"I'm James Marsh, I'm the director of The Theory of Everything." "I don't normally watch films when I finish them, so this is always quite a difficult process for me to reengage with work that I've finished." "This is an opening scene that's shot as a kind of prologue and coda for the film." "We come back around to this scene at the very end, and the idea here was to show essentially wheels and feet, really, in silhouette, so you can see that one character isn't walking." "The others are, obviously, walking." "A simple idea, but I think it introduces the subject matter of the film quite well." "This is an interesting transition we planned out in the shooting, to go from a wheelchair to a bicycle and we did do a big jump back in time, of course, here." "Come on, old man!" "Here is Eddie Redmayne who plays Stephen Hawking." "Probably worth talking briefly about how Eddie got involved in the film." "He was very ardent to do it and when we cast him, he did," "I guess, about four or five months of daily physical preparation." "Not for this part of the film, of course, where he's able-bodied." "And the film opens with energy from both the actors, the camera work and the music." "Just to kind of signify this isn't a film about someone in a wheelchair, it's about a person who was able-bodied and had a very active, physical life before he got ill." "Oh, my goodness." "Right." "Time for a drink." "Hello." "This scene is shot quite boldly by the DP Benoit Delhomme." "He used a very striking blue cast to this, it's twilight, as it were, although the sun's going down, and this is a real location, not a studio." "And this was a scene that was quite difficult to put together." "We have lots of dancing people, which always gives you problems with sound and dialogue." "But I like the look of this scene a lot." "It was one of those bold choices that Benoit made that I was very happy with." "And essentially this is our first look at the two main characters of the film," "Jane Wilde, as she was then, and Stephen Hawking, who meet at a party." "He's strange." "Clever." "So it's quite a conventional, I guess, boy-meets-girl scene with many other surprises in store for these characters as the story unfolds." "We also get a look at Stephen's friend, Brian, who's a kind of conflation of various friends that Stephen had at university sort of embodied in this one character who's his friend and fellow physicist." "Felicity is one of these actresses who's very easy to photograph." "You can come at her every angle and she always looks very interesting and exquisite for the camera." "And you can see that here, we're shooting at quite, I guess not odd angles, but they could be unflattering angles for some actors, but the camera loves Felicity and indeed Eddie too, as you can see." "Intelligent atheists?" "You're not religious, are you?" "This sets up one of the big themes of their relationship and, in fact, the story." "This tension between Stephen's scientific thinking and Jane's faith-based thinking when it comes to issues of God and religion, and they start sparring here straight away." "Stephen's quite taken aback, I think, by how sharp Jane is in this scene." "What's the equation?" "That is the question." "Interestingly enough, the day we started filming, there was this really interesting chemistry between the two actors." "We'd done a brief audition with them, and did run a few scenes, which I filmed." "They really came together so immediately, and it gave me great confidence that the central relationship in the film was gonna be interesting." "Because my finals exams were such a shambles, that the examiners, they summoned me in for a viva, and they told me that if I..." "It's worth enjoying Benoit Delhomme's work here." "Benoit's a DP that I'd long wanted to work with." "I saw a film he made many years ago called Cyclo, which was shot in Saigon, it was a really bold and interesting film." "And he's just brilliant with light." "Lighting is really what DPs do for you." "You agree on the framing, you collaborate on the performances, but lighting is where the DP is allowed to express, I guess, his view of the story and how he wants to see it and, of course, I agree with it and comment on it." "But I really enjoyed his lighting enormously and gave him great freedom to light it quite creatively and quite boldly almost all the way through the film." "And again, this is another example of just how the lighting is so well thought out by Benoit." "Yes." "Bye." "Bye." "Eddie, all the way through this first section of the film that there are discreet signs of his physical..." "The illness shows itself quite discreetly and quite slowly, and all the way through the opening part of the film, the first 20 minutes or so, you're seeing awkwardness with Eddie's hands, which he'd very carefully worked out ahead of time." "And so that's worth looking out for, the way his fingers are there, for example, is the detail." "In fact, Eddie's performance is full of just very, very specific details, even at this stage, when it's not obvious that he's getting ill." "Something to separate the men from the boys, the wheat from the chaff, the mesons from the pi mesons, the quarks from the quacks." "This is a nice playful scene that Anthony McCarten wrote." "Just shows, I think, the true fact of Stephen's idleness when he was a postgraduate student before he was diagnosed with his illness." "And, by his own admission, he didn't do the work he should've been doing and was more often doing things like this." "He was indeed a cox for his college rowing team." "And there's some very nice photographs that we found of him doing that, which we modeled this scene on, to some extent." "And, of course, again, it shows his physicality, and there again cutting into this." "This is a kind of playful design aspect, we've got space and the universe on a pinball machine." "This is an environment we didn't really like shooting at in, first off, at least." "Benoit and I found it quite difficult to get the angles we wanted here." "But I guess we figured it out." " Steve, you all right, mate?" " Jane." "Again, this is just reinforcing this very primal connection between these two characters, a very romantic connection and all the awkwardness that goes with that." "And notice, too, that Stephen leaves his drink behind, which is probably quite unusual." "He was known to be quite a drinker at this time in his life and it goes with the territory of Cambridge in the '60s." "So, there's a story I heard where Stephen once drank so much, he fell down the steps and knocked himself out, and then had to be brought round and didn't know quite who he was when he came round." "That's an anecdote that I read about, which isn't in the film, of course." "Again, it's worth paying attention all the way through to Eddie's hands, his physicality." "There's always something interesting that he's doing." "This was shot in St. John's College, Cambridge." "It's a beautiful old college in Cambridge, medieval buildings." "And this actually is a nice segue into a studio that we constructed that ties in with the college, so this is our set which we shot a lot later on in the production." "Brian, I have no idea what you're talking about." "How many of Sciama's questions did you get, Stephen?" " None." " You didn't get any?" "Harry Lloyd was a great actor to work with." "All the actors were just really collaborative, and just worked off each other so much, and so genuinely liked, I think, working with each other, and that shows in the performances." "They are very warm, between these two characters in particular." "As it should be, it's a very interesting friendship that sort of frames Stephen's early life in college." "Can you whip on some Wagner?" "Sod off." "Here we have the first reference to Wagner." "Stephen is, to this day, a huge Wagner fan." "And Wagner seems to go, in my way of thinking, with his thinking." "It's sort of grandiose and all-consuming." "And this was an opportunity to slip some Wagner into the life of the film, and it was a very important musical flavor for Stephen." "This scene, of course, is the first very obvious sign that something is not quite right with Stephen in his physicality." "We try and make it discreet and throw it away a bit, and make it more about the cleanup than the actual accident." "Which, obviously, he now doesn't have paper to use." "So that was the thinking there, to try and show something that was clearly beyond the realm of normal clumsiness." "And again, Eddie is..." "In this scene, his physicality is actually slightly more compromised." "He graduated all this so beautifully." "So each time we had an event like that in the early part of the story, you'd see his physicality would be a little bit more compromised afterwards." "Again this is another nice witty scene that Anthony wrote, where Stephen's using train timetables to do his homework on." "David Thewlis was another lovely actor to work with, really brought this character to life." "This kind of character can be quite flat and quite one-dimensional, but in the hands of an actor like this," "David gives him such color and personality, and again, it's a lifelong friendship that you see begin here as mentor and student." "Nine?" "Come in." "Again, much of this part of the story is based on Stephen's biography." "He did struggle to find the subject for his thesis and here, Sciama is challenging him on this." "I wanted to talk to you about your subject." "The detail here coming up that we signify, and it plays again towards the very end of the film, a detail that we echo, which, I think, some people will make the connection with this particular scene." "It's another example of Stephen's clumsiness." "Again, it's quite quick and we don't put some big sound effect on it." "This laboratory is, again..." "It's something we found in London, but it's absolutely modeled on the actual lab in Cambridge where the atom was indeed split." "So it has a kind of huge significance for a scientist like Stephen." "...and where Rutherford split the atom." "And Cambridge is full of environments like this, that kind of speak of learning and knowledge going back hundreds and hundreds of years and the gradual evolution of scientific knowledge." "And you get a sense of that when you're there." "Even though this wasn't shot at Cambridge, it was shot in London, at London University." "Friday, I'm taking a few graduates of merit to London to attend a talk by the mathematician Roger Penrose." "All the way through the first 20 minutes or so of the film we're using a widescreen format with spherical lenses, so it's quite a conventional cinema format." "And there's a change in that that's coming up, but here you can see how the widescreen's working and those lenses are working here." "We've heard quite a few examples now of Jóhann Jóhannsson's music." "You do the music late in the film, the last creative thing that you do is that with the sound design." "And Jóhann was a composer that I'd met briefly a few years ago." "He worked on a documentary that I was involved with." "And I loved the music and the ideas he had for that film." "And he's not a vastly experienced film composer, he's a classical composer in his own right." "And so to have someone like that, who wasn't too spoiled by the process of constantly scoring films, that was one reason I wanted to work with him." "There was a fresh voice, and the blend of instruments he uses is very unusual." "And that was a very, very important collaboration in the film that came quite late on." "And this scene here was really difficult to shoot, as any director will tell you, meal scenes are kind of a tough, tough challenge." "You have sight lines, you have five, six people round a table." "You're having to cover each side of the dialogue, and actors have to try and eat and they don't usually eat very much, but you're doing it for about a day." "A whole day would be spent on a scene like this, so the actors have to nibble at things." "And the more experienced actors do this very well, they barely eat anything." "But younger actors like Eddie and Felicity haven't quite got to that yet, so they get increasingly stuffed as the day goes on." "But these are quite tricky sequences to shoot from a technical point of view, and of course it's all about performance, like any part of this film." "Very lively character actors around our leads here doing a great job to bring to life this odd family, eccentric family of very bookish people." "You haven't said why you don't believe in God." "A physicist can't allow his calculations to be muddled by a belief in a supernatural creator." "Sounds less of an argument..." "And again, we are going at again, the theme of God versus science, which, again, is something that the film dances around quite a lot." "She's reading Lord of the Flies there, by the way." "I'm inviting Jane to be my partner to the May Ball." "Really?" "This was somewhat improvised, the end of this scene." "It wasn't actually written in the script, and both Eddie and Felicity took an idea and just developed it as we were shooting, so that little exchange at the end was something they came up with on the day," "which I thought was really helpful." "And that happened a lot in the course of the film." "It's really cold, by the way, here and Felicity has got very little on." "And she was shivering between takes, but as a great professional you have no sense of that when she's walking out there, but it was quite a cold, chilly night." "And this is probably our biggest set piece." "We shot this scene, this whole May Ball scene, on the second day of the production, second night of the production, so we're all getting used to working with each other." "The actors are still, I guess, exploring what they're gonna do with the roles." "And this is quite a big technical challenge as well." "Benoit's lighting here is extraordinarily brilliant, I think." "There's so much lighting here, but it's so discreet and so appropriate, and there's some very bold mixed lighting coming up." "That's very, very hard to do technically and yet, this was so well thought out by Benoit, again, on the second day of the shoot when we're not properly functioning as a unit." "This is difficult stuff for DP and it was beautifully planned and executed by him." "And not least because the actors are allowed to do their work so well." "Even with all this technical stuff going on, the heart of this, of course, is the two characters really falling in love across the course of this series of scenes at the May Ball." "The washing powder?" "I guess it worked for the actors, too, because they were, in a sense, still feeling each other out and finding out what they're gonna do with the characters, and here the scene itself expresses that idea, too." "When stars are born, and when they die, they emit UV radiation." "So if we could see the night sky in the ultraviolet light..." "We cut this down quite a bit." "There was a lot more dialogue in this whole May Ball sequence." "It felt that less was more here." "And again, some of it is improvised by the actors." "You can do that if the script is good." "If the script isn't good, then you wouldn't do that." "But Anthony's script was very solid in its structure and architecture, and there were lots of playful scenes in it already, so that allowed the actors to sometimes add things and take things away." "At this point in the shooting, Stephen Hawking showed up on the set." "Timed his arrival very specifically, I think, for the fireworks, or it was just a happy coincidence." "But it could've raised the stakes, of course, for the actors and for us to have Stephen on set." "He arrived in his quite bulky wheelchair with four or five people that were looking after him, and the screen in front of him lights his face in an interesting way." "It was quite a moment for us, so early on in the film, to have the presence of Stephen there." "And Jane came after that." "Jane and her husband, Jonathan, who's a character in the film later on as the story unfolds." "So both Eddie and Felicity were somewhat traumatized by their presence, but again, it kept them on their toes, and they were really good in all these scenes, notwithstanding the scrutiny of the real-life characters that were around on the two nights that we shot this." "Bravo." "This is all pretty much improvised on the carousel, there's nothing written here." "They just had a playful time together and we filmed it very loosely." "And Benoit was adaptable to that, and that was another great thing about working with him." "There was never any problem about changing the plan or improvising shots and..." "Well, here's another example of some amazingly good lighting." "The whole thing here was supposed to be like a dream, this whole sequence." "A dream of people falling in love." "And so it has, I think, that visual quality very nicely." "This is a pick-up shot we did later on." "We couldn't get that on the night." "We ran out of time, so we had to shoot that skyline separately in London, as you do so often on a film." ""...and darkness" ""was upon the face of the deep."" "Again, if you look at the hands there, there's something not quite right about them." "And when they start dancing, again you'll see Eddie is really compromised physically and trying not to show it to Jane as he dances with her." "And he refuses to dance at the front of this whole sequence," "I think, probably for that reason." "And also, I think, his own self-consciousness about dancing." "This is a swooningly romantic shot." "And why not?" "It's a crane shot essentially that pulls slowly away from them." "And the more the crane reveals, the more Eddie's performance is subverting that sweetness and romanticism because you can see that he's lame." "At least I hope you can." "That was the idea, that we would subvert this very conventional romantic idea with something a little bit more alarming." "You can see his foot dragging a bit there and it drags more there." "That puts the curse on it a bit, in a good way." "I never thought this scene would survive." "I thought this was the scene that may not make the final edit, but actually it worked really, really nicely." "It was a scene that Anthony came up with quite late on in the preparation of the film." "And here's another, I guess, big example of the disability is the moment where he really does know that something really strange is going on with his body." "And, of course, he won't run for the train because he knows if he runs, people will see that he really is lame." "It's quite difficult to shoot this." "It doesn't look that difficult, but it was with the moving train and a Steadicam." "And this is real rain here." "This was one of the few days where we could get weather problems, but, in fact, we managed to embrace them." "And by and large, we had a very lucky shoot in that respect." "It was often sunny when we wanted it to be sunny." "With a collapse." "The gravitational forces of..." "So, here's a dose of science for those of you who found the science in the film a little bit thin." "Well, here's quite a big chunk of it here, all of which is I think quite understandable, and it gives Stephen what becomes his first great idea in his field, theoretical physics." "Not even light." "And this again a real character, a man called Roger Penrose." "He's a very well-known mathematician and physicist." "His work, I think, prepared the way for Stephen's work." "...get literally crushed into smaller and smaller space." "This room existed." "We didn't do anything to this room." "We found it this way with all the blackboards and the equations." "Again, it's in the University of London, and it was just a really cool room to shoot in." "Space and time come to..." "There's another example of our problems with glasses." "Glasses are really difficult to film because they often reflect things in the camera." "And that was a constant struggle." "We had to try and avoid that in the film." "I guess for those that know that's..." "This is somewhat of a kind of reference to a Jean-Luc Godard film called 2 or 3 Things I Know About Her." "It has this very dreamy, trippy insert shot into a coffee cup, and we took that idea and made it ours, I hope." "I wonder what would happen if you applied Penrose's theory about black holes to the entire universe." "If Einstein is right..." "It's the first scene in the film we actually shot." "Day one, shot one was this." "Eddie hadn't slept, he told me that later on, I didn't know it at the time." "He hadn't slept that night, he was so worried about everything." "So remarkable, I wouldn't have known it." "He told me a few days later that that first night was sleepless." "...to see what happened at the beginning of time itself?" "This is the very first shot we did." "It's a Steadicam shot." "It was quite a long shot." "It hold and holds and then reveals the river." "Getting denser and denser, hotter and hotter as we..." "You mean wind back the clock?" "This was Felicity's idea, this was her idea to do this, to bring in this bit of improv and wind back the clock and make it physical." "It was such a great idea because it so suited the themes of the film and the circularities that the film uses visually quite a lot." "And again, you're seeing an example of Eddie's legs dragging, and it's just subverting again what is a rather sort of lovely romantic scene." "But it was a great idea from Felicity." "And we had so many of those from the actors, ideas that on the day we would incorporate into what we were doing." "Before the universe began?" "No, no, no, no." "Keep going, develop the mathematics." "So, Eddie not only had to do all this physical preparation as the foundation for his performance, which is an emotional performance, essentially, but he had to learn all these equations too, these are actual equations." "We think they pass the scrutiny of mathematicians and physicists, and we actually had an on-set consultant for this stuff when we were doing it." "Eddie has to memorize all this and then render it in character." "So another testament to his, I think, amazing application to this particular role." "Again, he got it all down." "Again, Jóhann Jóhannsson's work here is really special." "Really helps the impact of this and the shock of this scene." "Eddie did this stunt himself." "Didn't hurt himself." "We did something with the pavement to make sure he didn't, but that's him doing it." "The top shot that we see now, this is a stunt guy." "We did a real version of it." "And then we cut back to Eddie here." "Looks like a wounded deer or something in this." "And now we've changed to anamorphic lenses in these shots here." "Once he gets to hospital, this is now a whole different film format we're using." "It's a format that allows you to explore space in quite a different way than widescreen spherical lenses do." "And that was helpful, and we brought the wheelchair into the story." "This was a great day, we enjoyed this day a lot, irrespective of the rather dark turn for the character and the details of the illness." "It was a day where we felt we could just experiment and be free." "And so that's what we did." "We spent the whole day just finding shots and doing very impressionistic camera work, and Eddie was often improvising, again, his physical actions for us." "He had that all down, he could do that for us." "So this was a very enjoyable day of just exploring this new condition that our character's in." "I think we were very experimental with that, I guess." "With lenses and depths of fields, and hopefully that serves the story and serves this new territory the character is in, this new forbidding territory that he finds himself in." "This is a..." "Actually, this is called fasciculation." "It's actually what happens often with people who have ALS or MND." "They have these weird throbbings." "Which are very alarming when you have them." "You don't quite know where they come from." "And it goes along with the early stages of the illness." "This shot actually is back to front, we reversed that shot." "That's why it looks so weird when you see it." "It's a progressive neurological disorder that destroys the cells in the brain..." "This actor was great too, Adam Godley, who played the doctor." "He has this amazing voice." "I could listen to his voice for days on end." "It's mesmerizing." "It's got a deep English quality to it." "And just so right for the information that he's conveying in the scene." "The result is gradual muscle decay." "I cued in some people to walk here at a certain point." "That felt like it was a good way of reminding us that Eddie wouldn't walk within a few years." "Entirely." "I'm afraid average life expectancy is two years." "And this scene ends with an utterly chilling comment from the doctor, which is a true comment as well, to some extent." "Something that Stephen manages to transcend in one way or another." "The brain isn't affected." "Your thoughts won't change, it's..." "This is the truly chilling moment." "Well, eventually, no one will know what they are." "What a terrible thing to be told." "I'm ever so sorry." "Again, the cuts in this scene are all kind of unconventional there." "Not what you should be doing." "But the whole scene has a nightmarish quality to it, which is a mirror of the May Ball being a happy dream." "This is a full-on nightmare." "These next scenes with Harry with the character Brian, again, there's a real toughness to them." "Given that he, Brian, doesn't know what's wrong with Stephen and he approaches him as if everything is still fine." "And we're hearing Wagner again, too." "It's a very awkward, uncomfortable scene for both actors and their characters." "And Harry plays it so well." "And again, some of this dialogue here was improvised." "...episode of The Natural World, where this week we explore the bizarre hibernation patterns of the rare Cambridge physicist seen here in his..." "We've moved Eddie's bed down from..." "We put it up there deliberately so we could move it down." "That, again, is signifying that he can no longer comfortably get up onto his bunk that we saw earlier on in the film." "Is it venereal, Stephen?" "I have motor neuron disease." "Sorry, I don't..." "It's Lou Gehrig's disease." "He was a baseball player." "Sorry, I'm lagging behind in my pioneering research into obscure, motor, baseball-related diseases." "I have two years to live." "So again, the dialogue was written a little bit along the lines of the actor doing it, but a lot of this was actually improvised as we shot the scene." "You..." "What do you mean?" "No, you don't." "What did they say?" "Sorry, I don't really..." "Will you go, Bri?" "Stephen, sorry, I was just being a berk." "No, it's not..." "I wasn't sure about that jumper." "I like it now." "On the day I was..." "I wasn't sure about that white polo-neck jumper." "I'll..." "I'll see you soon." "I'll..." "Yes." "Here's an interesting moment." "This is the first time that we truly inhabit Jane's point of view." "Up until this point, we focused largely on Stephen and showing his point of view, which is how you can empower a character and invest in them as you're making a film, the grammar of it." "But now we cut to Felicity, that remains what we do from this point on in the story." "It's both their stories." "And so Jane has a point of view here that we then see frequently in the rest of the story." "And being a woman at that time, going into an all-man environment, which it would have been, was quite difficult." "We have people staring at her very briefly, you saw that." "It wasn't a mixed college at the time, so being a woman on campus, you would've been quite conspicuous." "This was the second shot we did in the whole film, that up the stairs shot." "After we shot the riverbank, that was the next thing we did." "So it was shot two of our whole production." "This is a mixture of shooting in a studio and, indeed, on location." "And it all kind of blends together quite nicely." "I suppose, you know..." "A woman going to a pub on her own would have been quite a tricky proposition." "These are all discreetly showing what a strong character Jane is already." "Why don't you sit down?" "Again, it's beautifully played by the actors, this scene." "We do it quietly, withdraw and fade the sound down a bit." "And their expressions, they're Stephen's friends, the physicists, just looking kind of shell-shocked." "This next scene is one of my favorite scenes in the film." "There's a very obvious contrast between the blue and the red here." "And Benoit surprised me with this on the day." "He'd embraced these red curtains and I really liked it a lot." "There was one or two mutterings around set about..." "There was a bit..." "It was a bit extreme, but I really liked this." "This sunlight in the corner of the room that's normal light." "Then we play it all with this red cast." "I think, again, it's a very bold choice." "And Benoit was always doing things like that." "Just finding the right way of telling the story with light." "John is having an affair with Martha." "But..." "Martha is in love with Alan, and I think that Alan is probably a homosexual by the look of his jumper." "So..." "This is Glenda Jackson, who is a famous British actress who became a politician." "We just glimpsed her or will glimpse her on the TV screen in a second." "She was an amazing actress when that's what she was doing." "So appropriate, in a way, to have these two great, young British actors in the presence of another one that we'll glimpse, I think, in a second." "There she is, it's Glenda Jackson." "Don't do this." "And again, the film has humor in it." "This is, I guess, quite broad, vulgar humor when he mentions the guy's pullover, jumper." "But you've got permission to laugh in this film, for sure." "Play a game with me." "Go." "Key scene for the actors, this one, or the characters rather." "If you don't get up and play a game with me," "I won't come back here again." "Ever." "Eddie will go into the sunlight here, which is the only normally lit part of this particular scene." "And this next scene is, again, another one of my favorite scenes in the film." "Stephen's showing Jane essentially what's wrong with him and how bad it is already." "Sort of warning her off." "Saying, "This is what I look like." "This is how it is now."" "And Felicity was again..." "This is a great scene for her." "Both of them are brilliant in this scene, but..." "She really shows you so much of the character's feelings, complex feelings, her pity for him, her love for him." "As an example, Eddie on this day would do this for one scene, then the next scene he'd be walking properly, the third scene he'd be in a wheelchair." "And he was able to do this on a daily basis for us." "And the score here is working so well with the ideas of the scene." "This little glance that this guy gives him, noticing how lame and pitiful he looks." "Jane is so resolute at this point." "This next scene caused us some real problems when we were shooting it, just trying to get it right." "It was difficult to get the tone right and the physicality in the scene was also quite tricky." "We tried it in a much more solemn sort of intense, slow way and I didn't think it worked that way." "So we had to go back and rethink how we were gonna do it." "Make it much more energetic, oddly." "And much more physical between them." "That's a false conclusion." "Benoit's lighting here is very important to how open Felicity looks." "He lit this in a way that just allowed her face to show so much." "This, again, wasn't scripted or planned." "That just happened, that kiss." "It's so nice when actors surprise you, or come up with an idea that just works so well for the scene." "There's a good example." "Your glasses are always dirty." "Again, here's a detail that we pick up on later, towards the end of the film." "It's nice to do that when you have these little ideas that you can plant and pay off later." "There." "That's better, isn't it?" "Yes." "Yes, it is." "The way her hands are pinning him against the wall," "I love that detail too." "This is a bit of a time jump here." "Stephen's a bit more disabled in this scene." "Using a stick now for the first time." "Time." "Time, that's your subject?" "Those equations should work, I think, for all those who are paying attention to that side of the story." "Time." "Come in, come in." "This scene was shot really quickly." "It was the end of a long day." "We'd been shooting the Hawking lunch that day, and it was a big, long story, as I mentioned earlier." "This scene, we had to grab really quickly." "And that stuff you have to do with the actors have to be just on straight away." "There's no way you can really explore it." "You just have to shoot it as quickly as you can with the time you've got." "And again, both Simon McBurney here and Felicity were just great from the first take we did." "We didn't rehearse it, even." "And Felicity, it's a very important scene for her." "It was a shame to have to rush it, but she was so good in it that that was immediately apparent that the scene was gonna work and that we were really with her state of mind and the choice that she was making." "For all of us." "What Frank, Stephen's father, is saying here is true." "There is no good prognosis with this illness." "Stephen's version of it is obviously quite atypical." "So he's trying to gently remind her that this is doomed." "And that this is wishful thinking on her part and that she's being naive." "And, in some sense, she is, but that naiveté is vital to their future." "Maybe "innocence" is the word rather than "naiveté."" "All of us." "So here we have a sequence." "We shot this on 16 millimeter." "It's like a home movie idea that punctuates the film." "We have several more of these to come." "The idea came to me quite late, just as we were starting filming, in fact." "I thought that it would be nice to be able to observe the characters in this more intimate, slightly informal kind of way, and tell the story a bit that way, too." "And Jóhann's music, again, fits that idea so well." "I love this moment, even though it's broad and emotional." "It's so surprising that they have a baby now." "And Stephen can't hold the baby very well, but he still can hold the baby, and that holding of his children becomes this painful motif in the film." "With each successive child, he can have less physical contact with them." "This is my idea I had on the morning of the shoot, that he should come down the stairs this way." "It wasn't in the script or our plans, but..." "Eddie said, "You want me to go down the stairs that way?" "That's kind of painful."" "But, as always, he was up for it." "And did it 25 times, as you do in a film." "Down those stairs with a bit of padding, I think, in his trousers, but, basically, that wasn't comfortable for him." "But, as ever, he was always game to try something out." "I know, I know." "It could be a little bit more elegant." "Yes, but I..." "Come in, Stephen." "This is actually Stephen Hawking's thesis that we're seeing, we glimpse it in some of the cut-aways here, and you'll see his rather spidery signature." "This is actually..." "He gave us his thesis to use, which was very kind of him and an endorsement that he was more or less comfortable with the idea of making the film." "And those things, they have a certain fetish quality when you get something like that from your main subject." "It just adds a certain greater mystery to what you're doing in a good way." "...as we know, chapter one, full of holes, lacks mathematical support." " Professor Thorne?" " Chapter two..." "So, we have Kip Thorne here, who's briefly in our story." "He was a friend and colleague of Stephen's, an American, who was working in the same field, and a very eminent physicist in his own right." "And then, of course, we have chapter four." "As was indeed Sciama." "...hole at the beginning of time." " Space-time singularity." " Indeed." "It's brilliant." "Brilliant..." "It's an amazing idea, that, a black hole at the beginning of time." "I think we basically got our heads around it." "Hopefully people who are watching the film will do the same thing." "The science is at level, I think, that basically I understood." "So I figured if I understood it, then hopefully you would, too." "So it's not complicated." "It really wasn't the story of Stephen's career." "That will be a different film altogether." "In fact, that film has been made." "It was made by Errol Morris." "It's a very good film, too, called A Brief History of Time." "So I can commend that to you if you want to see a film that's more engaging with Stephen's career and his scientific achievements." "That film does that rather well, it's a documentary film by a director who I adore, Errol Morris." "The one simple, elegant equation to explain everything." "Yes, it would." "It would indeed." "This becomes the theory of everything." "What Stephen and other physicists in his field are trying to do, is to find the theory that unifies essentially Einstein's physics with particle physics." "To the esteemed and formidable..." "The film often has this pattern to it, that you see something where Stephen has defied and transcended the impediments to his life and to his career." "And yet, at the same time, he's almost immediately confronted with what he's lost, limitations that he now has to endure and try and overcome physically, which are never gonna get any better." "That's the awful thing about the illness, is that you don't get anything back." "You just keep losing and losing and losing." "And this, after the triumph of getting his doctorate so young and having such a radical idea for his thesis." "You now see the other side of the story, which is he can barely feed himself and yet he won't ask for help." "In fact, the meal scenes throughout the film, there were several of them, mark that for you, that you see, in the meal scenes you see again, the extent of what the illness is doing to him." "I mean, in this sense taunted by everyone else being so able-bodied, and so able to do the simple things with knives and forks." "And this scene leads to one of the scenes, when I first read the script, that I thought was incredibly powerful and made me want to actually make the film, when Stephen tries to go up the stairs." "We've seen him come down the stairs, which is a painful, but viable activity." "And going up the stairs is increasingly impossible." "And yet he won't give up." "And as the scene develops, there's a dimension brought to it by his son, who is able, even at his young age, to stand up and do more than Stephen can do." "A very powerful piece of writing from Anthony." "And brilliantly performed by Eddie here." "We shot this quite a few times." "It was a difficult scene to finally land and we got there in the end." "Kind of like in a prison there, too, the way the stairs are working." "Hey, Robbie." "This, again, is the theme of the children who start off being so helpless and yet increasingly become mobile and physical, in the exact opposite way that Stephen is declining." "And this immediately connects with Stephen's stubbornness, and how Jane has to dance around that stubbornness and still give Stephen some of his pride, you know, at the same time she has to give him a reality check." "We tried this scene, again, several different ways to try and make it work." "At one point, we had Eddie struggling quite a long distance to get to the chair." "That didn't feel credible because obviously" "Jane wouldn't have put the chair so far away from him." "So she brings it to him in the version we ended up working with." "As she would do, and it makes a big clattering sound there." "She doesn't say anything." "There were words here, and we lost them as we were shooting." "We thought we didn't need words." "We could just do it all in the way that people would do it." "Like, "Here's the chair, get in it," without that being verbal." "And there was a version of this scene when we were cutting it, we spent a very long time with Eddie just looking at the chair." "And then we ended up finding a more efficient version of it." "Look at the details in his hands." "That's..." "Again, the performance is full of these just exquisitely chosen details that show you everything in a discreet way." "We shot this on the last day of filming, as you do in a film." "You shoot everything not in the way you should shoot it, in order." "You know, this is the last day we were actually filming, and they do this really quite intense scene and did it so well." "This..." "But here's another example of Benoit's lighting." "You know, you could do this in a grim, dreary way or you could do it in a sun-filled kitchen." "And why wouldn't you?" "That lighting, all the way through, is telling us something about Stephen's connection with the universe, with the planets, with the sun." "This scene was improvised by the actors." "This was, in fact, the last scene we actually shot in the film." "And again, the actors from beginning to end were offering ideas." "And this is how they wanted to do this scene, and I was really happy with what they came up with here." "Sorry, did you say something?" "It's like a sex scene, I guess you could call it." "Or as close as we get to it." "I remember writing my..." "When we were talking about it together with the actors, we said, "To be explored."" "It was the only note we gave ourselves, this, where we would go with it." "We felt we didn't want it to go too far." "Didn't need to, I don't think." "It's a wonderful moment here with, again..." "The hands and the feet in the story are their own story." "The way Eddie plays the hands and the feet throughout the film is like its own little narrative." "So I think it's pretty clear what went on there and there's the result of it, as it were." "The baby can already move her feet more than Eddie can, and we got a glimpse of that on the way in." "There we go." "Have you got her?" "She looks like you." "Eddie's feet, of course, their own story." "No." "This is somewhat inspired by a passage in Jane's book, I think." "And when I met with Jane Hawking, she took me on this tour of Cambridge and pointed out all the impediments in the city for someone with a wheelchair and three children." "She also took me to the first house she lived in with Stephen when they were married." "And this set you're seeing here is very much a facsimile of that house." "And this idea really happened." "He was caught up in his pajamas and then announced to Jane he had some idea." "So we introduced this idea of fire from the fireplace to stand for what is a very complicated idea about Hawking radiation, one of the things Stephen's best known for as scientist." "But again, we wanted to try and keep the level of science at a level of visual simplicity." "Maybe to a fault, but better that than to bamboozle you with mathematical formulae." "So this is a kind of eureka moment for Stephen, which again is inspired by something that actually happened." "I've got an idea." "There's been a time jump here too, with the baby signifying that." "And so Stephen's disability is that much worse now, and his voice is also beginning to slur a lot." "I love the intensity of that image there with Eddie coming in." "This, a man who's got an idea to share with the world, and he's very focused on that." "Okay." "Good luck." "He'll be fine." "He'll be fine." " Sorry." " No problem." "So now we are about to hear a lecture where Stephen shares this idea about Hawking radiation to fellow physicists." "A very hard scene for Eddie to do." "It's all about the voice, this, and the posture, of course." "But the voice is like someone's drunk." "It's like he's slurring." "And that's something that Stephen said, that he shouldn't spare that part of the illness." "And Stephen was quite keen for Eddie to do that." "And he did it, I think, brilliantly, as you see in this scene." "The steady emission of heat energy..." "And like all bold ideas in physics, not everyone agrees with them." "And here we're seeing some dissenting characters who don't look very impressed with this young academic, with this radical idea." "...in the way that a body loses heat." "Second law of thermodynamics." "This is a neat idea from Anthony, to intercut this with a more anecdotal explanation of the idea." "And I think, again, it's quite clear what we're getting at here." "I kept thinking about Newton's apple and how that story always meant something to me when I was younger." "I understood gravity better through that anecdote." "And I tried to make the visual aspects of the film somewhat like that, that they were visual and clear, if scientifically crude." "And then the black hole itself..." "Here we're seeing the glasses reflecting." "This was something we got totally obsessed with whilst we were making the film." "Eddie always had these big glasses on, and we had to try and figure out how to either show or not show what was being reflected in them, which was quite a vexing task." "Not only that, how the universe was born," " and..." " How it will end." "Bang!" "Crunch!" "It's beautiful, it's racy, it's..." "Complete nonsense!" "It's preposterous!" "This was shot in Cambridge, it's a lecture room there." "Beautiful proportions, with wood, and worked very well for our scene." "My name is Professor Khalatnikov from the Soviet Academy of Science." "Originally we began to plot the idea that" "Jane was increasingly excluded from Stephen's academic life, and there's a suggestion of that here." "We'd shot a version where it was very, very clear that she was being left out of this part of his life." "As he got more successful, she was kind of excluded from that success." "And it's vaguely here in this rendering of the scene." "As you make a film, you can evolve those ideas." "I mean, maybe work them more gradually." "So, this is the beginning of Jane's disenchantment, I think, with her situation, although she does everything she can to make Stephen's life better." "Definitely there's a sense already that this wasn't quite what she was expecting when she agreed to marry Stephen." " Thank you." " Well done, Stephen." "Well, that went pretty well, all things considered." "I was worried for a while." "Hawking radiation!" "The little one has done it!" "Stephen still likes to have a drink and in this time he would have been quite a regular drinker." "That statue you see is something the production designer made." "It's made of a very flimsy material, and we were worried it was gonna blow away in the wind." "My God!" "How does Jane manage?" "Stephen..." "This explains, I guess, Stephen's love life, this scene, in a playful way." "Everything?" "Again, the actors were sort of improvising a touch around the lines that were written and just making them more playful, I guess." "Again, it was something we did a lot in the film." "Well, that's pretty wonderful, isn't it?" "Well, it certainly explains a lot about men." "Hurry up!" "Come on!" "Here's the punch line." "Please." "So now we make a transition, we jump ahead a few years." "Stephen is now an established authority in the world of theoretical physics and now a professor in his own right." "And has this college accommodation, which is very much like, again, his actual accommodation when he was at this time of his life in reality." "Again, we see there's a progression in his disability here." "This originally started with a scene that you can see in the deleted scenes package, where we see Jane packing up the car and going on holiday, which we cut and reworked in a different kind of way." "And here's some more 16 millimeter." "This is quite an interesting scene because we shot for about 10 minutes without stopping the camera, and so Eddie kept this going for 10 minutes in the garden with the kids just improvising around him." "The kids are just playing as if they were playing." "We didn't give them any direction." "We just said, "Enjoy yourself."" "I don't understand." "You've spent years..." "This when Eddie begins to resemble the Stephen Hawking," "I think, of public imagination." "And there's footage of Stephen at this era of his life and photographs too, of course." "And it's remarkable how much Eddie's physicality looks like the real Stephen's physicality." "His posture in the wheelchair, his way of speaking." "Even his facial contortions are really like the actual footage that we were studying so much to get this to work." "This is definitely a transition in the film and the score is helping us do that too." "It starts off being a very elegant waltz and then gets more and more off-key." "And we're seeing there that Jane has her own academic life, which is very hard to pursue in the context of Stephen's disability, the two children as they had then." "And Stephen's slightly disregarding what she has to do to keep the house together." "We're seeing him trash the house there." "Here's the Mini." "We had this whole scene with" "Jane packing up the Mini, and it took very long." "It was very revealing as a scene, but it just didn't feel right for this flow of the narrative at this point in time." "Hello!" " Hello!" " Hello." "This was a difficult day." "This location was great in one respect, but difficult in others." "And Felicity's struggles are very genuine." "The wheelchair kept getting out of control on that slope." "And then Simon had to lift Eddie and the wheelchair up, which wasn't easy at all, up these really steep steps." "And I think he put his back out doing it." "Being an English actor, he didn't want to sue us." "He was happy to take the pain." "But again, these struggles are all real, as they so often were in the film." "There we are, you see?" "Quite easy." "And now we're seeing Jane's..." "You know, just the extent of Jane's burdens." "The..." "Now here's one the few scenes in the film when we were shooting, it all went very badly wrong." "I think I made a mistake." "I didn't tell the young actress sitting on Stephen's knee, that we were gonna do this." "I wanted it to play it and see what she was gonna do, which was I think was probably a mistake because she got totally traumatized by Eddie's performance and was unable to then continue to do the scene, she was so upset." "So we had to shoot around it a bit." "Is it out?" "If you look on the far left, that's all real, her reaction." "And that was probably a mistake of mine, to do it that way." "Then we ended up having to shoot around her absence because she really wasn't able to work after that and she was very upset." "These kids were really good." "Most of what we did to them was real." "We didn't set the scene up." "We just let them explore it as if it were really happening and that was a good way of working with them." "Apart from this occasion, of course." "A little water." "Stephen says there, "No doctors."" "And that's kind of the mantra he had when he was first diagnosed, was that he didn't see the point of seeing doctors." "He was given his two-year death sentence and felt, "What's the point of carrying on?"" "So I think he obviously sees doctors when there's some direct crisis or something that they can address beyond the MND, but he hasn't had a lot of time with doctors since his diagnosis." "So here we spend private time with Jane." "That's always a good thing in a story if you're showing a character on their own, and just getting with their thoughts." "Her thoughts are very troubled at this point in time." "If only for Robert." "Again, the actors did some improvisation in this scene." "Eddie wanted to bring his son Robert into the scene more." "And so he came up with this idea, I thought it was really great." "Which is something you just don't do with children usually, is bring them into your arguments and make them take sides." "And Felicity in character reacts very, very strongly to that." "And again, this is something again on the day that we worked up together." "Robert." "Your mother is very angry with me." "It's remarkable how much Eddie looks like Stephen Hawking." "I keep saying it 'cause it strikes me all over again as I'm watching the film." "Jane." "I guess a little bit of a domestic service shoot goes a long way in a film like this, but it's good to see an example of just the constant chaos of the house that Jane is dealing with." "Sit." "Emily is such a wonderful actress." "I mean, so easy to work with, so full of simple, brilliant ideas." "It was a great joy to work with all these actors and we were so blessed by it." "Emily doesn't have a huge role in the film, but it's a very important role." "And she just does it so exquisitely well." "Might sound a bit unusual, but I have seen it work wonders." "I think that you should consider joining the church choir." "What a preposterous idea." "But this scene leads, I guess, to the next act of the film where we meet a character who's going to be a big part of the story and a big part of Stephen and Jane's lives through this suggestion from Jane's mother." "I used to love singing." "You're very good at it." "I don't know about that." "Just go." "It's one hour a week." "Another example in this scene of very interesting color." "Benoit used mixed lighting." "We've got two or three competing shades in the frame." "It's quite difficult to do this, too, but again, it works so well for her vulnerability." "We talked a bit about the work of Kieslowski who does this quite a bit." "It's a signature of some of his later work, this kind of interesting mixed lighting." "Both Benoit and I liked Kieslowski's work in that respect." "And Benoit liked the work of Douglas Sirk who uses color very boldly in a very melodramatic way." "And ours is hopefully a bit more subtle than that." "Okay." "See you next week." "There's our first look at Charlie Cox as Jonathan." "It was a very hard role to cast, that, because the character needed to be someone who is masculine and yet gentle." "And the actor couldn't really have an ego about what he was gonna do, because of the nature of his role in the relationship he's intervening in." "So eventually, I cast Charlie Cox, and he got it right just from the moment we started filming with him." "How to play this character in a way that was available to us and that we didn't think he was a predator or indeed a kind of pathetic wimp." "Just a kind, decent man wanting to do his best." "And look at just how awkward he is there." "A great choice and it's a really great performance in a very discreet way, Charlie's performance." "Of course, he looks nothing like that in real life." "When I met him, he came on a motorbike." "He had a shaved head, he looked like a kind of football hooligan." "And so again, like so many actors, he transforms himself and, you know, the real Charlie is very far away from this as both a character and physically, too." "Does he play?" "I could teach him, as well." "That's a long story." " But..." " Okay." " Well, thank you, Jonathan." " My pleasure, Jane." "See you again." " Bye-bye." " Bye-bye." "So again, this needed to be underplayed all the way through." "The moment you see Jane with an able-bodied man who's being kind to her, you know, that says enough, really." "So this is poignant." "I mean, Stephen cannot teach his son to play the piano or do anything like that kind of physical stuff with him." "This is tough." "And there's another man in his house, too." "Okay, try again." "No." "Charlie dutifully learned all kinds of, or memorized..." "He's not a piano player, but he was able to render three different pieces which he'd learned by rote to do." "This scene was a very difficult scene to shoot." "Again, it's another eating scene, and you see again another stage of Stephen's diminished physicality." "But it's a great scene between the actors." "A very beautifully written scene, again, by Anthony." "We'd found some footage of Stephen at Cambridge actually eating with Jane when he was still..." "Was in the wheelchair, but could still use his voice." "And it was very useful for us to look at that very carefully and see how this process would actually work." "So we based this scene, to some extent, on what we'd seen in this documentary that showed Stephen at his Cambridge college during a mealtime, and Jane dutifully feeding him, and wearing this big bib thing that he's wearing here." "Those documentary aspects which we pored over," "Eddie would look at it frame by frame, we'd look at photographs and look at how Stephen's hands were and any little clue we could find." "They were enormously helpful to make these things feel real to us when we were doing them." ""Irrelevant in physics."" "And likewise, Jane would indeed translate for Stephen to some extent and pick up on words that weren't clear." "And those who were close to Stephen, some of his students would do the same thing, would act as kind of translators." "So they would pick up on Stephen's ideas and just render them in a more audible fashion." "Again, there's documentary footage showing that, where you'll see Jane or one of Stephen's close students just talking for him and being able to decode what he's saying in his increasingly compromised voice." "...a single theory that explains all the forces in the universe" "Therefore, God must die." "And here's another example of this Newton's apple approach to the science, we're trying to use simple, domestic imagery to show you a bigger, much more complicated scientific idea." "And I think it's pretty clear what's going on here." "And Jane's a very useful person to do that in the story, because she's not a physicist but she's very close to one." "And is able to translate these ideas and the voice itself to other people around her." "If the world were all potatoes, then, easy." "You could trace a precise beginning as Stephen once did." "A moment of creation." "Hallelujah." "God lives." "It makes you think that this..." "In the real story this would happen every mealtime." "They would have this complicated way of eating, so slow and for Jane, very labor-intensive." "And this is every day, day in day out, for years on end." "Seems he not only plays dice, but he throws them where we can't find them." "God is back on the endangered species list." "Stephen often changed..." "Well, I'll not say often." "He changed his mind or developed his thinking quite a lot." "And that's, I think, a great part of, I guess, his contribution to physics is he was always open to a new idea or new discoveries and often reversed himself." "And this is an example, I guess, this scene is showing you that." "This is a key scene." "It's one scene that we took out when we were editing, and it kept going back in again for very good reason." "In that it tells you about Jonathan and where he's coming from and his backstory, to use that awful word." "But again, it was played beautifully by Charlie here." "You sense someone who's got a lot of his own problems and is also deeply hurt and wounded by life and his experiences, and trying his best to put a brave face on it." "And that explains a lot about the character and what he does in this story." "And the reason for cutting it out was just to keep the story flowing forward, but this felt like a very key scene." "And also, my idea was always that" "Stephen and Jonathan would have a real bond very early on and that they would like each other." "In fact almost fall in love with each other, if you like, which made what then happens between Jane and Jonathan just a bit more understandable or a bit more forgivable, perhaps, if that's the right word to use." "But here, this is a scene where they begin to like each other, or Stephen begins to understand what Jonathan's about." "Thank you so much for having me." " Thank you for coming." " It was really, really wonderful." "Again, I want to give the actors credit for happens in this scene." "It's a simple thing, but on one take when we were shooting this," "Eddie decided to leave the scene." "And initially he was just standing, just waiting for the scene to end and stayed there." "And he made an interesting choice as we were on take three or four, what we were doing, where he just went and left the scene." "And you'll see that now and it was a really great choice and a great detail that showed what he thought of this offer." "And again, Felicity does this great look back where she wants some kind of reaction, some kind of approval." "Look." "And Eddie just did this." "There's his reaction." "It's all physical, and off he goes and there's her answer." "I understand..." "One of the challenges in the film was to try and make it not seem too domestic." "There's lots of domestic interiors." "Just given Stephen's state of being, it was inevitable that we spend a lot time in closed domestic environments, but we tried to light them in a way that made them much more expansive and cinematic and the anamorphic lenses helped a lot, too." "So I hope it doesn't feel like you're trapped in academics' houses for half the film." "Again, the actors went where they went with this." "And I really loved it and so we just kept this, as what we wanted to do was just them painfully accepting this idea of both help and, for Jane, the prospect of something else, perhaps." "This is on one of our improvised days, we didn't have a plan here." "We just assembled on a beach with our actors." "It was very cold again, as it tended to be when we were shooting outside stuff." "And there's no real dialogue here." "It's all just ideas that we came up with on the day." "Again, mixing digital format with Super 16 elements." "And there's something so poignant about Stephen like King Canute by the waves, and his children playing with another man." "It's really kind of awkward and painful to watch in one way, but lovely in another way." "And here where the two men are together." "And this was, again, a key moment where they're just enjoying each other's company, and Jonathan's showing that he's there to help." "17, 18..." "There's a tiny little suggestion here that Jane and Jonathan..." "And it grows across this whole sequence as a way of..." "We look at Jonathan through Jane's eyes, and so that's her filming essentially, in look." "And then that's him filming her." "By using the Super 8 home movie idea, we could get at that, at least discretely, that they..." "The shots are being done by the characters and they will mean something for that reason." "I love this piece of music, probably my favorite piece in the score." "I put a Nick Drake track on this." "Just to get..." "As you were temping the film, to give it the right kind of feel." "And then Jóhann saw that and heard that and then came up with this beautiful, guitar-based melody with a celesta in there too, I think." "Calls you one and calls you all" "To gain his everlasting hall" "Christ was born to save" "Originally we'd shot a scene where Felicity sang a song in the first choir scene when she first meets Jonathan." "She actually did this great version of a song and Jonathan playing along." "But it felt so loaded when we did it that it didn't end up in the finished film." "I just felt we were putting them together so intimately and so vulnerably, and so exposed then, so we cut that scene out." "Felicity spent a lot of time rehearsing and preparing for that scene." "It's one of those things you do to actors' preparations, you disregard it and you just try and make the film as best you can." "But she did an amazing job with it and it sounded great." "We couldn't use it." "I think it would've tipped this relationship too early." "Thank you." "Here's more Super 16 stuff." "Now another child has shown up, of course." "Shown up, you know how it happens, nine months later." "This is the third Hawking child." "He was a boy." "That, in fact, is a girl, I believe, but it's a boy." "Jonathan, of course, is still..." "Now I think he's truly fallen in love with Jane." "And he can't declare that, nor can she declare anything for him." "And then he has to help and do the best he can, knowing his feelings are buried deep." " Mummy!" " Just coming." "Come on, sweetie." "And the music again is changing the tone of the film here." "This is a much darker theme that Jóhann's come up with here, which suits the way the film is turning into this quite awkward love triangle." "...not to have home help, but we need to find a permanent solution." "This situation cannot continue." "You need to have a proper live-in nurse immediately." "Originally Eddie did a voice here that was uncannily like what Stephen did sound like in the last recorded footage that we have of him being able to speak in a documentary." "And we felt, as we put the film together, that we'd have to subtitle it and that would be wrong." "So he then came and did a slightly more restrained version, if you like." "And Eddie and I, we definitely talked about that." "He wasn't happy about that idea, and I totally supported it and agreed with him." "Yet you have to do this." "Some things you may compromise really for the benefit of the audience, if I can blame you for that." "But there was a great rendering of the voice that was so convincing that we ended up just being a little bit more audible with it after we had shot the scene." "We do have a right to know." "We have a right to know, Jane." "And this is largely a fictionalized scene." "I'm not sure it happened in real life this way but there was definitely talk about the Jane-Jonathan relationship around Stephen and Jane and what it meant and what was going on." "So it has an essence, I think, of reality to it, even though this scene is probably an invention of Anthony's." "And this next piece between the actors is one of my favorite acting moments in the film." "There are so many, but this is one where both characters are just so truthful and precise in their work." "I know you're trying to help, and your help is valued." "The best thing for me right now is..." "I think maybe if I just step back for now." "Please, Jonathan." "We need you." "The children need you, and I need you, and Stephen needs you." " Jonathan." " There's other things as well." "Jane, I..." "I have feelings for you." "That's such an English thing to say, "I have feelings for you."" "These are English characters from a different generation." "And the language is what it is but it's such a curious thing to say," ""I have feelings for you."" "It's a rare version..." "I think it's probably one of the few handheld scenes we did, and it felt very right for the emotional turbulence of this scene." "Most of our work is very controlled and the camera moves in a discreet way, but this is handheld, which I think we did once or twice in the course of the film, and there's, I think, the most memorable example of it." "So time passes here." "Jonathan is now no longer part of the active life of the family." "And we join Stephen again, whose disability has progressed, if that's the right word to use, deteriorated, significantly, again." "Invited where?" "At this point in time Jane has to repeat back everything he says because he really isn't very comprehensible." "Wagner." "And again we have some exquisite, interesting lighting from Benoit, to give this a slightly orange character to it." "Sunny, but somehow slightly nauseous, too." "Meet me in Bordeaux." "Take the children camping." "At this point it time Eddie is wearing what we call the "bony suit,"" "which is a kind of neck brace." "I think it's where his shoulders are made to be at an awkward angle." "You can see the right shoulder there is way up from the left shoulder." "And the ears have gotten a little bigger too, I think, at this point." "So those are prosthetic ears he's wearing along with the bony suit and various pieces in his cheek and mouth to make his face go that way." "This is a scene that I came up with as we were thinking about how to reconcile Stephen and Jonathan." "And it's a totally invented scene." "And the idea being that Stephen brings a peace offering of some beer to the church." "When we shot the scene, in the first few takes," "Eddie didn't have full control of the wheelchair at this point in time and clattered into all the pews and made a complete mess." "And we kept that for quite a long time in the edit." "Then eventually it went, just for reasons of time." "But it was a funny way into the scene where he's trundled into three or four pews and knocked them over." "I won't tell if you won't." "And again, the actors took this idea that I'd had and we'd talked about and improvised some stuff here." "And very effectively, again." "Just bearing in mind you have to drive." "And it was very important, I think, for all of us that we show the warmth between the two men in this three-way relationship, as it's now become." "And how difficult this is for Stephen to basically give Jonathan permission to spend time with his wife, knowing what that's gonna mean." "And it's quite discreet in the film, but clearly this is what it's supposed to be doing, is that Stephen knows by saying this that he's allowing his wife to explore her feelings for Jonathan and vice-versa." " Sarah..." " Yes?" "...you won't forget a vitamin B injection as soon as you land." "Another one of those end-of-the-day scenes where we shot it in two shots 'cause we were running out of time." "And that, again, relies on the actors just being really on their marks, which they always were, of course." "And shooting something very quickly, you don't always get quite what you want from it, but this worked out okay, I think." "And be good." "So not shot in the Swiss Alps or the French Alps or anywhere else for that matter." "This was shot in the Home Counties of England." "And that's all, I guess, CGI work you're seeing there." " Are they asleep?" " Yeah." "Originally I put in a theme from the Wong Kar Wai film," "In the Mood for Love here." "Just as an idea to..." "When you're cutting a film, to get things going for it." "So if you haven't picked up on that, you have a waltz from that." "And there's a couple of other waltzes in the film, which is interesting for a film about someone who's in a wheelchair." "But this is kind of like the courtship dance between Jane and Jonathan, the glances are very discreet and well-chosen by the actors." "But, I think, you know where this is going." "Jonathan, of course, is able-bodied." "All the things he's doing physically and Jane is clocking all that." "A lovely moment from Felicity there when she just gently touches her chest." "This always felt to me a bit like the May Ball scene but in a different way, between obviously Jane and Jonathan now, not Jane and Stephen." "There's Jonathan in his little tent on his own." "But again, beautiful details from the actors." "This was shot in London, in the Royal Opera House, which we had to cover up and disguise, and you'll see programs in French and German." "Quite a difficult day to film this, what becomes quite a big scene." "And we wanted to try and stage an opera onstage and didn't really have the resources to do that." "So you'll see what we did in a second, when we come to it." "And this is a scene that's really delicate to get right." "And there was a version of this scene where Jane does indeed get into the tent with Jonathan and there's some physical contact between them, but actually, it felt that less is more." "And Felicity's walk over was so loaded with expectation and vulnerability and exposure, that I felt that just calling Jonathan that way you kind of know where this was gonna go." "This is our biggest Wagner moment." "And this poor actress was spat on throughout the day." "You'll see it here, but we had to do this about 15 different times." "And you'll see in a second what..." "I think we didn't show the full horror of it in the actual film, but she was getting covered in it all day" "'cause Eddie doesn't restrain himself when he's working that way." "That's a real orchestra down there." "It's done with plates so you build the scene gradually." "You shoot an empty auditorium, then you put people in, then you take the people out and you put the orchestra in, and build it as a composite." "And this is somewhat, a slight variation on what happened in real life." "Stephen got ill as he was traveling on a plane, but we blended that with the opera for dramatic reasons." "Jonathan?" "So there was a deliberate echo there." "The last time we'd seen Jane and she'd approached the tent and said, "Jonathan" in a very inviting, trembly way." "And now she's in a full panic mode." "Again, this is Jóhann Jóhannsson doing something quite different with the score." "This has real dread in it, and it's, I guess, something that is more like the work he's done before, this flavor." "There's a movie called Prisoners that has a soundtrack that uses some of the same elements you're hearing in this little sequence." "He felt very comfortable doing that, he had no problem giving us dread-filled cues." "Without me knowing it," "I'd cast the French football player, soccer player, Frank Leboeuf." "We were looking for French-speaking actors who were based in England." "There weren't that many of them." "And so I looked at maybe five or six and then got some more auditions." "I wasn't really taken with any of them, so I got some more." "And this was the best one." "And I vaguely recognized the name, but didn't connect it with the Chelsea football player, Frank Leboeuf, who had been in the 1998 French World Cup team that actually won the World Cup." "And so I found out on the day, basically, that this was indeed Frank Leboeuf, the football player, who had handled the Argentineans in the Cup finals so brilliantly." "So it was quite a surprise to me, and as a football fan," "I was both delighted and slightly shocked that I'd done this." "And so I forbade everyone to talk to Frank about football that day." "I said, "You cannot talk about football." "He's here as an actor."" "And, of course, some of the crew couldn't help themselves." "They were pulling him aside and talking about this, that and the other, about his football career." "But I think he did a great job in this." "It was cast very innocently, it wasn't a piece of stunt casting, where I put Frank Leboeuf in 'cause I wanted a football player in my film." "He was genuinely the best audition that I saw." "And Felicity, of course, makes it work so well." "She's really flushing out the best in Frank as an actor." "I know." "This is what we call the Casablanca scene." "Again, it's where Jane and Jonathan have to forget each other." "For the good of Stephen, essentially." "And Jane realizes that here." "It's a very heavy scene between them, obviously." "Goodbye." "And something like this really happened in real life." "Jane was indeed asked to pull the plug on Stephen in the '80s when he got pneumonia." "I think it was in Switzerland, where he ended up, and the doctors were suggesting that his quality of life would be so terrible afterwards that she should consider just ending it all there." "And her reaction was very much like you just saw, one of absolute resolute determination for that not to happen." "But this is a terrible, terrible, terrible thing." "Stephen could speak." "Increasingly difficult for him to speak but he could speak, and here he's about to lose his voice as the only way of being able to live and survive." "There were versions of this that we shot that were more or less explicit, and I felt that this was..." "You know, you can complete that idea for yourself." "And he's got this awful little plastic ventilation thing now." "So now Stephen has lost his voice." "And the tree is moving, just again sort of mocks his inability not to be able to move." "This is probably, for me, the most emotional scene that I shot, in terms of my reaction to it." "Again, largely because the actors did things that were very surprising." "It's a pretty grim scene already." "You can see Stephen's physicality is worse still." "He's now lost his voice." "I wasn't quite sure how this was gonna play between the actors." "And he did something rather brilliant, he tries to speak in this scene, which just made it so heartbreaking." "And I think Felicity's reaction was so inhabiting the characters then, this was all real in a way." "Her emotional reaction, I think, it was just instinctive." "And it wasn't acting, it was just channeling something that was there." "...when I say the color of the group that contains the letter." "Once I know the group, you can choose the character inside that group..." "It took us a long time to figure out how this board actually worked 'cause we were all rather baffled by it." "I think it's quite clear, she explains it very well, but it took me a while to figure this out." "That you choose groups of letters via color, then you choose the color of the letter." "It's very slow and laborious." "Green." "Blue." "And this is really about breakdown of communication between the characters." "This is just the beginning of what becomes the troubled part of their marriage in a way, is that they can't communicate anymore, and this shows it to you in a very obvious, symbolic way." "But it stands for something bigger, too." "He's trying to speak there, and that's just heartbreaking." "The level of concentration that he brought to this is remarkable." "I keep being reminded of that every time I'm seeing these scenes here, where he's shooting this, maybe we were doing this for two, three hours, and each time, almost every take is perfect from his point of view." "We make adjustments, we make improvements with the camera but he was so consistently good." "And you can see the reflection, we liked this very much, the reflection on Jane is this wretched little plastic ventilation plug that he has." "And this is defeat, for the first time he's defeated, and it's just a really strong, poignant moment in the story." "And so is Jane, they're defeated." "And again, he's trying to speak and he can't." "It's just awful." "I remember being very upset when I watched this." " Hello." " Hello, Elaine." " Shall I take your coat?" " Okay." "So, we jump in time again and Stephen is now unable to speak, he has very limited movement facially and can barely move his wrists and fingers." "And we now bring in, what in real life becomes a very important character in Stephen's life." "Elaine, who becomes his nurse." "And, of course, as the story unfolds, Elaine and Stephen and Jane have increasingly complicated relations with each other." "It's a hard..." "Like Charlie's role, it's a hard role to play." "And I wanted very much to cast Maxine Peake, who I'd worked with before in a film called Red Riding." "And she's just such a brilliant actress, and can almost do anything she wants." "So whatever role you give her, you know that she's gonna do it in a way that's interesting and detailed." "It was her idea to give the actor this slightly rural accent, which is very different from the formal, academic" "Received Pronunciation English that Stephen and Jane use." "She's from a different class and has this earthy sexuality to her from the moment you see her." "This is very appealing to Stephen, and she gives him back his masculinity, I guess, to some extent." "And it starts almost from their first encounter with each other, where they can indeed communicate through the board that Stephen and Jane could not use." "Red." "Yellow." "T." "Green." "Black." "So Elaine quickly understands that Stephen is smart enough to actually have memorized the whole board." "And therefore has it all in his head essentially, which is really quite complicated." "But she finds that out quite quickly." "And that begins, I guess, their relationship." "Any preference?" "You've memorized the board, I know you have." "I haven't got all day." "Green, green." "Eddie now has quite a bit more prosthetics." "He's got more things in his mouth and cheek than he had." "Again, the bony suit is there, with his shoulder being propped right up at this acute angle to his neck." "U." "So, B, U." "Builder's tea, right?" "And his eyebrows, as in life, Stephen's eyebrows were very expressive, and Eddie picked up on that very early on in his preparation, and worked, I think, extensively with his eyebrow acting." "It's one of the main ways Stephen can convey emotion at this point in the story." "You must worship the ground beneath..." "His wheels?" "And he's the perfect patient." "He's so funny!" "We're about to meet Stephen's signature voice machine for the first time in the scene that follows here." "And it's a witty introduction to what becomes one of Stephen's hallmarks." "And this was indeed a prototype." "He was one of the first people ever to use such a device." "And it's still quite slow, as we find out in this scene." "But it gives him his voice, and a voice that, of course, we now know is synonymous actually with him." "Good." "Better than one a minute." "Yes, and what I've done is taken the components from a telephone answering system..." "This is basically, what he's laying out here is in fact the real story about how this machine was working at that time, in the '80s." " Great." " Here's the clicker." "Right hand?" "Again, the eyebrows he uses to say "yes" and "no" at this point in the story." "There you go." "Welcome to the future." "It's American." "I think many people assumed that Stephen was American." "They didn't know his whole story because the voice does have indeed a strong American flavor to it." "Again, an irony that he's a very archetypally English character and yet this voice is an American voice." "There are nice moments here between Jane and Elaine." "I won't say nice." "Interesting, tense moments between them." "So if you've lost your voice and someone gives you some kind of voice back, we thought this should be a very optimistic and witty rendering of that." "I guess that's a reference to 2001 and the great machine HAL, the great character in that story." "Frankly, my dear, I don't give a damn." "And I guess that's from Gone with the Wind." "Exterminate." "And this is from a British TV show called Doctor Who, and most people will know about the Daleks, and Doctor Who is a very well-known TV show." "I will write a book." "About what?" "So one of the reasons Stephen wrote a book was really for financial reasons, that he knew that with his present condition and how much he'd deteriorated that he needed more resources." "So that was a calculation, I think, to write a book of popular science that could distill his ideas and general ideas about physics into something that would work for the general reader." "So we're showing the origins of that book here, A Brief History of Time, which becomes enormously successful and certainly achieves that part of the objective of making popular science available to a much wider audience, and indeed allowing Stephen to have more resources to support himself." "...or perhaps as ridiculous as a tower of tortoises." "Only time, whatever that may be, will tell." "So this is an extract from A Brief History of Time, and I guess you're visually seeing what time has done to the character." "This was another interesting scene." "Again, Anthony wrote this scene that was in the script." "It was, again, one of the reasons why I wanted to make the film." "When we come across scenes like this, what a great thing to explore with actors." "But it could've gone very badly wrong had it not been played at the right tone," "I guess, by Maxine in particular." "She has to lead this scene, and she begins to empower Stephen in a sexual way through this, which I'm sure was part of her appeal." "Certainly the way we're playing it, that she's comfortable with that, and worldly about that, a man's needs, even when he's in a wheelchair." "Well, maybe just because he's in a wheelchair." "And she played it exquisitely well, Maxine." "And the moment we started doing it, it just worked." "And we'd planted the idea already of this bet that he'd made with Kip Thorne, which again, in real life really happened." "There was a bet between the two men, and Penthouse was gonna be the reward for whoever was right." "But this is just a broadly comic scene that ultimately shows Stephen falling in love with Elaine and vice-versa." "And again, the use of light is significant in how we've lit this scene to enhance that idea without hitting it too hard." "And now we see distance between Stephen and Jane now." "Just in one shot you see how far apart they are, there's a big gulf between them." "Again, it's worth just reinforcing how much Eddie had to do." "Technically, this is all quite complicated, what he has to do with this machine, and it's all for real." "He has to actually know how to work it and interact with it and make that work for us." "At the same time, being an actor and being the character, and these are all things that you're giving him to do every single day." "This is based on a real photograph of Stephen with a Marilyn Monroe look-alike when he was in America." "I bet you did." "And this is a scene where any ambiguity about what's going on between these two characters is sort of pushed to one side, and it's very clearly a tender love scene between them from which Jane is excluded." "And she knows it, too." "Again, the score is a very important part of that, the way it's delicately suggesting this courtship dance that's going on." "And Eddie's look at the end of this scene is just amazing." "To convey being love-struck and infatuated with so little physicality to work with." "This is probably..." "For us making the film, probably the most difficult scene we had to do." "It's about the separation of two characters." "And it begins in this quite light way, where Stephen seems to have made some kind of concession to Jane's faith and her beliefs." ""...it would be the ultimate triumph of human reason," ""for then we would know the mind of God."" "Do you mean this?" "It was quickly turned into something much darker and more complicated between them." "Of course." "And, of course, the voice box becomes a part of that." "How do you suggest to your wife that you want to separate, that you want to break up with her, when you can't speak?" "You can use maybe three, four, five words a minute." ""However" what?" "So what he does is almost prepare an ambush for her using his voice box." "We see what he's gonna write and what he's writing before he pushes the button, and he hovers over the button, and Jane is oblivious to all this." "And we know what information is on the screen that's gonna come her way very soon." "And there she is, innocently going about her work." "But again, this is probably the toughest scene for the actors, too, because they had to do so much with so little." "And here's the bombshell he's gonna drop on her." "I have asked Elaine to travel with me to America." "This is Stephen's voice." "The voice he uses to this day is that voice." "We showed the film to him as it was almost finished." "And at that point we were using a voice that we'd created electronically ourselves that sounded very much like Stephen's voice, but wasn't quite the same thing." "This scene in particular was one that was enormously enriched by using his actual voice." "Oddly enough, his actual voice had some kind of emotional range in it." "We could never quite get at with our version of it." "And this scene changed quite profoundly when we used his voice." "It just got better and more intense." "Again, this scene was much longer as written, it was a much longer scene." "Jane said a lot more." "We cut it right down." "Actually, on the day, we started cutting it down." "And by the time I got it to the cutting room, it came down quite a lot more to be something that was just sort of concentrated as opposed to being as written." "It was written very well, of course, but we just felt it needed less words, particularly as one person in this scene cannot really speak." "How many years?" "They said two." "You've had so many." "Like in the eye-board scene," "I think some of the emotions that were being expressed by the actors weren't, in the traditional sense, acting." "They just seemed to flow out very naturally as the scene unfolded." "It wasn't like they had to try..." "I'm sure they tried very hard, but it just felt like these emotions were coming to them just as part of their nature." "And so they both were able to show these strong emotions throughout the day, seemingly at will." "It was also nice to place the screen between them as another obstacle, suggesting how difficult it is for them to communicate, and there is the means by which they do it." "There's a beautiful moment coming up." "Again, wasn't scripted, that was just instinctive on behalf of Felicity." "She..." "Eddie's nose starts running for real, in real life 'cause he's genuinely unable to stop it." "And at a certain point she reaches over and just wipes it away without any embarrassment or anything." "She just does it 'cause that's what she does." "This is quite a brutal transition." "We go from that scene to a whole relationship being literally taken to pieces as Stephen's things are taken away from the room." "And those really are his things." "That certificate you just glimpsed there was actually something he gave to us before the production so we could incorporate real aspects of his life into our set and into our story." "Back to the snowy church." "That's all fake snow and frost." "This was an unusually warm day in October, we did this, and so it was quite difficult to keep that in place." "And we come back to Jonathan and Jane." "Bye, Jonathan." "And again, this was another quite difficult scene to get right." "How to bring these characters back together in the simple amount of time that we had." "And it looks like Jonathan is walking off and doesn't want to get involved with Jane again." "And looks like he's still really hurt by what happened." "But in fact, his response is a musical one, as a musician, as a singer, in real life, a brilliant organist." "We have him playing the piano in this scene." "And Charlie, again, had learnt this piece by heart and was able to play it and make his fingers look very convincing across the keyboard." "It's rather a conventional romantic moment here, and why not?" "Jane and Jonathan really did marry and are still together now." "I met them both before we worked on the film." "And Jonathan really is a very gentle and lovely man." "And they've had a very good marriage." "Professor, I love your book!" "So this really was a phenomenon." "This book, certainly in the UK, and, I think, all over the world." "And this suggests that Stephen has success and he has glory, but he's lost his wife, essentially, in the course of this, to some extent, and chosen Elaine to be with now." "Now there you are." "Time!" "Where does it go?" "It has been one of the great joys..." "And we bring back some of the characters that we haven't seen for a while, who were part of the early part of the story." "Harry Lloyd as Brian and David Thewlis as Sciama." "Please welcome onto the stage my esteemed..." "These days are difficult to shoot because you're dealing with lots of people, lots of different angles, and there's never enough time to really do what you want to do with them." "And we were slightly troubled by the room." "We weren't totally sure we'd got the right environment." "I think we made it work very well." "It couldn't be too big, it couldn't be too small." "And so Stephen now gives a brief lecture based on..." "Wait, he's answering questions from the audience." "Those questions are preselected, as they would be in real life." "He wouldn't be able to spontaneously answer any questions." "He'd have to have them beforehand." "Now you are recognized everywhere." "And the people are wearing vaguely '80s costumes." "I hope you noticed that." "And vaguely '80s hairstyles." "Good work from the costume and hair and makeup department." "It was throughout, in fact." "I overlooked talking about that, but it's something that, as a director, you just rely on people to independently do this kind of work and you put it on a camera." "And the work of Steven Noble, the cosmetic work, was just immaculate every day." "And Jan Sewell, who did the prosthetics and makeup, spent a lot of time in pre-production with Eddie, and she was a big part of the preparation that he did." "And she was able to offer ideas as to how we can age Eddie, how we can render the disability correctly through prosthetics and through other things that she had up her sleeve." "So Eddie's look is partly her creation, too." "And it's great work, and it just passes the test, essentially." "This is a hard idea to offer, I think, at this stage in the film." "It's the one moment where the film goes into a different version of reality, and there's a reminder of the pen that we saw very early on in Sciama's office, way back in the story." "And the idea, of course, here is the moment of triumph again that's a recognition of how little Stephen actually has and what he's lost." "And this is an idea that, again, Eddie made work." "On paper, it looked kind of difficult." "Would it come off?" "Would it be able to play at the right level?" "And we've shot it in slightly slow motion as well, and we've definitely enhanced the lighting around it, but it's Eddie's performance that makes this work." "Of course, there he is back in the chair." "He can't walk, he can't do anything." "Do you have a philosophy of life that helps you?" "This speech comes from an actual speech Stephen gave around the..." "I think it was the Paralympics in London." "And so we've used his words here as a rousing finale to what he's achieved in life and what he's managed to overcome in life." "So they're his words, not ours." "It is clear that we are just an advanced breed of primates on a minor planet..." "Of course, it's all basically true when you stop to think about it." "But, ever since the dawn of civilization, people have craved for an understanding of the underlying order of the world." "There ought to be something very special about the boundary conditions of the universe." "That's an interesting idea, the boundary conditions." ""Where does the universe end?" "Does it go on forever?"" "And it appears that..." "Our present thinking is that it probably does." "There's a multiverse out there." "So the boundary conditions are perhaps unknowable." "However bad life may seem, there is always something you can do and succeed at." "While there is life, there is hope." "Eddie now is doing..." "This part of Stephen's story is one where we know what he looks like, the real Stephen Hawking." "And so, I guess, the scrutiny is a bit more withering on what he's doing because we have a very good fix on that, that version of Stephen from real life." "And he does it, of course, amazingly well." "It's from Stephen." "Gosh." "So again, this is based on a real life story and this really happened, that Stephen did indeed get an honor from the Queen." "And Jane was there with their children, too, to be a part of that even though they were divorced." "And this brings us back to the front of the film, too, in this rather eloquent, palatial environment." "And this is a moment again that echoes a moment when Jane refuses to give up on Stephen when he's diagnosed, and cleans his glasses in his college room, this goes right back to that, too." "Professor and Mrs. Hawking, Her Majesty the Queen." "We shot a whole scene with the Queen and it was great, actually." "It was a really, really great scene and the actress was so brilliant, who did it for us, but it felt like this part of the story, after a long film, we didn't really have the means to include something" "that was comic in that way that it was, so we ended up not using it." "Congratulations..." "This was shot in Hampton Court, which is Henry VIII's palace in the outskirts of London, which has this very elegant garden, which we pretend is Buckingham Palace's garden." "It is a royal garden, at least." "And that medal that Eddie's wearing is in fact Stephen's actual medal that he lent us for the production." "And this scene sets up what was a great idea in the script, that we then developed as we were making the film of trying to shoot images that would play backwards in time." "So we're about to segue into what is, I guess, the epilogue of the film, where we flash back through Stephen's life and essentially give him back what we'd taken from him." "So you see him getting increasingly able-bodied through the course of this rewind." "Set up by this idea of the children being, in a sense, the highest achievement of their relationship." "There's something just a little ambiguous at this very last look that I thought was great, between the two actors, it's not quite settled." "There's a little tension between them still, and it's interesting." "So all these shots you're about to see were shot specially for this sequence." "We went in with this idea." "And we were helped enormously by a designer called Matt Curtis who rendered this scene for us and created some of the textures for us and made it all work for us." "I should also say, before we're done here, that my editor, Jinx Godfrey, was a huge part of this story." "Here you see her work at its most interesting, but throughout, her work, her understanding of the story and the emotions of the story and the performances, was brilliant." "So she was cutting as I was shooting." "I was seeing a bit of what she was doing and she just..." "When I came to the cutting room for the first time having shot the film, we had an assembly that really worked already." "And she's someone that I've collaborated with for many, many years on documentaries and feature films, and she's probably my consistent collaborator across all the work I've done, over 20 years now of filmmaking." "And someone that I just rely upon to be honest and hard on things, and not indulge me or my thoughts sometimes." "So she's a huge part of the work I do and she's someone I spend months and months in rooms with and like very much as a person, too." "So Matt Curtis' work carries on here." "This is again..." "He created this end title sequence for us where we go out into the universe where Stephen's mind has been for so much of the story." "And these are images based on telescopic images of the universe." "It really is this colorful and strange and surreal, even if it looks like it shouldn't be that way, but that's the way it actually is." "Just extraordinary, really." "So I guess I'm done." "Thanks for listening."