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Downloaded from
YTS.MX
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[icy wind gusting]
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Official YIFY movies site:
YTS.MX
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[Matías] It's almost ten in the morning.
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We're heading up the mountain.
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It's a beautiful day in the Sierra Nevada.
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We're here with Carlitos Páez Vilaró,
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Vasco Echavarren,
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Coco Nicolich,
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Enrique Platero,
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and the amazing Antonio Vizintín.
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- We're happy to be here.
- [Blas] Day two in the mountains.
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[Matías] Day two in the mountains.
Uh, it feels colder today.
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Windier. The mountain awaits.
It welcomes us.
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It embraces us.
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[man] And we embrace it back.
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{\an8}SOCIETY OF THE SNOW:
WHO WERE WE ON THE MOUNTAIN?
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[nostalgic orchestral music playing]
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I came across the book Society of the Snow
while doing research for The Impossible.
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DIRECTOR, PRODUCER, SCREENWRITER
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The Impossible took a year to film.
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PRODUCER
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On the last day of shooting,
Belén was on the phone
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with the lawyer
representing the survivors,
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ironing out the steps to take
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to make this film a reality.
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{\an8}ON FRIDAY, OCTOBER 13, 1972,
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{\an8}A CHARTER FLIGHT
FROM THE URUGUAYAN AIR FORCE
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{\an8}CRASHED IN THE MIDDLE OF THE ANDES.
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{\an8}SIXTEEN OF THE 40 PASSENGERS
SURVIVED AFTER 72 DAYS IN THE WILDERNESS.
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{\an8}THE EVENT BECAME KNOWN
AS THE MIRACLE OF THE ANDES.
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When we heard about Bayona's film,
we started to get an idea
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for how the script
and everything would take shape.
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SURVIVOR
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We began to feel hopeful
and had a sense of relief and joy
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because the story would be told
with everyone included.
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We gave J.A. complete freedom
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in terms of the script
and just about everything else.
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SURVIVOR
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I only said to him,
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"Feel free to do whatever you want,
but know my life's at the heart of this."
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This was such a terrible tragedy,
at least for me.
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SURVIVOR
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Imagine losing your mother,
sister, and best friend on the same day
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and having to bury them
with your own hands.
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Living for 72 days
in the worst place possible.
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Taking the most epic trek
in the history of mountaineering.
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[Roberto] The movie illustrates
the majestic…
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SISTER OF FERNANDO VÁZQUEZ, DECEASED
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…and terrible spirit of that place,
where nature dominates in full force.
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SURVIVOR
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Unless you see it with your own eyes,
you have no idea what it's like
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to set foot
in that enormous mountain range.
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Imagine what this is like for us.
It's like being transported back there.
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{\an8}OCTOBER 2021. THE TEAM'S FIRST TRIP
TO THE VALLEY OF TEARS (THE ANDES),
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{\an8}THE SITE OF THE CRASH.
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{\an8}THE EXPEDITION IS LED BY BENEGAS BROTHERS.
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{\an8}One of the most striking things
about the Valley of Tears,
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where the plane crashed,
is the sound of the place.
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Nothing lives there.
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There's complete silence.
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And then there are these gusts of wind,
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which, at a height of 13,100 feet,
are incredibly strong.
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The first time we went
to shoot in the Andes,
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there had hardly been
any snowfall that year.
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We filmed a lot and spent
some time exploring the surroundings,
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but we had to return
a year later to get footage.
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When shooting was wrapping up,
J.A., the cinematographer,
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the special effects supervisor,
and Enzo, our leading man,
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went to get some footage
in the Valley of Tears.
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It turned out to be like something
out of a breathtaking nature documentary.
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It was like the mountain
gave us its blessing.
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It snowed a lot, almost
as much as it had the year of the crash,
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which was one of the snowiest years
on record for the area.
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[wind whipping]
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- What do I do?
- [woman] J.A. will tell you.
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{\an8}[woman] They asked us
to get some information.
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{\an8}- And to talk to you.
- Okay.
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{\an8}SEPTEMBER 2021: ZOOM CALLS.
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[woman] So, you prefer the window seat.
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Do you prefer the window or the aisle?
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Window or aisle?
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Uh, wait a second.
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{\an8}THEY'RE ABOUT TO RECEIVE NEWS
THAT WILL CHANGE THEIR LIVES…
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- What?
- [woman] Window or aisle?
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I got cast?
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Just tell me. Come on.
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Don't play around.
Come on. That's enough already.
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[Belén] María Laura Berch
did a great job with casting.
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PRODUCER
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She later coached the actors
over six or seven long months.
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It really was the right decision
to not go with well-known actors.
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The goal was,
like with everything else in the film,
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to keep things organic
and close to real life.
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[woman] Are you on board?
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[gasps, chuckles]
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- [woman laughs]
- [sighs]
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You're the worst.
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[chuckles softly]
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[exclaims]
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[inhales sharply]
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Why are you doing this?
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[huffs]
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[man] Wow.
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[gasps] Wait, are you being serious?
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[exclaims, laughs wildly]
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We were certainly looking
for people who looked the part,
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but mostly, we wanted actors who already
had the personalities of their characters.
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These similarities, along with the fact
that we spent 140 days filming,
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meant that we formed
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our own Society of the Snow on set,
a lot like the one in the film.
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[cheers]
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[inhales sharply]
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- [J.A.] You earned it.
- Wow. I can't believe it.
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I need to play Roberto Canessa.
I mean, I want it.
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I was dying to get the part.
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I'm obsessed.
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[laughs]
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No way.
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[laughing]
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Holy shit.
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[both laughing]
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[woman] Are you ready?
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Yeah. Let's do this.
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[crew cheers and applauds]
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[group shouting indistinctly]
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- [tapping to beat]
- ♪ Led by Bayona ♪
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♪ We're all gonna take a victory lap! ♪
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- [whistling]
- ♪ Come on, come on, sing with me… ♪
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{\an8}DECEMBER 2021: REHEARSALS
AND TRAINING IN BARCELONA
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[trainer] Today's workout focuses
on the lower body, and it's a tough one.
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We have to complete four sets today,
working the entire leg.
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You're going to do ten reps,
holding each one for three seconds.
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Three, four.
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One, two, three.
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Nice job. Ease down. Squeeze. Lift.
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That's it!
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- Let's go.
- Push. Keep it up.
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- Come on, champ.
- Up. Six. Knees apart.
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Four.
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Ten.
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Great session today, guys.
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A tough one but a good one.
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- Time to head home, eat, and rest up.
- [group cheers]
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[somber music playing]
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I died on December 11, 1972,
at ten in the morning.
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I was the 29th person to depart
from the journey we began 58 days before,
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leaving 16 friends to carry on.
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J.A. did an amazing job directing.
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I think it's one of the aspects
of the project that he enjoyed the most.
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Many of our actors were inexperienced
or had only done theater.
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They weren't used to being on camera,
but with J.A. as director,
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and under his careful supervision,
they really shined.
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Nando wants to venture out now,
but he's scared.
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When Roberto says, "Let's fix the radio,"
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Nando says, "That won't work.
Let's just go."
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So Roberto goes,
"Let's try to get it to work."
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"If it doesn't,
then we can head up into the mountains."
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That works for Nando
because he's scared too.
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He thinks, "Fine. At least Roberto's in."
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Go. That's it!
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- [coach] Up!
- [actor] Here!
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Get down!
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- Get up!
- [groans]
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[coach] You're up there!
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Get up in four.
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You're totally exhausted.
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You have to give your actors
what they need.
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You need to give them
all the information and help you can.
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My approach to working with actors
is to basically give them space.
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Meaning give them room to experiment,
to make mistakes if they need to.
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I tell them, "Make mistakes.
It's fine. We can just do another take."
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So they can try things out.
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But to do that,
they need to have all the information.
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We're leaving for Granada
in four days, and I can't believe it.
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It's going to be really intense but great.
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We can't wait to get out there
and get started.
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[group cheers]
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[laughing and exclaiming]
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Big smiles or no?
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Big smiles!
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[camera shutter clicking]
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[unsettling instrumental music playing]
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[electricity crackles]
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00:10:01,800 --> 00:10:04,440
[man] As for fuselages, we've built five.
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00:10:04,520 --> 00:10:07,880
The small ones, the one
on the gimbal, and the two here.
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00:10:07,960 --> 00:10:08,960
PRODUCTION DESIGNER
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00:10:09,040 --> 00:10:11,160
Each has a specific purpose.
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00:10:11,240 --> 00:10:14,160
It might seem crazy
to have five, but it isn't really.
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00:10:14,240 --> 00:10:20,760
Each one has a specific function,
so they work together as one.
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The challenge with the fuselage
on the mountain was getting it there.
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We built it here in Madrid
and transported it in one piece
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to the Sierra Nevada,
where we dismantled it into three parts
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and brought it up the slopes
to the location, which was very high up.
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00:10:41,040 --> 00:10:42,880
Not as high as Veleta peak,
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00:10:42,960 --> 00:10:46,600
but it was in the most elevated part
of the Sierra Nevada.
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{\an8}DECEMBER 13, 2021:
TRANSPORTING THE FUSELAGE TO GRANADA
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00:11:08,640 --> 00:11:10,640
[music fades slowly]
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00:11:11,480 --> 00:11:13,520
[alert beeping]
200
00:11:13,600 --> 00:11:18,960
While we had that plane there,
we also had one at ground level,
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00:11:19,040 --> 00:11:21,600
in the middle
of an olive grove in Granada.
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00:11:23,840 --> 00:11:26,520
That particular one
was able to be lifted up and down.
203
00:11:26,600 --> 00:11:30,240
We built a platform that allowed us
to raise and lower the entire plane.
204
00:11:30,320 --> 00:11:34,440
So, we spread
artificial snow around the plane.
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00:11:34,520 --> 00:11:35,920
SPECIAL EFFECTS SUPERVISOR
206
00:11:36,000 --> 00:11:40,240
And then you could lower it and raise it
to change the level of snow coverage.
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00:11:41,080 --> 00:11:43,560
[in English] We're here today
on the back lot…
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00:11:43,640 --> 00:11:45,640
SPECIAL EFFECTS SNOW SUPERVISOR
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00:11:45,720 --> 00:11:48,440
…converting the back lot
into a construction site,
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00:11:48,520 --> 00:11:49,960
into a winter wonderland.
211
00:11:50,560 --> 00:11:54,960
At the moment, we're spraying
the outer edges of the set
212
00:11:55,040 --> 00:11:56,920
using two different snow products.
213
00:11:57,000 --> 00:11:59,720
One is a pure cellulose product,
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00:11:59,800 --> 00:12:02,600
and the other is a cellulose
and starch product.
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00:12:08,720 --> 00:12:12,920
[in Spanish] And then we had
a third plane, which was on a set
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00:12:13,000 --> 00:12:14,400
up in the mountains.
217
00:12:14,480 --> 00:12:16,080
At an altitude of 6,500 feet.
218
00:12:16,160 --> 00:12:19,280
We built a warehouse with LED screens
219
00:12:19,360 --> 00:12:22,480
to recreate the mountains
because we avoid using green screens.
220
00:12:22,560 --> 00:12:25,760
And then, for the crash scene,
we made replicas of the plane.
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00:12:25,840 --> 00:12:32,840
One of these
was like a fourth plane on a gimbal.
222
00:12:32,920 --> 00:12:39,440
It allowed us
to change the angle of the plane
223
00:12:39,520 --> 00:12:43,440
and create turbulence similar
to the kind you'd have on a real flight.
224
00:12:43,520 --> 00:12:46,400
And then we used
smaller pieces of the plane
225
00:12:46,480 --> 00:12:51,920
to produce more intense turbulence
for the crash, for specific shots.
226
00:12:52,000 --> 00:12:54,680
- [fans whirring]
- [passengers screaming]
227
00:12:56,320 --> 00:12:57,920
[tense, rhythmic music playing]
228
00:13:06,240 --> 00:13:08,000
[machinery whirring]
229
00:13:10,840 --> 00:13:13,840
- [music cuts out]
- [J.A.] Delta, plate one alpha, second.
230
00:13:16,440 --> 00:13:22,320
The day we began filming,
the director and all the actors had COVID.
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00:13:22,400 --> 00:13:24,200
{\an8}- [woman] Where does Pancho go?
- [man] First.
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00:13:24,280 --> 00:13:25,520
{\an8}[woman] Let's go.
233
00:13:25,600 --> 00:13:26,920
{\an8}WEEK 1: FILMING BEGINS
234
00:13:30,720 --> 00:13:34,160
So we started the first day
with the director stuck in a booth,
235
00:13:34,240 --> 00:13:36,520
wearing his face mask, alone,
236
00:13:36,600 --> 00:13:38,920
with a microphone,
far away from everyone else,
237
00:13:39,000 --> 00:13:43,080
sending instructions
to the set and directing body doubles.
238
00:13:43,160 --> 00:13:46,240
We could only film from behind.
The real actors were out sick.
239
00:13:46,320 --> 00:13:48,840
[man] Heads up, folks. We're starting.
240
00:13:49,920 --> 00:13:51,320
[J.A.] Now!
241
00:13:51,400 --> 00:13:52,400
Now!
242
00:13:54,320 --> 00:13:57,400
{\an8}The first few days,
J.A. wasn't with us since he had COVID.
243
00:13:57,480 --> 00:13:58,840
{\an8}WRITER, ASSOCIATE PRODUCER
244
00:13:58,920 --> 00:14:03,200
{\an8}But we heard his voice, and it was
like it came from beyond the grave.
245
00:14:03,280 --> 00:14:04,280
[man 1] Action!
246
00:14:04,360 --> 00:14:07,680
[J.A.] You're freezing. Vacant stares.
You're going to die tonight.
247
00:14:07,760 --> 00:14:11,400
I want to see that you're going to die,
that you think you're dying.
248
00:14:11,480 --> 00:14:14,480
- [man 2] Platero.
- [J.A.] I'm not convinced!
249
00:14:14,560 --> 00:14:15,880
It was all very strange.
250
00:14:15,960 --> 00:14:18,680
I couldn't think of a more perfect way
251
00:14:18,760 --> 00:14:22,760
to mirror the '72 incident, which sat
somewhere between reality and surreality,
252
00:14:22,840 --> 00:14:25,760
life and death,
than how we kicked off the shoot.
253
00:14:25,840 --> 00:14:30,160
We've been waiting for this moment
for over a year, since the casting call.
254
00:14:30,240 --> 00:14:33,120
And to be here now, it's like, "Finally."
255
00:14:33,200 --> 00:14:38,720
The first scenes were close-ups of Numa.
256
00:14:38,800 --> 00:14:42,280
It felt like we were starting strong.
It was awesome.
257
00:14:42,360 --> 00:14:44,040
A lot of this is in here.
258
00:14:45,160 --> 00:14:47,880
But yeah, it's really intense.
Really powerful.
259
00:14:47,960 --> 00:14:53,360
Every scene takes a lot out of you.
260
00:14:53,440 --> 00:14:56,600
There are times when we're waiting
for the cameras to roll,
261
00:14:56,680 --> 00:15:01,600
and you can't help but think,
"This is a true story."
262
00:15:01,680 --> 00:15:05,120
The first few days,
as the actors began to recover,
263
00:15:05,200 --> 00:15:07,000
they started coming in one by one.
264
00:15:07,080 --> 00:15:10,800
We kept trying to figure out
which shots we could film each day.
265
00:15:10,880 --> 00:15:13,840
Let's keep the frame.
Set up the lighting, please.
266
00:15:13,920 --> 00:15:15,400
A little more snow.
267
00:15:15,480 --> 00:15:17,840
More snow on Marcelo.
268
00:15:17,920 --> 00:15:21,400
I'm starting to feel
like I'm getting the hang of it.
269
00:15:21,480 --> 00:15:24,840
J.A. was outside the booth today,
so that made a big difference.
270
00:15:24,920 --> 00:15:28,040
He was there with us.
We tried different things. It was great.
271
00:15:29,160 --> 00:15:31,600
[heroic music playing]
272
00:15:34,040 --> 00:15:38,040
On set, there's a mountain
to climb every single day. [chuckles]
273
00:15:38,120 --> 00:15:40,560
A metaphorical mountain.
274
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."
275
00:15:45,320 --> 00:15:48,720
"Now we have to scale
the mountain in the west…"
276
00:15:48,800 --> 00:15:55,680
In other words, all the scenes were
physically and technically demanding.
277
00:15:55,760 --> 00:15:57,760
[sinister music playing]
278
00:16:00,200 --> 00:16:01,200
[passenger 1] Help!
279
00:16:06,840 --> 00:16:09,920
[passenger 2] Numa, are you okay? Numa!
280
00:16:10,000 --> 00:16:12,040
- [passenger 3] Help!
- [passenger 2] Numa!
281
00:16:12,120 --> 00:16:15,040
- [passenger 4] Please!
- [passenger 5] Vasco, where are you?
282
00:16:15,120 --> 00:16:17,000
[frantic shouting continues]
283
00:16:21,080 --> 00:16:22,800
[passenger 2] Numa, where are you?
284
00:16:22,880 --> 00:16:25,240
[J.A. speaking indistinctly]
285
00:16:25,320 --> 00:16:29,160
- Cut.
- [man] Great job, Juan Diego. Excellent.
286
00:16:29,240 --> 00:16:31,000
- Nicely done.
- [Enzo] We survived.
287
00:16:31,080 --> 00:16:33,800
We survived, man.
We almost got our heads chopped off.
288
00:16:33,880 --> 00:16:35,000
Very intense.
289
00:16:37,040 --> 00:16:38,000
Really cold.
290
00:16:39,080 --> 00:16:40,120
[woman] Roberto.
291
00:16:40,760 --> 00:16:41,800
Nando.
292
00:16:43,000 --> 00:16:46,800
{\an8}WEEK 2: THE TEAM GOES UP
TO THE MOUNTAIN SET FOR THE FIRST TIME…
293
00:16:49,240 --> 00:16:51,240
{\an8}AT AN ELEVATION OF ALMOST 9,850 FEET
294
00:16:52,000 --> 00:16:55,480
{\an8}SOME OF THE ACTORS
HAVE NEVER SEEN SNOW BEFORE.
295
00:16:55,560 --> 00:16:58,360
[somber piano music playing]
296
00:17:01,320 --> 00:17:03,080
[indistinct chatter]
297
00:17:07,560 --> 00:17:10,880
Working around the conditions
on the mountain was the hardest part.
298
00:17:10,960 --> 00:17:15,000
You can't control the mountain,
so you have to adapt to it.
299
00:17:15,080 --> 00:17:18,560
And adapting within the time constraints
was the biggest challenge.
300
00:17:18,640 --> 00:17:22,680
Especially with so much of the crew
being away from home,
301
00:17:22,760 --> 00:17:28,680
posted up in a ski resort
right in the middle of peak season.
302
00:17:28,760 --> 00:17:32,520
It was all really complicated.
303
00:17:32,600 --> 00:17:35,840
[man] We set out to do something
that was truly challenging.
304
00:17:35,920 --> 00:17:37,200
CINEMATOGRAPHER
305
00:17:37,280 --> 00:17:41,840
We wanted to reach places
that are really difficult to access
306
00:17:41,920 --> 00:17:44,560
with proper equipment, with good cameras,
307
00:17:44,640 --> 00:17:50,960
with something that would let us
capture the majesty of those places
308
00:17:51,040 --> 00:17:54,200
in the best way possible.
309
00:17:56,600 --> 00:18:00,560
We were filming at an elevation
of 9,842 feet in a snowy location
310
00:18:00,640 --> 00:18:02,320
with safety measures in place.
311
00:18:02,400 --> 00:18:05,680
It was difficult to get around.
We had to do things slowly.
312
00:18:05,760 --> 00:18:09,160
We were trying to get into the rhythm
of the film right away.
313
00:18:09,240 --> 00:18:16,240
So it took us a while
to get into our stride and make progress.
314
00:18:16,320 --> 00:18:19,440
[J.A.] Come on. That's great.
Pull it for another ten feet.
315
00:18:19,520 --> 00:18:22,280
Carlitos, face the camera.
Let us see what you're doing.
316
00:18:22,360 --> 00:18:25,080
Wipe off any blood that's on you.
Stay with Carlitos.
317
00:18:25,160 --> 00:18:26,960
[woman] What happened to your nose?
318
00:18:27,040 --> 00:18:28,960
- I had a nosebleed.
- Why?
319
00:18:29,480 --> 00:18:30,680
It just happened.
320
00:18:30,760 --> 00:18:33,280
- The altitude, physical exertion…
- What did you do?
321
00:18:33,360 --> 00:18:35,840
- Did you clean yourself up?
- They used it.
322
00:18:35,920 --> 00:18:38,120
{\an8}We're almost done for the day.
323
00:18:38,200 --> 00:18:43,080
{\an8}Time for a nice sunset,
a final scene, and one last shot.
324
00:18:43,760 --> 00:18:47,200
We have to take advantage
of this beautiful light. [chuckles]
325
00:18:47,280 --> 00:18:50,080
- [man 1] Let's move on to scene 41.
- [man 2] Action.
326
00:18:53,160 --> 00:18:54,720
[indistinct chatter]
327
00:18:58,720 --> 00:19:00,600
- [man 3] Okay.
- [man 4] Final slate.
328
00:19:03,800 --> 00:19:06,120
[excited chatter]
329
00:19:06,200 --> 00:19:08,200
[Matías] Taking it easy.
330
00:19:09,520 --> 00:19:11,520
[indistinct chatter]
331
00:19:17,200 --> 00:19:19,320
Great. Beautiful.
332
00:19:19,400 --> 00:19:21,400
[wind gusting]
333
00:19:24,800 --> 00:19:27,640
I'll just say this now.
Today we're having paella.
334
00:19:27,720 --> 00:19:31,080
What a strange coincidence it'd be
if the nutritionist showed up.
335
00:19:31,160 --> 00:19:32,040
[all laugh]
336
00:19:37,440 --> 00:19:41,040
All the characters, from the day
of the accident until they're rescued,
337
00:19:41,120 --> 00:19:42,840
progressively lose weight.
338
00:19:42,920 --> 00:19:45,840
It's gonna be tough, but we need to do it
339
00:19:45,920 --> 00:19:48,440
to play our characters
and do justice to the story.
340
00:19:48,520 --> 00:19:51,480
It adds to the performance,
and we're all on board.
341
00:19:51,560 --> 00:19:54,960
They have dulce de leche mousse,
and I can't even eat it.
342
00:19:55,040 --> 00:19:58,320
- Where's the dulce de leche?
- Here. It's a mousse.
343
00:19:58,400 --> 00:20:00,800
- This?
- The one without a label.
344
00:20:00,880 --> 00:20:04,400
- Don't worry. I'll eat it for you.
- Gee, thanks.
345
00:20:04,480 --> 00:20:07,320
- It is what it is.
- Check it out. It smells awful.
346
00:20:07,800 --> 00:20:10,080
[laughing] Son of a… I can't believe this.
347
00:20:10,160 --> 00:20:11,520
SPECIAL EFFECTS AND MAKEUP
348
00:20:11,600 --> 00:20:15,760
As the days go by, makeup is being used
to accentuate their transformations,
349
00:20:15,840 --> 00:20:19,080
and that definitely adds to the film.
350
00:20:19,160 --> 00:20:22,640
[J.A.] The actors were brave enough
to take the plunge
351
00:20:22,720 --> 00:20:26,280
and shoot the film chronologically,
losing weight as time went on.
352
00:20:26,360 --> 00:20:28,440
{\an8}I got a cold sore from not eating enough.
353
00:20:28,960 --> 00:20:32,080
{\an8}- [man 1] You're not eating, right?
- [man 2] It's from hard work.
354
00:20:32,160 --> 00:20:33,560
{\an8}I'm down 44 pounds.
355
00:20:33,640 --> 00:20:36,000
- [Esteban] Quit bragging about that.
- All right.
356
00:20:36,560 --> 00:20:40,920
- [man 1] When was the last time you ate?
- Back in December of last year.
357
00:20:41,000 --> 00:20:41,920
[group laughs]
358
00:20:42,400 --> 00:20:43,440
[Roy] Hang in there!
359
00:20:47,160 --> 00:20:49,440
{\an8}We're filming the avalanche.
March 2, 2022.
360
00:20:49,520 --> 00:20:50,920
{\an8}WEEK 8: THE AVALANCHE SCENE
361
00:20:51,000 --> 00:20:54,520
{\an8}- [man] Silence now, please.
- I'm going to squeeze in here.
362
00:20:54,600 --> 00:20:56,000
They want silence.
363
00:20:56,880 --> 00:20:58,840
[man] Heads up. We're about to roll.
364
00:20:59,600 --> 00:21:01,400
In this film, silence is everything.
365
00:21:01,480 --> 00:21:03,520
[tense music playing]
366
00:21:05,600 --> 00:21:09,920
[J.A.] The actors had
a rough time filming the avalanche.
367
00:21:10,000 --> 00:21:15,120
You can see it
on their faces throughout the scene.
368
00:21:15,640 --> 00:21:17,160
- [gasps]
- [screaming]
369
00:21:20,680 --> 00:21:25,360
[man] For the avalanche, we set up some
snow cannons… air cannons.
370
00:21:25,440 --> 00:21:27,680
We filled them with snow and shot them off
371
00:21:27,760 --> 00:21:31,120
into the plane, causing the suitcases
and everything else to fall.
372
00:21:31,200 --> 00:21:32,320
Rolling.
373
00:21:35,880 --> 00:21:38,600
[group cheering and applauding]
374
00:21:40,560 --> 00:21:42,440
[low rumbling]
375
00:21:47,000 --> 00:21:52,880
{\an8}FOR THE ACTORS' SAFETY,
RUBBER SUITCASES WERE USED
376
00:21:55,240 --> 00:21:57,600
[group yelps]
377
00:21:57,680 --> 00:22:00,000
- [silence falls]
- [muffled screams]
378
00:22:02,640 --> 00:22:04,640
[echoing] I'm here!
379
00:22:04,720 --> 00:22:07,760
The actors had to emerge from the ground.
380
00:22:08,600 --> 00:22:13,600
Uh, we had several hollow platforms.
381
00:22:13,680 --> 00:22:17,240
They had to wait for their turn
to come out through a hole,
382
00:22:17,320 --> 00:22:21,960
and they had to break through
a thick layer of real snow.
383
00:22:22,040 --> 00:22:25,120
It was extremely cold and freezing.
384
00:22:35,840 --> 00:22:37,640
It's really distressing.
385
00:22:37,720 --> 00:22:41,160
I don't know how they survived.
It blows my mind.
386
00:22:41,240 --> 00:22:44,560
Even the tiniest bit of snow
starts to sting.
387
00:22:44,640 --> 00:22:47,200
It suffocates you
and makes you feel helpless.
388
00:22:47,960 --> 00:22:50,720
[screaming]
389
00:22:50,800 --> 00:22:52,800
[Javier] Hold on! Hold on!
390
00:22:52,880 --> 00:22:55,320
- It's intense.
- It's incre… I don't know.
391
00:22:55,400 --> 00:22:57,800
We didn't expect
the avalanche to be this tough.
392
00:22:57,880 --> 00:23:00,160
It's a struggle, but it looks awesome.
393
00:23:00,240 --> 00:23:01,600
[screams]
394
00:23:02,120 --> 00:23:04,920
[man] Up! Up! Up! Up!
395
00:23:05,000 --> 00:23:06,840
[Roy gasping]
396
00:23:10,760 --> 00:23:11,920
[J.A.] Cut.
397
00:23:15,400 --> 00:23:18,440
{\an8}WEEK 12: A THIRD UNIT
HANDLES THE HIGH-ALTITUDE SCENES.
398
00:23:18,520 --> 00:23:21,320
{\an8}[man] The Sierra Nevada
has certainly been a challenge.
399
00:23:21,400 --> 00:23:25,920
Unlike any other set
or outdoor environment
400
00:23:26,000 --> 00:23:29,120
where we usually shoot,
this is a mountain.
401
00:23:29,200 --> 00:23:32,040
It's an inhospitable place.
402
00:23:32,120 --> 00:23:35,800
Working at such a high altitude
really limited us.
403
00:23:35,880 --> 00:23:39,680
It's been a real challenge shooting
in the mountains at such an elevation.
404
00:23:40,200 --> 00:23:42,320
{\an8}[director in English] Three, two, one. Go.
405
00:23:42,400 --> 00:23:46,280
{\an8}THEY'RE LED BY A NORWEGIAN DIRECTOR
AND A DP WHO IS AN EXPERT SNOWBOARDER.
406
00:23:46,360 --> 00:23:48,320
[director] Look down in the snow here.
407
00:23:49,600 --> 00:23:52,840
[in Spanish] Three, two, one.
Let's start walking.
408
00:23:56,640 --> 00:23:59,880
- [in English] Got it. Cut.
- Okay. We have it. I'm happy, guys.
409
00:23:59,960 --> 00:24:02,720
[director in Spanish]
You'll climb and set up your bivouac,
410
00:24:02,800 --> 00:24:06,000
which is the bed, on top of this rock.
411
00:24:06,080 --> 00:24:07,240
DIRECTOR, MOUNTAIN UNIT
412
00:24:07,320 --> 00:24:10,200
We'll start from below,
then bring the camera up
413
00:24:10,280 --> 00:24:12,280
and begin the dialogue again from above.
414
00:24:12,360 --> 00:24:16,720
If we have time, we'll do it again,
but I'm not sure we will.
415
00:24:17,720 --> 00:24:19,040
That's all.
416
00:24:21,480 --> 00:24:26,720
[man] As you know, the main characters
go on several expeditions
417
00:24:26,800 --> 00:24:29,400
in search of supplies.
418
00:24:29,480 --> 00:24:32,280
Eventually, they try
to make their way to civilization.
419
00:24:32,360 --> 00:24:35,560
That's basically
what we've tried to capture.
420
00:24:35,640 --> 00:24:38,200
{\an8}THEY REACH THE HIGHEST POINTS OF
THE SIERRA NEVADA,
421
00:24:38,280 --> 00:24:40,280
{\an8}AT AN ELEVATION OF ALMOST 10,830 FEET.
422
00:24:40,840 --> 00:24:42,040
Great job, guys.
423
00:24:42,120 --> 00:24:43,800
Nando too. One second.
424
00:24:43,880 --> 00:24:45,880
Look towards the camera a little.
425
00:24:46,600 --> 00:24:47,520
[in English] Cut.
426
00:24:49,800 --> 00:24:51,840
- Huh?
- Eh.
427
00:24:51,920 --> 00:24:53,000
All good?
428
00:24:53,080 --> 00:24:54,320
[group laughs]
429
00:24:54,400 --> 00:24:59,480
[intense candombe drums playing]
430
00:25:03,000 --> 00:25:05,000
[gentle music playing]
431
00:25:05,080 --> 00:25:11,400
{\an8}WEEK 16: LAST WEEK IN THE SIERRA NEVADA,
FILMING THE RESCUE SCENE.
432
00:25:12,000 --> 00:25:14,320
[in Spanish] The last day
in the Sierra Nevada,
433
00:25:14,400 --> 00:25:17,360
at the exterior fuselage on the mountain,
434
00:25:17,440 --> 00:25:19,200
we were filming the arrival of…
435
00:25:19,280 --> 00:25:23,520
I get emotional talking about it.
The arrival of the rescue helicopters.
436
00:25:23,600 --> 00:25:27,000
The survivors know that Nando
and Canessa have made it to safety,
437
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.
438
00:25:32,840 --> 00:25:35,320
They're about to leave
what has been their home
439
00:25:35,400 --> 00:25:37,120
and the society they've created.
440
00:25:37,200 --> 00:25:39,360
They're eager to return home and wondering
441
00:25:39,440 --> 00:25:42,600
how the world will react
to what they've been through.
442
00:25:42,680 --> 00:25:46,240
A wonderful yet intense period
is coming to an end.
443
00:25:46,320 --> 00:25:47,320
The hardest one yet.
444
00:25:47,400 --> 00:25:51,080
It has been very demanding,
both physically and emotionally.
445
00:25:51,160 --> 00:25:54,240
But we're very glad
we got to experience this whole process,
446
00:25:54,840 --> 00:25:56,000
and we're grateful.
447
00:25:56,080 --> 00:26:00,400
My experience in the Sierra Nevada,
Granada, and Spain will stay with me.
448
00:26:00,480 --> 00:26:03,480
[uplifting choral music playing]
449
00:26:03,560 --> 00:26:05,760
[Sandra] When the helicopters arrived,
450
00:26:05,840 --> 00:26:08,520
I believe our entire team…
451
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,
452
00:26:13,680 --> 00:26:16,200
but we had our own moment of…
453
00:26:17,760 --> 00:26:18,760
"It's finally over."
454
00:26:18,840 --> 00:26:21,480
We still have a lot to film,
but that difficult part,
455
00:26:21,560 --> 00:26:25,640
dealing with the mountain, the fuselage,
the characters, the weight loss,
456
00:26:25,720 --> 00:26:28,920
the struggles of living together,
and COVID on top of that,
457
00:26:29,000 --> 00:26:32,720
as well as having to live
in an isolated mountain village…
458
00:26:32,800 --> 00:26:37,640
That period of intense concentration,
effort, working hours, energy,
459
00:26:37,720 --> 00:26:41,920
technique, suffering, joy…
had come to an end.
460
00:26:42,000 --> 00:26:43,360
Yeah, I'm done.
461
00:26:43,920 --> 00:26:45,360
That was great. Thanks.
462
00:26:45,440 --> 00:26:46,840
Ah!
463
00:26:46,920 --> 00:26:47,920
It's over.
464
00:26:48,000 --> 00:26:51,800
I believe it's one
of the most emotional moments
465
00:26:51,880 --> 00:26:54,280
I've ever experienced on a film set.
466
00:26:54,360 --> 00:26:55,320
It was incredible.
467
00:27:05,920 --> 00:27:11,400
{\an8}WEEK 20: THE TEAM HEADS TO URUGUAY
TO SHOOT THE END OF THE FILM.
468
00:27:11,920 --> 00:27:13,720
CHILEAN AIR FORCE
469
00:27:13,800 --> 00:27:15,440
[gentle music playing]
470
00:27:40,000 --> 00:27:42,040
[group exclaims]
471
00:27:56,200 --> 00:27:59,560
It's a miracle. It's a miracle.
472
00:27:59,640 --> 00:28:02,720
- What do you mean, a miracle, Mom?
- It's a miracle.
473
00:28:02,800 --> 00:28:06,680
- It's a miracle. It's a miracle.
- [sobs]
474
00:28:09,120 --> 00:28:10,400
Cut. Great job.
475
00:28:10,480 --> 00:28:12,960
[somber piano music playing]
476
00:28:35,440 --> 00:28:36,880
WELCOME TO SAN FERNANDO
477
00:28:36,960 --> 00:28:38,000
WELCOME
478
00:28:38,080 --> 00:28:39,440
[crowd clamoring]
479
00:28:44,520 --> 00:28:46,440
CHILE AND URUGUAY
480
00:28:46,520 --> 00:28:48,400
[applause]
481
00:28:48,480 --> 00:28:50,840
[cheering]
482
00:29:07,560 --> 00:29:09,640
Thank you, everybody!
483
00:29:09,720 --> 00:29:12,520
Incredible work! Come on, everyone!
484
00:29:18,440 --> 00:29:22,200
{\an8}[man] Three, two, one. Action.
485
00:29:22,280 --> 00:29:24,600
{\an8}DECEMBER 2022: CRASH SCENE,
NETFLIX STUDIOS, MADRID
486
00:29:24,680 --> 00:29:25,520
[groans]
487
00:29:26,800 --> 00:29:28,640
[man] Cut. Cut. Cut.
488
00:29:28,720 --> 00:29:31,200
[engines straining]
489
00:29:34,040 --> 00:29:37,120
[Sandra] We asked ourselves
how we could film the crash,
490
00:29:37,200 --> 00:29:42,880
knowing that Bayona relies
on realistic practical effects,
491
00:29:42,960 --> 00:29:47,400
using the actors as well as stunt doubles.
492
00:29:47,480 --> 00:29:53,280
Also, how could we incorporate one of
the many things that Bayona excels at,
493
00:29:53,360 --> 00:29:58,480
making the viewer feel
like they're in the scene,
494
00:29:58,560 --> 00:30:00,480
right in the middle of the action?
495
00:30:00,560 --> 00:30:02,960
[tense music playing]
496
00:30:03,040 --> 00:30:05,840
Three, two, one. Action.
497
00:30:08,080 --> 00:30:09,360
- [groans]
- [screaming]
498
00:30:11,120 --> 00:30:15,200
We mainly have small sets
for specific shots.
499
00:30:15,280 --> 00:30:20,240
Then we have half a fuselage on a gimbal
500
00:30:20,320 --> 00:30:25,320
to get all the movements and real inclines
501
00:30:25,400 --> 00:30:27,280
along with the turbulence.
502
00:30:27,360 --> 00:30:31,080
Then we have a full moving fuselage.
503
00:30:31,160 --> 00:30:34,080
We use this plane to show
504
00:30:34,160 --> 00:30:37,960
normal flying conditions,
when the passengers play cards,
505
00:30:38,040 --> 00:30:40,480
mess around, get rowdy,
and stuff like that.
506
00:30:40,560 --> 00:30:44,480
Real planes can reach this angle,
and it's historically accurate.
507
00:30:44,560 --> 00:30:47,960
A ball is rolling on the floor.
Action! Pancho, look out the window!
508
00:30:48,040 --> 00:30:50,600
You're about to crash!
The plane's right in front!
509
00:30:50,680 --> 00:30:51,880
And then, sun!
510
00:30:51,960 --> 00:30:53,520
And cut.
511
00:30:57,280 --> 00:31:01,120
[man] Stunt-wire work
has become a key part of this film
512
00:31:01,200 --> 00:31:07,640
because it allows us to move
at the speed and in the direction we want.
513
00:31:07,720 --> 00:31:11,320
So, we had to prepare
the seats in the fuselage
514
00:31:11,400 --> 00:31:13,760
so that the actors could do the stunts.
515
00:31:13,840 --> 00:31:14,880
STUNT SUPERVISOR
516
00:31:18,560 --> 00:31:23,080
We modified all the seats
and added more foam to them.
517
00:31:23,160 --> 00:31:30,040
With the help of the special effects team,
we created rubber trays and armrests
518
00:31:30,120 --> 00:31:35,600
to keep the actors safe
while filming the impacts.
519
00:31:42,520 --> 00:31:44,800
All the backdrops used
in the movie are real.
520
00:31:44,880 --> 00:31:49,080
They're footage and photographs
taken in the Andes.
521
00:31:49,160 --> 00:31:51,920
Since it's based on a true story,
522
00:31:52,000 --> 00:31:55,360
the audience tends
to not like the digital look.
523
00:31:55,440 --> 00:31:58,000
You can sense that it's not real.
524
00:31:58,080 --> 00:32:02,600
I'm really pleased
with Félix Bergés's and Ranchito's work.
525
00:32:12,560 --> 00:32:14,560
One, two, three, cut!
526
00:32:15,840 --> 00:32:17,280
[screaming]
527
00:32:18,480 --> 00:32:20,120
Gastón!
528
00:32:20,200 --> 00:32:22,200
[wind whistling]
529
00:32:22,280 --> 00:32:24,280
[rhythmic string music playing]
530
00:32:25,400 --> 00:32:26,640
[alert beeping]
531
00:32:29,440 --> 00:32:30,760
We thought they were dead.
532
00:32:30,840 --> 00:32:32,160
Uruguay!
533
00:32:32,240 --> 00:32:34,840
The film gives a voice
to those who didn't make it.
534
00:32:34,920 --> 00:32:40,120
I feel like it has provided answers
to all the lingering questions.
535
00:32:40,200 --> 00:32:44,800
It was an emotional period,
and it's much more than just a movie.
536
00:32:45,880 --> 00:32:50,040
Through this film,
we access layers of awareness
537
00:32:50,120 --> 00:32:51,720
that we had no idea existed.
538
00:32:51,800 --> 00:32:56,880
It's the movie that has truly
taught me the most, every step of the way.
539
00:32:56,960 --> 00:32:59,360
It was an emotional roller coaster,
540
00:32:59,440 --> 00:33:03,200
but we all agreed
that what really kept us going
541
00:33:03,280 --> 00:33:07,600
was the camaraderie
and the friendships that we forged.
542
00:33:08,120 --> 00:33:10,200
♪ Many times I was locked up… ♪
543
00:33:10,280 --> 00:33:14,040
Even now, it's hard to believe.
544
00:33:14,120 --> 00:33:18,680
I don't know how they survived,
but because they returned home,
545
00:33:19,440 --> 00:33:21,400
we were able to find out what happened.
546
00:33:21,480 --> 00:33:23,800
Instead of just recounting the events,
547
00:33:23,880 --> 00:33:26,200
the film shows what happened to this group
548
00:33:26,280 --> 00:33:29,880
and how they had
to face their own mortality.
549
00:33:29,960 --> 00:33:32,040
[J.A.] Folks, that's a wrap.
550
00:33:32,120 --> 00:33:37,080
{\an8}SATURDAY, DECEMBER 3, 2022:
SHOOTING WRAPS ON SOCIETY OF THE SNOW
551
00:33:38,880 --> 00:33:44,920
The movie obviously stirs up
a lot of emotions.
552
00:33:45,000 --> 00:33:48,480
Bayona has brought us all together
50 years after the events.
553
00:33:48,560 --> 00:33:50,480
SISTER OF FELIPE MAQUIRRIAIN, DECEASED
554
00:33:50,560 --> 00:33:53,240
The story had never been told
like this until now.
555
00:33:53,320 --> 00:33:57,600
Bayona is the kind of person
who doesn't quit until the scene is right.
556
00:33:57,680 --> 00:34:02,320
He won't stop trying
to get the shot until it moves him
557
00:34:02,400 --> 00:34:04,280
and really makes him feel something.
558
00:34:04,360 --> 00:34:07,720
It totally changed how I see acting.
559
00:34:07,800 --> 00:34:10,200
I believe it has given us tools
560
00:34:10,280 --> 00:34:13,240
to work on other projects
in the future and grow as actors.
561
00:34:13,320 --> 00:34:17,440
Sometimes, you want to wring his neck.
Other times, you want to give him a hug.
562
00:34:17,520 --> 00:34:23,400
But this experience has definitely
helped me grow as a person and an artist.
563
00:34:23,480 --> 00:34:26,600
♪ My dear J.A. ♪
564
00:34:26,680 --> 00:34:30,000
♪ You are the joy ♪
565
00:34:30,080 --> 00:34:34,000
♪ Of my heart in every way ♪
566
00:34:34,080 --> 00:34:38,320
I believe J.A.
has poured his heart into this story,
567
00:34:38,400 --> 00:34:41,280
putting in a lot of work with Pablo,
568
00:34:41,360 --> 00:34:44,040
to perhaps make the best film of his life.
569
00:34:44,120 --> 00:34:47,800
We've all heard the story of the heroes
570
00:34:47,880 --> 00:34:51,000
who succeeded in crossing the Andes
and returning home.
571
00:34:51,080 --> 00:34:54,200
But the story of the anonymous heroes
572
00:34:54,280 --> 00:34:57,400
who allowed the survivors to return
hadn't been told until now.
573
00:34:57,480 --> 00:35:02,320
When you see someone
so invested in a story from day one
574
00:35:02,400 --> 00:35:04,200
and their attention to detail,
575
00:35:04,280 --> 00:35:08,160
that's when you know
there's an unbreakable connection there.
576
00:35:08,240 --> 00:35:10,440
DAUGHTER OF JAVIER AND LILIANA METHOL
577
00:35:10,520 --> 00:35:14,960
In my eyes, J.A. has become almost like
a member of our community of survivors.
578
00:35:15,040 --> 00:35:20,960
The film creates a space
for us to revisit who we were.
579
00:35:21,040 --> 00:35:23,120
{\an8}[uplifting instrumental music playing]
580
00:35:23,200 --> 00:35:30,120
{\an8}SOCIETY OF THE SNOW:
WHO WERE WE ON THE MOUNTAIN?
581
00:36:12,440 --> 00:36:17,440
Subtitle translation by: Meredith Cannella