WEBVTT FILE
1
00:00:02.000 --> 00:00:07.000
Downloaded from
YTS.MX
2
00:00:08.000 --> 00:00:13.000
Official YIFY movies site:
YTS.MX
3
00:00:21.800 --> 00:00:24.040
It's almost ten in the morning.
4
00:00:24.120 --> 00:00:25.640
We're heading up the mountain.
5
00:00:25.720 --> 00:00:28.320
It's a beautiful day
here in the Sierra Nevada.
6
00:00:28.840 --> 00:00:31.720
We're here with Carlitos Páez Vilaró,
7
00:00:32.240 --> 00:00:33.800
Vasco Echavarren,
8
00:00:34.440 --> 00:00:36.120
Coco Nicolich,
9
00:00:36.640 --> 00:00:37.840
Enrique Platero,
10
00:00:38.360 --> 00:00:40.920
and the amazing Antonio Vizintín.
11
00:00:41.000 --> 00:00:44.120
- We're happy to be here.
- Day two in the mountains.
12
00:00:44.200 --> 00:00:45.480
Day two in the mountains.
13
00:00:45.560 --> 00:00:48.760
I guess it feels colder today.
14
00:00:48.840 --> 00:00:51.840
Windier. The mountain awaits.
It welcomes us.
15
00:00:51.920 --> 00:00:53.320
It embraces us.
16
00:00:53.400 --> 00:00:55.120
And we embrace it back.
17
00:00:57.320 --> 00:01:02.360 line:5%
SOCIETY OF THE SNOW:
WHO WERE WE ON THE MOUNTAIN?
18
00:01:07.120 --> 00:01:10.560
I came across the book Society of the Snow
while doing research for The Impossible.
19
00:01:10.640 --> 00:01:12.080
DIRECTOR, PRODUCER, SCREENWRITER
20
00:01:12.160 --> 00:01:14.520
The Impossible took a year to film.
21
00:01:14.600 --> 00:01:15.600
PRODUCER
22
00:01:15.680 --> 00:01:18.200
On the last day of shooting,
Belén was on the phone
23
00:01:18.280 --> 00:01:20.400
with the lawyer
representing the survivors,
24
00:01:20.480 --> 00:01:25.040
ironing out the steps to take
25
00:01:25.120 --> 00:01:28.440
to make this film a reality.
26
00:01:29.080 --> 00:01:30.600 line:5%
On Friday, October 13, 1972,
27
00:01:30.680 --> 00:01:33.040 line:5%
a charter flight
from the Uruguayan Air Force
28
00:01:33.120 --> 00:01:35.040 line:5%
crashed in the middle of the Andes.
29
00:01:35.680 --> 00:01:40.120 line:5%
Sixteen of the 40 passengers
survived 72 days in the wilderness.
30
00:01:40.840 --> 00:01:44.920 line:5%
The event became known
as the Miracle of the Andes.
31
00:01:45.440 --> 00:01:48.440
When we heard about Bayona's film,
we started to get an idea
32
00:01:48.520 --> 00:01:51.080
for how the script
and everything would take shape.
33
00:01:51.160 --> 00:01:52.360
SURVIVOR
34
00:01:52.440 --> 00:01:56.400
We began to feel hopeful
and had a sense of relief and joy
35
00:01:56.480 --> 00:01:59.280
because the story would be told
with everyone included.
36
00:01:59.360 --> 00:02:01.160
We gave J.A. complete freedom
37
00:02:01.240 --> 00:02:04.240
in terms of the script
and just about everything else.
38
00:02:04.320 --> 00:02:05.320
SURVIVOR
39
00:02:05.400 --> 00:02:06.440
I only said to him,
40
00:02:06.520 --> 00:02:10.360
"Feel free to do whatever you want,
but know my life's at the heart of this."
41
00:02:10.440 --> 00:02:13.480
This was such a terrible tragedy,
at least for me.
42
00:02:13.560 --> 00:02:14.520
SURVIVOR
43
00:02:14.600 --> 00:02:18.880
Imagine losing your mother,
sister, and best friend on the same day
44
00:02:18.960 --> 00:02:21.280
and having to bury them
with your own hands.
45
00:02:21.360 --> 00:02:24.680
Living for 72 days
in the worst conditions possible.
46
00:02:24.760 --> 00:02:28.320
Taking the most epic trek
in the history of mountaineering.
47
00:02:28.400 --> 00:02:30.840
The movie illustrates the majestic…
48
00:02:30.920 --> 00:02:33.080
SISTER OF FERNANDO VÁZQUEZ, DECEASED
49
00:02:33.160 --> 00:02:39.000
…and terrible spirit of that place,
where nature dominates in full force.
50
00:02:39.080 --> 00:02:40.080
SURVIVOR
51
00:02:40.160 --> 00:02:44.560
Unless you see it with your own eyes,
you have no idea what it's like
52
00:02:45.080 --> 00:02:47.240
to set foot
in that enormous mountain range.
53
00:02:47.320 --> 00:02:50.960
Imagine what this is like for us.
It's like being transported back there.
54
00:02:57.240 --> 00:03:00.800 line:5%
October 2021. The team's first trip
to the Valley of Tears (the Andes),
55
00:03:00.880 --> 00:03:03.760 line:5%
the site of the crash.
56
00:03:06.360 --> 00:03:09.360 line:5%
The expedition is led by Benegas Brothers.
57
00:03:09.440 --> 00:03:13.360 line:5%
One of the most striking things
about the Valley of Tears,
58
00:03:13.440 --> 00:03:16.160
where the plane crashed,
is the sound of the place.
59
00:03:16.240 --> 00:03:17.640
Nothing lives there.
60
00:03:17.720 --> 00:03:19.360
There's complete silence.
61
00:03:19.440 --> 00:03:22.280
And then there are these gusts of wind,
62
00:03:22.360 --> 00:03:26.000
which, at a height of 13,000 feet,
are incredibly strong.
63
00:03:26.080 --> 00:03:28.440
The first time we went
to shoot in the Andes,
64
00:03:28.520 --> 00:03:31.280
there had hardly been
any snowfall that year.
65
00:03:31.360 --> 00:03:35.520
We filmed a lot and spent
some time exploring the surroundings,
66
00:03:35.600 --> 00:03:38.960
but we had to return
a year later to get footage.
67
00:03:39.040 --> 00:03:42.240
When shooting was wrapping up,
J.A., the cinematographer,
68
00:03:42.320 --> 00:03:46.040
the special effects supervisor,
and Enzo, our lead,
69
00:03:46.120 --> 00:03:49.600
went to get some footage
in the Valley of Tears.
70
00:03:49.680 --> 00:03:54.560
It turned out to be like something
out of a nature documentary.
71
00:03:54.640 --> 00:03:59.640
It was like the mountain
gave us its blessing.
72
00:04:00.480 --> 00:04:05.440
It snowed a lot, almost
as much as it had the year of the crash,
73
00:04:05.520 --> 00:04:08.440
which was one of the snowiest years
on record for the area.
74
00:04:21.400 --> 00:04:24.480
- What do I do?
- J.A. will tell you.
75
00:04:24.560 --> 00:04:27.560 line:5%
They asked us to get some information.
76
00:04:27.640 --> 00:04:29.440 line:5%
- And to talk to you.
- Okay.
77
00:04:29.520 --> 00:04:31.000 line:5%
SEPTEMBER 2021: ZOOM CALLS.
78
00:04:31.080 --> 00:04:33.280
So, you prefer the window over aisle seat.
79
00:04:33.360 --> 00:04:35.360
Do you prefer the window or the aisle?
80
00:04:37.360 --> 00:04:39.360
Window or aisle?
81
00:04:40.640 --> 00:04:42.560
Uh, wait a second.
82
00:04:43.160 --> 00:04:46.200 line:5%
THEY'RE ABOUT TO RECEIVE NEWS
THAT WILL CHANGE THEIR LIVES…
83
00:04:47.440 --> 00:04:49.400
- What?
- Window or aisle?
84
00:04:49.480 --> 00:04:50.760
I'm gonna be in the movie?
85
00:04:50.840 --> 00:04:52.160
Just tell me. Come on.
86
00:04:52.240 --> 00:04:55.280
Don't play around.
Come on. That's enough already.
87
00:04:55.360 --> 00:04:58.200
María Laura Berch
did a spectacular job with casting.
88
00:04:58.280 --> 00:04:59.280
PRODUCER
89
00:04:59.360 --> 00:05:03.920
She later coached the actors
over six or seven long months.
90
00:05:04.000 --> 00:05:07.800
It really was the right decision
to not go with well-known actors.
91
00:05:07.880 --> 00:05:11.160
The goal was,
like with everything else in the film,
92
00:05:11.240 --> 00:05:13.600
to keep things organic
and close to real life.
93
00:05:13.680 --> 00:05:15.440
Are you on board?
94
00:05:20.120 --> 00:05:21.480
You're the worst.
95
00:05:28.120 --> 00:05:29.920
Why are you doing this?
96
00:05:31.560 --> 00:05:32.560
Wow.
97
00:05:32.640 --> 00:05:35.200
Wait, are you being serious?
98
00:05:39.200 --> 00:05:43.240
We certainly were looking for
people who looked the part,
99
00:05:43.320 --> 00:05:48.320
but mostly, we wanted actors who already
had the personalities of their characters.
100
00:05:48.400 --> 00:05:53.640
These similarities, along with the fact
that we spent 140 days filming,
101
00:05:53.720 --> 00:05:56.960
meant that we formed
102
00:05:57.040 --> 00:06:00.360
our own Society of the Snow on set,
a lot like the one in the film.
103
00:06:05.400 --> 00:06:08.960
- You earned it.
- Wow. I can't believe it.
104
00:06:09.040 --> 00:06:12.520
I need to play Roberto Canessa.
I mean, I want it.
105
00:06:12.600 --> 00:06:17.640
I wanted it so bad. I'm obsessed.
106
00:06:19.240 --> 00:06:20.360
No way.
107
00:06:22.720 --> 00:06:24.840
Holy shit.
108
00:06:30.960 --> 00:06:32.080
Are you ready?
109
00:06:32.160 --> 00:06:33.720
Yeah. Let's do this.
110
00:06:45.920 --> 00:06:50.120
Led by Bayona
111
00:06:50.200 --> 00:06:53.200
We're all gonna take a victory lap!
112
00:06:53.280 --> 00:06:57.440
Come on, sing with me…
113
00:06:58.480 --> 00:07:01.520 line:5%
DECEMBER 2021: REHEARSALS
AND TRAINING IN BARCELONA
114
00:07:02.040 --> 00:07:07.160
Today's workout focuses
on the lower body, and it's a tough one.
115
00:07:07.240 --> 00:07:11.160
We have to complete four sets today,
working the entire leg.
116
00:07:11.240 --> 00:07:15.080
You're going to do ten reps,
holding each one for three seconds.
117
00:07:15.160 --> 00:07:16.760
Three, four.
118
00:07:17.280 --> 00:07:19.480
One, two, three.
119
00:07:26.640 --> 00:07:29.320
Nice job. Ease down. Squeeze. Lift.
120
00:07:29.800 --> 00:07:30.720
That's it!
121
00:07:30.800 --> 00:07:33.400
- Come on.
- Push. Keep it up.
122
00:07:33.480 --> 00:07:35.560
- Come on, champ.
- Up. Six. Knees apart.
123
00:07:36.720 --> 00:07:37.720
Four.
124
00:07:39.280 --> 00:07:40.200
Ten.
125
00:07:40.280 --> 00:07:42.960
Great session today, guys.
126
00:07:43.040 --> 00:07:44.480
A tough one but a good one.
127
00:07:45.520 --> 00:07:47.400
Time to head home, rest up, and eat.
128
00:07:52.280 --> 00:07:56.240
I died on December 11, 1972,
at ten in the morning.
129
00:07:56.320 --> 00:08:00.360
I was the 29th person to depart
from the journey we began 58 days ago,
130
00:08:00.440 --> 00:08:02.440
leaving 16 friends to carry on.
131
00:08:02.520 --> 00:08:06.040
J.A. did an amazing job directing.
132
00:08:06.120 --> 00:08:11.080
I think it's one of the aspects
of the project that he enjoyed the most.
133
00:08:11.160 --> 00:08:15.920
Many of our actors were inexperienced
or had only done theater.
134
00:08:16.000 --> 00:08:20.360
They weren't used to being on camera,
but with J.A. as director,
135
00:08:20.440 --> 00:08:23.120
and under his careful supervision,
they really shined.
136
00:08:23.200 --> 00:08:25.960
Nando wants to venture out now,
but he's scared.
137
00:08:26.040 --> 00:08:28.600
When Roberto says, "Let's fix the radio,"
138
00:08:28.680 --> 00:08:31.240
Nando says,
"That won't work. Let's just go."
139
00:08:31.320 --> 00:08:33.840
So Roberto says,
"Let's try to get it to work."
140
00:08:33.920 --> 00:08:37.160
"If it doesn't,
then we can head up into the mountains."
141
00:08:37.240 --> 00:08:39.560
That works for Nando
because he's scared too.
142
00:08:39.640 --> 00:08:42.240
He thinks, "Fine. At least Roberto's in."
143
00:08:42.320 --> 00:08:43.760
Go. That's it!
144
00:08:43.840 --> 00:08:45.720
- Up!
- Here!
145
00:08:45.800 --> 00:08:46.920
Get down!
146
00:08:47.000 --> 00:08:48.080
Get up!
147
00:08:49.000 --> 00:08:50.280
You're up there!
148
00:08:50.360 --> 00:08:52.200
Get up in four.
149
00:08:52.280 --> 00:08:54.320
You're totally exhausted.
150
00:08:55.800 --> 00:08:59.280
You have to give your actors
what they need.
151
00:08:59.360 --> 00:09:05.280
All the information and help you can.
152
00:09:05.360 --> 00:09:11.480
My approach to working with actors
is to basically give them space.
153
00:09:11.560 --> 00:09:17.720
That means giving them room to experiment,
to make mistakes if they need to.
154
00:09:17.800 --> 00:09:21.240
I tell them, "Make mistakes.
It's fine. We can just do another take."
155
00:09:21.320 --> 00:09:22.720
So they can try things out.
156
00:09:22.800 --> 00:09:26.280
But to do that,
they need to have all the information.
157
00:09:26.360 --> 00:09:30.080
We're leaving for Granada
in four days, and I can't believe it.
158
00:09:30.160 --> 00:09:33.320
It's going to be really intense but great.
159
00:09:33.400 --> 00:09:36.280
We can't wait to get out there
and get started.
160
00:09:46.280 --> 00:09:48.080
Are we gonna say cheese?
161
00:09:48.160 --> 00:09:49.440
Cheese!
162
00:10:01.800 --> 00:10:04.440
We built five fuselages.
163
00:10:04.520 --> 00:10:07.880
The small ones, the one on the gimbal,
and the two here.
164
00:10:07.960 --> 00:10:08.960
PRODUCTION DESIGNER
165
00:10:09.040 --> 00:10:11.160
Each has a specific purpose.
166
00:10:11.240 --> 00:10:14.160
It might seem crazy
to have five, but it isn't really.
167
00:10:14.240 --> 00:10:20.760
They all have different functions,
so they work together as one.
168
00:10:23.440 --> 00:10:27.000
The challenge with the fuselage
on the mountain was getting it there.
169
00:10:27.080 --> 00:10:31.800
We built it here in Madrid
and transported it in one piece
170
00:10:31.880 --> 00:10:35.240
to the Sierra Nevada,
where we dismantled it into three parts
171
00:10:35.320 --> 00:10:40.960
and brought it up the slopes
to the location, which was very high up.
172
00:10:41.040 --> 00:10:42.880
Not as high as Veleta peak,
173
00:10:42.960 --> 00:10:46.600
but it was in the most elevated part
of the Sierra Nevada.
174
00:10:47.560 --> 00:10:50.280 line:5%
DECEMBER 13, 2021:
TRANSPORTING THE FUSELAGE TO GRANADA
175
00:11:13.600 --> 00:11:18.960
While we had that plane there,
we also had one at ground level,
176
00:11:19.040 --> 00:11:21.600
in the middle
of an olive grove in Granada.
177
00:11:23.840 --> 00:11:26.520
That particular one
was able to be lifted up and down.
178
00:11:26.600 --> 00:11:30.240
We built a platform that allowed us
to raise and lower the entire plane.
179
00:11:30.320 --> 00:11:34.440
So, we spread
artificial snow around the plane.
180
00:11:34.520 --> 00:11:35.920
SPECIAL EFFECTS SUPERVISOR
181
00:11:36.000 --> 00:11:40.240
And then you could lower it and raise it
to change the level of snow coverage.
182
00:11:43.640 --> 00:11:49.960
SPECIAL EFFECTS SNOW SUPERVISOR
183
00:12:08.720 --> 00:12:12.920
And then we had a third plane,
which was on a set
184
00:12:13.000 --> 00:12:14.400
up in the mountains.
185
00:12:14.480 --> 00:12:16.080
At an altitude of 6,500 feet.
186
00:12:16.160 --> 00:12:19.280
We built a warehouse with LED screens
187
00:12:19.360 --> 00:12:22.480
to recreate the mountains
because we avoid using green screens.
188
00:12:22.560 --> 00:12:25.760
And then, for the crash scene,
we made replicas of the plane.
189
00:12:25.840 --> 00:12:32.840
One of these
was like a fourth plane on a gimbal.
190
00:12:32.920 --> 00:12:39.440
It allowed us to change the angle
191
00:12:39.520 --> 00:12:43.440
and create turbulence similar
to the kind you'd have on a real flight.
192
00:12:43.520 --> 00:12:46.400
And then we used
smaller pieces of the plane
193
00:12:46.480 --> 00:12:51.920
to produce more intense turbulence
for the crash, for specific shots.
194
00:13:10.840 --> 00:13:13.840
Delta, plate one alpha, second.
195
00:13:16.440 --> 00:13:22.320
The day we began filming,
the director and all the actors had COVID.
196
00:13:22.400 --> 00:13:24.200 line:5%
- Where does Pancho Abal go?
- First.
197
00:13:24.280 --> 00:13:25.520 line:5%
He goes first. Let's go.
198
00:13:25.600 --> 00:13:26.920 line:5%
WEEK 1: FILMING BEGINS
199
00:13:30.720 --> 00:13:34.160
So we started the first day
with the director stuck in a booth,
200
00:13:34.240 --> 00:13:36.520
wearing his face mask, alone,
201
00:13:36.600 --> 00:13:38.920
with a microphone,
far away from everyone else,
202
00:13:39.000 --> 00:13:43.080
sending instructions
to the set and directing body doubles.
203
00:13:43.160 --> 00:13:46.240
We could only film from behind.
The real actors were out sick.
204
00:13:46.320 --> 00:13:48.840
Heads up, folks. We're starting.
205
00:13:54.320 --> 00:13:57.400
The first few days,
J.A. wasn't with us since he had COVID.
206
00:13:57.480 --> 00:13:58.840
WRITER, ASSOCIATE PRODUCER
207
00:13:58.920 --> 00:14:03.200
But we heard his voice, and it was
like it came from beyond the grave.
208
00:14:03.280 --> 00:14:04.280
Action!
209
00:14:04.360 --> 00:14:07.680
You're freezing. Vacant stares.
You're going to die tonight.
210
00:14:07.760 --> 00:14:11.400
I want to see that you're going to die,
that you think you're dying.
211
00:14:11.480 --> 00:14:14.480
- Platero.
- I'm not convinced you're going to die!
212
00:14:14.560 --> 00:14:15.880
It was all very strange.
213
00:14:15.960 --> 00:14:18.680
I couldn't think of a more perfect way
214
00:14:18.760 --> 00:14:22.760
to mirror the '72 incident, which sat
somewhere between reality and surreality,
215
00:14:22.840 --> 00:14:25.760
life and death,
than how we kicked off the shoot.
216
00:14:25.840 --> 00:14:30.160
We've been waiting for this moment
for over a year, since the casting call.
217
00:14:30.240 --> 00:14:33.120
And to be here now, it's like, "Finally."
218
00:14:33.200 --> 00:14:38.720
The first scenes were close-ups of Numa.
219
00:14:38.800 --> 00:14:42.280
It felt like we were starting strong.
It was awesome.
220
00:14:42.360 --> 00:14:44.040
A lot of this is in here.
221
00:14:45.160 --> 00:14:47.880
But yeah, it's really intense.
Really powerful.
222
00:14:47.960 --> 00:14:53.360
Every scene takes a lot out of you.
223
00:14:53.440 --> 00:14:56.600
There are times when we're waiting
for the cameras to roll,
224
00:14:56.680 --> 00:15:01.600
and you can't help but think,
"Wow. This is a true story."
225
00:15:01.680 --> 00:15:05.120
The first few days,
as the actors began to recover,
226
00:15:05.200 --> 00:15:07.000
they started coming in one by one.
227
00:15:07.080 --> 00:15:10.800
We kept trying to figure out
which shots we could film each day.
228
00:15:10.880 --> 00:15:13.840
Let's keep the frame.
Set up the lighting, please.
229
00:15:13.920 --> 00:15:15.400
A little more snow.
230
00:15:15.480 --> 00:15:17.840
More snow on Marcelo.
231
00:15:17.920 --> 00:15:21.400
I'm starting to feel
like I'm getting the hang of it.
232
00:15:21.480 --> 00:15:24.840
J.A. was outside the booth today,
so that made a big difference.
233
00:15:24.920 --> 00:15:28.040
He was there with us.
We tried different things. It was great.
234
00:15:34.040 --> 00:15:37.280
On set, there's a mountain
to climb every single day.
235
00:15:38.120 --> 00:15:40.560
A metaphorical mountain.
236
00:15:40.640 --> 00:15:45.240
Every time we got to a new scene, we'd go,
"Now we have to film the avalanche."
237
00:15:45.320 --> 00:15:48.720
"Now we have to scale
the mountain in the west…"
238
00:15:48.800 --> 00:15:55.680
All the scenes were physically
and technically demanding.
239
00:16:00.200 --> 00:16:01.200
Help!
240
00:16:06.840 --> 00:16:09.920
Numa, are you okay? Numa!
241
00:16:10.000 --> 00:16:12.040
- Help!
- Numa!
242
00:16:12.120 --> 00:16:15.040
- Please!
- Vasco, where are you? Vasco!
243
00:16:21.080 --> 00:16:22.520
Numa, where are you?
244
00:16:25.320 --> 00:16:29.160
- Cut.
- Great job, Juan Diego. Excellent.
245
00:16:29.240 --> 00:16:31.000
- Nicely done, brother.
- We made it.
246
00:16:31.080 --> 00:16:33.800
We survived, man.
We almost got our heads chopped off.
247
00:16:33.880 --> 00:16:35.000
Very intense.
248
00:16:37.040 --> 00:16:38.000
Really cold.
249
00:16:39.080 --> 00:16:40.120
Roberto.
250
00:16:40.760 --> 00:16:41.800
Nando.
251
00:16:43.000 --> 00:16:46.800 line:5%
WEEK 2: THE TEAM GOES UP
TO THE MOUNTAIN SET FOR THE FIRST TIME…
252
00:16:49.240 --> 00:16:51.240 line:5%
AT AN ELEVATION OF ALMOST 9,850 FEET
253
00:16:52.000 --> 00:16:55.480 line:5%
SOME OF THE ACTORS
HAD NEVER SEEN SNOW BEFORE.
254
00:17:07.560 --> 00:17:10.880
Working around the conditions
on the mountain was the hardest part.
255
00:17:10.960 --> 00:17:15.000
You can't control the mountain,
so you have to adapt to it.
256
00:17:15.080 --> 00:17:18.560
And adapting within the time constraints
was the biggest challenge.
257
00:17:18.640 --> 00:17:22.680
Especially with so much of the crew
being away from home,
258
00:17:22.760 --> 00:17:28.680
posted up in a ski resort
right in the middle of peak season.
259
00:17:28.760 --> 00:17:32.520
It was all really complicated.
260
00:17:32.600 --> 00:17:35.840
We set out to do something
that was truly challenging.
261
00:17:35.920 --> 00:17:37.200
CINEMATOGRAPHER
262
00:17:37.280 --> 00:17:41.840
We wanted to reach places
that are really difficult to access
263
00:17:41.920 --> 00:17:44.560
with proper equipment, with good cameras,
264
00:17:44.640 --> 00:17:50.960
with something that would let us capture
the majesty of those places
265
00:17:51.040 --> 00:17:54.200
in the best way possible.
266
00:17:56.600 --> 00:18:00.560
We were filming at an elevation
of 9,842 feet in a snowy location
267
00:18:00.640 --> 00:18:02.320
with safety measures in place.
268
00:18:02.400 --> 00:18:05.680
It was difficult to get around.
We had to do things slowly.
269
00:18:05.760 --> 00:18:09.160
We were trying to get into the rhythm
of the film right away.
270
00:18:09.240 --> 00:18:16.240
So it took us a while
to get into our stride and make progress.
271
00:18:16.320 --> 00:18:19.440
Come on. That's great.
Pull it for another ten feet.
272
00:18:19.520 --> 00:18:22.280
Carlitos, face the camera.
Let us see what you're doing.
273
00:18:22.360 --> 00:18:25.080
Wipe off any blood that's on you.
Stay with Carlitos.
274
00:18:25.160 --> 00:18:26.880
What happened to your nose today?
275
00:18:26.960 --> 00:18:28.960
- I had a nosebleed.
- Why?
276
00:18:29.480 --> 00:18:30.680
It just happens.
277
00:18:30.760 --> 00:18:33.280
- The altitude, physical exertion…
- What did you do?
278
00:18:33.360 --> 00:18:35.840
- Did you clean yourself up?
- They used it.
279
00:18:35.920 --> 00:18:38.120 line:5%
We're almost done for the day.
280
00:18:38.200 --> 00:18:43.080 line:5%
Time for a nice sunset,
a final scene, and one last shot.
281
00:18:43.760 --> 00:18:47.200
We have to take advantage
of this beautiful light.
282
00:18:47.280 --> 00:18:50.080
- Let's move on to scene 41.
- Action.
283
00:18:58.720 --> 00:19:00.360
- All right.
- Final slate.
284
00:19:06.200 --> 00:19:08.200
Taking it easy.
285
00:19:17.200 --> 00:19:19.320
Great. Beautiful.
286
00:19:24.800 --> 00:19:27.280
I'll just say this now.
Today we're having paella.
287
00:19:27.800 --> 00:19:31.520
What a strange coincidence it would be
if the nutritionist were to show up.
288
00:19:37.440 --> 00:19:41.040
All the characters, from the day
of the accident until they're rescued,
289
00:19:41.120 --> 00:19:42.840
progressively lose weight.
290
00:19:42.920 --> 00:19:45.840
It's gonna be tough, but we need to do it
291
00:19:45.920 --> 00:19:48.440
to play our characters
and do justice to the story.
292
00:19:48.520 --> 00:19:51.480
It adds to the performance,
and we're all on board.
293
00:19:51.560 --> 00:19:54.960
They have dulce de leche mousse,
and I can't even eat it.
294
00:19:55.040 --> 00:19:58.320
- Where's the dulce de leche?
- Here. It's a mousse.
295
00:19:58.400 --> 00:20:00.800
- This?
- The one without a label.
296
00:20:00.880 --> 00:20:04.400
- Don't worry. I'll eat it for you.
- Wow, thanks.
297
00:20:04.480 --> 00:20:07.320
- It is what it is.
- Check it out. It smells awful.
298
00:20:07.800 --> 00:20:10.080
Son of a… I can't believe this.
299
00:20:10.160 --> 00:20:11.520
SPECIAL EFFECTS AND MAKEUP
300
00:20:11.600 --> 00:20:15.760
As the days go by, makeup is being used
to accentuate their transformations,
301
00:20:15.840 --> 00:20:19.080
and that definitely adds to the film.
302
00:20:19.160 --> 00:20:22.640
The actors were brave enough
to take the plunge
303
00:20:22.720 --> 00:20:26.280
and shoot the film chronologically,
losing weight as time went on.
304
00:20:26.360 --> 00:20:28.480 line:5%
I got a cold sore from not eating enough.
305
00:20:29.000 --> 00:20:32.120 line:5%
- You're not eating, right?
- A cold sore from all the hard work.
306
00:20:32.200 --> 00:20:33.560 line:5%
I'm down 44 pounds.
307
00:20:33.640 --> 00:20:36.000
- Quit bragging about that.
- All right.
308
00:20:36.560 --> 00:20:38.480
When was the last time you ate?
309
00:20:38.560 --> 00:20:41.480
Back in December of last year.
310
00:20:42.400 --> 00:20:43.440
Hang in there!
311
00:20:47.160 --> 00:20:49.440 line:5%
We're filming the avalanche.
March 2, 2022.
312
00:20:49.520 --> 00:20:50.920 line:5%
WEEK 8: THE AVALANCHE SCENE
313
00:20:51.000 --> 00:20:54.520 line:5%
- Silence now, please.
- I'm going to squeeze in here.
314
00:20:54.600 --> 00:20:56.000
They want silence.
315
00:20:56.880 --> 00:20:58.840
Heads up. We're about to roll.
316
00:20:59.600 --> 00:21:01.400
In this film, silence is everything.
317
00:21:05.600 --> 00:21:09.920
The actors had
a rough time filming the avalanche.
318
00:21:10.000 --> 00:21:15.120
You can see it
on their faces throughout the scene.
319
00:21:20.680 --> 00:21:25.360
For the avalanche, we set up
some snow cannons… air cannons.
320
00:21:25.440 --> 00:21:27.680
We filled them and shot them off
321
00:21:27.760 --> 00:21:31.120
into the plane, causing the suitcases
and everything else to fall.
322
00:21:31.200 --> 00:21:32.320
Rolling.
323
00:21:47.000 --> 00:21:52.480 line:5%
FOR THE ACTORS' SAFETY,
RUBBER SUITCASES WERE USED
324
00:22:04.720 --> 00:22:07.760
The actors had to emerge from the ground.
325
00:22:09.080 --> 00:22:13.600
We had several hollow platforms.
326
00:22:13.680 --> 00:22:17.240
They had to wait for their turn
to come out through a hole,
327
00:22:17.320 --> 00:22:21.960
and they had to break through
a thick layer of real snow.
328
00:22:22.040 --> 00:22:25.120
It was extremely cold and freezing.
329
00:22:35.840 --> 00:22:37.640
It's really distressing.
330
00:22:37.720 --> 00:22:41.160
I don't know how they survived.
It blows my mind.
331
00:22:41.240 --> 00:22:44.560
Even the tiniest bit of snow
starts to sting.
332
00:22:44.640 --> 00:22:47.200
It suffocates you
and makes you feel helpless.
333
00:22:50.800 --> 00:22:52.800
Hold on!
334
00:22:52.880 --> 00:22:55.320
- It's intense.
- It's incre… I don't know.
335
00:22:55.400 --> 00:22:57.800
We didn't expect
the avalanche to be this tough.
336
00:22:57.880 --> 00:23:00.160
It's a struggle, but it looks awesome.
337
00:23:02.120 --> 00:23:04.920
Up!
338
00:23:10.760 --> 00:23:11.920
Cut.
339
00:23:15.400 --> 00:23:18.440 line:5%
WEEK 12. A THIRD UNIT
HANDLES THE HIGH-ALTITUDE SCENES.
340
00:23:18.520 --> 00:23:21.320 line:5%
The Sierra Nevada
has certainly been a challenge.
341
00:23:21.400 --> 00:23:25.920
Unlike any other set
or outdoor environment
342
00:23:26.000 --> 00:23:29.120
where we usually shoot,
this is a mountain.
343
00:23:29.200 --> 00:23:32.040
It's an inhospitable place.
344
00:23:32.120 --> 00:23:35.800
Working at such a high altitude
really limited us.
345
00:23:35.880 --> 00:23:39.680
It's been a challenge shooting
in the mountains at such an elevation.
346
00:23:40.200 --> 00:23:42.160 line:5%
THE THIRD UNIT IS LED
BY A NORWEGIAN DIRECTOR
347
00:23:42.240 --> 00:23:45.000 line:5%
AND A DIRECTOR OF PHOTOGRAPHY
WHO IS AN EXPERT IN SNOWBOARDING.
348
00:23:49.600 --> 00:23:52.840
Three, two, one. Let's start walking.
349
00:23:59.960 --> 00:24:02.720
You're going to climb up
and set up your bivouac,
350
00:24:02.800 --> 00:24:06.000
which is the bed, on top of this rock.
351
00:24:06.080 --> 00:24:07.240
DIRECTOR, MOUNTAIN UNIT
352
00:24:07.320 --> 00:24:10.200
We'll start from below,
then bring the camera up
353
00:24:10.280 --> 00:24:12.280
and begin the dialogue again from above.
354
00:24:12.360 --> 00:24:16.720
If we have time, we'll do it again,
but I'm not sure we will.
355
00:24:17.720 --> 00:24:19.040
That's all.
356
00:24:21.480 --> 00:24:26.720
As you know, the main characters go on
several expeditions
357
00:24:26.800 --> 00:24:29.400
in search of supplies.
358
00:24:29.480 --> 00:24:32.280
Eventually, they try
to make their way to civilization.
359
00:24:32.360 --> 00:24:35.560
That's basically
what we've tried to capture.
360
00:24:35.640 --> 00:24:38.200 line:5%
THEY REACH THE HIGHEST POINTS
OF THE SIERRA NEVADA,
361
00:24:38.280 --> 00:24:40.280 line:5%
AT AN ELEVATION OF ALMOST 10,830 FEET.
362
00:24:40.840 --> 00:24:42.040
Great job, guys.
363
00:24:42.120 --> 00:24:43.800
Nando too. One second.
364
00:24:43.880 --> 00:24:45.880
Look towards the camera a little.
365
00:25:05.080 --> 00:25:11.400 line:5%
WEEK 16: LAST WEEK IN THE SIERRA NEVADA,
FILMING THE RESCUE SCENE.
366
00:25:12.000 --> 00:25:14.320
The last day of shooting
in the Sierra Nevada,
367
00:25:14.400 --> 00:25:17.360
at the exterior fuselage on the mountain,
368
00:25:17.440 --> 00:25:19.200
we were filming the arrival of…
369
00:25:19.280 --> 00:25:23.520
I get emotional talking about it.
The arrival of the rescue helicopters.
370
00:25:23.600 --> 00:25:27.000
The survivors know that Nando
and Canessa have made it to safety,
371
00:25:27.080 --> 00:25:32.760
and they're getting ready to be rescued
and coming to terms with the last 72 days.
372
00:25:32.840 --> 00:25:35.320
They're about to leave
what has been their home
373
00:25:35.400 --> 00:25:37.120
and the society they've created.
374
00:25:37.200 --> 00:25:39.360
They're eager to return home and wondering
375
00:25:39.440 --> 00:25:42.600
how the world will react
to what they've been through.
376
00:25:42.680 --> 00:25:46.240
A wonderful yet intense period
is coming to an end.
377
00:25:46.320 --> 00:25:47.320
The hardest one yet.
378
00:25:47.400 --> 00:25:51.080
It has been very demanding,
both physically and emotionally.
379
00:25:51.160 --> 00:25:54.240
But we're very glad
we got to experience this whole process,
380
00:25:54.840 --> 00:25:56.000
and we're grateful.
381
00:25:56.080 --> 00:26:00.400
My experience in the Sierra Nevada,
Granada, and Spain will stay with me.
382
00:26:03.560 --> 00:26:05.760
When the helicopters arrived,
383
00:26:05.840 --> 00:26:08.520
I believe our entire team…
384
00:26:08.600 --> 00:26:13.600
I won't go as far as to say we felt
what the survivors felt on the mountain,
385
00:26:13.680 --> 00:26:16.200
but we had our own moment of…
386
00:26:17.760 --> 00:26:18.760
"It's finally over."
387
00:26:18.840 --> 00:26:21.480
We still have a lot to film,
but that difficult part,
388
00:26:21.560 --> 00:26:25.640
dealing with the mountain, the fuselage,
the characters, the weight loss,
389
00:26:25.720 --> 00:26:28.920
the struggles of living together,
and COVID on top of that,
390
00:26:29.000 --> 00:26:32.720
as well as having to live
in an isolated mountain village…
391
00:26:32.800 --> 00:26:37.640
That period of intense concentration,
effort, working hours, energy,
392
00:26:37.720 --> 00:26:41.920
suffering, joy, and focus on technique…
had come to an end.
393
00:26:42.000 --> 00:26:43.360
Yeah, I'm done.
394
00:26:43.920 --> 00:26:45.360
That was great. Thanks.
395
00:26:46.920 --> 00:26:47.920
It's over.
396
00:26:48.000 --> 00:26:51.800
I believe it's one
of the most emotional moments
397
00:26:51.880 --> 00:26:54.280
I've ever experienced on a film set.
398
00:26:54.360 --> 00:26:55.320
It was incredible.
399
00:27:05.920 --> 00:27:11.400 line:5%
WEEK 20: THE TEAM HEADS TO URUGUAY
TO SHOOT THE END OF THE FILM.
400
00:27:11.920 --> 00:27:13.720
CHILEAN AIR FORCE
401
00:27:56.200 --> 00:27:59.560
It's a miracle.
402
00:27:59.640 --> 00:28:05.520
- What do you mean, a miracle, Mom?
- It's a miracle.
403
00:28:09.120 --> 00:28:10.400
Cut. Great job.
404
00:28:35.440 --> 00:28:36.880
WELCOME TO SAN FERNANDO
405
00:28:36.960 --> 00:28:38.000
WELCOME
406
00:28:44.520 --> 00:28:46.440
CHILE AND URUGUAY
407
00:29:07.560 --> 00:29:09.640
Thank you, everybody!
408
00:29:09.720 --> 00:29:12.520
Incredible work! Come on, everyone!
409
00:29:18.440 --> 00:29:22.200 line:5%
Three, two, one. Action.
410
00:29:22.280 --> 00:29:24.600 line:5%
DECEMBER 2022: CRASH SCENE,
NETFLIX STUDIOS, MADRID
411
00:29:26.800 --> 00:29:28.640
Cut.
412
00:29:34.040 --> 00:29:37.120
We asked ourselves
how we were going to film the crash,
413
00:29:37.200 --> 00:29:42.880
knowing that Bayona relies
on realistic practical effects,
414
00:29:42.960 --> 00:29:47.400
using real actors and also stunt doubles.
415
00:29:47.480 --> 00:29:53.280
Also, how could we incorporate one of
the many things that Bayona excels at,
416
00:29:53.360 --> 00:29:58.480
which is making the viewer feel
like they're in the scene,
417
00:29:58.560 --> 00:30:00.480
right in the middle of the action?
418
00:30:03.040 --> 00:30:05.840
Three, two, one. Action.
419
00:30:11.120 --> 00:30:15.200
We mainly have small sets
for specific shots.
420
00:30:15.280 --> 00:30:20.240
Then we have half a fuselage on a gimbal
421
00:30:20.320 --> 00:30:25.320
to get all the movements and real inclines
422
00:30:25.400 --> 00:30:27.280
along with the turbulence.
423
00:30:27.360 --> 00:30:31.080
Then we have a full moving fuselage.
424
00:30:31.160 --> 00:30:34.080
We use this plane to show
425
00:30:34.160 --> 00:30:37.960
normal flying conditions,
when the passengers play cards,
426
00:30:38.040 --> 00:30:40.480
mess around, get rowdy,
and stuff like that.
427
00:30:40.560 --> 00:30:44.480
Real planes can reach this angle,
and it's historically accurate.
428
00:30:44.560 --> 00:30:47.960
A ball is rolling on the floor.
Action! Pancho, look out the window!
429
00:30:48.040 --> 00:30:50.600
You're about to crash!
The plane's right in front!
430
00:30:50.680 --> 00:30:51.880
And then, sun!
431
00:30:51.960 --> 00:30:53.520
And cut.
432
00:30:57.280 --> 00:31:01.120
Stunt-wire work
has become a key part of this film
433
00:31:01.200 --> 00:31:07.640
because it allows us to move
at the speed and in the direction we want.
434
00:31:07.720 --> 00:31:11.320
We had to prepare
the seats in the fuselage
435
00:31:11.400 --> 00:31:13.760
so that the actors could do the stunts.
436
00:31:13.840 --> 00:31:14.880
STUNT SUPERVISOR
437
00:31:18.560 --> 00:31:23.080
We modified all the seats
and added more foam to them.
438
00:31:23.160 --> 00:31:30.040
With the help of the special effects team,
we created rubber trays and armrests
439
00:31:30.120 --> 00:31:35.600
to keep the actors safe
while filming the crash sequences.
440
00:31:42.520 --> 00:31:44.800
All the backdrops used
in the movie are real.
441
00:31:44.880 --> 00:31:49.080
They're footage and photographs
taken in the Andes.
442
00:31:49.160 --> 00:31:51.920
Since it's based on a true story,
443
00:31:52.000 --> 00:31:55.360
the audience doesn't want it
to look digital.
444
00:31:55.440 --> 00:31:58.000
You can sense that it's not real.
445
00:31:58.080 --> 00:32:02.600
I'm really happy
with Félix Bergés's and Ranchito's work.
446
00:32:12.560 --> 00:32:14.560
One, two, three, cut!
447
00:32:18.480 --> 00:32:20.120
Gastón!
448
00:32:29.440 --> 00:32:30.760
We thought they were dead.
449
00:32:30.840 --> 00:32:32.160
Uruguay!
450
00:32:32.240 --> 00:32:34.840
The film gives a voice
to those who didn't return home.
451
00:32:34.920 --> 00:32:40.120
I feel like it has provided answers
to all the lingering questions.
452
00:32:40.200 --> 00:32:44.800
It was an emotional period,
and this is much more than just a movie.
453
00:32:45.880 --> 00:32:50.040
Through this film,
we reach levels of awareness
454
00:32:50.120 --> 00:32:51.720
that we had no idea existed.
455
00:32:51.800 --> 00:32:56.880
It's the movie that has truly
taught me the most, every step of the way.
456
00:32:56.960 --> 00:32:59.360
It was an emotional roller coaster,
457
00:32:59.440 --> 00:33:03.200
but we all agreed
that what really kept us going
458
00:33:03.280 --> 00:33:07.600
was the camaraderie
and the friendships that we forged.
459
00:33:08.120 --> 00:33:10.200
Many times I was locked up…
460
00:33:10.280 --> 00:33:14.040
Even now, it's hard to believe.
461
00:33:14.120 --> 00:33:18.680
I don't know how they survived,
but because they returned home,
462
00:33:19.440 --> 00:33:21.400
we were able to find out what happened.
463
00:33:21.480 --> 00:33:23.800
Instead of just recounting the events,
464
00:33:23.880 --> 00:33:26.200
the film shows what happened to this group
465
00:33:26.280 --> 00:33:29.880
and how they had
to face their own mortality.
466
00:33:29.960 --> 00:33:32.040
Folks, that's a wrap.
467
00:33:32.120 --> 00:33:37.080 line:5%
SATURDAY, DECEMBER 3, 2022:
SHOOTING WRAPS ON SOCIETY OF THE SNOW
468
00:33:38.880 --> 00:33:44.920
The movie obviously stirs up
a lot of emotions.
469
00:33:45.000 --> 00:33:48.480
Bayona has brought us all back together
50 years after the events.
470
00:33:48.560 --> 00:33:50.480
SISTER OF FELIPE MAQUIRRIAIN, DECEASED
471
00:33:50.560 --> 00:33:53.240
The story had never been told
like this until now.
472
00:33:53.320 --> 00:33:57.600
Bayona is the kind of person
who doesn't quit until the scene is right.
473
00:33:57.680 --> 00:34:02.320
He won't stop trying
to get the shot until it moves him
474
00:34:02.400 --> 00:34:04.280
and really makes him feel something.
475
00:34:04.360 --> 00:34:07.720
It totally changed how I see acting.
476
00:34:07.800 --> 00:34:10.200
I believe it has given us tools
477
00:34:10.280 --> 00:34:13.240
to work on other projects
in the future and grow as actors.
478
00:34:13.320 --> 00:34:17.440
Sometimes, you want to wring his neck.
Other times, you want to give him a hug.
479
00:34:17.520 --> 00:34:23.400
But this experience has definitely
helped me grow as a person and an actor.
480
00:34:23.480 --> 00:34:26.600
My dear J.A.
481
00:34:26.680 --> 00:34:30.000
You are the joy
482
00:34:30.080 --> 00:34:34.000
Of my heart in every way
483
00:34:34.080 --> 00:34:38.320
I believe J.A.
has poured his heart into this story,
484
00:34:38.400 --> 00:34:41.280
putting in a lot of work with Pablo,
485
00:34:41.360 --> 00:34:44.040
to perhaps make the best film of his life.
486
00:34:44.120 --> 00:34:51.000
We've all heard the story of the heroes
who crossed the Andes and returned home.
487
00:34:51.080 --> 00:34:54.200
But the story of the anonymous heroes
488
00:34:54.280 --> 00:34:57.400
who allowed the survivors to return
hadn't been told until now.
489
00:34:57.480 --> 00:35:02.320
When you see someone
so invested in a story from day one
490
00:35:02.400 --> 00:35:04.200
and their attention to detail,
491
00:35:04.280 --> 00:35:08.160
that's when you know
there's an unbreakable connection there.
492
00:35:08.240 --> 00:35:10.440
DAUGHTER OF JAVIER AND LILIANA METHOL
493
00:35:10.520 --> 00:35:14.960
In my eyes, J.A. has become almost like
a member of our community of survivors.
494
00:35:15.040 --> 00:35:20.960
The film creates a space
for us to revisit who we were.
495
00:35:23.200 --> 00:35:30.120 line:5%
SOCIETY OF THE SNOW:
WHO WERE WE ON THE MOUNTAIN?
496
00:36:12.440 --> 00:36:17.440
Subtitle translation by: Meredith Cannella