1. Tonight, an American ship captain
remains a hostage to pirates...Copy !req
2. in a boat with a lid on it
in the waters off Somalia.Copy !req
3. A ship with 20 American crew-members
on it...Copy !req
4. has been hijacked
off the coast of Somalia.Copy !req
5. This vessel was en route
to Mombasa.Copy !req
6. A cargo ship that is said to be carrying
food supplies into the Horn of Africa.Copy !req
7. The latest information we have
is from the Danish company...Copy !req
8. that owns the ship,
the Maersk Alabama.Copy !req
9. They say that their 20-man crew
were all U.S. nationals.Copy !req
10. It was flying a U.S. flag.Copy !req
11. This is a hostage situation,
it is a humanitarian situation...Copy !req
12. so people are stepping through this
very carefully...Copy !req
13. not offering many details
to the news media...Copy !req
14. as you can well imagine...Copy !req
15. if there is a hostage rescue situation
to be had here.Copy !req
16. A U.S. Navy warship
is said to be on the way.Copy !req
17. It is at least three hours away.Copy !req
18. The question will be
what it will be able to accomplish.Copy !req
19. This is now the sixth hijacking
in just this past week.Copy !req
20. The American perspective on piracy
was very much driven...Copy !req
21. by the Phillips story.
In other words, it had a happy ending.Copy !req
22. For those of us in Britain
and in other parts...Copy !req
23. where we've had these encounters
with piracy, it doesn't always end up...Copy !req
24. so well, and it hasn't.Copy !req
25. We've had people killed
by Somali pirates.Copy !req
26. In that area of the world,
I'd told my crew...Copy !req
27. it's not a matter of "if," it's "when."Copy !req
28. We were always on the edge,
or I always anticipated problems like that.Copy !req
29. It was just the odds. We were never far
away from the Somali coast at any time.Copy !req
30. So it was just a matter of the odds.
You were there for so long...Copy !req
31. the odds increase
that something would happen.Copy !req
32. I got an e-mail from him.
I knew he was headed into Mombasa.Copy !req
33. He had made a comment that
the pirate activity had been picking up.Copy !req
34. Piracy is something we deal with.Copy !req
35. If you don't wanna deal with piracy,
you don't wanna sail on a ship.Copy !req
36. I think the second boat that ever
went out to sea was a pirate boat...Copy !req
37. following the first ship
that went out to sea.Copy !req
38. What I like to say,
it's the second-oldest profession...Copy !req
39. that we deal with
in the merchant marine.Copy !req
40. You know, my dad was
in the merchant navy, as we call it...Copy !req
41. or the merchant marine,
as they call it in the U.S.Copy !req
42. So I grew up with an understanding
of that world, you know.Copy !req
43. And that was part
of what kind of brought me to it.Copy !req
44. It was really the merchant marine...Copy !req
45. in the American Revolution
who was our first Navy...Copy !req
46. and scored the first naval victory,
was a converted merchant marine ship.Copy !req
47. So a lot of people don't realize
what we do.Copy !req
48. We are the truck drivers of the ocean,
I like to say.Copy !req
49. And piracy is just one facet of what
we have to deal with all over the world.Copy !req
50. You know, it's a workingman's job.
It's a hard life.Copy !req
51. And, you know, as it's always been
through history, people who go to sea...Copy !req
52. that becomes their life.
That's true of Richard Phillips.Copy !req
53. American hostage Capt. Richard Phillips,
is finally free after days in captivity.Copy !req
54. Held hostage for five harrowing days
by four heavily-armed pirates...Copy !req
55. Capt. Phillips and the U.S. Navy
got their big break today.Copy !req
56. And we're happy to say
that Capt. Phillips is safe.Copy !req
57. The captain of the Maersk Alabama
has just arrived back on U.S. soil.Copy !req
58. Richard Phillips was held
by Somali pirates for five days...Copy !req
59. offering himself as a hostage
in order to save his crew.Copy !req
60. Navy SEALs rescued him last Sunday,
killing three of the pirates.Copy !req
61. We have been overwhelmed
by the love and support and prayers...Copy !req
62. across our great nation
and even across the world.Copy !req
63. This is not one
of our typical homecomings.Copy !req
64. And now that Richard's back,
I just ask that you give us some time...Copy !req
65. for us to be a family again.Copy !req
66. Hey, Rich, welcome home.Copy !req
67. Actually, I didn't really remember
the story.Copy !req
68. I remember they said to me, and I—Copy !req
69. "Oh, I vaguely remember that.Copy !req
70. But it wasn't like it was in America where
everybody followed the story avidly.Copy !req
71. And, in a way,
I think that was quite a help.Copy !req
72. Because it meant when I read
the screenplay, you know...Copy !req
73. it gave me a sense of discovery.
I didn't know what was gonna happen.Copy !req
74. I wasn't aware of the end.Copy !req
75. Malta has a very,
very competitive rebate...Copy !req
76. which is a huge issue
for a film like this.Copy !req
77. A very ambitious film for the money.Copy !req
78. And it's got a port setup
that was close to perfect.Copy !req
79. In fact, we found a home for the ship.Copy !req
80. It was maybe a 15-minute drive
out to sea from dock.Copy !req
81. And, normally, you hear quotes
of two to three hours each way...Copy !req
82. to get to where you're filming.Copy !req
83. So that would've been very daunting
in other circumstances.Copy !req
84. Maersk was great
from a philosophical standpoint.Copy !req
85. But every ship that they operate
is part of their business plan.Copy !req
86. So to take a ship off-line is to take away
business from themselves.Copy !req
87. And they did a pretty thorough search
of their inventory.Copy !req
88. And they have thousands of ships...Copy !req
89. so it's not as easy as them just looking
down a list and saying, "That one."Copy !req
90. They found a ship that is a direct sister
to the Alabama...Copy !req
91. that was running a relatively
non-lucrative run...Copy !req
92. between Gibraltar, the Canary Islands
and Barcelona in the Mediterranean.Copy !req
93. So they identified that ship
as a ship they could give us.Copy !req
94. You know,
a lot of times you walk into a set...Copy !req
95. on a soundstage and you're astounded
at how real it is.Copy !req
96. But at the end of the day,
you walk off...Copy !req
97. and you're on a soundstage
and it's a very—Copy !req
98. The artificiality is something—
It's a line that you cross over...Copy !req
99. from the regular world
into the artificial world.Copy !req
100. And on board a ship,
there was no artificiality to it.Copy !req
101. I am telling him...
"Okay, you wanna be a captain?Copy !req
102. You gotta see the problems before they
come up and I just saw three problems...Copy !req
103. - ... coming between here and here."
- Exactly what you've said...Copy !req
104. is what's gotta be said
at the back end of the drill.Copy !req
105. Shooting on the Maersk Alexander,
which is literally...Copy !req
106. an exact sister ship
of the Alabama...Copy !req
107. Well, this was fascinating,
because everything was real.Copy !req
108. There was a lot of places
to conk your head.Copy !req
109. And the decks hurt your feet after awhile
because it's just hard metal plates.Copy !req
110. You know, it's such a great resource
to just have an actual ship.Copy !req
111. Maersk gave us the Maersk Alexander,
this sister ship of the Alabama.Copy !req
112. So it's not like some movie set
where you got some dummy prop.Copy !req
113. If you wanna know
what the engine room looks like...Copy !req
114. go down to the engine room.Copy !req
115. If you wanna know
what a radar looks like in the bridge...Copy !req
116. it's right in front of you. So a lot
of the work is done for you. It's there.Copy !req
117. Being willing to shoot in all those places,
between the way Paul wants to shoot...Copy !req
118. and also what Barry Ackroyd
is used to shooting...Copy !req
119. it removed an entire task
from us, the actors, I think.Copy !req
120. - Distance?
- 1.5 miles.Copy !req
121. 1.5 miles with a potential mothership
behind, a potential piracy situation.Copy !req
122. It's a huge ship, and there's a lot of
sophisticated navigation equipment.Copy !req
123. And, you know,
a captain has to command a crew.Copy !req
124. So there's a big skill set there.Copy !req
125. I asked Richard how often he looks
at the horizon and takes in the sea.Copy !req
126. He says, "I haven't done that
in 33 years." You know?Copy !req
127. Because there's just so much work
that he has to do.Copy !req
128. What's interesting,
the e-mail that Phillips—Copy !req
129. He says he doesn't make it down
to the engine room his first day.Copy !req
130. He doesn't have time. Too busy.Copy !req
131. Paul pushed us to learn
and do as much research as we could.Copy !req
132. And we came in on the day
just loaded up with all of this...Copy !req
133. All of this info.Copy !req
134. - Check list.
- Got your check list?Copy !req
135. Dangerous cargo, if you've got it,
stuff like that.Copy !req
136. Cut. Cut.Copy !req
137. - It's that, then you grab this.
- Yeah, I grab that.Copy !req
138. What we would have was sometimes,
like, a 12-minute, 15-minute...Copy !req
139. 16-minute, 18-minute scene
that was only one way to play it...Copy !req
140. from the beginning and all through the
18 minutes. How do you shoot that?Copy !req
141. Physically, you can bust it up into pieces,
but Paul has this way of working...Copy !req
142. in which the action goes on
and he captures it on two...Copy !req
143. or sometimes three different cameras
from different perspectives.Copy !req
144. And it rolls all the way through.
One camera won't start until later.Copy !req
145. And so the scene is already
three minutes old and then it will roll...Copy !req
146. and it will pick up.Copy !req
147. Start with one camera,
we're gonna roll for four minutes.Copy !req
148. Two minutes in, we're gonna open up
the second camera.Copy !req
149. When the first camera runs out,
we're gonna replace the mag.Copy !req
150. We'll reload on the fly and then
come back in and shoot some more.Copy !req
151. Twelve seconds is an eternity
in a shot.Copy !req
152. Twelve minutes is amazing.
And you're like, "This is—"Copy !req
153. You're going, "Oh, my God.
He's not cutting. We're still shooting."Copy !req
154. That's a demanding process.Copy !req
155. But it's also one that you slowly
have to disc—Copy !req
156. You have to have faith in the
discovery process to get there.Copy !req
157. Long takes, without rehearsal often,
just, "Let's do it...Copy !req
158. and see how it goes wrong.
It can only go wrong." That's what we say.Copy !req
159. But often there's gems in the first take
that, you know...Copy !req
160. And parts of it that you will
never capture again, you know?Copy !req
161. Yeah, in a sense, you're doing two things
that are quite contradictory.Copy !req
162. On the one hand,
you're planning and thinking...Copy !req
163. and, you know,
using that part of your brain.Copy !req
164. And everybody is,
all the actors, all the crew.Copy !req
165. You're trying to create a framework
where you can construct a film...Copy !req
166. which involves planning, you know?Copy !req
167. But on the other hand,
you're trying to protect the moment.Copy !req
168. The unforeseen moment.
The truthful exploration...Copy !req
169. of what really would happen.Copy !req
170. The audience should feel that
there was one chance and we...Copy !req
171. And somehow, this camera got it,
you know?Copy !req
172. I mean, that's my background.
My background is documentary.Copy !req
173. And so if it happens in front of the camera,
I believe it was precious, you know.Copy !req
174. When you switch the camera on,
it was a precious moment...Copy !req
175. and that every frame should be,
possibly, in the film.Copy !req
176. So I carry that with me
right to today on everything I do.Copy !req
177. It's very important to, all of you...Copy !req
178. inhabit a mindset
where you understand...Copy !req
179. that the future is not preordained.
Just because it happened like that...Copy !req
180. When you're living through an experience,
you don't know how it's gonna end up...Copy !req
181. and you've got to play it and perform it
always with that sense in mind...Copy !req
182. that you don't know what the end result
of this is going to be.Copy !req
183. It's an exhilarating way to work.
I think some of the things...Copy !req
184. that happened in the film
that were not in the script...Copy !req
185. were completely a result
of how Paul works.Copy !req
186. And I think they made it a better film.Copy !req
187. Anytime you have a type of filmmaking...Copy !req
188. that is described as your last name...Copy !req
189. with the word "style" after it,
you're doing something right...Copy !req
190. because you look at the way
he films...Copy !req
191. and there's really no other kind
of filming like it.Copy !req
192. When people try and do it—Copy !req
193. Trying to do it is what makes you realize,
"Damn, this is hard."Copy !req
194. - Because we've gotta see where he goes.
- Yeah, okay.Copy !req
195. Because I think this is all packed
with stuff. And he goes here.Copy !req
196. - Okay.
- I think that you've got to then...Copy !req
197. - ... rotate around and let Murphy go.
- Okay.Copy !req
198. - Yeah? To there. Play that.
- Get his phone call.Copy !req
199. I mean, when it works best, I think,
is when you're willing the camera...Copy !req
200. to do the thing it is actually doing
as it's doing it.Copy !req
201. It's not behind or ahead,
it's a symbiotic thing.Copy !req
202. And you've gotta be—Copy !req
203. You've gotta be technically adroit,
but you also have to be...Copy !req
204. incredibly human as a technician...Copy !req
205. to be able to achieve that.Copy !req
206. And I think, not just credit to Paul,
of course, credit to Paul...Copy !req
207. credit to Barry Ackroyd.Copy !req
208. Cameras that are contact lenses. Surely
you can make a microphone that's...Copy !req
209. We would rehearse, sometimes,
for four hours in the morning...Copy !req
210. to get the environment correct...Copy !req
211. and then get the beats of the scenes
worked out.Copy !req
212. Well...Copy !req
213. I love the way Paul works.Copy !req
214. He distills activity down to an essential
and then shoots that.Copy !req
215. And sometimes,
he'll shoot the rehearsals.Copy !req
216. We had a joke
that it wasn't bad enough...Copy !req
217. that you had to audition for the movie,
you had to audition to stay in the movie.Copy !req
218. - Let's do it again. Ready? Go, go, go.
- From the top.Copy !req
219. And action.Copy !req
220. Well, obviously, we've got speed,
we've got height, we've got hoses.Copy !req
221. Those are advantages.Copy !req
222. Maybe we should.Copy !req
223. - Oh, am I?
- Well, maybe we could say that.Copy !req
224. As opposed to:Copy !req
225. - You know?
- Right.Copy !req
226. "Hey, since we're together, let's talk about
those pirates that almost came on board...Copy !req
227. about 17 minutes ago."Copy !req
228. Oh, yeah, those guys.Copy !req
229. I'll just come in and say, "All right."Copy !req
230. I spoke to Matt Damon who had made,
what, three films with Paul.Copy !req
231. I said, "What's the scoop?"Copy !req
232. He said, "You'll rehearse it, and
the first time you do a rehearsal...Copy !req
233. it'll be a disaster."Copy !req
234. Hold protocol. Same protocol.
We lock down, we wait for help.Copy !req
235. And end up in Somalia, waiting
for the company to bail us out. **** that.Copy !req
236. We're not gonna get to Somalia. Take a
wide berth. We gotta swing the ship out.Copy !req
237. That.Copy !req
238. Our job is to deliver the boxes
as soon as we can.Copy !req
239. And everybody will be talking
at the same time, and—Copy !req
240. Everybody's just trying to do
what they wanna do.Copy !req
241. Don't worry. It'll get sorted out over time
and you'll get everything you need.Copy !req
242. And that turned out to be the case.Copy !req
243. It as Quinn— Quinn put the notice up.
That was his job.Copy !req
244. To put the notice up
about all the pirate activity in the area.Copy !req
245. Yeah, it's all there.
Can we run this one more time?Copy !req
246. This is one more rehearsal.Copy !req
247. We were doing a scene
and it was going along well...Copy !req
248. and then Paul called me
in the back room— With Tom.Copy !req
249. He said, "Chris." Here's, this is Paul.Copy !req
250. "Chris. How do you think
this scene is going?"Copy !req
251. He's got long hair.Copy !req
252. I said, "I think it's going quite—
It's going good."Copy !req
253. He says, "Really?"
I said, "Yeah, it'll be okay."Copy !req
254. And he says, "Okay?"
And I went, "Yeah, I know."Copy !req
255. He said— I mean, it's— He said:Copy !req
256. "Could you do more?"Copy !req
257. I said, "Yeah, I can do more."
He said, "Do that."Copy !req
258. So that's how that scene came out.Copy !req
259. Now, wait. I'm a u—
Okay, I'm a union guy, okay?Copy !req
260. Twenty-five years, all right?Copy !req
261. I'm telling you now that they're
not paying me enough to fight pirates.Copy !req
262. Nobody else knew that I was just
gonna jump in there and say that.Copy !req
263. Cory's talking. I'm going,
"Hey, I'm talking now, okay?Copy !req
264. I'm a union guy. I got my say." Right?Copy !req
265. All the other actors are going,
"Oh, Mulkey's gone crazy."Copy !req
266. But Paul had told me to do that.
He didn't tell anybody else. Except Tom.Copy !req
267. Yeah, just the tiniest touch.
What you're doing is absolutely right.Copy !req
268. I wanna feel you're not going
to slow down.Copy !req
269. - So that's all right.
- It's Quinn.Copy !req
270. Your pace is good, Louis.Copy !req
271. - But when you get down to about here...
- Right.Copy !req
272. the shot's sort of dead.
So then you can quicken it up.Copy !req
273. - Okay.
- A little bit. It gets us out of the shot.Copy !req
274. We never even meet. I'm down.
As soon as I see—Copy !req
275. So let's do another thing.Copy !req
276. In the beginning, when pulling out...Copy !req
277. the crew would be down with me
and we would shoot that.Copy !req
278. So that they had that footage of my role
and when we would leave port.Copy !req
279. The actual chief engineer
on the Alexander...Copy !req
280. was this guy, Kurt.Copy !req
281. Kurt. Tell you what to do, Kurt.Copy !req
282. There is the man.Copy !req
283. He's this very tall guy. Very serious.Copy !req
284. But he would joke with us
that we would do nothing, you know?Copy !req
285. Because we— On movie sets,
there's lots of waiting around.Copy !req
286. And so we'd be on deck somewhere
drinking coffee and he'd be like:Copy !req
287. "Another busy day of drinking coffee
and doing nothing."Copy !req
288. I would say,
"What would I do in this situation?"Copy !req
289. He'd be like, "You would do nothing.
Because there's nothing to do.Copy !req
290. It's all done."Copy !req
291. I said, "Yeah, but we gotta— Paul wants
me to be manually doing something.Copy !req
292. So can I pull these levers and—?"Copy !req
293. He goes, "Yes, you've evacuated toilets
so engineer will watch movie...Copy !req
294. and he says 'I don't know
why he's doing this."'Copy !req
295. So we're going to play even more buttons
that are not real buttons now.Copy !req
296. - Okay.
- Because they need...Copy !req
297. He needs more of all this.Copy !req
298. I don't think it's a good idea
to make it in the movie...Copy !req
299. just switch it off
and then press something.Copy !req
300. - Otherwise they will see that it's—
- But it's all bullshit anyway.Copy !req
301. - It's just there. It's just movement.
- Okay.Copy !req
302. I don't think anybody— If anybody says,
"Hey, he turned that thing off.Copy !req
303. He was pressing buttons
that weren't buttons."Copy !req
304. Then we ****** up the whole thing
anyway.Copy !req
305. You're telling him
you're gonna take the engines down.Copy !req
306. What do you say when you're taking
the engines down here?Copy !req
307. - I would take it down. Take it down.
- Just down here?Copy !req
308. You know, "What would you say
to the crew if this was happening?Copy !req
309. What would you say over the walkie?"
He'd be like, "I would say nothing.Copy !req
310. They would know what to do.Copy !req
311. They've all been doing this
for a long time."Copy !req
312. I'd be like, "Cool, cool, right. But Paul—Copy !req
313. It's a movie. So just speak your thoughts.
Like, you know?"Copy !req
314. "Okay, I guess I would say,
'Are you ready to do this?'Copy !req
315. And they would say, 'Yeah, I'm ready."'Copy !req
316. It's like, "Great. Fuck. Cool."Copy !req
317. I had to learn the language of the crew.Copy !req
318. These crews speak their own language.
As do the military types involved in these.Copy !req
319. And to get that language right, you have
to spend time with them and talk to them.Copy !req
320. "How would I say this?
How would I say that?"Copy !req
321. What ended up being really ideal,
especially with both the Maersk ship...Copy !req
322. but also with the navy ships, is it really
did give Paul what I think he wanted.Copy !req
323. He's able to walk onto the ship...Copy !req
324. and see everything was there
the way it really was on the day.Copy !req
325. And he could ask the people
who run the ship:Copy !req
326. "What would you really do?
Where would you really be standing?"Copy !req
327. When you see the film, it's like
you're really there, because you are.Copy !req
328. Any given day, roughly say we get
picked up at the hotel, like, 6 a.m...Copy !req
329. and then driven down to the port.Copy !req
330. And that's where the hair and makeup
trailers are set up.Copy !req
331. Our individual trailers.
Get dressed and eat breakfast.Copy !req
332. You get your hair and makeup done. And
then everybody's on the ship by 7 a.m.Copy !req
333. And then there's a whole hour process
to get that giant container ship out...Copy !req
334. of this tiny little Maltese port
and out into the open sea.Copy !req
335. Just leave it for the time being
until we get out past the entrance.Copy !req
336. The source of tension on the film...Copy !req
337. was just that the ocean
doesn't do what you want it to do.Copy !req
338. So that means we'd have to go out
every day ready for anything.Copy !req
339. Because we just don't know.Copy !req
340. Interestingly, the Mediterranean
was maybe a bit placid for our tastes.Copy !req
341. Then a little wind storm would come in
and it was too rough.Copy !req
342. So Paul would be like,
"When's it gonna be right?"Copy !req
343. And I never had an answer for that.Copy !req
344. Well, I think every day when you film
is filled with unforeseen circumstances.Copy !req
345. I think...Copy !req
346. I think everybody found it a challenge...Copy !req
347. just the sheer physical attrition
of shooting out in the ocean.Copy !req
348. When you're getting battered about
and you're on a small filming boat...Copy !req
349. and the swell,
endlessly day in and day out.Copy !req
350. I think that's— I think...Copy !req
351. Unless you've done that
for sort of 12 weeks at a stretch...Copy !req
352. it's hard to know just physically
how much that takes out of you.Copy !req
353. I thought I had to be up on deck
all the time looking at the horizon.Copy !req
354. As I was explaining, it was the opposite.
I actually liked being down below...Copy !req
355. because that's where the least amount
of movement was.Copy !req
356. And days where we had
to be up on deck...Copy !req
357. those were times
I was the most uncomfortable.Copy !req
358. It was the rolling. Just the rolling.Copy !req
359. There you are.Copy !req
360. If there's sea legs to get,
I never got them.Copy !req
361. That's the most nauseous
of anything you can do.Copy !req
362. To be confined
without seeing the horizon.Copy !req
363. So many films are made in studios
and dark rooms, you know what I mean?Copy !req
364. In the same sorts of places.Copy !req
365. So it was an adventure
to be out in the sea.Copy !req
366. Thought making a film on the water was
interesting from a visual point of view.Copy !req
367. Obviously to shoot on water is,
you know, commonly held to be...Copy !req
368. you know, right up there
in the directors' graveyards.Copy !req
369. You know, because it's—
You are out in the middle of the ocean.Copy !req
370. It's very hard to supply the unit.Copy !req
371. There are a lot of safety issues.Copy !req
372. No, I think that should do it.
Three. That should do it. Yeah.Copy !req
373. Just the three here.Copy !req
374. In this first piece...Copy !req
375. we're focused on the ship,
which is where? Where is the ship?Copy !req
376. Yeah, it should be off to the left.Copy !req
377. So I'm looking that way.Copy !req
378. So the eyeline to the Alabama...Copy !req
379. is above Barry's head
between the two tubes.Copy !req
380. But what you get from it—
I think you get it in this film.Copy !req
381. —Is a sort of authenticity.
You know, it is a film made on the ocean.Copy !req
382. It feels like it, it looks like it,
because it was.Copy !req
383. It's good though
because it was making it happen.Copy !req
384. Am I using this?Copy !req
385. So you're focused and determined.
We're riding along, Barry, okay?Copy !req
386. Then the radio starts.
It'll be Tom's voice on the radio. Okay?Copy !req
387. You start to slow down.Copy !req
388. You notice he slows.Copy !req
389. You go, "What are you doing? Come on.
It's this way! Go!"Copy !req
390. You take a look at him, you go, "**** it."
And off you go. Peel off.Copy !req
391. I think what will happen
is he'll get too far away to reset.Copy !req
392. Okay. Well, we just discussed it.Copy !req
393. One question.
I'm saying that in English or Somali?Copy !req
394. - Somali all the way.
- Okay.Copy !req
395. All right, guys. Ready?Copy !req
396. - We're not ready.
- Not ready.Copy !req
397. No?Copy !req
398. Okay, we're ready.Copy !req
399. All right, so everybody line up
alongside again.Copy !req
400. You may need to help in this.Copy !req
401. So when you feel a wave,
sell that it's a bit bigger.Copy !req
402. Because we wanna really feel like
we're in chop, okay?Copy !req
403. - I got a three. Okay?
- Wait, wait, wait.Copy !req
404. - You change it up.
- Okay, fine.Copy !req
405. - I'll go for four.
- Okay.Copy !req
406. Five.Copy !req
407. I love them. I love them. I love them.Copy !req
408. They always make me look nice.Copy !req
409. Yeah, I'm sexy now.Copy !req
410. I can advance past the gold gate.Copy !req
411. - That's me, right?
- Yes.Copy !req
412. You have to go?Copy !req
413. - What?
- You have to go.Copy !req
414. You don't want your licks, man?Copy !req
415. He wants to marry us.Copy !req
416. Six wives.Copy !req
417. We're Somali. We can have four.Copy !req
418. So three of you.
I'm looking only for one more.Copy !req
419. - One more.
- I'm not cleaning and cooking for you.Copy !req
420. I wanted to cast real Somalis.
That was important to me.Copy !req
421. Because I felt that it's a part of the world
that's got a story to tell.Copy !req
422. And its people have a story to tell.
And I wanted young men...Copy !req
423. who understood that part of the world
to tell it.Copy !req
424. I have just a very tiny memory...Copy !req
425. of Somalia. I remember the war.Copy !req
426. Because the war happened
in Mogadishu and I was there.Copy !req
427. So I remember the war, my mom getting
us out. We took a ship to Yemen.Copy !req
428. Where my dad was a teacher.
There I went to school.Copy !req
429. And we lived there
until we won the lottery.Copy !req
430. The visa lottery to come to America.Copy !req
431. When I was 14. Yup.Copy !req
432. I am Somalian. I was born in Yemen.Copy !req
433. I came here with my brothers
and sisters and my mom.Copy !req
434. And we just started life in Minnesota.Copy !req
435. Now, she did have family in Minnesota,
which brought us there.Copy !req
436. All of them, all four of them...Copy !req
437. had a powerful point of view
that these young men from—Copy !req
438. You know, from a desperate part
of the world had a story to tell.Copy !req
439. And they wanted to tell it
without sentimentalizing it...Copy !req
440. without making excuses.Copy !req
441. You're in heavy, heavy,
heavy waves, right?Copy !req
442. Help me sell them.Copy !req
443. You'll get worried about your engine.Copy !req
444. And eventually we'll say "big wave."Copy !req
445. You lose the engine completely.
Engines gone.Copy !req
446. Restart. Restart it.Copy !req
447. It won't work. You try.Copy !req
448. Up with the glasses. Look at the ship.Copy !req
449. See Phillips.Copy !req
450. Down. Look. Okay?Copy !req
451. We will give you a cue, Tom and I...Copy !req
452. for the big wave.Copy !req
453. We'll just say, "Big wave."Copy !req
454. One, two, three.Copy !req
455. On three,
that's when you're gonna fall.Copy !req
456. You're gonna fall down
and you're gonna lose the engine.Copy !req
457. Big wave.Copy !req
458. Big wave on three, two, one. Wave.Copy !req
459. Cut.Copy !req
460. I think they've done a fantastic job
of absolutely showing...Copy !req
461. you know, the criminality
and the recklessness...Copy !req
462. and the violence of those men...Copy !req
463. but also the desperation
and the humanity.Copy !req
464. He didn't have the opportunities that,
if I talk about myself, that I had.Copy !req
465. You know, I had parents that managed
to take me out of the country...Copy !req
466. and move me
to the Western countries...Copy !req
467. to have my education going
and be a better person.Copy !req
468. He didn't have that. But he was stuck
in that war-torn country...Copy !req
469. and he didn't had no school...Copy !req
470. or job.Copy !req
471. But now he trying
to become somebody...Copy !req
472. and he had to basically...Copy !req
473. show these people that he can do it.Copy !req
474. You know, he was looking for the chance
for quite some time, apparently...Copy !req
475. and he finally got it.Copy !req
476. Now he has to prove to these people
that he's the man for the job.Copy !req
477. And, you know, he can do it.Copy !req
478. That struggle as the situation escalates,
is really what this film's about.Copy !req
479. When you saw those guys coming in
on their skiff...Copy !req
480. it was one of the most dramatic times
I've ever been...Copy !req
481. of any work I've ever done,
in terms of what we were shooting...Copy !req
482. the reality of it sort of really being
what was happening.Copy !req
483. Do you want me to shout, "Flare"?Copy !req
484. Yeah? So I'm gonna go:Copy !req
485. Yeah, pull back—Copy !req
486. All right, guys, guys, guys.
Stop, please.Copy !req
487. All right? Go and sit down. Be quiet.Copy !req
488. I'm not exactly sure
of the final thing right now.Copy !req
489. How's—? Flares?Copy !req
490. - After the hoses, you turn...
- Right.Copy !req
491. and then you start to straighten
and you see Phillips on the bridge.Copy !req
492. - Okay.
- Fire.Copy !req
493. Okay.Copy !req
494. Then you start to turn
to go in towards theCopy !req
495. - Okay.
- Flare.Copy !req
496. - Now we go ladder to the ship.
- Okay, deal.Copy !req
497. No. No, it's too far.Copy !req
498. I remember when we started it, you know,
they'd get alongside the ships...Copy !req
499. and we had safe distances
and things they couldn't do.Copy !req
500. You know, we didn't want them to climb
all the way up the ladder...Copy !req
501. and onto the ship in one go because,
you know, there was great danger.Copy !req
502. You know, if you fell, that would be it.Copy !req
503. I mean, you'd be under
and through the...Copy !req
504. you know, propeller
of the huge container ship.Copy !req
505. And they did a lot of training.Copy !req
506. I mean, they did months of training
to learn to drive those boats.Copy !req
507. And they had phenomenal balance.Copy !req
508. I mean, you see some of those shots
where they're riding.Copy !req
509. It looks like a sort of sea chariot...Copy !req
510. and the thing's bucking
and roaring away.Copy !req
511. And Barkhad in particular.
He just stands there.Copy !req
512. He's not strapped in, by the way.Copy !req
513. He's just standing there
with absolutely perfect balance.Copy !req
514. It was incredible to watch.Copy !req
515. Slow down. Stop.Copy !req
516. Let's go. Come on, let's do the...Copy !req
517. Everybody over there.Copy !req
518. Well done, boys. Well done.
Well done, lads. Good one, mate.Copy !req
519. Some of the training we actually had was
climbing and swimming and shooting.Copy !req
520. First of all, I had to learn how to swim.Copy !req
521. They were very game.
There was no question about it.Copy !req
522. And as we went on, they became more
and more and more confident.Copy !req
523. I remember, on the last day, we literally
were screaming at them to stop.Copy !req
524. You know, you cannot cross
that safety line.Copy !req
525. I ended up doing my own stunts
and, man, Paul didn't seem to like it.Copy !req
526. And no one seemed to like it.Copy !req
527. And I had two fight scenes
with Tom Hanks.Copy !req
528. It was nice. It was all fun, we loved it.Copy !req
529. Sometimes I wake up and I think:Copy !req
530. "That was just a dream. Wake up."
You know?Copy !req
531. - Tom on the screen.
- Yeah.Copy !req
532. - "Eight hundred yards," you turn and go.
- Right.Copy !req
533. Oh, yeah. Coming up to us.Copy !req
534. At 100 yards,
we're gonna use the hoses.Copy !req
535. - One hundred yards!
- Hit the hoses.Copy !req
536. Cap, they're making their move.Copy !req
537. They're coming up fast, chief,
I'm gonna need the hoses.Copy !req
538. How's the pressure?Copy !req
539. - Count it down.
- They're at 800 yards.Copy !req
540. Get ready for some hard turns.Copy !req
541. Seven hundred yards.Copy !req
542. Six hundred yards.Copy !req
543. Four hundred.Copy !req
544. That's gunfire.Copy !req
545. All right, cut.Copy !req
546. They look pretty terrifying out there,
don%they?Copy !req
547. We're pretty much picking up
from them seeing Phillips...Copy !req
548. and Muse pointing it out,
and gunfire, gunfire.Copy !req
549. Shots fired. Shots fired.Copy !req
550. In my book I write
that I would ask him in the lifeboat:Copy !req
551. "Where did you get that ladder?"
It was another of the ironies.Copy !req
552. Had it been longer,
the seas would've washed it away.Copy !req
553. Had it been shorter,
it wouldn't have been able to fit.Copy !req
554. You wouldn't have been able
to reach the fishplate to hook it on.Copy !req
555. I think what you could do is...Copy !req
556. it was actually a struggle
to put the ladder on top of the ship.Copy !req
557. We tried it really numerous times...Copy !req
558. but at one point
we all just did our all to do it...Copy !req
559. and we accomplished it,
and I was thrilled.Copy !req
560. I actually felt like I was actually a pirate
at that point.Copy !req
561. I told you they were.Copy !req
562. I cannot believe it.Copy !req
563. You know, I kept them apart
when we shot the film.Copy !req
564. They actually never met each other,
never saw each other...Copy !req
565. never laid eyes on each other...Copy !req
566. until the moment when those four guys
came through the door on the bridge.Copy !req
567. - Action.
- And action.Copy !req
568. Gunfire, door.Copy !req
569. It was hairy, you know.Copy !req
570. We knew it was fake
and all that kind of stuff...Copy !req
571. but still, the environmental atmosphere
Paul created was worth its weight in gold.Copy !req
572. We were into it, because this is
a freaky situation. Guys with AK-47s...Copy !req
573. taking over our ship, raiding the bridge,
we haven't met them.Copy !req
574. The visceral aspect of that first take,
you remember what it's like...Copy !req
575. when the hair stands up
on the back of your head...Copy !req
576. because guys are coming in
and truly assaulting you.Copy !req
577. The set was crackling with anticipation,
in a good way.Copy !req
578. Okay.Copy !req
579. Then there was a moment when
Barkhad came face-to-face with Tom...Copy !req
580. he looks at him and says,
"Look at me."Copy !req
581. - Look at me.
- Sure.Copy !req
582. I'm the captain now.Copy !req
583. And I remember you could feel—
I could see it in Tom's eyes, go, "Wow."Copy !req
584. I improvised that.
We just had to make it our own.Copy !req
585. But we still stayed on the script.Copy !req
586. It was a big call
because you're asking a young man...Copy !req
587. who's not acted professionally...Copy !req
588. to go head-to-head with
a two-time Academy Award winner.Copy !req
589. It was gonna be
one of those moments...Copy !req
590. where you were gonna find out
whether the film could work.Copy !req
591. So obviously I was quite keyed up,
I think. Be honest to say.Copy !req
592. And it is my favorite scene
of the movie.Copy !req
593. I really love that scene, you know.Copy !req
594. It was the same scene
we did all the audition in.Copy !req
595. It felt like a very powerful, real moment.Copy !req
596. But also a moment when you knew he,
Barkhad, was gonna be able to do it.Copy !req
597. It was a very, very exciting moment.Copy !req
598. They come in, they do the thing,
they hold something...Copy !req
599. and it's all moving really fast
and all of a sudden you hear—Copy !req
600. Cut.Copy !req
601. And right after it you hear, "Hey."Copy !req
602. Tom Hanks is out there glad-handing
the pirates like:Copy !req
603. "Welcome to the neighborhood, guys."Copy !req
604. Welcome. Welcome to the movie, guys.
Welcome to the movie.Copy !req
605. It's a pleasure to finally be
working with you guys.Copy !req
606. - It's a pleasure.
- Fantastic.Copy !req
607. Finally a pleasure.Copy !req
608. Everybody's going, "I thought
we were gonna keep this tense.Copy !req
609. But, okay, we're making a movie,
let's have fun."Copy !req
610. After the scene finished,
you know, that's when I told Tom, like:Copy !req
611. "I can't believe I'm doing this
with the Forrest Gump guy."Copy !req
612. They were very quick in getting
up on the ship.Copy !req
613. Originally, it was just
the two guys on the ship...Copy !req
614. and they were shooting up at me
as I was shooting flares at them...Copy !req
615. even while they were on the ship.Copy !req
616. So they got very quick from
the main deck and up to the bridge...Copy !req
617. before we could back off
and surrender the bridge.Copy !req
618. So they never broke in.Copy !req
619. They did just get to the bridge,
fired two shots, leveled the AK-47...Copy !req
620. and the one guy walked in
and he basically said...Copy !req
621. very similar to what the movie said:Copy !req
622. "Relax, captain.
Just business, just business.Copy !req
623. No Al Qaeda, just business.
Relax, captain, just business."Copy !req
624. And that's pretty much what he said.Copy !req
625. And similar to the movie when they—Copy !req
626. They were actually high-fiving
each other...Copy !req
627. when they found out
we were an American ship.Copy !req
628. They were just high-fiving each other.Copy !req
629. They thought they were in
for a big payday.Copy !req
630. So am I gonna say, "American ship"?Copy !req
631. - No, you're gonna say, "Who's ship—?"
- Right. "Where you from?"Copy !req
632. When he says "American,"
you tell them this is an American ship.Copy !req
633. - Okay.
- See what I mean? So they know.Copy !req
634. Then they react.
Then you have a conversation about it.Copy !req
635. Okay.Copy !req
636. Besides fantastic, we can feel what you
think about it being an American ship.Copy !req
637. Yes! Yes!Copy !req
638. It wasn't till I really started the story
that I understood...Copy !req
639. that so much of global trade
actually goes down the shipping lanes.Copy !req
640. You know, they're like
the sort of freeways of the world...Copy !req
641. down which, ceaselessly,
365 days a year, these ships...Copy !req
642. these huge container ships go
one after the other, sort of herds of them.Copy !req
643. And they're basically carrying
the goods of the world.Copy !req
644. And that's what makes it interesting
from my point of view...Copy !req
645. because, of course, they go also past,
you know, the badlands of the world...Copy !req
646. the forgotten places,
the places that are excluded from...Copy !req
647. you know,
from the global trading order.Copy !req
648. How are the boxes?Copy !req
649. Yeah, good.Copy !req
650. A hundred and sixty-six tons
of freshwater...Copy !req
651. 250 measured tons
of heavy fuel bunkered.Copy !req
652. So here we are in Salalah.Copy !req
653. Travel down the coalition corridor
to Djibouti.Copy !req
654. Then we exit the shipping lane
south of Socotra.Copy !req
655. Then we're on our own along the coast
through the Somali Basin...Copy !req
656. all the way down to Mombasa.Copy !req
657. In those area you get endemic piracy.Copy !req
658. You know, young men coming out
in these tiny skiffs to attack these ships...Copy !req
659. because they represent
easy pickings.Copy !req
660. Every year, $1 trillion worth of goods
is shipped through these waters...Copy !req
661. off the coast of Somalia.Copy !req
662. That's a massive part
of the global economy.Copy !req
663. And as long as Somalia is
a failed state...Copy !req
664. that those $1 trillion worth of goods
are gonna be in some form of jeopardy.Copy !req
665. We deal with piracy in the Philippines,
Sulu Sea, Vietnam...Copy !req
666. Malacca Strait historically
is a piracy area.Copy !req
667. Sri Lanka, east-west coast of Africa...Copy !req
668. east-west coast of South America,
it's there.Copy !req
669. There's different modus operandi
the pirates use.Copy !req
670. Sometimes they're after the ship,
sometimes the crew.Copy !req
671. Indeed, today, Nigeria is worse
than Somalia ever was...Copy !req
672. and people don't realize that.
It's just something we deal with.Copy !req
673. It's organized crime. It's international
organized crime, is what it is.Copy !req
674. You know, and the people who are
really benefitting from it...Copy !req
675. are, you know, Sing and Mogadishu
or Kenya or Nigeria or wherever...Copy !req
676. you know, the organizers of it,
as a business.Copy !req
677. There are four main pirate bosses
in Somalia...Copy !req
678. and they have their crews
and operations going at all times.Copy !req
679. But these things cost money.Copy !req
680. It costs money for them to get weapons,
it costs to train these guys...Copy !req
681. how to use the equipment,
even though it's rudimentary equipment.Copy !req
682. And these operations are all financed
by mostly people of Somali descent...Copy !req
683. but they're all over the world.
They're in London, they're in Canada.Copy !req
684. The FBI's followed this
all over the planet.Copy !req
685. The screenplay felt, to me,
like it illuminated...Copy !req
686. you know, the giant wheels
that are driving our world.Copy !req
687. You know, here are these sort of cargo
ships taking trade round the world...Copy !req
688. you know,
and here are these young kids...Copy !req
689. who take their skiffs out to rob it,
so it's a crime story...Copy !req
690. but from the sort of far-flung frontiers
of the globalizing world, if you like.Copy !req
691. I went round to Tom's place...Copy !req
692. and we sat down and I gave him
a bit of a speech around that...Copy !req
693. and he looked at me a bit quizzically
and he said:Copy !req
694. "Yeah, I suppose so," he said.Copy !req
695. "But kind of feels like it's the story
about a guy who's in peril on the sea."Copy !req
696. And I thought,
"Yeah, no, that is absolutely right."Copy !req
697. Why did I get in a lifeboat?
Well, actually, I started in the—Copy !req
698. I started in the rescue boat,
which wasn't covered in the movie...Copy !req
699. because of the sequence of it.Copy !req
700. Basically, it was really a time
of success, I felt...Copy !req
701. because we were actually getting
the pirates off the ship.Copy !req
702. The deal was I would get the pirates off
the ship.Copy !req
703. They had no idea
how to run the equipment.Copy !req
704. How to put the boat in the water.
How to run the davit, how to lower it.Copy !req
705. I did. And I just said,
"I'll help you get off the ship."Copy !req
706. Once we're off,
they could no longer get back on...Copy !req
707. because they had lost their boat and
their ladder when they boarded our ship.Copy !req
708. My crew, my ship and my cargo
are all free, I just had to that point—Copy !req
709. I just had to worry about me.Copy !req
710. When we were shooting stuff
in the lifeboat...Copy !req
711. you know, that's a small little space
to be in.Copy !req
712. It was very evocative.Copy !req
713. Tom, when he jumps out of the ship
and tries to get away...Copy !req
714. we shot that in the tank in Malta.Copy !req
715. So we shot one day on land.Copy !req
716. You're talking about multiple lives.
You gotta worry about stunts.Copy !req
717. You gotta worry about the actors, you
gotta worry about underwater cameras.Copy !req
718. You gotta worry about the fact...Copy !req
719. that the sun is gonna come up in about
45 minutes and you haven't finished.Copy !req
720. And you have to look calm and go,
"Oh, it'll be fine"...Copy !req
721. even though you can see on a tank
when dawn comes up.Copy !req
722. You can just see the little horizon line
started creeping in.Copy !req
723. "Hold that back."Copy !req
724. You know, it's a boot shape
so they're in the high space.Copy !req
725. Well, that meant all the camera positions
were in the very confined spaces.Copy !req
726. You know, high seat backs.Copy !req
727. You know, where Tom is kept
more towards the back of the lifeboat.Copy !req
728. So we're behind him.Copy !req
729. Between seats.Copy !req
730. You know, trying to hold things
off bungees, off little handrails...Copy !req
731. we were just trying to wedge ourselves
in there.Copy !req
732. You know, push the camera and
struggle— Every part of it was a struggle.Copy !req
733. Action.Copy !req
734. Tom did his own stunts.Copy !req
735. Seeing him
doing it and then firing gun shots at him.Copy !req
736. It was really amazing experience.Copy !req
737. I had told Shane over the radio,
you know:Copy !req
738. "if you see a splash that's me coming out
the back door. Come get me."Copy !req
739. But they pretty much watched me.Copy !req
740. The normal routine
was two guys on the aft door. Aft hatch.Copy !req
741. One guy up forward, by the forward
hatch and one up on the coxswain area...Copy !req
742. which was above everybody.
The leader was usually there.Copy !req
743. And all of a sudden during the night...Copy !req
744. one guy got up from the stern,
the pirate went up and he lied down.Copy !req
745. I was pretending I was asleep
and just watching him.Copy !req
746. And he lied down and pretty soon
I could hear what was two guys snoring.Copy !req
747. The forward end of the boat, I'm watching
the leader and he's sort of nodding...Copy !req
748. and dozing his head as if he's at a bad
movie. And I'm thinking I can get by him...Copy !req
749. so I just concentrate
on this one guy who still had an AK-47.Copy !req
750. And all of a sudden he got up and went
out on the aft end of the lifeboat.Copy !req
751. And he actually put his gun down.Copy !req
752. I don't know any real refined way
to say it...Copy !req
753. he's one of these guys uses two hands
when he goes.Copy !req
754. So he's peeing and I'm never
gonna get a better chance than this.Copy !req
755. So I sort of move my feet to make sure I
wouldn't fall down, my legs weren't asleep.Copy !req
756. And I just got up, took two strides out,
got out the hatch, pushed him...Copy !req
757. had to push him twice
and he went into the water screaming.Copy !req
758. There was a second
where I could've grabbed the gun.Copy !req
759. And maybe the story
would've been different.Copy !req
760. But at that time
I didn't know how to use an AK-47.Copy !req
761. The first sensation I had once I dove in
was, "This is so cool."Copy !req
762. The pirates were jumping in
to go to the bathroom...Copy !req
763. and to jump in the water and get cool
it was so hot, they wouldn't allow me to.Copy !req
764. Then, "I gotta get out of here,"
the third was I lost my glasses.Copy !req
765. And then I just swam underwater
as far as I could go in one breath.Copy !req
766. Came up, took another breath, swam
underwater as far as I could go.Copy !req
767. Turned around, look at the boat.Copy !req
768. Unfortunately, during that time
it was a full moon...Copy !req
769. and the clouds just parted
and it was almost as bright as day.Copy !req
770. I mean, when I was underwater
it was almost like a swimming pool.Copy !req
771. with a green tint to it. And you could
see three or four feet down.Copy !req
772. They were able to see me by the light
and they started coming after me.Copy !req
773. There were reprisals, yes.Copy !req
774. They were very upset that I didn't follow
proper etiquette for a hostage, I guess.Copy !req
775. They beat me, they hit me with
the butts of their rifles and their AK-47s...Copy !req
776. slapped, punched me in the head.Copy !req
777. They're yelling and cursing and scream—
The leader was very upset.Copy !req
778. He was screaming at them,
they were screaming at me.Copy !req
779. They tied me up so tight even today I
have some scars and numbness today.Copy !req
780. And that started a different atmosphere
in the boat.Copy !req
781. The massive amount of resources that
the U.S put towards rescuing one man.Copy !req
782. It's really astounding.Copy !req
783. There were between 60 and 80 SEALs...Copy !req
784. who jumped out of the that plane
into the Indian Ocean.Copy !req
785. And they deployed on all the three ships
that were there.Copy !req
786. Who is this?Copy !req
787. The negotiator. I'm the one
that's authorized to negotiate with you.Copy !req
788. There was a whole operation
behind the scenes at Somalia...Copy !req
789. using some covert sources to find out
the names of the individual pirates.Copy !req
790. Now, you are Abduwali Muse, right?
From Jariban, Puntland?Copy !req
791. From the clans of the Hawiye
and the Daarood?Copy !req
792. Your friends are Adan Bilala...Copy !req
793. Walid Elmi and Nour Najee.Copy !req
794. But you are Muse. You're in command.
Is that correct?Copy !req
795. That was an absolutely critical moment
because they suddenly were made.Copy !req
796. These were guys
who were giving bullshit names.Copy !req
797. They were, you know, didn't make it clear
who they were, they were just in charge.Copy !req
798. And all of a sudden their names
are broadcast over the water.Copy !req
799. And that was a huge "oh, shit" moment
for them.Copy !req
800. And I think it was critical in getting Muse,
the lead pirate, to get off the lifeboat.Copy !req
801. Which was the beginning of the end
for their whole operation.Copy !req
802. The interesting thing
of understanding that side of the story...Copy !req
803. was the pressure that the Navy captain,
Commander Castellano, was under.Copy !req
804. He had to keep the situation cool...Copy !req
805. and keep the pirates
from shooting Captain Phillips.Copy !req
806. At the same time he had to
prevent them from getting to Somalia.Copy !req
807. And the only thing he had to prevent
them was his massive warship.Copy !req
808. He could've blown it out of the water
any time.Copy !req
809. When you juxtapose that lifeboat
and that Burke-class destroyer...Copy !req
810. you're like, "This is just ridiculous."Copy !req
811. We wanna resolve this thing
peacefully.Copy !req
812. Let's find a way out of this together
before someone gets hurt.Copy !req
813. They made 30-foot waves
to push them back.Copy !req
814. They launched a helicopter to blow
the lifeboat back with the rotor wash.Copy !req
815. All of those things agitated the pirates.Copy !req
816. And then he had to send his people
with food and water...Copy !req
817. and talk and try to calm them down.Copy !req
818. So he was really given
an impossible task.Copy !req
819. And he managed it phenomenally.Copy !req
820. So ultimately,
it's gonna be out of his hands.Copy !req
821. Because if by X time it's not done,
the SEALs are coming in.Copy !req
822. These guys have been doing this
night after night...Copy !req
823. in Afghanistan and Iraq for years.Copy !req
824. So they really kind of had it down
and it's a very dramatic thing for us...Copy !req
825. and for SEAL Team 6,
it was a fairly easy operation, in a sense.Copy !req
826. Alpha team green. One green, two red.Copy !req
827. Give me a distance.Copy !req
828. Two twenty. Still 129 out.Copy !req
829. As some of them said to me, it was wasn't
what part of the body you want us to hit.Copy !req
830. It's where on the head
do you want us to hit?Copy !req
831. - Sir, the pirates have just issued a threat.
- What's the translation?Copy !req
832. "If he moves again, shoot him."Copy !req
833. Execute.Copy !req
834. Careful, sir.Copy !req
835. When we got on board the ship that
was the sister ship to the Bainbridge...Copy !req
836. we shot a scene that was sort of
reminiscent of the book...Copy !req
837. and it all made sense.Copy !req
838. But then we said, "Well, what did you do
with him when you first got him?"Copy !req
839. The captain said,
"He was such a mess...Copy !req
840. first thing we did
was took him to the infirmary."Copy !req
841. Captain Phillips, please come in.Copy !req
842. Have a seat.Copy !req
843. You know, and this is to Paul's credit.Copy !req
844. It wasn't on the schedule,
it wasn't in the script.Copy !req
845. They hadn't gone down to see
what their infirmary looked like...Copy !req
846. for lighting or camera positions
or whatnot.Copy !req
847. And we worked with the actual infirmary
crew, the people who would do that.Copy !req
848. And they just showed us
what they would do.Copy !req
849. And we said, "Well, let's shoot this
and see what happens."Copy !req
850. I'm Chief O'Brien.
I'll be your corpsman today.Copy !req
851. Can you please tell me
what's going on?Copy !req
852. Can you talk?Copy !req
853. She was a real Naval corpsman.Copy !req
854. And there's no way to explain
to somebody how to make a movie...Copy !req
855. if they've never made a movie before.Copy !req
856. And everybody in that room,
particularly her...Copy !req
857. they were flustered
the first time we did it.Copy !req
858. And it was— We— She—
They literally went, "Stop, stop, stop.Copy !req
859. I'm not sure what I'm saying."Copy !req
860. So we stopped.Copy !req
861. And we said, "Look, that's perfectly
all right, don't worry about anything.Copy !req
862. This happens all the time.
We're gonna do it again.Copy !req
863. And you can't do anything wrong."
That's really what we said.Copy !req
864. I need you to look at me.
I need you to calm down...Copy !req
865. and I need you to breath.
Deep breathsCopy !req
866. There you go. Very good.Copy !req
867. Awesome.
Now I want you to relax your arm.Copy !req
868. This is only a film.Copy !req
869. If you're in those real circumstances...Copy !req
870. you know,
the thing that she is trained for...Copy !req
871. is a lot more important than the film,
you know.Copy !req
872. It's saving lives and that's—
You know, we're just making a film.Copy !req
873. So she— When it came to it...Copy !req
874. she just put everything she knew
in front of the camera. It was incredible.Copy !req
875. —Make sure you're breathing.Copy !req
876. - Okay.
- What happened to your head?Copy !req
877. Captain, can you tell me what happened
to your head?Copy !req
878. They“.-Copy !req
879. It's okay. Take your time.Copy !req
880. There's a 2-centimeter laceration
on the left eyebrow.Copy !req
881. It's okay. It's all right.Copy !req
882. - Okay. Okay.
- I want you to look at me and breathe.Copy !req
883. - Understand?
- Yeah.Copy !req
884. Okay, all rightCopy !req
885. He's got a 4-centimeter gap.
Little laceration there on the left temple.Copy !req
886. - Got it.
- Okay. Very good.Copy !req
887. All right. You're doing great, okay?Copy !req
888. Did all this blood come
from your eyebrow and your head?Copy !req
889. What?Copy !req
890. Did the blood come
from your eyebrow and your head?Copy !req
891. - All of this.
- Well, no, not all of it.Copy !req
892. - Okay.
- That's not mine.Copy !req
893. Okay, all right, all right. Look at me.Copy !req
894. - Okay, we're gonna lay you down, okay?
- Okay.Copy !req
895. - All right.
- Yeah.Copy !req
896. You know, this movie begins
with a woman, Catherine Keener...Copy !req
897. who says, "Are we gonna be okay?"Copy !req
898. It's gonna be okay, right?Copy !req
899. Oh, yeah.Copy !req
900. And it ends with a woman,
that corpsman, saying, "it's all right.Copy !req
901. You're okay, you're going to be okay."Copy !req
902. Which is this accidental profound, you
know, journey from one thing to the other.Copy !req
903. Captain, you're safe now, okay?Copy !req
904. - Thank you.
- You're welcome.Copy !req
905. - You're okay.
- Thank you.Copy !req
906. You're welcome.Copy !req
907. So the emotion in the film, I think,
you know, again, you hope that it's there.Copy !req
908. But until you actually see it
put together...Copy !req
909. and its effect on an audience,
you don't know.Copy !req
910. So that was a, you know, surprise
in a good way.Copy !req
911. No matter who you talk to
about piracy...Copy !req
912. whether the Navy, the Navy SEALS,
the shipping people...Copy !req
913. they all know that the answer to this
is not on the water.Copy !req
914. It's not more patrols,
it's not more SEALs.Copy !req
915. It's the conditions on the ground
in Somalia have to change for this to end.Copy !req
916. Although this is a very exciting film
and it, you know...Copy !req
917. You've got to, if you make any film...Copy !req
918. make it worthwhile the audience
pay to come and see it.Copy !req
919. There's always a bit of you
that remembers that it's the real world...Copy !req
920. and, you know, other people
were not so lucky.Copy !req
921. And that was something
that Richard Phillips...Copy !req
922. I remember him saying to me
the first time I met him, you know?Copy !req
923. There are people out there
who didn't get back.Copy !req
924. And, you know, you always
have to bear that in mind.Copy !req