I am a Stefano Sollima and I am the director of Without Remorse. This sequence comes after the middle of the film, when the team is about to parachute to their location. Their plane is shot down and crashes into the ocean. What was important to me was Kelly’s, played by Michael B. Jordan, psychology in such an extreme situation. I wanted to create an intimate relationship with the protagonist. So I decided to film the whole crash primarily from Kelly’s point of view, Michael, only briefly showing the exterior of the plane. The public had to be reminded of its determination to take revenge. He must collect the equipment to complete the mission. And to practically shoot this sequence, we bought a real plane, which we cut into pieces. And then we divided the crash sequences into four parts. The first was the crash in the ocean. Outside the cockpit, we built this slide that would release tons of water. And the second part was the rotation. The first class was halfway in a huge tank, and around it we built a rotating mechanism with pistons and motors. That way the entire cast could move as the plane spun. And the third part was the mechanism that breaks the plane in half. This huge metal platform would divide part of the driveway and then sink it into the tank. At this point, Kelly either abandons the mission or recovers the equipment. And this is the fourth and final part. Kelley dives into the flowing tail of the plane and uses air pockets to get the oxygen she needs. And it was all done by Michael himself as well. He trained for months to be able to hold his breath longer, while swimming and moving through the water at full throttle. And this whole freight scene is built entirely on Kelly’s breath. The rhythm, the music, the cuts are all dictated by when Michael needs some fresh air. I tried to keep these shots of Kelly holding her breath as long as possible, so the audience could really feel her struggle. We need air just as we need air. The high ropes creep in each time Kelly slowly loses oxygen from her body. And that sound is released once it fills his lungs. But it’s too late now. And we have the strings for one last time, the sound of metal starting to compress. And we feel his struggle. And then he grabs the last and most important piece of equipment. And finally he comes to the surface, and at the end, just like Kelly, we can finally take a breath of relief.
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