I’m a Stefano Sollima and I’m the director of Without Remorse. This sequence comes after the center point of the film when the team is about to jump to their location. Your plane is shot down and crashes in the ocean. What was important to me was Kelly’s, played by Michael B. Jordan, psychology in such an extreme situation. I wanted to establish a close relationship with the protagonist. So I decided to shoot the entire crash mostly from Kelly, Michael’s point of view and only briefly show the outside of the plane. The audience needed to be reminded of their determination to seek revenge. He must retrieve the equipment to complete the mission. And in order to practically shoot this sequence, we bought an airplane that we cut into pieces. And then we split the crash sequences into four parts. The first was the crash in the ocean. Outside the cockpit, we built this slide that would release tons of water. And the second part was the rotation. The first class was in a huge tank halfway, and around it we built a rotating mechanism with pistons and motors. That way, the entire litter could move while the plane turned. And the third part was the mechanism that divides the plane in half. This huge metal rig would split part of the hallway and then sink it into the tank. At this point, Kelly either aborts the mission or receives the equipment. And this is the fourth and final part. Kelley dives into the sinking tail of the plane and uses air pockets to get the oxygen he needs. And Michael did all of this himself. He trained for months to be able to hold his breath longer while swimming and moving in full gear in the water. And this whole cargo scene is based on Kelly’s breath. The rhythm, the music, the cuts are all determined by when Michael would need air. I tried to keep these recordings on Kelly for as long as possible so the audience could really feel his struggle. We need the air as he needs air. Every time Kelly slowly loses the oxygen in his body, high strings creep in. And that sound is made as soon as he refills his lungs. But now it is too late. And we have the strings back one last time, the sound of the metal starting to compress. And we feel his struggle. And then he grabs the last and most important equipment. And finally he comes to the surface and in the end, just like Kelly, we can finally breathe in a breath of relief.