.
2089
01:57:19,532 --> 01:57:20,908
[all exclaiming]
2090
01:57:20,992 --> 01:57:25,913
For you nerds out there, that's a petabyte
of data, which is 1,000 terabytes.
2091
01:57:26,706 --> 01:57:30,877
I should clarify, that's just main unit,
so who the fuck knows...
2092
01:57:30,960 --> 01:57:32,962
[all laughing]
2093
01:57:35,923 --> 01:57:37,592
- Ready? Here we go.
- [marble clinks]
2094
01:57:37,675 --> 01:57:40,303
And that is a wrap on Stranger Things!
2095
01:57:40,386 --> 01:57:42,889
- [triumphant music playing]
- [air horn blowing]
2096
01:58:10,875 --> 01:58:15,296
[Ross] I think everyone was surprised
by how emotional it was to say goodbye.
2097
01:58:15,379 --> 01:58:18,424
We really felt like Mike
in the final moments of the show.
2098
01:58:18,508 --> 01:58:21,177
It's just so hard to let go.
2099
01:58:21,260 --> 01:58:22,595
But you have to.
2100
01:58:22,678 --> 01:58:24,263
You have to move on.
2101
01:58:24,347 --> 01:58:28,309
[Matt] It was important to all of us
to close the book on this story,
2102
01:58:28,392 --> 01:58:29,936
these characters,
2103
01:58:30,019 --> 01:58:32,188
and this period of our lives.
2104
01:58:32,271 --> 01:58:35,358
But all the experiences we've had
over the past decade,
2105
01:58:35,441 --> 01:58:36,901
all the crazy ups and downs,
2106
01:58:36,984 --> 01:58:39,695
the chaos of it all, the friends we made,
2107
01:58:39,779 --> 01:58:42,532
will always, always be with us.
2108
01:58:43,783 --> 01:58:46,577
It really was the adventure of a lifetime.
2109
01:58:47,078 --> 01:58:51,374
["Should I Stay Or Should I Go"
by The Clash playing]
2110
01:58:53,459 --> 01:58:56,337
♪ Darling, you've got to let me know ♪
2111
01:58:57,922 --> 01:59:00,341
♪ Should I stay or should I go? ♪
2112
01:59:01,968 --> 01:59:05,429
♪ If you say that you are mine ♪
2113
01:59:06,430 --> 01:59:09,350
♪ I'll be here till the end of time ♪
2114
01:59:10,351 --> 01:59:14,021
{\an8}♪ So you got to let me know ♪
2115
01:59:14,939 --> 01:59:17,525
{\an8}♪ Should I stay or should I go? ♪
2116
01:59:18,943 --> 01:59:21,362
♪ It's always tease, tease, tease ♪
2117
01:59:22,905 --> 01:59:25,950
{\an8}♪ You're happy when I'm on my knees ♪
2118
01:59:27,451 --> 01:59:30,371
{\an8}♪ One day is fine, the next is black ♪
2119
01:59:31,497 --> 01:59:34,750
♪ So if you want me off your back ♪
2120
01:59:35,751 --> 01:59:39,380
♪ Well, come on and let me know ♪
2121
01:59:40,381 --> 01:59:42,383
♪ Should I stay or should I go? ♪
2122
01:59:44,594 --> 01:59:47,805
{\an8}♪ Should I stay, or should I go now? ♪
2123
01:59:48,472 --> 01:59:51,392
{\an8}♪ Should I stay, or should I go now? ♪
2124
01:59:53,144 --> 01:59:56,814
♪ If I go, there will be trouble ♪
2125
01:59:56,898 --> 02:00:00,776
- [Tudor] Everyone say Stranger Things!
- Stranger Things!
2126
02:00:01,611 --> 02:00:05,740
♪ So come on and let me know ♪
2127
02:00:06,699 --> 02:00:08,451
♪ Should I stay or should I go ♪