:41:02
The thing that draws me
to history is the fact
:41:05
that we are all part of the
same human experience
:41:07
we're all linked together
in some way.
:41:09
What's happened in the past
is bringing itself
:41:12
to bear on what's happening
in the present.
:41:16
Bruce is filming the
"Mysteries of Egypt",
:41:19
a giant-screen
:41:20
Imax feature for National Geographic
:41:22
and destination cinema.
:41:24
It's a monumental undertaking
:41:26
there are hundreds of extras
:41:28
thousands of costumes and props
:41:30
and over eight tons of
:41:32
specialized equipment designed
:41:33
to shoot the biggest film
:41:35
stock in the world.
:41:41
A standard 35mm frame
is about this big
:41:43
70mm is about this big,
:41:46
Imax is about this big and
:41:47
it's thrown up on a screen
six stories high...
:41:50
every detail shows up.
:41:52
Authenticity is everything.
:41:54
And the crew is under constant
:41:56
pressure to achieve perfection.
:42:01
Costume designer Jackie Crier
:42:03
has been working since dawn.
:42:05
Today, she must transform hundreds
:42:07
of extras into pyramid
:42:10
builders for a crucial scene.
:42:17
Down river
:42:18
archaeological advisor Zahi Hawass
:42:20
waits for shooting to start
:42:22
with producers Scott Swofford
and Lisa Truitt.
:42:27
I take full responsibility
:42:28
for everything bad in the film.
:42:32
If anything goes wrong
I will throw Lisa
:42:35
Scott and Bruce in the Nile.
:42:40
Getting it right can be difficult,
:42:42
because just how the Egyptians
:42:44
did build the pyramids is still a mystery.
:42:51
We know they devised a system
:42:53
for moving mammoth
chunks of limestone.
:42:55
We know the system was efficient
:42:57
one 5,000-pound stone could be
:42:59
added to a rising mound
every two minutes.