:53:03
. . .in a rather unusual way.
:53:05
I thought if you took what he did,
which was flat and two-dimensional. . .
:53:10
. . .and made it three-dimensional
in the Z axis. . .
:53:14
. . .you could create
this streak exposure.
:53:16
Like a time exposure.
Car headlights on the freeway.
:53:20
If you leave the shutter open. . .
:53:22
. . .the car headlight becomes
a streak of light.
:53:25
It occurred to me that
there might be some way. . .
:53:28
. . .to apply that
to the stargate sequence.
:53:31
I walked that minute
down to Stanley's office.
:53:34
I said, "I think this is the answer
to the stargate. "
:53:37
And he looked at it and said,
"I think you could be right. "
:53:41
He said, "Do whatever you need to do,
you have carte blanche to do it. "
:53:46
That's an example of my whole
experience on 200 1...
:53:49
. . .was support from Stanley
to explore, experiment. . .
:53:54
. . .take risks and produce
something that was different.
:53:58
If you can imagine a giant Ferris
wheel, and if you were to cover it. . .
:54:04
. . .with a skin.
On the inside edge of that skin. . .
:54:07
. . .imagine the set being built. . .
:54:09
. . .and imagine an endless hallway
with things along the side.
:54:14
Well, that revolved.
:54:18
There's a scene where
I come down a ladder. . .
:54:23
. . .and the other astronaut,
Gary Lockwood, is eating. . .
:54:26
. . .apparently upside down, because he's
on the other side of the centrifuge.
:54:31
It looks like I walk
upside down to him.
:54:35
How that actually was done was that
Gary had a hidden harness.
:54:40
He was upside down,
so I came in right-side up. . .
:54:44
. . .and they just revolved Gary down
to me, and I just walked in place.
:54:49
There was this theme of constant
rotating, rotating, rotating.
:54:52
The space station and
the spacecraft are rotating.
:54:56
Everything's in orbit.
:54:57
And that established a style. . .