1 00:00:04,380 --> 00:00:06,682 >>> THE SCENE UP AT THE CHURCH 2 00:00:06,682 --> 00:00:07,450 WAS TO BE DONE. 3 00:00:07,450 --> 00:00:10,052 >> READY, AND ACTION. 4 00:00:10,052 --> 00:00:12,789 >> I LET GO OF THE HAMMER. 5 00:00:12,789 --> 00:00:13,856 BANG, THE GUN GOES OFF. 6 00:00:13,856 --> 00:00:14,791 >> THERE WAS A SHOT. 7 00:00:14,791 --> 00:00:17,527 THERE SHOULDN'T HAVE BEEN A SHOT 8 00:00:17,527 --> 00:00:18,761 BECAUSE THEY WERE DUMMY ROUNDS, 9 00:00:18,761 --> 00:00:19,896 AND THEN THERE WAS A SCREAM. 10 00:00:19,896 --> 00:00:22,665 >> OH, BY GOD, WHAT IS THAT? 11 00:00:22,665 --> 00:00:23,900 HALYNA HAS INSTANTLY FALLEN 12 00:00:23,900 --> 00:00:24,267 BACK. 13 00:00:24,267 --> 00:00:26,969 >> I NOTICE THIS BUNCH OF ROSES 14 00:00:26,969 --> 00:00:28,905 RIGHT IN THE SPOT WHERE HALYNA 15 00:00:28,905 --> 00:00:34,477 WAS WHEN SHE WAS SHOT. 16 00:00:34,477 --> 00:00:37,713 >> NONE OF US CAN PROCESS THAT 17 00:00:37,713 --> 00:00:39,048 THERE WAS A LIVE BULLET EVEN ON 18 00:00:39,048 --> 00:00:39,382 SET. 19 00:00:39,382 --> 00:00:41,117 >> WHERE DID THE LIVE ROUND COME 20 00:00:41,117 --> 00:00:41,851 FROM? 21 00:00:41,851 --> 00:00:43,719 >> YOU'VE ALREADY HEARD ALEC 22 00:00:43,719 --> 00:00:44,454 BALDWIN SPEAK. 23 00:00:44,454 --> 00:00:46,456 NOW, WHAT DO OTHER ON THE SET 24 00:00:46,456 --> 00:00:48,491 AND THOSE IN THE KNOW HAVE TO 25 00:00:48,491 --> 00:00:49,025 SAY. 26 00:00:49,025 --> 00:00:50,760 >> TWO OTHER PEOPLE THAT 27 00:00:50,760 --> 00:00:54,630 INSPECTED THE LOADED FIREARM, 28 00:00:54,630 --> 00:00:56,065 HANNAH GUTIERREZ AND DAVID 29 00:00:56,065 --> 00:00:56,599 HALLS. 30 00:00:56,599 --> 00:00:58,100 >> SABOTAGE IS THE MOST LIKELY 31 00:00:58,100 --> 00:00:58,801 POSSIBILITY. 32 00:00:58,801 --> 00:01:01,237 >> THIS WAS NOT SABOTAGE. 33 00:01:01,237 --> 00:01:02,872 THIS WAS INCOMPETENCE. 34 00:01:02,872 --> 00:01:05,808 >> SO, WHEN SOMEONE DIES ‐‐ 35 00:01:05,808 --> 00:01:08,578 >> I HAVE BEEN TOLL IT'S HIGHLY 36 00:01:08,578 --> 00:01:09,779 UNLIKELY I WOULD BE CHARGED WITH 37 00:01:09,779 --> 00:01:10,580 ANYTHING CRIMINALLY. 38 00:01:10,580 --> 00:01:12,682 >> I CAN'T CONTROL WHAT HE SAYS 39 00:01:12,682 --> 00:01:18,788 OR WHAT HE BELIEVES BUT I KNOW 40 00:01:18,788 --> 00:01:18,921 WE HAVE NOT RULED OUT ANYONE. 41 00:01:18,921 --> 00:01:20,890 >> THE SAD THING IS THERE HAVE 42 00:01:20,890 --> 00:01:22,425 BEEN OTHER ACCIDENTAL DEATHS ON 43 00:01:22,425 --> 00:01:22,925 MOVIES. 44 00:01:22,925 --> 00:01:25,962 >> SUCH A HORRIFIC TRAGEDY OF 45 00:01:25,962 --> 00:01:31,400 SOMEONE LOSING THEIR LIFE AGAIN. 46 00:01:31,400 --> 00:01:32,635 >> IT WOULD BE A COLD START ON 47 00:01:32,635 --> 00:01:35,238 THE DAY, BUT WE'LL ALSO HAVE 48 00:01:35,238 --> 00:01:36,472 PLENTY OF SUNSHINE. 49 00:01:36,472 --> 00:01:39,242 HIGH IN ALTITUDE. 50 00:01:39,242 --> 00:01:44,180 56 DEGREES. 51 00:01:44,180 --> 00:01:47,350 >> BONANZA CREEK RANCH IN 52 00:01:47,350 --> 00:01:47,884 SANTA FE, NEW MEXICO, IS A 53 00:01:47,884 --> 00:01:48,951 LONG‐TIME LOCATION FOR SHOOTING 54 00:01:48,951 --> 00:01:53,689 FILMS. 55 00:01:53,689 --> 00:01:54,223 SEVERAL THOUSAND ACRES, A NUMBER 56 00:01:54,223 --> 00:01:56,359 OF BUILDINGS, LOTS OF GREAT 57 00:01:56,359 --> 00:01:56,893 VIEWS ‐‐ ALL THE THINGS THAT 58 00:01:56,893 --> 00:01:57,426 PEOPLE COME TO NEW MEXICO TO 59 00:01:57,426 --> 00:01:59,028 SHOOT FOR. 60 00:01:59,028 --> 00:02:00,096 >> IT'S USED FOR A LOT OF 61 00:02:00,096 --> 00:02:01,163 WESTERNS. 62 00:02:01,163 --> 00:02:03,266 >> IF YOU GO BACK AND LOOK AT 63 00:02:03,266 --> 00:02:07,503 DIFFERENT MOVIES, YOU CAN SEE, 64 00:02:07,503 --> 00:02:08,571 LIKE, OH, YEAH, THAT'S ‐‐ THAT 65 00:02:08,571 --> 00:02:13,342 LOOKS LIKE BONANZA CREEK RANCH. 66 00:02:13,342 --> 00:02:14,944 ONE THING YOU NOTICE JUST AS 67 00:02:14,944 --> 00:02:15,978 YOU'RE GETTING OFF THE HIGHWAY 68 00:02:15,978 --> 00:02:18,114 IS THERE ARE THESE YELLOW 69 00:02:18,114 --> 00:02:20,750 CORRUGATED PLASTIC CREW SIGNS 70 00:02:20,750 --> 00:02:22,351 EVERYWHERE KIND OF DOTTING THE 71 00:02:22,351 --> 00:02:24,453 DESERT LANDSCAPE, LETTING YOU 72 00:02:24,453 --> 00:02:25,521 KNOW THIS PRODUCTION THIS WAY 73 00:02:25,521 --> 00:02:28,691 OR THIS PRODUCTION THIS WAY. 74 00:02:28,691 --> 00:02:32,929 >> "RUST" IS A CLASSIC WESTERN. 75 00:02:32,929 --> 00:02:39,235 >> THE STORY IS ABOUT THIS 76 00:02:39,235 --> 00:02:40,803 GRISTLED OUTLAW NAMED 77 00:02:40,803 --> 00:02:41,871 HARLAND RUST AND THAT WAS THE 78 00:02:41,871 --> 00:02:42,405 CHARACTER PLAYED BY 79 00:02:42,405 --> 00:02:44,507 ALEC BALDWIN. 80 00:02:44,507 --> 00:02:45,041 >> I READ IT AND I SAID, I LOVE 81 00:02:45,041 --> 00:02:46,108 IT. 82 00:02:46,108 --> 00:02:49,845 I LOVE IT. 83 00:02:49,845 --> 00:02:50,346 >> FROM THE JUMP, BALDWIN KNEW 84 00:02:50,346 --> 00:02:51,414 THAT HE WANTED TO BE THE STAR IN 85 00:02:51,414 --> 00:02:52,481 IT, AND HE'S ALSO A PRODUCER. 86 00:02:52,481 --> 00:02:53,516 >> THIS WAS A REAL PASSION 87 00:02:53,516 --> 00:02:56,719 PROJECT. 88 00:02:56,719 --> 00:02:58,321 >> THE RANCH WILL BECOME THE 89 00:02:58,321 --> 00:03:00,423 MEETING POINT FOR 75 CREW 90 00:03:00,423 --> 00:03:06,762 MEMBERS, 22 PRINCIPAL ACTORS, 91 00:03:06,762 --> 00:03:07,863 AND HUNDREDS OF EXTRAS, AND 92 00:03:07,863 --> 00:03:08,364 THEY'RE ALL CONVERGING ON SET 93 00:03:08,364 --> 00:03:08,898 WITH THE SINGULAR GOAL OF MAKING 94 00:03:08,898 --> 00:03:11,534 THE MOVIE "RUST." 95 00:03:11,534 --> 00:03:12,602 >> THE FIRST DAYS ON JUST ABOUT 96 00:03:12,602 --> 00:03:14,704 ANY SET ARE EXCITING. 97 00:03:14,704 --> 00:03:17,373 >> MY FIRST DAY ON SET, I'M LIKE 98 00:03:17,373 --> 00:03:19,475 TRULY LIVING A WESTERN DREAM. 99 00:03:19,475 --> 00:03:25,314 GETTING TO BE IN MY FULL COWBOY 100 00:03:25,314 --> 00:03:25,748 GARB AND RIDING A HORSE AND 101 00:03:25,748 --> 00:03:27,850 WATCHING STUNTS HAPPEN. 102 00:03:27,850 --> 00:03:29,585 >> THREE, TWO, ONE! 103 00:03:29,585 --> 00:03:33,289 >> WE'RE OUT HERE MAKING A 104 00:03:33,289 --> 00:03:35,958 WESTERN. 105 00:03:35,958 --> 00:03:36,459 THAT'S CLASSIC CINEMA RIGHT 106 00:03:36,459 --> 00:03:36,993 THERE. 107 00:03:36,993 --> 00:03:39,662 AND I KNOW HALYNA SHARED THAT. 108 00:03:39,662 --> 00:03:40,196 >> HALYNA HUTCHINS IS THE 109 00:03:40,196 --> 00:03:41,697 CINEMATOGRAPHER. 110 00:03:41,697 --> 00:03:43,299 >> HALINA HUTCHINS WAS BORN IN 111 00:03:43,299 --> 00:03:47,036 UKRAINE 42 YEARS AGO. 112 00:03:47,036 --> 00:03:48,471 >> MAKE SURE WE DON'T SEE PEOPLE 113 00:03:48,471 --> 00:03:49,739 WALKING AROUND, LIKE WALKING 114 00:03:49,739 --> 00:03:51,273 THERE. 115 00:03:51,273 --> 00:03:52,341 >> SHE ORIGINALLY WAS AN 116 00:03:52,341 --> 00:03:53,409 INVESTIGATIVE JOURNALIST BEFORE 117 00:03:53,409 --> 00:03:56,045 TURNING TO CINEMATOGRAPHY. 118 00:03:56,045 --> 00:03:57,113 >> HALYNA'S INSTAGRAM BIO READS, 119 00:03:57,113 --> 00:03:58,681 RESTLESS DREAMER. 120 00:03:58,681 --> 00:04:00,282 ADRENALINE JUNKIE. 121 00:04:00,282 --> 00:04:01,884 CINEMATOGRAPHER. 122 00:04:01,884 --> 00:04:03,119 SHE'S MARRIED AND THEY HAVE A 123 00:04:03,119 --> 00:04:03,853 9‐YEAR‐OLD SON. 124 00:04:03,853 --> 00:04:05,755 YOU CAN SEE THEM ON HER 125 00:04:05,755 --> 00:04:08,924 HUSBAND'S INSTAGRAM. 126 00:04:08,924 --> 00:04:11,060 >> IN 2015, SHE GRADUATED FROM 127 00:04:11,060 --> 00:04:12,128 AFI, AMERICAN FILM INSTITUTE. 128 00:04:12,128 --> 00:04:13,696 AND THEN A FEW YEARS LATER IN 129 00:04:13,696 --> 00:04:15,297 2019 WAS LISTED AS A 130 00:04:15,297 --> 00:04:18,467 CINEMATOGRAPHER ON THE RISE. 131 00:04:18,467 --> 00:04:19,001 >> YEAH, IT'S A PASSION FOR 132 00:04:19,001 --> 00:04:20,069 SURE. 133 00:04:20,069 --> 00:04:20,603 >> YEAH. 134 00:04:20,603 --> 00:04:21,671 >> ONCE YOU GET THE BUG, YOU 135 00:04:21,671 --> 00:04:23,806 CAN'T GET OUT OF IT. 136 00:04:23,806 --> 00:04:26,976 >> I WROTE AND DIRECTED A MOVIE 137 00:04:26,976 --> 00:04:27,510 CALLED "ARCHENEMY," AND HALYNA 138 00:04:27,510 --> 00:04:28,577 WAS MY CINEMATOGRAPHER ON THAT 139 00:04:28,577 --> 00:04:34,917 FILM. 140 00:04:34,917 --> 00:04:37,053 HALYNA'S CONFIDENCE WAS A KIND 141 00:04:37,053 --> 00:04:37,553 OF, LIKE, QUIET SELF‐ASSURANCE. 142 00:04:37,553 --> 00:04:43,926 SHE WOULD LAUGH A LOT. 143 00:04:43,926 --> 00:04:44,994 SHE WAS VERY SORT OF 144 00:04:44,994 --> 00:04:46,595 CALCULATING, COLLECTED PERSON 145 00:04:46,595 --> 00:04:47,096 WHO ALSO HAD A DEEP RESERVOIR 146 00:04:47,096 --> 00:04:55,104 OF EMOTIONS. 147 00:04:55,104 --> 00:04:55,504 >> LET'S CONTINUE WITH THAT. 148 00:04:55,504 --> 00:04:57,106 >> SHE WAS, YOU KNOW, WORKING 149 00:04:57,106 --> 00:05:04,013 REALLY HARD TO ESTABLISH HERSELF 150 00:05:04,013 --> 00:05:06,682 IN THE FILM INDUSTRY AND IN 151 00:05:06,682 --> 00:05:07,216 PARTICULARLY REALLY A 152 00:05:07,216 --> 00:05:07,717 MALE‐DOMINATED BRANCH OF THE 153 00:05:07,717 --> 00:05:10,052 FILM INDUSTRY. 154 00:05:10,052 --> 00:05:12,054 >> SETTING UP THIS ONE HERE. 155 00:05:12,054 --> 00:05:12,988 START A COUPLE STEPS FURTHER. 156 00:05:12,988 --> 00:05:14,056 >> THERE'S THIS ONE IMAGE I HAVE 157 00:05:14,056 --> 00:05:15,091 IN MY HEAD I THINK OF A LOT. 158 00:05:15,091 --> 00:05:17,760 SHE WANTED TO SEE WHAT WAS 159 00:05:17,760 --> 00:05:20,429 BEHIND A VERY HIGH UP WINDOW. 160 00:05:20,429 --> 00:05:23,599 SO SHE SAT ON THE SHOULDERS OF A 161 00:05:23,599 --> 00:05:24,667 TALL CAMERA DEPARTMENT GUY. 162 00:05:24,667 --> 00:05:26,769 IT WAS A SUPERHERO MOVIE. 163 00:05:26,769 --> 00:05:27,837 AND SHE LOOKS ‐‐ SHE LOOKED JUST 164 00:05:27,837 --> 00:05:28,904 A LITTLE BIT LIKE A SUPERHERO 165 00:05:28,904 --> 00:05:29,972 HERSELF. 166 00:05:29,972 --> 00:05:30,506 IN MY MIND THERE WAS ALWAYS, 167 00:05:30,506 --> 00:05:31,540 LIKE, A SPOTLIGHT ON HER 168 00:05:31,540 --> 00:05:32,608 WHENEVER SHE WAS AROUND 169 00:05:32,608 --> 00:05:35,244 EVERYBODY ELSE. 170 00:05:35,244 --> 00:05:37,379 AFTER "ARCHENEMY" CAME OUT, I 171 00:05:37,379 --> 00:05:39,482 WAS GETTING A LOT OF CALLS FROM 172 00:05:39,482 --> 00:05:41,550 PEOPLE SAYING, CAN YOU PUT ME 173 00:05:41,550 --> 00:05:44,186 WE WANT HER. 174 00:05:44,186 --> 00:05:46,288 >> "RUST" WAS A BIG BREAK. 175 00:05:46,288 --> 00:05:48,958 AND IT WAS AN OPPORTUNITY FOR 176 00:05:48,958 --> 00:05:49,458 HER TO JUST SHOW HOW GOOD SHE 177 00:05:49,458 --> 00:05:52,661 WAS. 178 00:05:52,661 --> 00:05:53,696 >> HALYNA WAS VERY GIFTED AND 179 00:05:53,696 --> 00:05:54,764 SHE HAD A VISION AND SHE KNEW 180 00:05:54,764 --> 00:05:57,933 WHAT SHE WANTED. 181 00:05:57,933 --> 00:05:59,001 AND SHE COMMANDS THE ROOM. 182 00:05:59,001 --> 00:06:00,603 >> SHE WOULD SOMETIMES REACH OUT 183 00:06:00,603 --> 00:06:02,204 AND GRAB MY ARM AND PULL ME OVER 184 00:06:02,204 --> 00:06:08,577 IN FRONT OF THE MONITOR AND BE 185 00:06:08,577 --> 00:06:09,612 LIKE, LOOK, LOOK HOW GOOD THEY 186 00:06:09,612 --> 00:06:10,146 LOOK. 187 00:06:10,146 --> 00:06:10,679 SHE JUST SEEMED TO THINK THAT 188 00:06:10,679 --> 00:06:12,281 EVERY SINGLE PERSON HERE WAS 189 00:06:12,281 --> 00:06:13,315 HERE TO CREATE THIS DREAM, 190 00:06:13,315 --> 00:06:13,849 AND THAT EXCITEMENT WAS 191 00:06:13,849 --> 00:06:17,019 INFECTIOUS. 192 00:06:17,019 --> 00:06:18,087 >> ALSO ON SET THERE'S DIRECTOR 193 00:06:18,087 --> 00:06:19,155 JOEL SOUZA AND ASSISTANT 194 00:06:19,155 --> 00:06:21,257 DIRECTOR DAVE HALLS. 195 00:06:21,257 --> 00:06:22,324 AND ALSO FIRST CAMERA ASSISTANT 196 00:06:22,324 --> 00:06:23,425 LANE LUPER WHO MEETS HALYNA FOR 197 00:06:23,425 --> 00:06:24,460 THE FIRST TIME ON THIS PROJECT. 198 00:06:24,460 --> 00:06:27,129 >> WE BECAME FRIENDS PRETTY 199 00:06:27,129 --> 00:06:28,197 QUICKLY. 200 00:06:28,197 --> 00:06:29,231 >> DESCRIBE THAT WORKING 201 00:06:29,231 --> 00:06:30,266 RELATIONSHIP BETWEEN THE HEAD OF 202 00:06:30,266 --> 00:06:31,333 THE CAMERA DEPARTMENT AND THE 203 00:06:31,333 --> 00:06:32,401 CINEMATOGRAPHER OF A FILM. 204 00:06:32,401 --> 00:06:33,469 >> IT'S BASICALLY MYSELF, THE 205 00:06:33,469 --> 00:06:34,503 CAMERA OPERATORS, AND HALYNA ALL 206 00:06:34,503 --> 00:06:38,774 CREATING THE FRAME. 207 00:06:38,774 --> 00:06:39,842 HER FRIEND SERGE WAS THE GAFFER 208 00:06:39,842 --> 00:06:40,810 OF THE MOVIE, HANDLING THE 209 00:06:40,810 --> 00:06:41,343 LIGHTING AND EVERYTHING, AND I'M 210 00:06:41,343 --> 00:06:42,411 THERE TO HANDLE THE CAMERA FOR 211 00:06:42,411 --> 00:06:45,447 HER. 212 00:06:45,447 --> 00:06:48,350 SO IT'S KIND OF LIKE A ‐‐ IT'S A 213 00:06:48,350 --> 00:06:54,723 VERY CLOSE KNIT TEAM. 214 00:06:54,723 --> 00:06:58,427 >> I KNOW HALYNA MAYBE FIVE, SIX 215 00:06:58,427 --> 00:06:58,961 YEARS SOMETHING. 216 00:06:58,961 --> 00:07:00,563 WE UNDERSTAND EACH OTHER. 217 00:07:00,563 --> 00:07:01,630 WE TRUST EACH OTHER. 218 00:07:01,630 --> 00:07:03,732 WE HAVE MAYBE SAME VISION. 219 00:07:03,732 --> 00:07:04,800 >> FILM SETS ARE INSTANT 220 00:07:04,800 --> 00:07:07,970 COMMUNITY. 221 00:07:07,970 --> 00:07:08,504 AND "RUST" WAS MORE TIGHT‐KNIT 222 00:07:08,504 --> 00:07:10,639 THAN MOST FILMS I'VE WORKED ON. 223 00:07:10,639 --> 00:07:12,208 VERY, VERY QUICKLY WE BECAME 224 00:07:12,208 --> 00:07:13,275 EACH OTHER'S FAMILY AWAY FROM 225 00:07:13,275 --> 00:07:17,513 HOME. 226 00:07:17,513 --> 00:07:20,683 >> THIS IS A $7.5 MILLION MOVIE. 227 00:07:20,683 --> 00:07:27,556 IT IS THE CATERING BUDGET ON A 228 00:07:27,556 --> 00:07:29,158 D.C. COMICS MOVIE, OKAY. 229 00:07:29,158 --> 00:07:30,192 >> AND PART OF THE LOW BUDGET 230 00:07:30,192 --> 00:07:31,260 NATURE OF THIS FILM, THEY WERE 231 00:07:31,260 --> 00:07:33,395 TRYING TO DO MORE WITH LESS. 232 00:07:33,395 --> 00:07:34,463 PRODUCERS EVEN COMBINING SOME 233 00:07:34,463 --> 00:07:35,497 CREW ROLES FOR PEOPLE. 234 00:07:35,497 --> 00:07:36,565 >> THEY WERE INSISTING UPON 235 00:07:36,565 --> 00:07:37,600 HAVING ONE PERSON DO TWO VERY 236 00:07:37,600 --> 00:07:39,735 IMPORTANT JOBS. 237 00:07:39,735 --> 00:07:41,270 THE ARMORER ROLE, TAKING CARE OF 238 00:07:41,270 --> 00:07:42,838 THE GUNS AND AMMUNITION, AND 239 00:07:42,838 --> 00:07:44,974 THEN THEY WANTED THAT PERSON TO 240 00:07:44,974 --> 00:07:46,008 ALSO BE AN ASSISTANT PROP 241 00:07:46,008 --> 00:07:48,677 PERSON. 242 00:07:48,677 --> 00:07:50,279 >> AND THIS WAS A WESTERN, SO 243 00:07:50,279 --> 00:07:51,313 THERE WERE A LOT OF FIREARMS 244 00:07:51,313 --> 00:07:51,847 IN THIS MOVIE. 245 00:07:51,847 --> 00:07:57,152 THAT'S A LOT OF RESPONSIBILITY. 246 00:07:57,152 --> 00:07:58,187 >> THE PERSON WHO'S HIRED AS 247 00:07:58,187 --> 00:07:59,288 BOTH THE ARMOR AND THE PROP 248 00:07:59,288 --> 00:08:00,322 ASSISTANT IS A YOUNG WOMAN WHO'S 249 00:08:00,322 --> 00:08:02,458 JUST STARTING OUT IN HER CAREER 250 00:08:02,458 --> 00:08:05,628 NAMED HANNA GUITTEREZ REED. 251 00:08:05,628 --> 00:08:07,229 >> HANNAH WAS ONLY 24, SO BEING 252 00:08:07,229 --> 00:08:08,264 THE LEAD ARMORER ON A MOVIE 253 00:08:08,264 --> 00:08:09,865 IS A BIG ROLE. 254 00:08:09,865 --> 00:08:10,933 HER DAD IS A MAN NAMED THELL 255 00:08:10,933 --> 00:08:12,501 REED, WHO IS A VERY WELL‐KNOWN 256 00:08:12,501 --> 00:08:14,637 GUNSLINGER IN HOLLYWOOD. 257 00:08:14,637 --> 00:08:18,874 HE'S ESPECIALLY KNOWN FOR 258 00:08:18,874 --> 00:08:19,942 SOMETHING CALLED THE QUICK DRAW. 259 00:08:19,942 --> 00:08:21,510 >> HE DEMONSTRATED HIS QUICK 260 00:08:21,510 --> 00:08:22,578 DRAW ABILITY IN A VIDEO ABOUT 261 00:08:22,578 --> 00:08:23,646 THE MAKING OF "DJANGO 262 00:08:23,646 --> 00:08:24,713 UNCHAINED." 263 00:08:24,713 --> 00:08:25,748 >> AS YOU CAN SEE IT DOESN'T 264 00:08:25,748 --> 00:08:26,815 TAKE MUCH TIME TO GET THEM OUT 265 00:08:26,815 --> 00:08:27,883 AND FIRE. 266 00:08:27,883 --> 00:08:28,951 >> HANNAH GUTIERREZ REED HAS 267 00:08:28,951 --> 00:08:29,985 SPENT HER LIFE WATCHING HER 268 00:08:29,985 --> 00:08:31,053 FATHER HANDLE AND OVERSEE THE 269 00:08:31,053 --> 00:08:32,121 USE OF FIREARMS ON ANY NUMBER OF 270 00:08:32,121 --> 00:08:34,757 MOVIES. 271 00:08:34,757 --> 00:08:35,824 >> SHE'S BEEN RAISED AROUND GUN 272 00:08:35,824 --> 00:08:38,494 SAFETY AND ALL THAT STUFF FROM 273 00:08:38,494 --> 00:08:39,528 WHEN SHE WAS A LITTLE GIRL. 274 00:08:39,528 --> 00:08:41,063 SHE'S SO SAFE WITH THE GUNS. 275 00:08:41,063 --> 00:08:44,233 THE WAY SHE HANDLES THEM, IT'S 276 00:08:44,233 --> 00:08:45,301 JUST ‐‐ I DON'T HAVE TO WORRY 277 00:08:45,301 --> 00:08:45,834 ABOUT ANYTHING WHEN I GOT HER ON 278 00:08:45,834 --> 00:08:46,902 THE SET. 279 00:08:46,902 --> 00:08:47,937 >> YOU TRUST HER ON YOUR SETS? 280 00:08:47,937 --> 00:08:49,004 >> ANY SET. 281 00:08:49,004 --> 00:08:50,072 YES, ABSOLUTELY. 282 00:08:50,072 --> 00:08:51,140 >> WITHIN DAYS OF GETTING THE 283 00:08:51,140 --> 00:08:52,174 JOB ON "RUST", HANNAH WAS 284 00:08:52,174 --> 00:08:53,776 POSTING ON FACEBOOK ABOUT HOW 285 00:08:53,776 --> 00:08:56,445 EXCITED SHE WAS TO HAVE GOTTEN 286 00:08:56,445 --> 00:08:58,580 THIS JOB, AND SHE SPECIFICALLY 287 00:08:58,580 --> 00:09:00,683 NOTED, EXCITED TO BE WORKING 288 00:09:00,683 --> 00:09:01,750 WITH ARMORY AND TO STEP INTO THE 289 00:09:01,750 --> 00:09:04,420 WORLD OF PROPS. 290 00:09:04,420 --> 00:09:07,056 BEFORE THE JOB STARTED, ON 291 00:09:07,056 --> 00:09:08,123 SEPTEMBER 29th, JUST RIGHT AFTER 292 00:09:08,123 --> 00:09:15,464 SHE HAD SECURED IT, SHE WROTE ON 293 00:09:15,464 --> 00:09:18,167 FACEBOOK, HOW [ BLEEP ] IT IS 294 00:09:18,167 --> 00:09:19,635 THAT LIFE'S BEEN SO GOOD LATELY? 295 00:09:19,635 --> 00:09:20,703 I CAN'T HELP BUT TO FEEL LIKE 296 00:09:20,703 --> 00:09:21,770 I'M ABOUT TO FALL FROM GRACE. 297 00:09:21,770 --> 00:09:22,838 >> THE TENSIONS WITH THE CAMERA 298 00:09:22,838 --> 00:09:26,008 CREW REALLY STARTED TO GROW. 299 00:09:26,008 --> 00:09:28,610 >> HALYNA, SHE DIDN'T LOOK ‐‐ 300 00:09:28,610 --> 00:09:31,680 SHE WASN'T HER USUAL, YOU KNOW, 301 00:09:31,680 --> 00:09:36,952 CALM, FOCUSED, CHEERFUL SELF. 302 00:09:43,292 --> 00:09:44,360 >>> WHEN YOU'RE WORKING ON A 303 00:09:44,360 --> 00:09:46,996 MOVIE SET, EVERY SINGLE MOMENT 304 00:09:46,996 --> 00:09:50,165 COUNTS. 305 00:09:50,165 --> 00:09:51,233 >> MOVIEMAKING IN SOME WAYS IS A 306 00:09:51,233 --> 00:09:51,767 RACE AGAINST THE CLOCK. 307 00:09:51,767 --> 00:09:53,902 YOU ONLY HAVE A CERTAIN NUMBER 308 00:09:53,902 --> 00:09:54,436 OF DAYS AND A CERTAIN AMOUNT OF 309 00:09:54,436 --> 00:09:57,139 MONEY. 310 00:09:57,139 --> 00:09:57,906 "RUST" IS SCHEDULED TO BE A 311 00:09:57,906 --> 00:09:58,307 21‐DAY SHOOT. 312 00:09:58,307 --> 00:09:59,908 >> WHAT DOES THAT DEMAND YOU DO? 313 00:09:59,908 --> 00:10:00,943 YOU HAVE TO BE EFFICIENT. 314 00:10:00,943 --> 00:10:05,714 YOU HAVE TO BE EFFICIENT. 315 00:10:05,714 --> 00:10:08,384 >> HALYNA WAS SO INTENSE AND SO 316 00:10:08,384 --> 00:10:09,451 FULL OF ENERGY AND SO 317 00:10:09,451 --> 00:10:12,621 PASSIONATE. 318 00:10:12,621 --> 00:10:13,622 >> SHE WOULD GET IT IN HER MIND 319 00:10:13,622 --> 00:10:15,190 HOW SHE WANTED IT TO LOOK, AND 320 00:10:15,190 --> 00:10:15,724 WE'D WORK TO GET HER WHAT SHE 321 00:10:15,724 --> 00:10:17,326 WANTED. 322 00:10:17,326 --> 00:10:19,962 >> SHE HAD THAT INTENSITY. 323 00:10:19,962 --> 00:10:23,665 EVERY DAY YOU WENT TO WORK, SHE 324 00:10:23,665 --> 00:10:24,199 WOULD SAY, GOOD MORNING. 325 00:10:24,199 --> 00:10:25,801 HOW ARE YOU? 326 00:10:25,801 --> 00:10:26,835 HOW WAS YOUR EVENING? 327 00:10:26,835 --> 00:10:27,369 BOOM. 328 00:10:27,369 --> 00:10:28,971 IT WAS SMALL TALK, GO. 329 00:10:28,971 --> 00:10:30,005 WE WEREN'T GONNA HANG OUT AND 330 00:10:30,005 --> 00:10:31,073 CHIT CHAT OR WHATEVER. 331 00:10:31,073 --> 00:10:32,141 SHE KNEW THAT THE CLOCK WAS THE 332 00:10:32,141 --> 00:10:32,674 ENEMY AND WE HAVE TO MOVE 333 00:10:32,674 --> 00:10:34,243 FORWARD. 334 00:10:34,243 --> 00:10:35,310 >> I FELT LIKE IT WAS A GOOD 335 00:10:35,310 --> 00:10:39,014 PACE FOR THE LEVEL OF THE BUDGET 336 00:10:39,014 --> 00:10:40,082 THAT WE HAD. 337 00:10:40,082 --> 00:10:41,150 IT RAN SMOOTHER THAN ANYTHING OF 338 00:10:41,150 --> 00:10:41,650 THAT BUDGET I'VE EVER BEEN 339 00:10:41,650 --> 00:10:43,252 INVOLVED WITH. 340 00:10:43,252 --> 00:10:44,319 IT REALLY DID. 341 00:10:44,319 --> 00:10:44,853 >> BUT SOME CREW MEMBERS SAID 342 00:10:44,853 --> 00:10:46,955 THE PRODUCTION FELT RUSHED. 343 00:10:46,955 --> 00:10:48,557 >> THE TONE ON SET WAS LIKE, 344 00:10:48,557 --> 00:10:49,625 WE NEED TO GO NOW, NOW, NOW. 345 00:10:49,625 --> 00:10:50,659 IT JUST WAS A BEAT THE CLOCK 346 00:10:50,659 --> 00:10:53,862 KIND OF THING. 347 00:10:53,862 --> 00:10:56,498 >> I ARRIVED ON THE 11th. 348 00:10:56,498 --> 00:10:59,168 I HAD DINNER WITH HALYNA. 349 00:10:59,168 --> 00:11:00,202 >> BALDWIN POSTS A VIDEO OF 350 00:11:00,202 --> 00:11:01,270 HIMSELF ON INSTAGRAM SHORTLY 351 00:11:01,270 --> 00:11:05,507 AFTER HE ARRIVED ON SET. 352 00:11:05,507 --> 00:11:07,509 >> I WANT TO SAY I LOOK AT 353 00:11:07,509 --> 00:11:08,877 MYSELF IN THE REFLECTION OF THIS 354 00:11:08,877 --> 00:11:11,246 AND I'M REALLY KIND OF APPALLED. 355 00:11:11,246 --> 00:11:16,385 IT'S APPALLING. 356 00:11:16,385 --> 00:11:19,555 BUT WE'RE HERE SHOOTING A FILM. 357 00:11:19,555 --> 00:11:20,622 WE START TOMORROW, AND NO, I'M 358 00:11:20,622 --> 00:11:25,394 NOT PLAYING SANTA CLAUS. 359 00:11:25,394 --> 00:11:26,462 ON THE 12th I HAD A SAFETY 360 00:11:26,462 --> 00:11:27,496 DEMONSTRATION WITH HANNAH REED, 361 00:11:27,496 --> 00:11:28,564 THE ARMORER. 362 00:11:28,564 --> 00:11:29,631 WE SPENT AN HOUR AND A HALF 363 00:11:29,631 --> 00:11:30,699 SHOOTING THE PISTOL, HER GIVING 364 00:11:30,699 --> 00:11:31,733 ME ALL HER SAFETY INSTRUCTIONS. 365 00:11:31,733 --> 00:11:33,335 >> WE WERE TOLD BY SEVERAL 366 00:11:33,335 --> 00:11:36,505 MEMBERS OF THE CREW THAT HANNAH 367 00:11:36,505 --> 00:11:37,573 SOMETIMES HAD THE GUNS IN HER 368 00:11:37,573 --> 00:11:38,640 WAISTBAND OR SHE WOULD CARRY 369 00:11:38,640 --> 00:11:42,344 THEM UNDERNEATH HER ARMPITS. 370 00:11:42,344 --> 00:11:42,878 NOW, THIS IS A YOUNG WOMAN WHO 371 00:11:42,878 --> 00:11:43,946 WAS AROUND GUNS HER WHOLE LIFE. 372 00:11:43,946 --> 00:11:46,582 BUT FOR OTHER MEMBERS OF THE 373 00:11:46,582 --> 00:11:47,649 CREW, THIS WAS SORT OF ALARMING. 374 00:11:47,649 --> 00:11:48,717 >> HANNAH'S LAWYER TELLS ABC, 375 00:11:48,717 --> 00:11:49,751 IT'S NOT UNUSUAL FOR ARMORERS TO 376 00:11:49,751 --> 00:11:50,819 CARRY FIREARMS LIKE THIS TO 377 00:11:50,819 --> 00:11:52,421 VARIOUS PLACES ON SET AS THEY 378 00:11:52,421 --> 00:11:53,489 NEED TO. 379 00:11:53,489 --> 00:11:54,523 HE SAYS THERE WAS NEVER A SAFETY 380 00:11:54,523 --> 00:11:55,591 ISSUE WITH HANNAH'S CARRYING OF 381 00:11:55,591 --> 00:11:56,658 THE FIREARMS. 382 00:11:56,658 --> 00:11:57,726 >> DID YOU THINK SHE WAS UP TO 383 00:11:57,726 --> 00:11:59,294 THE JOB? 384 00:11:59,294 --> 00:12:00,362 >> I ASSUMED BECAUSE SHE WAS 385 00:12:00,362 --> 00:12:02,464 THERE AND SHE WAS HIRED SHE 386 00:12:02,464 --> 00:12:04,066 WAS ‐‐ SHE WAS UP FOR THE JOB. 387 00:12:04,066 --> 00:12:04,600 >> AND NOTHING SHE DID RAISED 388 00:12:04,600 --> 00:12:06,168 ANY RED FLAGS WITH YOU? 389 00:12:06,168 --> 00:12:08,303 >> NO. 390 00:12:08,303 --> 00:12:10,939 >> THE SECOND WEEK OF FILMING, 391 00:12:10,939 --> 00:12:12,007 SOME MEMBERS OF THE CREW SAID 392 00:12:12,007 --> 00:12:13,008 THEY WERE STARTING TO HAVE 393 00:12:13,008 --> 00:12:14,076 CONCERNS WITH HOW WEAPONS WERE 394 00:12:14,076 --> 00:12:17,246 BEING HANDLED ON THE SET. 395 00:12:17,246 --> 00:12:18,313 >> SATURDAY, OCTOBER 16th, WAS A 396 00:12:18,313 --> 00:12:19,381 BIG DAY ON SET. 397 00:12:19,381 --> 00:12:22,017 THERE WERE SEVERAL MAJOR 398 00:12:22,017 --> 00:12:22,551 SHOOTOUTS SCHEDULED TO BE FILMED 399 00:12:22,551 --> 00:12:24,119 THAT DAY. 400 00:12:24,119 --> 00:12:25,721 AND IN THE MIDST OF THAT, THERE 401 00:12:25,721 --> 00:12:28,924 WERE TWO ACCIDENTAL DISCHARGES. 402 00:12:28,924 --> 00:12:30,492 >> THE PROP MASTER, SARAH 403 00:12:30,492 --> 00:12:33,128 ZACHARY, WAS LOADING THE GUN. 404 00:12:33,128 --> 00:12:34,196 THE GUN WAS POINTED DOWN, 405 00:12:34,196 --> 00:12:36,331 AND IT WENT OFF IN HER HANDS. 406 00:12:36,331 --> 00:12:37,399 >> IT DEFINITELY CAUSED A 407 00:12:37,399 --> 00:12:38,467 COMMOTION ON SET. 408 00:12:38,467 --> 00:12:40,035 SEVERAL PEOPLE I TALKED TO 409 00:12:40,035 --> 00:12:41,103 DESCRIBED IT AS SOMETHING THAT 410 00:12:41,103 --> 00:12:45,874 UPSET PEOPLE. 411 00:12:45,874 --> 00:12:46,408 THERE WAS, YOU KNOW, A SOUND, 412 00:12:46,408 --> 00:12:47,976 AND IT WAS UNEXPECTED. 413 00:12:47,976 --> 00:12:50,112 >> THERE IS NO PROJECTILE IN THE 414 00:12:50,112 --> 00:12:51,713 GUN. 415 00:12:51,713 --> 00:12:52,748 IT'S JUST A BANG AND SOME SMOKE. 416 00:12:52,748 --> 00:12:53,815 SARAH DID SELF‐REPORT WHEN IT 417 00:12:53,815 --> 00:12:55,417 HAPPENED. 418 00:12:55,417 --> 00:12:58,587 >> THERE WAS ANOTHER ACCIDENTAL 419 00:12:58,587 --> 00:12:59,621 DISCHARGE ON THIS SATURDAY, 420 00:12:59,621 --> 00:13:01,757 AND ALEC BALDWIN'S STUNT DOUBLE 421 00:13:01,757 --> 00:13:04,426 HAD THIS MISFIRE WITH A GUN. 422 00:13:04,426 --> 00:13:07,062 >> WHEN YOU HEAR ABOUT SOMETHING 423 00:13:07,062 --> 00:13:09,198 LIKE TWO ACCIDENTAL DISCHARGES 424 00:13:09,198 --> 00:13:10,232 OF WEAPONS, GUNS GOING OFF, 425 00:13:10,232 --> 00:13:14,403 THAT'S SERIOUS BUSINESS. 426 00:13:14,403 --> 00:13:15,470 >> THE "RUST" PRODUCTION TEAM 427 00:13:15,470 --> 00:13:16,505 TOLD ABC NEWS, THE SAFETY OF OUR 428 00:13:16,505 --> 00:13:17,573 CAST AND CREW IS THE TOP 429 00:13:17,573 --> 00:13:20,209 PRIORITY OF RUST PRODUCTIONS. 430 00:13:20,209 --> 00:13:21,276 "RUST" PRODUCERS SAY THEY NEVER 431 00:13:21,276 --> 00:13:22,878 RECEIVED ANY OFFICIAL COMPLAINTS 432 00:13:22,878 --> 00:13:23,946 REGARDING WEAPONS OR PROP SAFETY 433 00:13:23,946 --> 00:13:26,582 ON SET. 434 00:13:26,582 --> 00:13:27,649 >> "RUST" PRODUCTIONS DECLINED 435 00:13:27,649 --> 00:13:28,684 TO COMMENT SPECIFICALLY ON THE 436 00:13:28,684 --> 00:13:30,285 ACCIDENTAL DISCHARGES. 437 00:13:30,285 --> 00:13:32,421 >> I NEVER SAW ANYTHING THAT 438 00:13:32,421 --> 00:13:34,523 WAS, IN MY MIND, UNSAFE EVER. 439 00:13:34,523 --> 00:13:37,159 >> I FELT SAFE ON THE SET. 440 00:13:37,159 --> 00:13:38,727 EVERY TIME I WAS HANDLING A GUN, 441 00:13:38,727 --> 00:13:39,795 EVERY TIME I WAS ON SET, I FELT 442 00:13:39,795 --> 00:13:41,396 SAFE. 443 00:13:41,396 --> 00:13:42,464 I HAD TO HAVE A GUN IN EVERY 444 00:13:42,464 --> 00:13:44,032 SCENE. 445 00:13:44,032 --> 00:13:46,702 I ALWAYS HAD IT IN MY HOLSTER. 446 00:13:46,702 --> 00:13:49,338 IN EVERY SCENE, 'CAUSE WE'RE 447 00:13:49,338 --> 00:13:50,939 COWBOYS. 448 00:13:50,939 --> 00:13:51,974 >> DURING THE SECOND WEEK OF 449 00:13:51,974 --> 00:13:53,041 FILMING THAT AN ISSUE WITH 450 00:13:53,041 --> 00:13:54,109 HOTELS COMES UP FOR THE CREW, 451 00:13:54,109 --> 00:13:55,177 BECAUSE THEY'RE PULLING WHAT 452 00:13:55,177 --> 00:13:56,211 THEY FEEL LIKE ARE SOME VERY 453 00:13:56,211 --> 00:13:57,813 LONG DAYS ON THE SET. 454 00:13:57,813 --> 00:13:59,948 >> THEY WENT TO THE PRODUCTION, 455 00:13:59,948 --> 00:14:02,050 TO TALK ABOUT THIS SO THAT AFTER 456 00:14:02,050 --> 00:14:03,118 12‐HOUR DAYS, THEY DIDN'T HAVE 457 00:14:03,118 --> 00:14:04,186 TO DRIVE FOR LIKE DOZENS AND 458 00:14:04,186 --> 00:14:05,220 DOZENS OF MILES JUST TO GET BACK 459 00:14:05,220 --> 00:14:05,754 TO SOMEWHERE WHERE THEY COULD 460 00:14:05,754 --> 00:14:07,889 PUT THEIR HEAD DOWN FOR JUST A 461 00:14:07,889 --> 00:14:08,957 FEW HOURS, TO THEN HAVE TO GET 462 00:14:08,957 --> 00:14:09,992 BACK UP AGAIN AND GO RIGHT BACK 463 00:14:09,992 --> 00:14:11,593 TO WORK. 464 00:14:11,593 --> 00:14:15,764 >> MY DRIVE TO SET WAS 75 MILES 465 00:14:15,764 --> 00:14:16,832 A DAY EACH WAY EVERY DAY. 466 00:14:16,832 --> 00:14:18,934 IT WAS NEVER A PROBLEM. 467 00:14:18,934 --> 00:14:22,638 THE WORK SCHEDULE, THE INS, THE 468 00:14:22,638 --> 00:14:23,171 OUTS, WHEN WE WOULD COME IN IN 469 00:14:23,171 --> 00:14:24,239 THE MORNING, WHEN WE LEFT, IT 470 00:14:24,239 --> 00:14:25,307 WAS REALLY NEVER A PROBLEM. 471 00:14:25,307 --> 00:14:25,841 THERE WAS NOTHING ABOUT THE 472 00:14:25,841 --> 00:14:28,477 SCHEDULE THAT WAS GRUELING. 473 00:14:28,477 --> 00:14:29,511 >> THE "RUST" PRODUCTIONS TEAM 474 00:14:29,511 --> 00:14:30,579 TOLD ABC NEWS THAT THEY'RE 475 00:14:30,579 --> 00:14:31,647 CONFIDENT THAT THEY PROVIDED 476 00:14:31,647 --> 00:14:32,681 HOTELS WHEN THEY WERE REQUIRED. 477 00:14:32,681 --> 00:14:34,283 >> THIS ISSUE OF THE HOTEL ROOMS 478 00:14:34,283 --> 00:14:38,487 BECAME SUCH A DIVISIVE ISSUE. 479 00:14:38,487 --> 00:14:39,554 >> ON SUNDAY, THE CREW'S CALL 480 00:14:39,554 --> 00:14:43,258 TIME WAS NOON. 481 00:14:43,258 --> 00:14:44,326 THEY WERE THERE TILL 1:30 IN THE 482 00:14:44,326 --> 00:14:45,927 MORNING. 483 00:14:45,927 --> 00:14:46,962 IT WAS DARK OUT, BUT IT WAS COLD 484 00:14:46,962 --> 00:14:48,030 AND THEY WERE GATHERING UP ALL 485 00:14:48,030 --> 00:14:49,097 THEIR EQUIPMENT. 486 00:14:49,097 --> 00:14:50,165 AND ONE OF THE CAMERA OPERATORS 487 00:14:50,165 --> 00:14:51,199 THAT NIGHT, WHAT I WAS TOLD, 488 00:14:51,199 --> 00:14:52,801 SPENT A FEW HOURS SLEEPING IN 489 00:14:52,801 --> 00:14:54,403 HIS CAR BECAUSE HE FELT IT WAS 490 00:14:54,403 --> 00:14:57,039 UNSAFE TO DRIVE HOME. 491 00:14:57,039 --> 00:14:58,640 AND THAT'S REALLY, I THINK, WHEN 492 00:14:58,640 --> 00:15:01,810 THE TENSIONS WITH THE CAMERA 493 00:15:01,810 --> 00:15:09,217 CREW REALLY STARTED TO GROW. 494 00:15:09,217 --> 00:15:10,085 THEY SHOW UP FOR A 6:00 A. M. 495 00:15:10,085 --> 00:15:10,452 CALL TIME. 496 00:15:10,452 --> 00:15:12,120 IT WAS A LONG, ARDUOUS DAY. 497 00:15:12,120 --> 00:15:14,690 THAT DAY, ONE OF THE CAMERA 498 00:15:14,690 --> 00:15:16,792 OPERATORS ASKED FOR A HOTEL ROOM 499 00:15:16,792 --> 00:15:17,859 THAT NIGHT, AND THE PRODUCTION 500 00:15:17,859 --> 00:15:22,631 SAID NO. 501 00:15:22,631 --> 00:15:23,665 AND THAT ‐‐ WHAT SEVERAL OF THE 502 00:15:23,665 --> 00:15:24,733 CAMERA OPERATORS AND ASSISTANTS 503 00:15:24,733 --> 00:15:27,402 AND CAMERA CREW PEOPLE TOLD ME 504 00:15:27,402 --> 00:15:29,504 WAS THAT'S WHEN THEY FELT LIKE, 505 00:15:29,504 --> 00:15:30,572 THESE PEOPLE DON'T CARE ABOUT 506 00:15:30,572 --> 00:15:31,640 US. 507 00:15:31,640 --> 00:15:32,674 >> LATER THAT NIGHT LANE LUPER 508 00:15:32,674 --> 00:15:33,208 AND SOME OTHER MEMBERS OF THE 509 00:15:33,208 --> 00:15:35,344 CAMERA CREW, THEY EMAIL 510 00:15:35,344 --> 00:15:36,411 PRODUCTION MANAGERS THEIR 511 00:15:36,411 --> 00:15:37,479 RESIGNATION LETTERS. 512 00:15:37,479 --> 00:15:38,513 AND IN LANE'S LETTER, HE WRITES 513 00:15:38,513 --> 00:15:39,581 ABOUT HIS CONCERNS REGARDING 514 00:15:39,581 --> 00:15:40,115 THEIR HOUSING. 515 00:15:40,115 --> 00:15:43,285 HE ALSO LAYS OUT SOME SAFETY 516 00:15:43,285 --> 00:15:43,819 CONCERNS SAYING, DURING THE 517 00:15:43,819 --> 00:15:44,886 FILMING OF GUNFIGHTS ON THIS 518 00:15:44,886 --> 00:15:45,954 JOB, THINGS ARE OFTEN PLAYED 519 00:15:45,954 --> 00:15:47,522 VERY FAST AND LOOSE. 520 00:15:47,522 --> 00:15:51,760 SO FAR THERE HAVE BEEN TWO 521 00:15:51,760 --> 00:15:52,828 ACCIDENTAL WEAPONS DISCHARGES. 522 00:15:52,828 --> 00:15:54,429 >> IT WAS, YOU KNOW, CLOSE TO 523 00:15:54,429 --> 00:15:55,464 9:00 WHEN THESE EMAILS STARTED 524 00:15:55,464 --> 00:15:56,531 ROLLING INTO THE PRODUCTION 525 00:15:56,531 --> 00:15:57,566 OFFICE THAT THEY WERE GOING TO 526 00:15:57,566 --> 00:15:58,633 BE WITHOUT THE CAMERA CREW. 527 00:15:58,633 --> 00:16:02,371 >> FOR A GROUP OF CREW MEMBERS 528 00:16:02,371 --> 00:16:03,438 TO COME TOGETHER AND SAY, WE 529 00:16:03,438 --> 00:16:04,473 NEED TO, AS A GROUP, BASICALLY 530 00:16:04,473 --> 00:16:05,006 STRIKE THIS SET, IT'S NOT THAT 531 00:16:05,006 --> 00:16:07,676 COMMON. 532 00:16:07,676 --> 00:16:10,312 >> THIS WEEK, 25 MEMBERS OF 533 00:16:10,312 --> 00:16:11,880 "RUST" CAST AND CREW RELEASED A 534 00:16:11,880 --> 00:16:12,948 LETTER THAT ALEC BALDWIN POSTED 535 00:16:12,948 --> 00:16:13,415 ON HIS INSTAGRAM, WHICH THEY SAY 536 00:16:13,415 --> 00:16:14,449 WAS NOT SANCTIONED OR INFLUENCED 537 00:16:14,449 --> 00:16:18,787 BY THE PRODUCERS. 538 00:16:18,787 --> 00:16:26,261 AND IT STATED, THE DESCRIPTIONS 539 00:16:26,261 --> 00:16:26,928 OF "RUST" AS A CHAOTIC, 540 00:16:26,928 --> 00:16:27,362 DANGEROUS, AND 541 00:16:27,362 --> 00:16:28,330 EXPLOITATIVE WORKPLACE ARE 542 00:16:28,330 --> 00:16:29,398 FALSE. 543 00:16:29,398 --> 00:16:31,500 IN RESPONSE TO LANE LUPER'S 544 00:16:31,500 --> 00:16:36,271 ALLEGATIONS, THE PRODUCTION TEAM 545 00:16:36,271 --> 00:16:37,339 FROM RUST TOLD ABC NEWS 546 00:16:37,339 --> 00:16:38,407 MR. LOOPERS ALLEGATIONS AROUND 547 00:16:38,407 --> 00:16:39,441 BUDGET AND SAFETY ARE PATENTLY 548 00:16:39,441 --> 00:16:39,975 FALSE AND THEY SAY SAFETY IS 549 00:16:39,975 --> 00:16:41,042 ALWAYS THE NUMBER ONE PRIORITY 550 00:16:41,042 --> 00:16:42,077 IN OUR FILMS. 551 00:16:42,077 --> 00:16:43,211 THE NEXT MORNING, THEIR 552 00:16:43,211 --> 00:16:44,279 DEPARTURE WOULD BE THE BEGINNING 553 00:16:44,279 --> 00:16:45,647 OF A DEEPLY TROUBLING DAY ON 554 00:16:45,647 --> 00:16:46,882 SET. 555 00:16:50,385 --> 00:16:59,227 ♪♪ 556 00:16:59,227 --> 00:16:59,728 >>> THE DAY GOT OFF TO A BAD 557 00:16:59,728 --> 00:17:00,796 START. 558 00:17:00,796 --> 00:17:05,033 MOST OF THE CAMERA CREW PACKED 559 00:17:05,033 --> 00:17:06,101 UP THEIR GEAR AND THEY WALKED 560 00:17:06,101 --> 00:17:07,169 OFF THE JOB. 561 00:17:07,169 --> 00:17:08,236 THEY WERE MAKING GOOD ON THEIR 562 00:17:08,236 --> 00:17:09,271 THREATS FROM THE NIGHT BEFORE, 563 00:17:09,271 --> 00:17:10,338 QUITTING OVER THEIR CONCERNS, 564 00:17:10,338 --> 00:17:11,406 WHICH INCLUDED THEIR 565 00:17:11,406 --> 00:17:12,474 ACCOMMODATIONS AND SAFETY ON THE 566 00:17:12,474 --> 00:17:15,644 SET. 567 00:17:15,644 --> 00:17:17,746 >> I WAS AS SURPRISED AS 568 00:17:17,746 --> 00:17:18,847 EVERYONE ELSE WHEN FOR THE FIRST 569 00:17:18,847 --> 00:17:19,915 HOUR AND HALF THERE WAS NO 570 00:17:19,915 --> 00:17:24,686 CAMERA CREW ON THE SET AT ALL. 571 00:17:24,686 --> 00:17:25,720 I KNOW THAT PUT A LITTLE BIT OF 572 00:17:25,720 --> 00:17:26,788 A STRAIN ON THE WHOLE 573 00:17:26,788 --> 00:17:27,823 PRODUCTION. 574 00:17:27,823 --> 00:17:32,060 >> THE FIRST PERSON I SAW WAS 575 00:17:32,060 --> 00:17:33,128 HALYNA, AND SHE DIDN'T LOOK ‐‐ 576 00:17:33,128 --> 00:17:34,196 SHE WASN'T HER USUAL, YOU KNOW, 577 00:17:34,196 --> 00:17:35,230 CALM, FOCUSED, CHEERFUL SELF. 578 00:17:35,230 --> 00:17:36,832 >> SHE WAS UNDER PRESSURE TO NOT 579 00:17:36,832 --> 00:17:37,899 LOOK STRESSED, TO KEEP 580 00:17:37,899 --> 00:17:42,671 EVERYTHING ROLLING. 581 00:17:42,671 --> 00:17:45,841 AND SHORTLY AFTER THAT THERE IS 582 00:17:45,841 --> 00:17:46,374 A SAFETY MEETING. 583 00:17:46,374 --> 00:17:51,046 THAT DID ADDRESS THAT THERE WAS 584 00:17:51,046 --> 00:17:51,580 GOING TO BE, YOU KNOW, GUNFIRE 585 00:17:51,580 --> 00:17:53,215 HAPPENING THAT DAY. 586 00:17:53,215 --> 00:17:54,249 >> SO BEFORE LUNCH THERE WAS A 587 00:17:54,249 --> 00:17:55,317 SCENE WHERE THERE WERE SOME GUNS 588 00:17:55,317 --> 00:17:55,851 BEING USED. 589 00:17:55,851 --> 00:17:56,918 AT THE END OF THOSE SCENES BEING 590 00:17:56,918 --> 00:17:57,986 DONE, ALL THE GUNS WERE 591 00:17:57,986 --> 00:17:58,453 COLLECTED AND PLACED BACK IN THE 592 00:17:58,453 --> 00:18:03,225 SAFE. 593 00:18:03,225 --> 00:18:04,259 >> THEY BROKE FOR LUNCH AROUND 594 00:18:04,259 --> 00:18:05,327 12:30. 595 00:18:05,327 --> 00:18:06,394 >> WHEN THEY COME BACK FROM 596 00:18:06,394 --> 00:18:08,497 LUNCH, WE GET WORD THAT THEY'RE 597 00:18:08,497 --> 00:18:13,268 GOING TO DO THIS LITTLE INSERT 598 00:18:13,268 --> 00:18:13,802 SHOT OF JUST THE GUN THAT HALYNA 599 00:18:13,802 --> 00:18:15,370 WANTS POINTING RIGHT AT CAMERA. 600 00:18:15,370 --> 00:18:16,972 >> THE SCENE WASN'T SUPPOSED TO 601 00:18:16,972 --> 00:18:21,209 HAVE ANY GUNFIRE. 602 00:18:21,209 --> 00:18:21,710 >> THE SCENE IS THE TWO ‐‐ TWO 603 00:18:21,710 --> 00:18:23,311 GUYS ARE THERE. 604 00:18:23,311 --> 00:18:28,617 THE OTHER TWO ACTORS WHO HAVE 605 00:18:28,617 --> 00:18:30,218 GOT ME, YOU KNOW, CORNERED, AND 606 00:18:30,218 --> 00:18:32,854 I THEN DRAW THE GUN ‐‐ 607 00:18:32,854 --> 00:18:33,889 CROSS‐DRAW OUT OF MY HOLSTER, 608 00:18:33,889 --> 00:18:34,956 PULL THE GUN UP LIKE THAT, AND 609 00:18:34,956 --> 00:18:36,458 START TO COCK THE PISTOL. 610 00:18:36,458 --> 00:18:37,526 CUT. 611 00:18:37,526 --> 00:18:41,229 >> NOW COMES A KEY MOMENT. 612 00:18:41,229 --> 00:18:41,763 ALEC BALDWIN HEARS COLD GUN. 613 00:18:41,763 --> 00:18:43,899 THAT'S THE SIGNAL THAT THE 614 00:18:43,899 --> 00:18:47,068 WEAPON IS SAFE TO USE. 615 00:18:47,068 --> 00:18:47,602 WHAT DOES IT MEAN FOR A GUN TO 616 00:18:47,602 --> 00:18:50,238 BE DECLARED COLD? 617 00:18:50,238 --> 00:18:50,772 >> IT MEANS NOTHING IS GOING TO 618 00:18:50,772 --> 00:18:51,840 HAPPEN WHEN YOU PULL THE TRIGGER 619 00:18:51,840 --> 00:18:53,441 BESIDES THE CLICK. 620 00:18:53,441 --> 00:18:56,044 SO IT'S EITHER A COMPLETELY 621 00:18:56,044 --> 00:18:59,714 EMPTY CHAMBER, OR IT HAS THE 622 00:18:59,714 --> 00:19:00,749 DUMMY ROUNDS IN IT, WHICH ARE 623 00:19:00,749 --> 00:19:01,816 ALSO FAKE. 624 00:19:01,816 --> 00:19:02,350 >> JOEY DILLON IS A HOLLYWOOD 625 00:19:02,350 --> 00:19:03,418 ARMORER. 626 00:19:03,418 --> 00:19:04,452 HE DID NOT WORK ON "RUST." 627 00:19:04,452 --> 00:19:04,986 YOU'VE BROUGHT SOME DUMMY ROUNDS 628 00:19:04,986 --> 00:19:05,520 WITH YOU? 629 00:19:05,520 --> 00:19:07,122 >> I DID, YEAH. 630 00:19:07,122 --> 00:19:08,189 IT LOOKS EXACTLY THE SAME AS A 631 00:19:08,189 --> 00:19:09,224 REAL BULLET. 632 00:19:09,224 --> 00:19:10,292 IN LIEU OF THE GUN POWDER IN 633 00:19:10,292 --> 00:19:11,893 THERE, THEY PUT IN A SINGLE BB 634 00:19:11,893 --> 00:19:12,961 IN THERE AND YOU CAN HEAR THAT. 635 00:19:12,961 --> 00:19:13,995 >> YOU CAN HEAR IT RATTLE. 636 00:19:13,995 --> 00:19:15,597 >> SHAKING AROUND ESPECIALLY ON 637 00:19:15,597 --> 00:19:16,631 THE BELT, YOU CAN ‐‐ 638 00:19:16,631 --> 00:19:17,699 >> YEAH, THE WHOLE THINGS 639 00:19:17,699 --> 00:19:18,199 RATTLING. 640 00:19:18,199 --> 00:19:19,801 >> YEAH. 641 00:19:19,801 --> 00:19:20,869 >> BY 1:20, THE SCENE UP AT THE 642 00:19:20,869 --> 00:19:24,573 CHURCH WAS TO BE DONE. 643 00:19:24,573 --> 00:19:25,640 >> ALEC BALDWIN WAS SITTING IN A 644 00:19:25,640 --> 00:19:27,742 PEW. 645 00:19:27,742 --> 00:19:29,844 THEY WANTED TO HAVE THE CAMERA 646 00:19:29,844 --> 00:19:31,446 LOOK DOWN THE BARREL OF THE GUN. 647 00:19:31,446 --> 00:19:33,548 THEY WERE TRYING TO SET IT UP. 648 00:19:33,548 --> 00:19:37,252 >> YOU COULD SEE THE ENDS OF THE 649 00:19:37,252 --> 00:19:37,786 BULLETS. 650 00:19:37,786 --> 00:19:42,023 THAT'S WHY IT WAS LOADED WITH 651 00:19:42,023 --> 00:19:42,557 DUMDUMS, YOU NEED TO SEE THE END 652 00:19:42,557 --> 00:19:43,625 OF THE BULLET. 653 00:19:43,625 --> 00:19:46,595 I'M AT THE FRONT DOOR OF THE 654 00:19:46,595 --> 00:19:47,862 CHURCH, AND I WAS PROBABLY FOUR, 655 00:19:47,862 --> 00:19:49,497 FIVE YARDS AWAY FROM ALEC AND 656 00:19:49,497 --> 00:19:50,065 HALYNA. 657 00:19:50,065 --> 00:19:53,335 HALYNA WAS TELLING ALEC SHE 658 00:19:53,335 --> 00:19:53,835 WANTED TO SEE HIS THUMB WORKING 659 00:19:53,835 --> 00:19:57,005 THE HAMMER BACK TO DO THE SHOT. 660 00:19:57,005 --> 00:19:58,006 SHE WAS PROBABLY ONLY 18 INCHES, 661 00:19:58,006 --> 00:19:59,074 TWO FEET FROM MUZZLE OF GUN. 662 00:19:59,074 --> 00:20:00,141 >> SHE TAKES A MONITOR THAT IS 663 00:20:00,141 --> 00:20:01,176 HIS MONITOR, THE OPERATOR, AND 664 00:20:01,176 --> 00:20:03,845 TURNS IT TOWARDS HER. 665 00:20:03,845 --> 00:20:04,379 AND SHE SAYS TO ME, HOLD THE GUN 666 00:20:04,379 --> 00:20:05,413 LOWER. 667 00:20:05,413 --> 00:20:05,947 GO TO YOUR RIGHT. 668 00:20:05,947 --> 00:20:07,015 OKAY, RIGHT THERE. 669 00:20:07,015 --> 00:20:11,786 ALL RIGHT, DO THAT. 670 00:20:11,786 --> 00:20:12,854 >> I WAS, LIKE, STANDING LIKE 671 00:20:12,854 --> 00:20:13,888 THIS. 672 00:20:13,888 --> 00:20:15,490 THIS WAS HALYNA. 673 00:20:15,490 --> 00:20:17,592 CAMERA WAS MORE OR LESS HERE. 674 00:20:17,592 --> 00:20:19,194 >> I'M HOLDING THE GUN WHERE SHE 675 00:20:19,194 --> 00:20:23,431 TOLD ME TO HOLD IT, WHICH ENDED 676 00:20:23,431 --> 00:20:23,965 UP BEING AIMED RIGHT BELOW HER 677 00:20:23,965 --> 00:20:26,601 ARMPIT. 678 00:20:26,601 --> 00:20:28,203 >> THE CAMERAS WERE NOT ROLLING, 679 00:20:28,203 --> 00:20:29,771 SO THERE IS NOT ACTUAL FOOTAGE 680 00:20:29,771 --> 00:20:34,542 OF THIS TRAGEDY. 681 00:20:34,542 --> 00:20:38,246 >> YOU JUST PULLED ‐‐ 682 00:20:38,246 --> 00:20:39,314 >> THE HAMMER AS FAR BACK AS I 683 00:20:39,314 --> 00:20:39,814 COULD WITHOUT COCKING THE ACTUAL 684 00:20:39,814 --> 00:20:40,882 GUN. 685 00:20:40,882 --> 00:20:41,416 >> AND YOU'RE HOLDING ONTO THE 686 00:20:41,416 --> 00:20:43,551 HAMMER? 687 00:20:43,551 --> 00:20:44,052 >> I'M HOLDING ‐‐ I'M JUST 688 00:20:44,052 --> 00:20:47,756 SHOWING. 689 00:20:47,756 --> 00:20:48,289 I GO, HOW ABOUT THAT? 690 00:20:48,289 --> 00:20:49,357 DOES THAT WORK? 691 00:20:49,357 --> 00:20:50,959 YOU SEE THAT? 692 00:20:50,959 --> 00:20:51,493 DO YOU SEE THAT? 693 00:20:51,493 --> 00:20:52,527 AND THEN SHE GOES, "YEAH, THAT'S 694 00:20:52,527 --> 00:20:53,595 GOOD." 695 00:20:53,595 --> 00:20:54,663 I LET GO OF THE HAMMER, BANG, 696 00:20:54,663 --> 00:20:55,196 THE GUN GOES OFF. 697 00:20:55,196 --> 00:20:58,299 >> YEAH, I SAW THAT GUN AND ‐‐ 698 00:20:58,299 --> 00:20:59,367 >> ALL OF A SUDDEN, BOOM! 699 00:20:59,367 --> 00:21:00,935 AND IT WAS SO LOUD. 700 00:21:00,935 --> 00:21:02,003 >> I ACTUALLY THOUGHT THAT MAYBE 701 00:21:02,003 --> 00:21:03,071 SOME EQUIPMENT HAD EXPLODED OR 702 00:21:03,071 --> 00:21:05,173 FALLEN. 703 00:21:05,173 --> 00:21:06,741 >> AFTER THE GUN WENT OFF, 704 00:21:06,741 --> 00:21:07,809 PEOPLE IN THE ROOM HAVE 705 00:21:07,809 --> 00:21:08,877 DESCRIBED IT AS JUST BEING TOTAL 706 00:21:08,877 --> 00:21:10,979 CHAOS. 707 00:21:10,979 --> 00:21:12,580 >> AND THEN THERE WAS A SCREAM. 708 00:21:12,580 --> 00:21:15,216 >> AND THEN THEY LOOK, AND 709 00:21:15,216 --> 00:21:18,420 HALYNA HAS INSTANTLY FALLEN BACK 710 00:21:18,420 --> 00:21:22,624 AND SHE'S ON THE GROUND AND SHE 711 00:21:22,624 --> 00:21:26,861 IS BLEEDING FROM HER CHEST. 712 00:21:26,861 --> 00:21:31,466 >> IMMEDIATELY BLEEDING 713 00:21:31,466 --> 00:21:32,400 AND BLEEDING PROFUSELY. 714 00:21:32,400 --> 00:21:35,370 THAT'S WHEN IT GOT REAL. 715 00:21:35,370 --> 00:21:38,406 OH, MY LORD. 716 00:21:38,406 --> 00:21:43,678 >> SHE SAID, SOMETHING HAPPENED 717 00:21:43,678 --> 00:21:44,212 WITH MY S‐STOMACH. 718 00:21:44,212 --> 00:21:48,983 I DON'T FEEL MY LEGS. 719 00:21:48,983 --> 00:21:54,255 HER SKIN WAS SO WHITE, AND HER 720 00:21:54,255 --> 00:21:59,461 LIPS ‐‐ 721 00:21:59,461 --> 00:21:59,494 GRAY. 722 00:21:59,494 --> 00:22:00,528 >> AND DIRECTOR JOEL SOUZA IS 723 00:22:00,528 --> 00:22:01,062 ALSO HURT. 724 00:22:01,062 --> 00:22:01,596 HE'S WRITHING ON THE FLOOR IN 725 00:22:01,596 --> 00:22:03,598 AGONY. 726 00:22:03,598 --> 00:22:08,937 IT'S TOTAL CONFUSION. 727 00:22:08,937 --> 00:22:09,437 >> WHEN SHE WENT DOWN, HE WENT 728 00:22:09,437 --> 00:22:10,505 DOWN, AND HE WAS SCREAMING 729 00:22:10,505 --> 00:22:13,508 REALLY LOUDLY. 730 00:22:13,508 --> 00:22:14,275 AND I THOUGHT, WHAT IS HE ‐‐ 731 00:22:14,275 --> 00:22:14,709 WHAT HAPPENED? 732 00:22:14,709 --> 00:22:16,177 >> DID YOU GO UP TO HER? 733 00:22:16,177 --> 00:22:17,245 >> I WENT UP TO HER AND THEN WE 734 00:22:17,245 --> 00:22:20,014 WERE IMMEDIATELY ‐‐ WE WERE TOLD 735 00:22:20,014 --> 00:22:21,116 TO GET OUT OF THE BUILDING. 736 00:22:21,116 --> 00:22:22,350 WE WERE FORCED TO GET OUT OF THE 737 00:22:22,350 --> 00:22:23,985 BUILDING. 738 00:22:23,985 --> 00:22:24,519 >> MAMIE MITCHELL, THE SCRIPT 739 00:22:24,519 --> 00:22:26,621 SUPERVISOR, RUNS OUT AND SHE 740 00:22:26,621 --> 00:22:27,155 STARTS CALLING 911. 741 00:22:27,155 --> 00:22:28,223 >> SANTA FE FIRE AND EMS. 742 00:22:28,223 --> 00:22:29,290 WHAT'S THE LOCATION OF YOUR 743 00:22:29,290 --> 00:22:30,325 EMERGENCY? 744 00:22:30,325 --> 00:22:31,392 >> BONANZA CREEK RANCH. 745 00:22:31,392 --> 00:22:32,460 WE'VE HAD TWO PEOPLE 746 00:22:32,460 --> 00:22:33,495 ACCIDENTALLY SHOT ON A MOVIE SET 747 00:22:33,495 --> 00:22:34,562 BY A PROP GUN. 748 00:22:34,562 --> 00:22:36,164 WE NEED HELP IMMEDIATELY. 749 00:22:36,164 --> 00:22:37,198 >> IT DIDN'T TAKE THEM LONG AT 750 00:22:37,198 --> 00:22:38,266 ALL TO BEGIN SENDING UNITS. 751 00:22:38,266 --> 00:22:39,868 BUT THE PEOPLE WHO WERE ON SET, 752 00:22:39,868 --> 00:22:40,935 THE PEOPLE WHO WERE AT THE BASE 753 00:22:40,935 --> 00:22:41,970 CAMP HAD THIS FALSE SENSE THAT 754 00:22:41,970 --> 00:22:43,037 IT MIGHT NOT BE THAT BAD. 755 00:22:43,037 --> 00:22:44,105 >> NOBODY TOLD YOU WHAT 756 00:22:44,105 --> 00:22:45,673 HAPPENED? 757 00:22:45,673 --> 00:22:47,809 >> NO, NO. 758 00:22:47,809 --> 00:22:50,979 >> AND WE JUST WERE ALL SITTING 759 00:22:50,979 --> 00:22:53,114 THERE WAITING AND TRYING TO GET 760 00:22:53,114 --> 00:22:55,216 ANY INFORMATION ON WHAT 761 00:22:55,216 --> 00:22:55,750 HAPPENED. 762 00:22:55,750 --> 00:22:56,818 ARE THEY OKAY? 763 00:22:56,818 --> 00:22:58,319 >> I KNEW THERE WAS NOTHING 764 00:22:58,319 --> 00:23:03,191 SHORT OF SOMETHING CATASTROPHIC 765 00:23:03,191 --> 00:23:05,360 HAPPENING THAT WOULD CAUSE WHAT 766 00:23:05,360 --> 00:23:05,627 I HAD SEEN HAPPEN TO HALYNA 767 00:23:05,627 --> 00:23:09,164 THERE. 768 00:23:09,164 --> 00:23:10,965 I SAID, I'M TELLING YOU RIGHT 769 00:23:10,965 --> 00:23:11,332 NOW, THAT WAS A BULLET. 770 00:23:11,332 --> 00:23:12,267 NO ONE WAS READY TO BELIEVE 771 00:23:12,267 --> 00:23:14,769 THAT. 772 00:23:20,375 --> 00:23:20,909 >>> AFTER THE SHOOTING, 773 00:23:20,909 --> 00:23:21,976 EVERYONE'S TRYING TO GET THEIR 774 00:23:21,976 --> 00:23:25,146 BEARINGS. 775 00:23:25,146 --> 00:23:27,215 HALYNA HAS FINALLY BEEN TAKEN 776 00:23:27,215 --> 00:23:29,317 AWAY IN A HELICOPTER. 777 00:23:29,317 --> 00:23:30,385 JOEL SOUZA HAS BEEN TAKEN TO A 778 00:23:30,385 --> 00:23:34,088 DIFFERENT HOSPITAL. 779 00:23:34,088 --> 00:23:37,258 >> WITHIN 15 MINUTES OR 780 00:23:37,258 --> 00:23:38,326 20 MINUTES AFTER THAT, THE 781 00:23:38,326 --> 00:23:39,894 POLICE ARRIVED AND TOOK THE 782 00:23:39,894 --> 00:23:41,496 CHURCH SET AND PUT THE CRIME 783 00:23:41,496 --> 00:23:42,530 TAPE AROUND IT, THE YELLOW TAPE, 784 00:23:42,530 --> 00:23:43,598 AND FORCED US ALL TO THE 785 00:23:43,598 --> 00:23:46,234 PERIMETERS OF THE PARKING AREA 786 00:23:46,234 --> 00:23:51,573 WHERE WE SAT AND WAITED. 787 00:23:51,573 --> 00:23:52,073 >> NOBODY TOLD YOU WHAT 788 00:23:52,073 --> 00:23:53,141 HAPPENED? 789 00:23:53,141 --> 00:23:54,209 >> NO. 790 00:23:54,209 --> 00:23:58,446 NO. 791 00:23:58,446 --> 00:24:01,115 >> WE GOT THE CALL AT 1:48 P. M. 792 00:24:01,115 --> 00:24:03,251 THAT DAY. 793 00:24:03,251 --> 00:24:05,887 OUR DEPUTIES RESPONDED WITHIN 794 00:24:05,887 --> 00:24:06,421 TWO OR THREE MINUTES TO THE 795 00:24:06,421 --> 00:24:07,488 SCENE ALONG WITH EMS. 796 00:24:07,488 --> 00:24:09,057 SO IT WAS PRETTY IMMEDIATE. 797 00:24:09,057 --> 00:24:12,760 >> ALEC WAS JUST BESIDE HIMSELF. 798 00:24:12,760 --> 00:24:15,964 WE WERE ALL DUMBFOUNDED. 799 00:24:15,964 --> 00:24:19,133 >> WHEN THEY GET THERE, THERE'S 800 00:24:19,133 --> 00:24:20,201 OVER A HUNDRED PEOPLE THERE. 801 00:24:20,201 --> 00:24:21,269 IT'S PRETTY HECTIC AND PRETTY 802 00:24:21,269 --> 00:24:22,303 CHAOTIC. 803 00:24:22,303 --> 00:24:23,371 >> THE PEOPLE WHO WERE IN THE 804 00:24:23,371 --> 00:24:23,905 CHURCH ALL HAD TO BE INTERVIEWED 805 00:24:23,905 --> 00:24:26,474 BY POLICE. 806 00:24:26,474 --> 00:24:27,542 >> I WAS IN MY TRAILER, AND ONE 807 00:24:27,542 --> 00:24:30,712 OF THE OTHER ACTORS TOLD ME, 808 00:24:30,712 --> 00:24:32,313 HEY, YOU SHOULD KNOW, I JUST 809 00:24:32,313 --> 00:24:37,085 HEARD ON THE WALKIE A PRETTY 810 00:24:37,085 --> 00:24:37,619 URGENT CALL 911, AND WE ASSUMED 811 00:24:37,619 --> 00:24:39,721 A STUNT WENT WRONG. 812 00:24:39,721 --> 00:24:41,856 >> I WENT BACK TO BASE CAMP. 813 00:24:41,856 --> 00:24:43,458 WE WERE THERE UNTIL THE POLICE 814 00:24:43,458 --> 00:24:44,492 CAME DOWN AND TALKED TO ALL OF 815 00:24:44,492 --> 00:24:46,628 US. 816 00:24:46,628 --> 00:24:47,695 >> NEWS OF THE SHOOTING SPREAD 817 00:24:47,695 --> 00:24:48,730 QUICKLY. 818 00:24:48,730 --> 00:24:49,264 >> BREAKING NEWS ON A MOVIE SET 819 00:24:49,264 --> 00:24:52,467 NEAR SANTA FE. 820 00:24:52,467 --> 00:24:55,103 >> THE SIGN BEHIND ME DOES SAY 821 00:24:55,103 --> 00:24:55,637 RUST. 822 00:24:55,637 --> 00:24:57,739 WE DO BELIEVE THAT IS WHERE THE 823 00:24:57,739 --> 00:24:58,273 INCIDENT DID HAPPEN, BUT WE ARE 824 00:24:58,273 --> 00:25:04,312 WORKING TO GET THAT CONFIRMED. 825 00:25:04,312 --> 00:25:08,049 >> WE HEARD SOME RUMBLING OUT OF 826 00:25:08,049 --> 00:25:09,117 NEW MEXICO THAT THERE'D BEEN 827 00:25:09,117 --> 00:25:12,820 SOME SORT OF ACCIDENT ON THE SET 828 00:25:12,820 --> 00:25:13,888 OF THE ALEC BALDWIN FILM "RUST." 829 00:25:13,888 --> 00:25:14,422 AT FIRST, WE WEREN'T REALLY 830 00:25:14,422 --> 00:25:15,490 CLEAR WHAT IT WAS. 831 00:25:15,490 --> 00:25:16,024 >> BUT AS THE DAY WENT ON, WE 832 00:25:16,024 --> 00:25:17,058 LEARNED MORE. 833 00:25:17,058 --> 00:25:18,159 >> ULTIMATELY WE FOUND OUT 834 00:25:18,159 --> 00:25:18,660 SOMETHING HAD HAPPENED WITH A 835 00:25:18,660 --> 00:25:21,329 GUN, AND IT WAS JOEL AND HALYNA 836 00:25:21,329 --> 00:25:21,863 WHO WERE INVOLVED, WHICH WAS 837 00:25:21,863 --> 00:25:23,431 FRIGHTENING. 838 00:25:23,431 --> 00:25:24,499 >> A WHILE LATER THERE WAS A 839 00:25:24,499 --> 00:25:28,670 HELICOPTER ABOVE. 840 00:25:28,670 --> 00:25:32,373 THERE WERE NEWS STATIONS AND 841 00:25:32,373 --> 00:25:33,441 PAPARAZZI ALL AT THE GATE, AND 842 00:25:33,441 --> 00:25:35,009 THEN THERE WERE MORE HELICOPTERS 843 00:25:35,009 --> 00:25:38,780 AS ALL OF THE SUDDEN IT WENT ALL 844 00:25:38,780 --> 00:25:40,348 OVER THE NEWS. 845 00:25:40,348 --> 00:25:41,516 IT BECAME THIS HUGE THING, AND 846 00:25:41,516 --> 00:25:43,117 IT WAS JUST SO SURREAL. 847 00:25:43,117 --> 00:25:44,185 >> A SOURCE OF MINE SAID THAT IT 848 00:25:44,185 --> 00:25:45,219 WAS ACTUALLY ALEC BALDWIN WHO 849 00:25:45,219 --> 00:25:46,821 FIRED THAT GUN. 850 00:25:46,821 --> 00:25:47,889 >> NEW DETAILS THAT ALEC BALDWIN 851 00:25:47,889 --> 00:25:48,423 FIRED A PROP GUN. 852 00:25:48,423 --> 00:25:50,525 >> ALEC FIRED THE SHOT. 853 00:25:50,525 --> 00:25:51,059 >> MY MOUTH DROPPED TO THE 854 00:25:51,059 --> 00:25:52,126 FLOOR. 855 00:25:52,126 --> 00:25:53,728 THE STORY JUST BECAME SOMETHING 856 00:25:53,728 --> 00:25:54,762 MUCH, MUCH BIGGER THAN WE 857 00:25:54,762 --> 00:25:57,432 THOUGHT IT ORIGINALLY WAS. 858 00:25:57,432 --> 00:25:59,534 >> WE WERE ALL SITTING THERE, 859 00:25:59,534 --> 00:26:03,237 WAITING, TRYING TO GET ANY 860 00:26:03,237 --> 00:26:04,305 INFORMATION ON WHAT HAPPENED. 861 00:26:04,305 --> 00:26:07,475 ARE THEY OKAY? 862 00:26:07,475 --> 00:26:10,111 >> THE MOOD WAS STILL ‐‐ STILL 863 00:26:10,111 --> 00:26:11,179 OPTIMISTIC. 864 00:26:11,179 --> 00:26:12,246 >> WE KEPT HEARING SHE'S STABLE. 865 00:26:12,246 --> 00:26:13,281 SHE'S STABLE. 866 00:26:13,281 --> 00:26:13,815 >> THE MAIN FOCUS OF THE 867 00:26:13,815 --> 00:26:15,950 INVESTIGATORS IS TO GET INITIAL 868 00:26:15,950 --> 00:26:18,586 STATEMENTS. 869 00:26:18,586 --> 00:26:19,654 GUTIERREZ REED, MR. HALL'S AND, 870 00:26:19,654 --> 00:26:21,255 UH, AND MR. BALDWIN WERE BROUGHT 871 00:26:21,255 --> 00:26:23,891 TO THE SHERIFF'S OFFICE. 872 00:26:23,891 --> 00:26:25,493 EVERYBODY UNDERSTOOD THAT THIS 873 00:26:25,493 --> 00:26:25,994 WAS A MAJOR INCIDENT AND 874 00:26:25,994 --> 00:26:28,563 EVERYBODY WAS COOPERATING. 875 00:26:28,563 --> 00:26:31,766 >> I WAS THERE FOR LIKE AN HOUR 876 00:26:31,766 --> 00:26:32,800 AND A HALF OR SO, AND FINALLY 877 00:26:32,800 --> 00:26:33,868 ONE OF THE POLICE OFFICERS SHE 878 00:26:33,868 --> 00:26:34,936 TAKES HER PHONE AND SHE SLIDES 879 00:26:34,936 --> 00:26:36,504 IT ACROSS TO ME. 880 00:26:36,504 --> 00:26:38,639 SHE SAYS, THAT'S WHAT CAME OUT 881 00:26:38,639 --> 00:26:41,275 OF JOEL'S SHOULDER. 882 00:26:41,275 --> 00:26:41,843 A .45 CALIBER SLUG. 883 00:26:41,843 --> 00:26:42,877 IT WAS A REAL BULLET. 884 00:26:42,877 --> 00:26:45,513 IT WAS UTTER DISBELIEF OVER THE 885 00:26:45,513 --> 00:26:46,581 IDEA. 886 00:26:46,581 --> 00:26:47,115 IT WAS UNACCEPTABLE, THE IDEA 887 00:26:47,115 --> 00:26:50,685 THAT IT WAS A LIVE ROUND. 888 00:26:50,685 --> 00:26:51,753 >> HOW DID A LIVE ROUND GET IN 889 00:26:51,753 --> 00:26:52,820 THIS GUN. 890 00:26:52,820 --> 00:26:54,422 >> THE KIND OF INSANITY INDUCING 891 00:26:54,422 --> 00:26:55,456 AGONY OF THINKING THAT SOMEONE 892 00:26:55,456 --> 00:27:00,228 PUT A LIVE BULLET IN THE GUN. 893 00:27:00,228 --> 00:27:02,130 >> THE KEY GRIP GETS A PHONE 894 00:27:02,130 --> 00:27:08,002 CALL. 895 00:27:08,002 --> 00:27:12,240 AND IT SAID THAT SHE'S GONE. 896 00:27:12,240 --> 00:27:17,011 THEN IT'S JUST TEARS EVERYWHERE. 897 00:27:17,011 --> 00:27:18,079 EVERYBODY WAS ‐‐ UNBELIEVABLE, 898 00:27:18,079 --> 00:27:22,850 BUT THEN IT WAS JUST UNIVERSAL 899 00:27:22,850 --> 00:27:23,384 TEARS ALL AROUND AND JUST A 900 00:27:23,384 --> 00:27:24,252 SENSE OF DESPAIR. 901 00:27:24,252 --> 00:27:28,122 YOU KNOW ‐‐ 902 00:27:28,122 --> 00:27:29,190 >> THEY SAID TO ME, WE REGRET TO 903 00:27:29,190 --> 00:27:30,224 TELL YOU THAT SHE DIDN'T MAKE 904 00:27:30,224 --> 00:27:31,292 IT. 905 00:27:31,292 --> 00:27:32,360 SHE DIED. 906 00:27:32,360 --> 00:27:33,428 THEY TOLD ME RIGHT THEN AND 907 00:27:33,428 --> 00:27:34,462 THERE, AND THAT'S WHEN I WENT IN 908 00:27:34,462 --> 00:27:35,530 THE PARKING LOT AND CALLED MY 909 00:27:35,530 --> 00:27:37,131 WIFE TO TALK TO MY WIFE. 910 00:27:37,131 --> 00:27:38,199 >> HE LOOKED DISHEVELED. 911 00:27:38,199 --> 00:27:40,835 HE LOOKED DISTRAUGHT. 912 00:27:40,835 --> 00:27:43,471 >> THOSE PICTURES UNDERSCORED 913 00:27:43,471 --> 00:27:44,505 THIS WAS A TRAGIC ACCIDENT, AND 914 00:27:44,505 --> 00:27:56,184 THIS GUY IS REELING. 915 00:27:56,184 --> 00:27:56,717 >> HER HUSBAND COMES TO TOWN, 916 00:27:56,717 --> 00:27:58,820 HER HUSBAND, MATTHEW. 917 00:27:58,820 --> 00:27:59,887 AND I MET WITH HIM AND THEIR 918 00:27:59,887 --> 00:28:03,057 SON. 919 00:28:03,057 --> 00:28:03,591 AND HE WAS AS KIND AS YOU COULD 920 00:28:03,591 --> 00:28:09,964 BE. 921 00:28:09,964 --> 00:28:11,532 >> WHAT CAN YOU POSSIBLY SAY TO 922 00:28:11,532 --> 00:28:13,668 HIM? 923 00:28:13,668 --> 00:28:18,973 >> I DIDN'T KNOW WHAT TO SAY. 924 00:28:18,973 --> 00:28:19,507 HE HUGGED ME AND HE GOES LIKE, 925 00:28:19,507 --> 00:28:23,211 I SUPPOSE YOU AND I ARE GONNA GO 926 00:28:23,211 --> 00:28:24,779 THROUGH THIS TOGETHER. 927 00:28:24,779 --> 00:28:25,847 AND I THOUGHT, WELL, NOT AS MUCH 928 00:28:25,847 --> 00:28:26,314 AS YOU ARE. 929 00:28:26,314 --> 00:28:28,950 YOU KNOW, AND HIS LITTLE BOY 930 00:28:28,950 --> 00:28:32,687 THERE WHO'S 9 YEARS OLD. 931 00:28:32,687 --> 00:28:33,721 I TOLD HIM, I SAID, I DON'T KNOW 932 00:28:33,721 --> 00:28:35,323 WHAT TO SAY. 933 00:28:35,323 --> 00:28:36,390 I DON'T KNOW HOW TO CONVEY TO 934 00:28:36,390 --> 00:28:37,458 YOU HOW SORRY I AM. 935 00:28:37,458 --> 00:28:38,493 >> ABOUT FOUR DAYS LATER, THEY 936 00:28:38,493 --> 00:28:40,094 FINALLY LET US GET BACK IN, JUST 937 00:28:40,094 --> 00:28:41,129 EVEN COLLECT OUR GEAR. 938 00:28:41,129 --> 00:28:42,730 I NOTICED THIS BUNCH OF ROSES 939 00:28:42,730 --> 00:28:43,264 RIGHT IN THE SPOT WHERE HALYNA 940 00:28:43,264 --> 00:28:46,434 WAS WHEN SHE WAS SHOT. 941 00:28:46,434 --> 00:28:47,502 AND IT WAS ALMOST ALSO A 942 00:28:47,502 --> 00:28:51,205 SPIRITUAL KIND OF A MOMENT. 943 00:28:51,205 --> 00:28:53,307 >> THERE WAS REALLY PALPABLE 944 00:28:53,307 --> 00:28:54,375 GRIEF WITH PRETTY MUCH ANYONE 945 00:28:54,375 --> 00:28:55,443 YOU SPOKE TO IN THE FILM 946 00:28:55,443 --> 00:28:56,477 COMMUNITY. 947 00:28:56,477 --> 00:28:57,545 >> THIS IS NOT THE FIRST HIGHLY 948 00:28:57,545 --> 00:28:59,680 PUBLICIZED DEATH INVOLVING 949 00:28:59,680 --> 00:29:02,316 FIREARMS ON A MOVIE SET. 950 00:29:02,316 --> 00:29:03,384 >> IN 1984, JON‐ERIK HEXUM WAS 951 00:29:03,384 --> 00:29:05,486 AN ACTOR. 952 00:29:05,486 --> 00:29:08,656 HE WAS ON THE SET OF A TV SHOW 953 00:29:08,656 --> 00:29:10,258 CALLED "COVERUP," AND HE HAD A 954 00:29:10,258 --> 00:29:11,859 .44 MAGNUM, WHICH WAS LOADED 955 00:29:11,859 --> 00:29:12,894 WITH BLANKS. 956 00:29:12,894 --> 00:29:13,961 HE POINTED THE GUN AT HIS HEAD 957 00:29:13,961 --> 00:29:20,301 AND FIRED. 958 00:29:20,301 --> 00:29:21,369 >> A WAD OF PAPER BURST OUT 959 00:29:21,369 --> 00:29:22,970 FROM THE DUMMY BULLET AND 960 00:29:22,970 --> 00:29:23,504 ACTUALLY FRACTURED HIS SKULL, 961 00:29:23,504 --> 00:29:26,607 AND HE DIED. 962 00:29:26,607 --> 00:29:28,709 A DECADE LATER ON THE SET OF 963 00:29:28,709 --> 00:29:31,345 "THE CROW," WHICH STARRED 964 00:29:31,345 --> 00:29:32,413 BRANDON LEE, BRUCE LEE'S SON ‐‐ 965 00:29:32,413 --> 00:29:33,481 >> AND THERE'S A SCENE WHERE 966 00:29:33,481 --> 00:29:34,549 THERE WAS A GUN GOING OFF. 967 00:29:34,549 --> 00:29:35,583 THE TIP OF A BULLET HAD WOUND UP 968 00:29:35,583 --> 00:29:36,651 IN THE CHAMBER OF THE GUN. 969 00:29:36,651 --> 00:29:49,363 AND HE WAS SHOT FATALLY. 970 00:29:49,363 --> 00:29:52,533 >> TONIGHT IS ABOUT HALYNA. 971 00:29:52,533 --> 00:29:54,135 TO COMFORT EACH OTHER AND TO 972 00:29:54,135 --> 00:29:55,703 CELEBRATE A REMARKABLE LIFE 973 00:29:55,703 --> 00:29:57,305 OF A REMARKABLE WOMAN. 974 00:29:57,305 --> 00:30:00,474 >> IF YOU WEREN'T ON THIS MOVIE, 975 00:30:00,474 --> 00:30:01,542 YOU CAN'T POSSIBLY UNDERSTAND 976 00:30:01,542 --> 00:30:11,052 WHAT THIS FEELS LIKE. 977 00:30:11,052 --> 00:30:12,119 AND WHAT IT WAS TO EXPERIENCE 978 00:30:12,119 --> 00:30:14,755 THAT DAY AND WHAT IT WAS TO LOSE 979 00:30:14,755 --> 00:30:19,527 THIS PERSON, YOU CAN'T KNOW WHAT 980 00:30:19,527 --> 00:30:21,128 THIS FEELS LIKE, AND ‐‐ 981 00:30:21,128 --> 00:30:22,730 >> THERE'S NOTHING THAT CAN 982 00:30:22,730 --> 00:30:27,935 PREPARE YOU FOR LOSING SOMEBODY 983 00:30:27,935 --> 00:30:29,003 IN A HORRIBLE ACCIDENT THAT YOU 984 00:30:29,003 --> 00:30:33,774 WOULD NEVER IMAGINE. 985 00:30:33,774 --> 00:30:36,444 BEING ABLE TO HAPPEN AT A PLACE 986 00:30:36,444 --> 00:30:36,944 YOU ASSUME YOU'RE SAFE GOING TO 987 00:30:36,944 --> 00:30:38,012 WORK. 988 00:30:38,012 --> 00:30:39,080 >> FOR THE SANTA FE SHERIFF'S 989 00:30:39,080 --> 00:30:40,147 OFFICE, I WOULD SAY THE NUMBER 990 00:30:40,147 --> 00:30:41,182 ONE PRIORITY IS FINDING OUT 991 00:30:41,182 --> 00:30:42,250 WHERE THE LIVE ROUND CAME FROM. 992 00:30:42,250 --> 00:30:43,317 >> THERE ARE SO MANY UNANSWERED 993 00:30:43,317 --> 00:30:46,187 QUESTIONS. 994 00:30:46,187 --> 00:30:47,955 >> EVERYONE IS WONDERING, HOW 995 00:30:47,955 --> 00:30:50,124 DID LIVE AMMUNITION GET IN 996 00:30:50,124 --> 00:30:54,528 THERE? 997 00:31:07,041 --> 00:31:08,609 >>> SOMETHING WENT HORRIBLY 998 00:31:08,609 --> 00:31:09,677 WRONG HERE IN SANTA FE ON THE 999 00:31:09,677 --> 00:31:11,245 SET OF ALEC BALDWIN'S NEW 1000 00:31:11,245 --> 00:31:12,346 WESTERN FILM "RUST." 1001 00:31:12,346 --> 00:31:13,914 >> THE ACTOR AND PRODUCER FIRED 1002 00:31:13,914 --> 00:31:15,516 THE FIREARM THAT KILLED THE 1003 00:31:15,516 --> 00:31:16,050 DIRECTOR OF PHOTOGRAPHY, INJURED 1004 00:31:16,050 --> 00:31:20,755 THE DIRECTOR. 1005 00:31:20,755 --> 00:31:22,323 >> THE IDEA THAT A GUN COULD 1006 00:31:22,323 --> 00:31:23,391 HAVE BEEN FIRED AND SOMEONE 1007 00:31:23,391 --> 00:31:25,526 COULD HAVE BEEN KILLED IN 1008 00:31:25,526 --> 00:31:27,094 2021 ON THE SET OF A MOVIE WAS 1009 00:31:27,094 --> 00:31:28,663 COMPLETELY SHOCKING. 1010 00:31:28,663 --> 00:31:30,264 >> AND ULTIMATELY, THE BIG 1011 00:31:30,264 --> 00:31:33,434 QUESTION IS ‐‐ WHO IS TO BLAME? 1012 00:31:33,434 --> 00:31:35,036 >> THERE ARE SO MANY QUESTIONS 1013 00:31:35,036 --> 00:31:37,672 THAT INVESTIGATORS ARE TRYING TO 1014 00:31:37,672 --> 00:31:38,739 ANSWER ‐‐ THE WHO, WHAT, WHY, 1015 00:31:38,739 --> 00:31:39,273 AND HOW. 1016 00:31:39,273 --> 00:31:39,807 >> HOW ON EARTH DOES THIS 1017 00:31:39,807 --> 00:31:44,545 HAPPEN? 1018 00:31:44,545 --> 00:31:47,748 >> IN THE AFTERMATH OF THE 1019 00:31:47,748 --> 00:31:49,850 SHOOTING, THE SET WAS SHUT DOWN, 1020 00:31:49,850 --> 00:31:53,054 SEARCH WARRANTS WERE ISSUED, 1021 00:31:53,054 --> 00:31:55,156 AND THE INVESTIGATION BEGAN. 1022 00:31:55,156 --> 00:31:56,223 >> IT TURNS OUT, THERE HAVE BEEN 1023 00:31:56,223 --> 00:31:57,825 A NUMBER OF DIFFERENT QUESTIONS 1024 00:31:57,825 --> 00:31:59,393 RAISED ABOUT WHAT EXACTLY CAUSED 1025 00:31:59,393 --> 00:32:04,165 THE DEADLY SHOOTING TO OCCUR. 1026 00:32:04,165 --> 00:32:05,766 >> TONIGHT, AUTHORITIES NOW 1027 00:32:05,766 --> 00:32:07,868 CONFIRMING IT WAS A LIVE BULLET 1028 00:32:07,868 --> 00:32:08,936 THAT THAT GUN HAD THAT WAS 1029 00:32:08,936 --> 00:32:12,106 HANDED TO ALEC BALDWIN. 1030 00:32:12,106 --> 00:32:14,241 >> WHEN WE PROCESSED THE SCENE 1031 00:32:14,241 --> 00:32:15,843 AND THE EVIDENCE WAS COLLECTED, 1032 00:32:15,843 --> 00:32:17,411 AND ALL THE ROUNDS WERE GONE 1033 00:32:17,411 --> 00:32:19,013 THROUGH, WE DETERMINED THAT 1034 00:32:19,013 --> 00:32:21,048 THERE WERE OTHER POSSIBLE LIVE 1035 00:32:21,048 --> 00:32:24,785 ROUNDS THAT WERE ON SET. 1036 00:32:24,785 --> 00:32:25,820 >> HERE'S THE REALITY ‐‐ GUNS 1037 00:32:25,820 --> 00:32:27,955 HAVE BEEN USED IN HOLLYWOOD 1038 00:32:27,955 --> 00:32:29,523 MOVIES FOR DECADES AND DECADES 1039 00:32:29,523 --> 00:32:31,125 AND DECADES, BUT LIVE AMMUNITION 1040 00:32:31,125 --> 00:32:32,193 IS NEVER SUPPOSED TO BE ON THE 1041 00:32:32,193 --> 00:32:33,260 SET OF A MOVIE OR TELEVISION 1042 00:32:33,260 --> 00:32:34,295 SHOW. 1043 00:32:34,295 --> 00:32:35,363 END OF STORY. 1044 00:32:35,363 --> 00:32:39,066 >> OBVIOUSLY WE WANT TO KNOW HOW 1045 00:32:39,066 --> 00:32:40,634 THAT LIVE ROUND GOT ON THE SET, 1046 00:32:40,634 --> 00:32:42,236 BUT WHAT'S MORE IMPORTANT IS HOW 1047 00:32:42,236 --> 00:32:43,304 THAT LIVE ROUND GOT INTO THE 1048 00:32:43,304 --> 00:32:46,474 GUN. 1049 00:32:46,474 --> 00:32:49,643 >> WE IDENTIFIED TWO OTHER 1050 00:32:49,643 --> 00:32:50,711 PEOPLE THAT HANDLED AND/OR 1051 00:32:50,711 --> 00:32:52,313 INSPECTED THE LOADED FIREARM 1052 00:32:52,313 --> 00:32:53,347 PRIOR TO BALDWIN FIRING THE 1053 00:32:53,347 --> 00:32:54,949 WEAPON. 1054 00:32:54,949 --> 00:33:04,058 THESE TWO INDIVIDUALS ARE 1055 00:33:04,058 --> 00:33:05,760 ARM EARLIER HANNAH REED 1056 00:33:05,760 --> 00:33:07,962 GUTIERREZ AND ASSISTANT DIRECTOR 1057 00:33:07,962 --> 00:33:11,165 DAVID HALLS. 1058 00:33:11,165 --> 00:33:12,233 >> DUTCH MERRICK IS A LONG TIME 1059 00:33:12,233 --> 00:33:12,767 HOLLYWOOD ARMOR AND PROP MASTER. 1060 00:33:12,767 --> 00:33:15,369 AND THOUGH HE DIDN'T WORK ON 1061 00:33:15,369 --> 00:33:18,205 "RUST," HE TOLD US HIS PROTOCOL 1062 00:33:18,205 --> 00:33:19,840 FOR CHECKING ROUNDS. 1063 00:33:19,840 --> 00:33:21,342 >> WHEN WE'RE DEALING WITH DUMMY 1064 00:33:21,342 --> 00:33:22,410 ROUNDS, AS THEY COME OUT OF THE 1065 00:33:22,410 --> 00:33:23,477 BOX EACH ONE GETS A RATTLE. 1066 00:33:23,477 --> 00:33:24,011 AND IT'S VERY EASY TO TELL WHICH 1067 00:33:24,011 --> 00:33:25,012 IS A DUMMY. 1068 00:33:25,012 --> 00:33:25,579 IF I PICKED UP A DUMMY ROUND AND 1069 00:33:25,579 --> 00:33:28,749 IT DIDN'T RATTLE, I WOULD STOP 1070 00:33:28,749 --> 00:33:29,283 AND I WOULD GO, WAIT A SECOND. 1071 00:33:29,283 --> 00:33:30,317 I WOULD ISOLATE IT FROM THE REST 1072 00:33:30,317 --> 00:33:31,352 OF THE DUMMY ROUNDS. 1073 00:33:31,352 --> 00:33:32,420 IF THERE'S ANY QUESTION, ANY 1074 00:33:32,420 --> 00:33:33,487 ANOMALY, IT'S NOT GOING INTO THE 1075 00:33:33,487 --> 00:33:34,021 GUN. 1076 00:33:34,021 --> 00:33:35,589 IT'S NOT GOING ON THE FILM SET. 1077 00:33:35,589 --> 00:33:36,657 >> ACCORDING TO A SEARCH 1078 00:33:36,657 --> 00:33:37,191 WARRANT, ASSISTANT DIRECTOR, 1079 00:33:37,191 --> 00:33:39,927 DAVE HALLS TOLD INVESTIGATORS 1080 00:33:39,927 --> 00:33:42,096 THAT GUTIERREZ REED OPENED UP 1081 00:33:42,096 --> 00:33:43,297 THE FIREARM THAT WOULD BE USED 1082 00:33:43,297 --> 00:33:47,067 BY BALDWIN, BUT HALLS SAID 1083 00:33:47,067 --> 00:33:48,102 HE COULD ONLY REMEMBER SEEING 1084 00:33:48,102 --> 00:33:49,170 THREE ROUNDS AND THAT HE SHOULD 1085 00:33:49,170 --> 00:33:49,670 HAVE CHECKED ALL OF THE CHAMBERS 1086 00:33:49,670 --> 00:33:54,742 OF THE GUN, BUT DIDN'T, AND HE 1087 00:33:54,742 --> 00:33:57,378 COULDN'T RECALL IF GUTIERREZ 1088 00:33:57,378 --> 00:33:57,812 REED SPUN THE DRUM. 1089 00:33:57,812 --> 00:33:58,846 HALLS ALSO TOLD INVESTIGATORS. 1090 00:33:58,846 --> 00:33:59,914 HE DIDN'T KNOW THAT THERE WERE 1091 00:33:59,914 --> 00:34:00,948 ANY LIVE ROUNDS IN THE GUN. 1092 00:34:00,948 --> 00:34:01,515 >> AN ATTORNEY REPRESENTING 1093 00:34:01,515 --> 00:34:02,550 HALLS HAS SAID IT WAS NOT HIS 1094 00:34:02,550 --> 00:34:03,584 CLIENT'S RESPONSIBILITY TO 1095 00:34:03,584 --> 00:34:04,652 CONFIRM WHETHER THE GUN WAS 1096 00:34:04,652 --> 00:34:05,719 LOADED. 1097 00:34:05,719 --> 00:34:08,355 ACCORDING TO A SEARCH WARRANT, 1098 00:34:08,355 --> 00:34:09,924 GUTIERREZ REED TOLD 1099 00:34:09,924 --> 00:34:10,458 INVESTIGATORS SHE LOADED FIVE 1100 00:34:10,458 --> 00:34:12,059 DUMMY ROUNDS INTO BALDWIN'S GUN 1101 00:34:12,059 --> 00:34:13,093 BEFORE LUNCH AND A SIXTH AFTER 1102 00:34:13,093 --> 00:34:14,128 WHEN THE GUN WAS RETRIEVED FROM 1103 00:34:14,128 --> 00:34:15,196 A SAFE. 1104 00:34:15,196 --> 00:34:16,263 >> SHE WOULD'VE NEVER IN A 1105 00:34:16,263 --> 00:34:16,797 MILLION YEARS THOUGHT A LIVE 1106 00:34:16,797 --> 00:34:17,865 ROUND WAS GONNA BE ON THAT SET. 1107 00:34:17,865 --> 00:34:18,899 NOBODY DID. 1108 00:34:18,899 --> 00:34:20,434 >> HER ATTORNEY HAS SAID HIS 1109 00:34:20,434 --> 00:34:22,036 CLIENT HAS NO IDEA WHERE THE 1110 00:34:22,036 --> 00:34:26,273 LIVE ROUNDS CAME FROM. 1111 00:34:26,273 --> 00:34:27,308 >> THERE'S SCRUTINY ON HANNAH 1112 00:34:27,308 --> 00:34:31,011 GUTIERREZ REED'S ROLE. 1113 00:34:31,011 --> 00:34:34,748 SHE WAS RESPONSIBLE FOR THE ARMS 1114 00:34:34,748 --> 00:34:36,851 AND FOR WHATEVER PROJECTILES OR 1115 00:34:36,851 --> 00:34:40,020 BULLETS WENT INTO THE WEAPON. 1116 00:34:40,020 --> 00:34:41,622 >> THIS WAS THE SECOND FEATURE 1117 00:34:41,622 --> 00:34:42,656 FILM WHERE SHE WAS THE HEAD 1118 00:34:42,656 --> 00:34:43,724 ARMORER. 1119 00:34:43,724 --> 00:34:45,860 >> SHE HAD PREVIOUSLY WORKED ON 1120 00:34:45,860 --> 00:34:49,029 A NICHOLAS CAGE MOVIE. 1121 00:34:49,029 --> 00:34:50,097 >> HANNAH GUTIERREZ REED'S FIRST 1122 00:34:50,097 --> 00:34:52,933 JOB AS ARMORER WAS ON A MOVIE 1123 00:34:52,933 --> 00:34:55,636 CALMED "THE OLD WAY." 1124 00:34:55,636 --> 00:34:56,704 >> SHE DID A PODCAST INTERVIEW 1125 00:34:56,704 --> 00:34:57,771 IN SEPTEMBER WHERE SHE SAID 1126 00:34:57,771 --> 00:34:58,806 BASICALLY SHE DID NOT KNOW IF 1127 00:34:58,806 --> 00:34:59,874 SHE SHOULD ACCEPT IT. 1128 00:34:59,874 --> 00:35:00,941 >> I WAS REALLY NERVOUS ABOUT IT 1129 00:35:00,941 --> 00:35:02,009 AT FIRST AND I ALMOST DIDN'T 1130 00:35:02,009 --> 00:35:03,043 TAKE THE JOB BECAUSE I WASN'T 1131 00:35:03,043 --> 00:35:08,883 SURE IF I WAS READY, BUT DOING 1132 00:35:08,883 --> 00:35:09,917 IT, LIKE, IT WENT REALLY 1133 00:35:09,917 --> 00:35:10,451 SMOOTHLY. 1134 00:35:10,451 --> 00:35:12,052 >> SHE IS A VERY 1135 00:35:12,052 --> 00:35:13,120 SAFETY‐CONSCIOUS INDIVIDUAL. 1136 00:35:13,120 --> 00:35:14,188 SHE'S BEEN TRAINED EXTREMELY 1137 00:35:14,188 --> 00:35:15,756 WELL BY THE BEST IN THE 1138 00:35:15,756 --> 00:35:16,824 BUSINESS. 1139 00:35:16,824 --> 00:35:20,027 >> FROM THE GET‐GO SHE SEEMED 1140 00:35:20,027 --> 00:35:20,995 VERY COMPETENT WITH THE 1141 00:35:20,995 --> 00:35:22,029 HANDGUNS. 1142 00:35:22,029 --> 00:35:23,097 SHE SEEMED VERY SAFE. 1143 00:35:23,097 --> 00:35:23,631 I HAD NO REASON TO DOUBT HER. 1144 00:35:23,631 --> 00:35:25,232 BUT SHE SHOWED ME, IN THE FIRST 1145 00:35:25,232 --> 00:35:26,300 COUPLE DAYS ON SET, THAT SHE 1146 00:35:26,300 --> 00:35:26,834 KNEW WHAT SHE WAS DOING. 1147 00:35:26,834 --> 00:35:29,603 >> ON THAT TRAGIC DAY ON THE SET 1148 00:35:29,603 --> 00:35:32,206 OF RUST RUS, THERE ARE NOW LIVE 1149 00:35:32,206 --> 00:35:35,876 ROUNDS AND ONE LIVE ROUND HAS 1150 00:35:35,876 --> 00:35:36,977 SOMEHOW MADE IT INTO THE GUN. 1151 00:35:36,977 --> 00:35:39,079 AND NOW, THE THIRD QUESTION 1152 00:35:39,079 --> 00:35:39,613 HERE, WHEN THIS TURNS DEADLY, 1153 00:35:39,613 --> 00:35:40,681 IS WHY DID THE GUN GO OFF? 1154 00:35:40,681 --> 00:35:43,317 >> I'M HANDED A GUN AND SOMEONE 1155 00:35:43,317 --> 00:35:44,385 DECLARES ‐‐ THEY SAY, THIS IS A 1156 00:35:44,385 --> 00:35:45,953 COLD GUN. 1157 00:35:45,953 --> 00:35:48,088 >> DAVE HALLS? 1158 00:35:48,088 --> 00:35:48,589 >> THE FIRST A. D. 1159 00:35:48,589 --> 00:35:49,657 >> THERE ARE CONFLICTING 1160 00:35:49,657 --> 00:35:50,724 STATEMENTS IN REFERENCE TO WHO 1161 00:35:50,724 --> 00:35:51,792 HANDED THE GUN TO MR. BALDWIN, 1162 00:35:51,792 --> 00:35:54,428 BUT AT THIS POINT IN THE 1163 00:35:54,428 --> 00:35:55,496 INVESTIGATION, I THINK IT'S 1164 00:35:55,496 --> 00:35:56,530 CLEAR TO THE INVESTIGATOR AND 1165 00:35:56,530 --> 00:35:58,132 THAT WAS MR. HALLS. 1166 00:35:58,132 --> 00:36:00,267 IN THE STATEMENTS FROM MR. HALLS 1167 00:36:00,267 --> 00:36:02,903 THAT HE DID ‐‐ DID NOT RECALL 1168 00:36:02,903 --> 00:36:03,971 HANDLING ‐‐ HANDING THE WEAPON, 1169 00:36:03,971 --> 00:36:05,039 OR HE DID NOT HAND THE WEAPON TO 1170 00:36:05,039 --> 00:36:06,073 MR. BALDWIN. 1171 00:36:06,073 --> 00:36:07,141 INDEPENDENT WITNESSES STATE THAT 1172 00:36:07,141 --> 00:36:07,675 HE ‐‐ THAT HE DID. 1173 00:36:07,675 --> 00:36:09,777 SO THERE'S A DISCREPANCY THERE. 1174 00:36:09,777 --> 00:36:11,378 >> DAVE HALLS' LAWYER WILL NOT 1175 00:36:11,378 --> 00:36:12,980 CONFIRM THAT HE HANDED ALEC 1176 00:36:12,980 --> 00:36:13,514 BALDWIN THE GUN. 1177 00:36:13,514 --> 00:36:16,150 >> IT WASN'T IN THE SCRIPT 1178 00:36:16,150 --> 00:36:17,217 FOR THE TRIGGER TO BE PULLED. 1179 00:36:17,217 --> 00:36:18,285 >> WELL, THE TRIGGER WASN'T 1180 00:36:18,285 --> 00:36:20,821 PULLED. 1181 00:36:20,821 --> 00:36:21,889 I DIDN'T PULL THE TRIGGER. 1182 00:36:21,889 --> 00:36:22,957 >> SO YOU NEVER PULLED THE 1183 00:36:22,957 --> 00:36:23,991 TRIGGER? 1184 00:36:23,991 --> 00:36:25,059 >> NO, NO, NO, NO, NO. 1185 00:36:25,059 --> 00:36:25,593 I WOULD NEVER POINT A GUN AT 1186 00:36:25,593 --> 00:36:26,660 ANYONE AND PULL A TRIGGER AT 1187 00:36:26,660 --> 00:36:27,695 THEM, NEVER. 1188 00:36:27,695 --> 00:36:28,762 NEVER. 1189 00:36:28,762 --> 00:36:29,830 THAT WAS THE TRAINING THAT I 1190 00:36:29,830 --> 00:36:30,364 HAD. 1191 00:36:30,364 --> 00:36:32,499 YOU DON'T POINT A GUN AT 1192 00:36:32,499 --> 00:36:33,534 SOMEBODY AND PULL THE TRIGGER. 1193 00:36:33,534 --> 00:36:34,602 >> DAVE WAS THERE WHEN THE GUN 1194 00:36:34,602 --> 00:36:35,669 DISCHARGED. 1195 00:36:35,669 --> 00:36:36,737 DAVE HAS TOLD ME SINCE DAY ONE 1196 00:36:36,737 --> 00:36:37,771 IT WAS AN ACCIDENT. 1197 00:36:37,771 --> 00:36:38,839 HE'S TOLD ME THAT MR. BALDWIN 1198 00:36:38,839 --> 00:36:40,975 NEVER PULLED THE TRIGGER. 1199 00:36:40,975 --> 00:36:42,009 >> THIS IS A REPLICA MODEL. 1200 00:36:42,009 --> 00:36:44,144 IT'S VIRTUALLY IDENTICAL, BUT 1201 00:36:44,144 --> 00:36:45,713 IT'S A NONFIRING REPLICA OF THE 1202 00:36:45,713 --> 00:36:47,314 GUN THAT THEY USED ON THAT SET. 1203 00:36:47,314 --> 00:36:48,349 IF YOU DON'T PULL THE TRIGGER, 1204 00:36:48,349 --> 00:36:51,518 THE DESIGN OF THIS GUN WILL NOT 1205 00:36:51,518 --> 00:36:52,586 LET THE HAMMER GO FORWARD. 1206 00:36:52,586 --> 00:36:58,425 IT'S DESIGNED TO STOP AT THE 1207 00:36:58,425 --> 00:36:59,493 HALFWAY POINT. 1208 00:36:59,493 --> 00:37:00,027 IF I PULL THE HAMMER BACK MOST 1209 00:37:00,027 --> 00:37:01,061 OF THE WAY AND LET GO, AS ALEC 1210 00:37:01,061 --> 00:37:02,129 BALDWIN SAID, IT'S DESIGNED TO 1211 00:37:02,129 --> 00:37:03,197 NOT DROP ON A ROUND. 1212 00:37:03,197 --> 00:37:04,798 >> IF THIS GUN HAD BEEN IN 1213 00:37:04,798 --> 00:37:07,401 SERVICE FOR MANY, MANY, MANY 1214 00:37:07,401 --> 00:37:07,935 YEARS AND HAD WORN PARTS, MAYBE 1215 00:37:07,935 --> 00:37:10,037 THAT'S A FACTOR. 1216 00:37:10,037 --> 00:37:11,639 A WORN‐OUT GUN OR A BROKEN GUN 1217 00:37:11,639 --> 00:37:13,240 MAY BE A FACTOR IN THIS. 1218 00:37:13,240 --> 00:37:14,308 >> THE FBI IS CURRENTLY 1219 00:37:14,308 --> 00:37:17,478 EXAMINING THAT GUN. 1220 00:37:17,478 --> 00:37:18,545 >> THERE WILL BE TESTS AND 1221 00:37:18,545 --> 00:37:19,046 ANALYSIS DONE ON THE FIREARM FOR 1222 00:37:19,046 --> 00:37:21,115 ITS FUNCTIONALITY. 1223 00:37:21,115 --> 00:37:22,716 >> THERE WERE SEVERAL THINGS 1224 00:37:22,716 --> 00:37:26,320 THAT WENT WRONG. 1225 00:37:26,320 --> 00:37:27,921 >> TWO PEOPLE ACCIDENTALLY SHOT. 1226 00:37:27,921 --> 00:37:29,123 WE NEED HELP IMMEDIATELY. 1227 00:37:29,123 --> 00:37:32,259 >> IT WASN'T JUST ONE ACCIDENT. 1228 00:37:32,259 --> 00:37:35,929 IT WAS A SERIES OF PERHAPS JUST 1229 00:37:35,929 --> 00:37:37,598 ACCIDENTS ALL PUT TOGETHER 1230 00:37:37,598 --> 00:37:39,299 CAUSED HAD REALLY CATASTROPHIC 1231 00:37:39,299 --> 00:37:44,038 BREAKDOWN ON THE SET OF "RUST." 1232 00:37:44,038 --> 00:37:45,072 >> IT WAS KIND OF A PERFECT 1233 00:37:45,072 --> 00:37:46,140 STORM. 1234 00:37:46,140 --> 00:37:46,707 >> ARE YOU PREPARED TO PRESS 1235 00:37:46,707 --> 00:37:47,741 CRIMINAL CHARGES ONCE THIS 1236 00:37:47,741 --> 00:37:48,776 INVESTIGATION IS IN YOUR HANDS? 1237 00:37:48,776 --> 00:37:49,843 >> OF COURSE, IF THE 1238 00:37:49,843 --> 00:37:50,377 INVESTIGATION SHOWS THAT 1239 00:37:50,377 --> 00:37:50,911 CRIMINAL ACTS OCCURRED. 1240 00:37:50,911 --> 00:37:53,547 >> FOR MANY IN THE FILM 1241 00:37:53,547 --> 00:37:54,615 COMMUNITY THE "RUST" INCIDENT 1242 00:37:54,615 --> 00:37:55,683 BROUGHT BACK MEMORIES OF ANOTHER 1243 00:37:55,683 --> 00:37:57,284 TRAGEDY THAT ENDED IN A 1244 00:37:57,284 --> 00:37:58,318 FATALITY AND ALSO RAISED 1245 00:37:58,318 --> 00:37:59,386 CONCERNS ABOUT SAFETY ON THE 1246 00:37:59,386 --> 00:38:00,454 SET. 1247 00:38:00,454 --> 00:38:01,522 >> THE FIRST THING I THOUGHT 1248 00:38:01,522 --> 00:38:05,359 WHEN I HEARD ABOUT THE TRAGEDY 1249 00:38:05,359 --> 00:38:08,595 ON THE SET OF RUST WAS THE 1250 00:38:08,595 --> 00:38:10,197 TERRIBLE TRAGEDY OF ON THE SET 1251 00:38:10,197 --> 00:38:12,232 OF "MIDNIGHT RIDER." 1252 00:38:12,232 --> 00:38:14,301 >> SARAH JONES WAS KILLED BY A 1253 00:38:14,301 --> 00:38:16,370 TRAIN WHILE SHOOTING THE FILM 1254 00:38:16,370 --> 00:38:18,405 MIDNIGHT RIDER IN GEORGIA. 1255 00:38:18,405 --> 00:38:19,473 >> AFTER THE SHOCK, AND ANGRY. 1256 00:38:19,473 --> 00:38:21,041 I COULDN'T STOP CRYING. 1257 00:38:21,041 --> 00:38:23,077 >> WHEN SARAH DIED WE'D HOPED 1258 00:38:23,077 --> 00:38:24,645 THAT HER DEATH MIGHT SAVE 1259 00:38:24,645 --> 00:38:25,179 SOMEONE'S LIFE WOULD'VE 1260 00:38:25,179 --> 00:38:26,246 PREVENTED HALYNA'S DEATH. 1261 00:38:26,246 --> 00:38:27,314 BUT IT DIDN'T. 1262 00:38:27,314 --> 00:38:28,816 >> NO ONE SHOULD DIE MAKING A 1263 00:38:28,816 --> 00:38:30,250 MOVIE. 1264 00:38:36,623 --> 00:38:37,024 >>> ALL OF A SUDDEN, BOOM! 1265 00:38:37,024 --> 00:38:39,927 AND IT WAS SO LOUD. 1266 00:38:39,927 --> 00:38:40,894 >> HALYNA IS BLEEDING FROM HER 1267 00:38:40,894 --> 00:38:43,197 CHEST. 1268 00:38:43,197 --> 00:38:44,865 >> THAT FATAL ACCIDENT ON THE 1269 00:38:44,865 --> 00:38:46,066 SET OF "RUST" ISN'T THE FIRST 1270 00:38:46,066 --> 00:38:46,400 TIME. 1271 00:38:46,400 --> 00:38:48,635 IT'S HAPPENED BEFORE. 1272 00:38:48,635 --> 00:38:51,238 >> THE FIRST THING I THOUGHT WAS 1273 00:38:51,238 --> 00:38:52,139 TO THE TERRIBLE TRAGEDY OF JUST 1274 00:38:52,139 --> 00:38:54,742 A FEW YEARS EARLIER ON THE SET 1275 00:38:54,742 --> 00:38:57,077 OF "MIDNIGHT RIDER." 1276 00:38:57,077 --> 00:38:59,046 >> THEY WERE GOING TO FILM A 1277 00:38:59,046 --> 00:39:00,614 DRUGGED OUT DREAM SEQUENCE. 1278 00:39:00,614 --> 00:39:02,716 >> THEY DID NOT HAVE PERMISSION 1279 00:39:02,716 --> 00:39:03,517 TO BE ON THE TRACK. 1280 00:39:03,517 --> 00:39:06,687 >> WILLIAM HURT CLIMB ON TO THE 1281 00:39:06,687 --> 00:39:09,723 BED AND ASKED, WHAT DO WE DO IF 1282 00:39:09,723 --> 00:39:11,125 THERE'S A TRAIN? 1283 00:39:11,125 --> 00:39:14,428 >> ALL I KNOW IS I HEARD THE 1284 00:39:14,428 --> 00:39:15,562 TRAIN AND IMMEDIATELY STARTED 1285 00:39:15,562 --> 00:39:15,996 RUNNING. 1286 00:39:15,996 --> 00:39:18,398 >> SARAH JONES WAS TRYING TO GET 1287 00:39:18,398 --> 00:39:21,101 THE EXPENSIVE CAMERA CRIMINATE 1288 00:39:21,101 --> 00:39:21,535 OFF THE TRACK. 1289 00:39:21,535 --> 00:39:22,202 >> IT WAS RIGHT THERE. 1290 00:39:22,202 --> 00:39:23,036 >> THE IMPACT HAPPENED LIKE AN 1291 00:39:23,036 --> 00:39:23,403 EXPLOSION. 1292 00:39:23,403 --> 00:39:24,471 >> SARAH WAS THE FIRST PERSON I 1293 00:39:24,471 --> 00:39:28,275 SAW. 1294 00:39:28,275 --> 00:39:28,876 SHE WAS LYING ON THE SIDE OF THE 1295 00:39:28,876 --> 00:39:32,780 TRACKS DEAD. 1296 00:39:32,780 --> 00:39:34,548 >> FOR THEM TO OVERLOOK 1297 00:39:34,548 --> 00:39:36,583 SOMETHING THAT JEOPARDIZES THE 1298 00:39:36,583 --> 00:39:38,585 SAFETY IS ABSOLUTELY, 1299 00:39:38,585 --> 00:39:40,521 POSITIVELY ‐‐ IT'S UNACCEPTABLE. 1300 00:39:40,521 --> 00:39:42,456 >> I SEE MANY SIMILARITIES 1301 00:39:42,456 --> 00:39:44,458 BETWEEN SARAH AND HALYNA. 1302 00:39:44,458 --> 00:39:44,591 THEIR DEATHS WERE SO 1303 00:39:44,591 --> 00:39:55,202 UNNECESSARY. 1304 00:39:55,202 --> 00:39:56,804 >>> WE'RE HERE TONIGHT TO MOURN 1305 00:39:56,804 --> 00:39:57,871 THIS LOSS AND TO SHARE OUR 1306 00:39:57,871 --> 00:40:01,041 COLLECTIVE GRIEF. 1307 00:40:01,041 --> 00:40:02,643 >> IN LATE OCTOBER, SEVERAL 1308 00:40:02,643 --> 00:40:05,813 HUNDRED FILM INDUSTRY COLLEAGUES 1309 00:40:05,813 --> 00:40:06,880 GATHERED IN A BURBANK PARKING 1310 00:40:06,880 --> 00:40:08,448 LOT MOURNING THE LOSS OF 1311 00:40:08,448 --> 00:40:10,050 CINEMATOGRAPHER HALYNA HUTCHINS 1312 00:40:10,050 --> 00:40:13,687 AND TRYING TO COMPREHEND THE 1313 00:40:13,687 --> 00:40:14,221 SENSELESS DEATH OF ONE OF THEIR 1314 00:40:14,221 --> 00:40:16,356 OWN. 1315 00:40:16,356 --> 00:40:17,925 >> HALYNA WAS AMAZING FROM THE 1316 00:40:17,925 --> 00:40:20,060 FIRST DAY I MET HER. 1317 00:40:20,060 --> 00:40:26,934 SHE'S ‐‐ 1318 00:40:26,934 --> 00:40:27,467 I'M SORRY. 1319 00:40:27,467 --> 00:40:38,078 SHE WAS REALLY GREAT. 1320 00:40:38,078 --> 00:40:38,612 HALYNA WAS LIKE A LITTLE BALL OF 1321 00:40:38,612 --> 00:40:40,180 LIGHT. 1322 00:40:40,180 --> 00:40:43,884 >> BUT EVEN AS THE FILM WORLD 1323 00:40:43,884 --> 00:40:46,520 MOURNS HALYNA'S LOSS, THERE'S 1324 00:40:46,520 --> 00:40:47,054 STILL THIS ONE BURNING QUESTION 1325 00:40:47,054 --> 00:40:51,291 THAT REMAINS UNANSWERED. 1326 00:40:51,291 --> 00:40:52,359 >> SOMEONE PUT A LIVE BULLET IN 1327 00:40:52,359 --> 00:40:53,427 A GUN, A BULLET THAT WASN'T EVEN 1328 00:40:53,427 --> 00:40:54,494 SUPPOSED TO BE ON THE PROPERTY. 1329 00:40:54,494 --> 00:40:58,165 I HOPE THAT THE SHERIFF'S 1330 00:40:58,165 --> 00:41:00,334 DEPARTMENT DOESN'T GIVE UP ON ‐‐ 1331 00:41:00,334 --> 00:41:01,368 THAT THEY FOLLOW THIS TO THE 1332 00:41:01,368 --> 00:41:02,436 ENDS OF THE EARTH. 1333 00:41:02,436 --> 00:41:05,606 >> OUR CONCERN RIGHT NOW IS HOW 1334 00:41:05,606 --> 00:41:07,207 THE LIVE ROUNDS GOT ON THE SET, 1335 00:41:07,207 --> 00:41:09,843 WHO WAS RESPONSIBLE FOR MAKING 1336 00:41:09,843 --> 00:41:10,911 SURE THAT THERE WERE NO LIVE 1337 00:41:10,911 --> 00:41:11,945 ROUNDS. 1338 00:41:11,945 --> 00:41:12,479 >> I JUST CAN'T UNDERSTAND HOW 1339 00:41:12,479 --> 00:41:14,014 ANY LIVE ROUNDS GOT ON THAT SET. 1340 00:41:14,014 --> 00:41:15,082 >> DID HANNAH SUPPLY ANY 1341 00:41:15,082 --> 00:41:16,650 AMMUNITION TO THAT SET? 1342 00:41:16,650 --> 00:41:17,184 >> NO. 1343 00:41:17,184 --> 00:41:20,354 >> TO TRY TO TRACE THAT LIVE 1344 00:41:20,354 --> 00:41:21,421 ROUND ‐‐ 1345 00:41:21,421 --> 00:41:22,489 THERE WAS A SEARCH WARRANT 1346 00:41:22,489 --> 00:41:23,557 EXECUTED AT THE ALBUQUERQUE PROP 1347 00:41:23,557 --> 00:41:24,591 HOUSE THAT PROVIDED FIREARMS AND 1348 00:41:24,591 --> 00:41:26,193 DUMMY ROUNDS AND BLANKS. 1349 00:41:26,193 --> 00:41:28,328 >> PDQ ARM AND PROP SUPPLIED THE 1350 00:41:28,328 --> 00:41:29,363 GUNS, THE BLANK AMMUNITION, AND 1351 00:41:29,363 --> 00:41:30,430 50 DUMMY ROUNDS TO THE SHOW. 1352 00:41:30,430 --> 00:41:32,566 >> SETH KENNEY IS THE OWNER OF 1353 00:41:32,566 --> 00:41:35,202 PDQ PROP AND ARMS, AND WHEN WE 1354 00:41:35,202 --> 00:41:35,736 SPOKE, HE ASKED THAT WE NOT SHOW 1355 00:41:35,736 --> 00:41:37,337 HIS FACE. 1356 00:41:37,337 --> 00:41:38,372 HE SAYS HE WASN'T THE FILM'S 1357 00:41:38,372 --> 00:41:39,973 ONLY PROVIDER. 1358 00:41:39,973 --> 00:41:42,609 >> IT'S NOT A POSSIBILITY THAT 1359 00:41:42,609 --> 00:41:43,677 THEY CAME FROM PDQ OR FROM 1360 00:41:43,677 --> 00:41:46,880 MYSELF PERSONALLY. 1361 00:41:46,880 --> 00:41:50,584 WHEN WE SEND DUMMY ROUNDS OUT, 1362 00:41:50,584 --> 00:41:51,618 THEY GET INDIVIDUALLY 1363 00:41:51,618 --> 00:41:52,686 RATTLE‐TESTED BEFORE THEY GET 1364 00:41:52,686 --> 00:41:53,720 SENT OUT. 1365 00:41:53,720 --> 00:41:56,390 >> I THINK IT'S GONNA BE 1366 00:41:56,390 --> 00:41:57,424 APPARENT THAT'S THE MOST LIKELY 1367 00:41:57,424 --> 00:41:58,492 THING THAT HAPPENED WAS 1368 00:41:58,492 --> 00:41:59,559 SABOTAGE. 1369 00:41:59,559 --> 00:42:04,331 THE REASON IS YOU GET A NEW BOX 1370 00:42:04,331 --> 00:42:05,399 ON SET THAT DAY. 1371 00:42:05,399 --> 00:42:05,899 IT'S GOT 50 ROUNDS IN IT. 1372 00:42:05,899 --> 00:42:09,102 THEY'RE LABELED "DUMMY." 1373 00:42:09,102 --> 00:42:10,137 SEVEN OF THEM ARE ‐‐ TURN OUT TO 1374 00:42:10,137 --> 00:42:11,738 BE LIVE. 1375 00:42:11,738 --> 00:42:12,773 SOMEBODY WANTED TO CAUSE A 1376 00:42:12,773 --> 00:42:13,774 SAFETY INCIDENT ON SET. 1377 00:42:13,774 --> 00:42:14,841 NOBODY WANTED ANYBODY TO BE 1378 00:42:14,841 --> 00:42:15,909 KILLED. 1379 00:42:15,909 --> 00:42:16,977 >> IF SOMETHING WERE TO COME UP, 1380 00:42:16,977 --> 00:42:18,011 SOME SORT OF EVIDENCE, OF COURSE 1381 00:42:18,011 --> 00:42:20,147 THAT WOULD BE INVESTIGATED. 1382 00:42:20,147 --> 00:42:21,181 BUT NOT ONE PERSON HAS BROUGHT 1383 00:42:21,181 --> 00:42:22,249 UP SABOTAGE. 1384 00:42:22,249 --> 00:42:23,850 IT DIDN'T HAPPEN. 1385 00:42:23,850 --> 00:42:24,885 THIS WAS NOT SABOTAGE. 1386 00:42:24,885 --> 00:42:27,020 THIS WAS INCOMPETENCE. 1387 00:42:27,020 --> 00:42:29,656 >> IT TURNS OUT THERE ARE 1388 00:42:29,656 --> 00:42:31,258 DETAILED GUIDELINES FOR FIREARMS 1389 00:42:31,258 --> 00:42:38,665 USE ON SET PUT OUT BY A LABOR 1390 00:42:38,665 --> 00:42:39,700 AND MANAGEMENT SAFETY COMMITTEE. 1391 00:42:39,700 --> 00:42:40,767 >> SAFETY BULLETIN NUMBER ONE, 1392 00:42:40,767 --> 00:42:41,835 STATES THAT LIVE AMMUNITION IS 1393 00:42:41,835 --> 00:42:42,903 NEVER TO BE BROUGHT ONTO A FILM 1394 00:42:42,903 --> 00:42:43,403 SET. 1395 00:42:43,403 --> 00:42:44,471 AND THERE'S 44 DIFFERENT 1396 00:42:44,471 --> 00:42:45,539 BULLETINS RIGHT NOW, EVERYTHING 1397 00:42:45,539 --> 00:42:46,606 FROM FIREARMS TO HOW TO HANDLE 1398 00:42:46,606 --> 00:42:52,946 HELICOPTER OPERATIONS ON SET. 1399 00:42:52,946 --> 00:42:54,014 >> THEY'RE RECOMMENDED 1400 00:42:54,014 --> 00:42:55,615 GUIDELINES, ADOPTED AFTER THE 1401 00:42:55,615 --> 00:42:58,785 TRAGIC ACCIDENT DURING FILMING 1402 00:42:58,785 --> 00:42:59,319 FOR THE "TWILIGHT ZONE" MOVIE IN 1403 00:42:59,319 --> 00:43:00,387 1982. 1404 00:43:00,387 --> 00:43:01,421 >> IN CALIFORNIA THEY WERE 1405 00:43:01,421 --> 00:43:02,489 FILMING A WAR MOVIE TODAY WHEN 1406 00:43:02,489 --> 00:43:05,125 SUDDENLY A HELICOPTER CRASHED 1407 00:43:05,125 --> 00:43:06,193 RIGHT IN THE MIDDLE OF THE 1408 00:43:06,193 --> 00:43:07,260 ACTION. 1409 00:43:07,260 --> 00:43:08,328 >> ACTOR VIC MORROW AND TWO 1410 00:43:08,328 --> 00:43:09,396 CHILDREN WERE KILLED WHEN A 1411 00:43:09,396 --> 00:43:09,896 HELICOPTER CRASHED ON TOP OF 1412 00:43:09,896 --> 00:43:11,498 THEM. 1413 00:43:11,498 --> 00:43:12,532 >> THERE'S NOT LAW GOVERNING HOW 1414 00:43:12,532 --> 00:43:13,533 TO RUN A FILM SET. 1415 00:43:13,533 --> 00:43:14,601 WE FOLLOW THE INDUSTRY 1416 00:43:14,601 --> 00:43:15,669 GUIDELINES. 1417 00:43:15,669 --> 00:43:17,237 SOMEONE WHO DOESN'T FOLLOW THE 1418 00:43:17,237 --> 00:43:18,305 GUIDELINES IS SOMEONE WHO WILL 1419 00:43:18,305 --> 00:43:19,373 FIND IT VERY, VERY DIFFICULT TO 1420 00:43:19,373 --> 00:43:21,508 BE HIRED AGAIN IN THIS INDUSTRY. 1421 00:43:21,508 --> 00:43:22,542 >> THERE ARE NO LAWS THAT 1422 00:43:22,542 --> 00:43:24,144 MANDATE. 1423 00:43:24,144 --> 00:43:26,813 IT'S INDUSTRY STANDARDS THAT WE 1424 00:43:26,813 --> 00:43:27,848 HAVE TO TRUST INDUSTRY 1425 00:43:27,848 --> 00:43:31,585 PROFESSIONALS ARE FOLLOWING. 1426 00:43:31,585 --> 00:43:35,822 >> AND AT THE VIGIL FOR HALYNA, 1427 00:43:35,822 --> 00:43:36,890 THERE WERE REMINDERS OF ANOTHER 1428 00:43:36,890 --> 00:43:37,958 TRAGIC ON‐SET DEATH INVOLVING A 1429 00:43:37,958 --> 00:43:38,992 YOUNG WOMAN, ONE THAT HAD ALSO 1430 00:43:38,992 --> 00:43:42,195 PUT THE SPOTLIGHT ON SAFETY IN 1431 00:43:42,195 --> 00:43:43,764 THE FILM INDUSTRY. 1432 00:43:43,764 --> 00:43:45,365 >> AFTER STANDING HERE SEVEN 1433 00:43:45,365 --> 00:43:45,899 YEARS AGO FOR SARAH JONES AND 1434 00:43:45,899 --> 00:43:48,035 SHARING THE STAGE WITH ANOTHER 1435 00:43:48,035 --> 00:43:49,102 FAMILY, WE'RE HERE AGAIN. 1436 00:43:49,102 --> 00:43:49,603 >> THE FIRST THING I THOUGHT 1437 00:43:49,603 --> 00:43:53,840 WHEN I HEARD ABOUT THE TRAGEDY 1438 00:43:53,840 --> 00:43:54,908 ON THE SET OF "RUST" AND THE 1439 00:43:54,908 --> 00:43:55,976 KILLING OF HALYNA HUTCHINS WAS 1440 00:43:55,976 --> 00:43:57,044 THE TERRIBLE TRAGEDY OF JUST A 1441 00:43:57,044 --> 00:43:59,679 FEW YEARS EARLIER ON THE SET OF 1442 00:43:59,679 --> 00:44:00,747 "MIDNIGHT RIDER" AND THE DEATH 1443 00:44:00,747 --> 00:44:02,315 OF CAMERA CREW MEMBER SARAH 1444 00:44:02,315 --> 00:44:04,951 JONES. 1445 00:44:04,951 --> 00:44:06,553 >> SARAH JONES WAS AN ASSISTANT 1446 00:44:06,553 --> 00:44:07,621 CAMERA OPERATOR, DOING A JOB 1447 00:44:07,621 --> 00:44:09,222 THAT HER PARENTS TOLD US MEANT 1448 00:44:09,222 --> 00:44:12,392 THE WORLD TO HER. 1449 00:44:12,392 --> 00:44:14,528 >> SHE FELL IN LOVE WITH THE 1450 00:44:14,528 --> 00:44:15,595 CAMERA. 1451 00:44:15,595 --> 00:44:16,630 >> WHY DO YOU THINK SHE WAS 1452 00:44:16,630 --> 00:44:21,401 DRAWN TO THE CAMERA DEPARTMENT? 1453 00:44:21,401 --> 00:44:22,469 >> IT'S THE CHALLENGE OF IT, I 1454 00:44:22,469 --> 00:44:23,537 THINK. 1455 00:44:23,537 --> 00:44:25,138 FOR THE MOST PART, IT'S A MAN'S 1456 00:44:25,138 --> 00:44:28,308 WORLD, AND I THINK THAT WAS A 1457 00:44:28,308 --> 00:44:30,410 LITTLE BIT OF A CHALLENGE. 1458 00:44:30,410 --> 00:44:32,012 >> SHE STARTED OUT ON "ARMY 1459 00:44:32,012 --> 00:44:33,080 WIVES," THE TELEVISION SHOW. 1460 00:44:33,080 --> 00:44:34,147 >> SHE HAD AN INTERNSHIP THERE. 1461 00:44:34,147 --> 00:44:35,715 >> SHE WOULD OFFER TO DO 1462 00:44:35,715 --> 00:44:37,317 ANYTHING SHE COULD. 1463 00:44:37,317 --> 00:44:38,351 >> SARAH WENT ON TO BECOME A 1464 00:44:38,351 --> 00:44:40,454 CAMERA ASSISTANT FOR THE TV 1465 00:44:40,454 --> 00:44:44,124 SERIES "THE VAMPIRE DIARIES." 1466 00:44:44,124 --> 00:44:47,127 >> SKY DOESN'T KNOW YOU'RE A 1467 00:44:47,127 --> 00:44:47,427 VAMPIRE. 1468 00:44:47,427 --> 00:44:48,061 LET'S KEEP IT THAT WAY. 1469 00:44:48,061 --> 00:44:49,329 >> THAT'S IT. 1470 00:44:49,329 --> 00:44:50,397 >> FIRST TIME I SAW HER, SHE WAS 1471 00:44:50,397 --> 00:44:52,999 LITERALLY RIGHT IN FRONT OF MY 1472 00:44:52,999 --> 00:44:55,001 FACE DOING THE SLATE. 1473 00:44:55,001 --> 00:44:56,069 YOU COULDN'T HELP BUT NOTICE 1474 00:44:56,069 --> 00:44:57,104 SARAH JONES. 1475 00:44:57,104 --> 00:44:57,637 YOU JUST ALWAYS WANTED TO BE 1476 00:44:57,637 --> 00:44:58,705 AROUND HER. 1477 00:44:58,705 --> 00:45:02,442 >> AND THEN SHE GOT HER BIG 1478 00:45:02,442 --> 00:45:04,010 BREAK, AND THAT WAS ON "FAST AND 1479 00:45:04,010 --> 00:45:06,146 FURIOUS SEVEN" WITH PAUL WALKER. 1480 00:45:06,146 --> 00:45:07,714 >> SHE WAS IN THE POSITION SHE 1481 00:45:07,714 --> 00:45:08,782 WAS STRIVING SO HARD TO BE IN, 1482 00:45:08,782 --> 00:45:09,316 TO GET HER FOOT IN THE DOOR ON A 1483 00:45:09,316 --> 00:45:11,718 FEATURE FILM. 1484 00:45:11,718 --> 00:45:12,419 >> BREAKING NEWS OUT OF 1485 00:45:12,419 --> 00:45:13,153 HOLLYWOOD THIS MORNING. 1486 00:45:13,153 --> 00:45:15,188 >> YEAH, PAUL WALKER, ONE OF THE 1487 00:45:15,188 --> 00:45:17,824 STARS OF THE ENORMOUSLY POPULAR 1488 00:45:17,824 --> 00:45:19,693 "FAST AND FURIOUS" MOVIES DEAD 1489 00:45:19,693 --> 00:45:21,328 IN A CAR CRASH. 1490 00:45:21,328 --> 00:45:22,395 >> OF COURSE THEY STOPPED THAT 1491 00:45:22,395 --> 00:45:25,565 PRODUCTION FOR A TIME. 1492 00:45:25,565 --> 00:45:31,938 >> SO, SARAH TOOK HER OWN 1493 00:45:31,938 --> 00:45:33,006 FATEFUL PATH, TOOK A GIG BASED 1494 00:45:33,006 --> 00:45:35,108 OUT OF SAVANNAH ON THE MOVIE 1495 00:45:35,108 --> 00:45:41,781 CALLED "MIDNIGHT RIDER." 1496 00:45:41,781 --> 00:45:42,849 >> MIDNIGHT RIDER WAS A BIOPIC 1497 00:45:42,849 --> 00:45:43,350 ABOUT THE LIFE OF GREG ALLMAN, 1498 00:45:43,350 --> 00:45:44,417 THE BIG, YOU KNOW, SOUTHERN 1499 00:45:44,417 --> 00:45:45,485 ROCKER LEGENDARY NOW. 1500 00:45:45,485 --> 00:45:46,553 AND HIS BROTHER DUANE, AND IT 1501 00:45:46,553 --> 00:45:50,257 WAS TO STAR WILLIAM HURT. 1502 00:45:50,257 --> 00:45:52,959 >> INDEPENDENT MOVIE, BUDGET 1503 00:45:52,959 --> 00:45:54,594 ABOUT $5 MILLION. 1504 00:45:54,594 --> 00:45:55,128 WRITTEN, PRODUCED AND DIRECTED 1505 00:45:55,128 --> 00:45:56,696 BY A MAN NAMED RANDALL MILLER. 1506 00:45:56,696 --> 00:46:00,400 >> SHE HAD MENTIONED TO ME THAT 1507 00:46:00,400 --> 00:46:01,468 IT IS A LOW BUDGET FILM. 1508 00:46:01,468 --> 00:46:02,536 AND SHE WAS A LITTLE BIT 1509 00:46:02,536 --> 00:46:04,104 SURPRISED THAT SOME OF THE 1510 00:46:04,104 --> 00:46:05,705 PEOPLE DID NOT SEEM TO HAVE 1511 00:46:05,705 --> 00:46:06,239 THE LEVEL OF EXPERTISE THAT SHE 1512 00:46:06,239 --> 00:46:13,113 EXPECTED. 1513 00:46:13,113 --> 00:46:15,715 >> IT WAS THE FIRST DAY OF 1514 00:46:15,715 --> 00:46:21,521 FILMING ON A HISTORIC TRESTLE. 1515 00:46:21,521 --> 00:46:22,055 IT'S JUST AN IDEAL BEAUTIFUL 1516 00:46:22,055 --> 00:46:26,293 SETTING IN RURAL GEORGIA. 1517 00:46:26,293 --> 00:46:28,395 IT'S ON THE ALTAHAMA RIVER. 1518 00:46:28,395 --> 00:46:28,929 SPANISH MOSS AROUND IT. 1519 00:46:28,929 --> 00:46:33,700 >> IT'S HIGH UP OVER THE 1520 00:46:33,700 --> 00:46:37,938 RIVER. 1521 00:46:37,938 --> 00:46:41,408 YOU COULD WALK ALONG THE EDGE OF 1522 00:46:41,408 --> 00:46:42,275 THE TRACK THAT'S, AT MOST, 1523 00:46:42,275 --> 00:46:46,012 SEVERAL FEET WIDE. 1524 00:46:46,012 --> 00:46:46,546 SARAH AND HAIRSTYLIST JOYCE 1525 00:46:46,546 --> 00:46:47,614 GUILLARD WERE AMONG THE CREW. 1526 00:46:47,614 --> 00:46:48,648 >> I WAS TOLD WE WERE GOING TO 1527 00:46:48,648 --> 00:46:51,851 DO A PRE‐SHOOT. 1528 00:46:51,851 --> 00:46:52,352 TRYING TO GET A FEW SHOTS OF AN 1529 00:46:52,352 --> 00:46:55,422 AREA. 1530 00:46:55,422 --> 00:46:57,424 YOU KNOW. 1531 00:46:57,424 --> 00:46:58,925 I DID NOT EXPECT TO BE SHOOTING 1532 00:46:58,925 --> 00:47:03,263 AN ENTIRE SCENE ON THE RAILROAD 1533 00:47:03,263 --> 00:47:04,898 TRESTLE. 1534 00:47:04,898 --> 00:47:06,766 >> I WENT STRAIGHT OVER TO WHERE 1535 00:47:06,766 --> 00:47:08,101 THEY WERE SHOOTING UP. 1536 00:47:08,101 --> 00:47:10,237 I BEGAN PHOTOGRAPHING AND ALSO 1537 00:47:10,237 --> 00:47:11,972 TAKING BEHIND THE SCENES 1538 00:47:11,972 --> 00:47:15,008 FOOTAGE. 1539 00:47:15,008 --> 00:47:16,076 WE WERE TOLD THAT TWO TRAINS HAD 1540 00:47:16,076 --> 00:47:21,881 PASSED AND THAT WAS THE SCHEDULE 1541 00:47:21,881 --> 00:47:22,415 FOR THE DAY AND THAT WE WOULDN'T 1542 00:47:22,415 --> 00:47:26,653 HAVE TO WORRY ABOUT MORE TRAINS. 1543 00:47:26,653 --> 00:47:29,322 >> IT WAS GOING TO BE A DREAM 1544 00:47:29,322 --> 00:47:30,890 SEQUENCE IN WHICH GREGG ALLMAN, 1545 00:47:30,890 --> 00:47:31,958 FROM HIS HOSPITAL BED, WOULD 1546 00:47:31,958 --> 00:47:34,094 IMAGINE DUANE ALLMAN, THE 1547 00:47:34,094 --> 00:47:34,594 GUITARIST, HIS LATE BROTHER, 1548 00:47:34,594 --> 00:47:37,797 SOMEHOW ACROSS THE BRIDGE. 1549 00:47:37,797 --> 00:47:39,366 >> UNBEKNOWNST TO THEIR CREW, 1550 00:47:39,366 --> 00:47:39,899 THEY THOUGHT IT WAS PERMITTED. 1551 00:47:39,899 --> 00:47:42,535 IT WAS NOT. 1552 00:47:42,535 --> 00:47:44,137 THERE WAS NO MEDIC ON SET, AND 1553 00:47:44,137 --> 00:47:45,205 THERE HAD BEEN NO SAFETY 1554 00:47:45,205 --> 00:47:46,773 MEETING. 1555 00:47:46,773 --> 00:47:48,908 >> I WASN'T AWARE WE WERE EVEN 1556 00:47:48,908 --> 00:47:49,943 GOING ON TRACKS TILL I GOT 1557 00:47:49,943 --> 00:47:52,612 THERE. 1558 00:47:52,612 --> 00:47:55,248 THE DIRECTOR IS THE ONE WHO LED 1559 00:47:55,248 --> 00:47:57,384 EVERYONE ON THE RAILROAD TRACKS, 1560 00:47:57,384 --> 00:48:01,087 BECAUSE HE WANTED TO GET THE 1561 00:48:01,087 --> 00:48:02,122 CERTAIN SHOT WITH THE BED ON THE 1562 00:48:02,122 --> 00:48:06,893 TRESTLE. 1563 00:48:06,893 --> 00:48:09,529 >> AND SO WILLIAM HURT CLIMBED 1564 00:48:09,529 --> 00:48:13,700 ONTO THE BED AND ASKED, YOU 1565 00:48:13,700 --> 00:48:15,435 KNOW, WHAT DO WE DO IF THERE'S 1566 00:48:15,435 --> 00:48:16,069 A TRAIN? 1567 00:48:16,069 --> 00:48:19,606 >> HE ASKED HOW MUCH TIME WOULD 1568 00:48:19,606 --> 00:48:21,808 WE HAVE TO GET OFF THE TRACKS? 1569 00:48:21,808 --> 00:48:23,810 >> THEY SAY, YOU HAVE 60 SECONDS 1570 00:48:23,810 --> 00:48:26,646 TO GET OFF THE TRACK. 1571 00:48:26,646 --> 00:48:29,449 I WAS MORE OR LESS, 60 SECONDS 1572 00:48:29,449 --> 00:48:30,383 TO GET OFF THE TRACK? 1573 00:48:30,383 --> 00:48:31,818 AND I STARTED PRAYING. 1574 00:48:31,818 --> 00:48:32,352 I'M MAD AT MYSELF BECAUSE I 1575 00:48:32,352 --> 00:48:38,158 DIDN'T SAY SOMETHING. 1576 00:48:38,158 --> 00:48:39,225 >> WE HAD ONLY BEEN ON THE 1577 00:48:39,225 --> 00:48:44,531 TRACKS FOR FIVE MAYBE TEN 1578 00:48:44,531 --> 00:48:47,734 MINUTES AND THAT'S WHEN THEY 1579 00:48:47,734 --> 00:48:48,301 YELLED THAT THERE WAS A TRAIN 1580 00:48:48,301 --> 00:48:50,537 COMING. 1581 00:48:50,537 --> 00:48:52,772 >> I HEARD AND I SAW THE TRAIN. 1582 00:48:52,772 --> 00:48:53,907 AND YOU JUST IMMEDIATELY STARTED 1583 00:48:53,907 --> 00:48:56,242 RUNNING. 1584 00:49:04,818 --> 00:49:08,521 >>> GREGG ALLMAN'S MEMOIR BEGAN 1585 00:49:08,521 --> 00:49:09,589 WITH A SCENE ON A BRIDGE BUT 1586 00:49:09,589 --> 00:49:11,157 NEVER MENTIONED RAILROAD TRACKS. 1587 00:49:11,157 --> 00:49:15,395 THAT WAS AN ADDITION BY 1588 00:49:15,395 --> 00:49:16,463 RANDALL MILLER. 1589 00:49:16,463 --> 00:49:18,932 IN THE SCREENPLAY THAT HE WROTE, 1590 00:49:18,932 --> 00:49:19,999 AND IN THIS CLIP, YOU HEAR HIM 1591 00:49:19,999 --> 00:49:21,634 READ ALOUD. 1592 00:49:21,634 --> 00:49:22,669 >> SCENE 14. 1593 00:49:22,669 --> 00:49:23,203 EXTERIOR. 1594 00:49:23,203 --> 00:49:24,270 TRAIN TRACK HIS HOSPITAL BED IS 1595 00:49:24,270 --> 00:49:25,338 IN THE MIDDLE OF A TRAIN TRACK. 1596 00:49:25,338 --> 00:49:26,406 HE SEES A BRIDGE AHEAD, A TRAIN 1597 00:49:26,406 --> 00:49:26,940 TRESTLE. 1598 00:49:26,940 --> 00:49:27,974 >> SARAH JONES WAS AN ASSISTANT 1599 00:49:27,974 --> 00:49:29,042 CAMERA OPERATOR. 1600 00:49:29,042 --> 00:49:34,848 THEY WERE JUST A FEW MINUTES 1601 00:49:34,848 --> 00:49:35,915 INTO SHOOTING THE SCENE ON THE 1602 00:49:35,915 --> 00:49:36,983 TRESTLE WHEN THEY SPOTTED A 1603 00:49:36,983 --> 00:49:37,517 FREIGHT TRAIN BARRELING DOWN THE 1604 00:49:37,517 --> 00:49:39,652 TRACK AT AN ESTIMATED 57 MILES 1605 00:49:39,652 --> 00:49:40,186 PER HOUR. 1606 00:49:40,186 --> 00:49:44,924 >> THEY YELLED THAT THERE WAS A 1607 00:49:44,924 --> 00:49:46,960 TRAIN COMING, AND THERE WAS SORT 1608 00:49:46,960 --> 00:49:49,095 >> AND I SAW THE TRAIN. 1609 00:49:49,095 --> 00:49:50,130 I SAW THE LIGHT OF THAT TRAIN. 1610 00:49:50,130 --> 00:49:51,197 IT WAS LIKE THE TRAIN WAS RIGHT 1611 00:49:51,197 --> 00:49:54,401 THERE. 1612 00:49:54,401 --> 00:49:55,969 SO YOU HAD SECONDS TO FIGURE OUT 1613 00:49:55,969 --> 00:50:06,346 WHAT YOU WERE GOING TO DO. 1614 00:50:06,346 --> 00:50:07,881 >> THEY HAD TO RUN TOWARDS THE 1615 00:50:07,881 --> 00:50:09,749 TRAIN TO GET OUT OF THE WAY, AND 1616 00:50:09,749 --> 00:50:09,783 THEY STRUGGLED TO GET THE BED 1617 00:50:09,783 --> 00:50:11,418 FRAME OFF. 1618 00:50:11,418 --> 00:50:12,485 >> VIDEO CAPTURES THE SCREAM OF 1619 00:50:12,485 --> 00:50:13,553 THE FAST‐APPROACHING TRAIN'S 1620 00:50:13,553 --> 00:50:14,587 HORN, AS RANDALL MILLER AND 1621 00:50:14,587 --> 00:50:16,156 OTHER CREW MEMBERS FRANTICALLY 1622 00:50:16,156 --> 00:50:16,689 TRY TO YANK THE HOSPITAL BED OFF 1623 00:50:16,689 --> 00:50:19,893 THE TRACKS. 1624 00:50:19,893 --> 00:50:20,927 >> IT WAS A TOTAL CHAOS. 1625 00:50:20,927 --> 00:50:21,995 SARAH JONES WAS TRYING TO GET 1626 00:50:21,995 --> 00:50:22,529 THE EXPENSIVE CAMERA EQUIPMENT 1627 00:50:22,529 --> 00:50:28,902 OFF THE TRACK. 1628 00:50:28,902 --> 00:50:29,969 >> IT SEEMED TO BE SO FAR AWAY 1629 00:50:29,969 --> 00:50:30,470 AND THEN ALL OF THE SUDDEN RIGHT 1630 00:50:30,470 --> 00:50:31,004 THERE. 1631 00:50:31,004 --> 00:50:33,807 >> WHEN I REALIZED THAT I 1632 00:50:33,807 --> 00:50:35,175 COULD NOT GET TO LAND, THAT'S 1633 00:50:35,175 --> 00:50:37,444 WHEN I RAN TO THE SIDE AND HELD 1634 00:50:37,444 --> 00:50:39,746 ON TO THE IRON GIRDER. 1635 00:50:39,746 --> 00:50:40,180 AND I PRAYED I DIDN'T GET HIT BY 1636 00:50:40,180 --> 00:50:45,485 THAT TRAIN. 1637 00:50:45,485 --> 00:50:49,722 THE PRESSURE FROM THE WIND FROM 1638 00:50:49,722 --> 00:50:51,324 THE TRAIN WAS SO STRONG THAT, 1639 00:50:51,324 --> 00:50:54,494 HOLDING ONTO THE GIRDER, I 1640 00:50:54,494 --> 00:50:55,028 WASN'T ABLE TO. 1641 00:50:55,028 --> 00:50:56,629 IT PULLED ME OFF. 1642 00:50:56,629 --> 00:50:57,697 >> THE GROUND WAS SHAKING. 1643 00:50:57,697 --> 00:50:58,731 EVERYTHING WAS SHAKING. 1644 00:50:58,731 --> 00:50:59,265 THE IMPACT HAPPENED LIKE AN 1645 00:50:59,265 --> 00:51:02,068 EXPLOSION. 1646 00:51:02,068 --> 00:51:02,902 I WAS HIT. 1647 00:51:02,902 --> 00:51:04,504 I HAD A VERY BRIEF BLACKOUT. 1648 00:51:04,504 --> 00:51:05,572 >> THE TRAIN STRUCK JOYCE 1649 00:51:05,572 --> 00:51:07,173 GILLIARD'S LEFT ARM AFTER 1650 00:51:07,173 --> 00:51:10,877 SMASHING INTO THE HOSPITAL BED. 1651 00:51:10,877 --> 00:51:11,411 >> I COULDN'T BELIEVE WHAT WAS 1652 00:51:11,411 --> 00:51:14,047 HAPPENING. 1653 00:51:14,047 --> 00:51:14,581 I THOUGHT ABOUT DYING. 1654 00:51:14,581 --> 00:51:21,988 AND MY FAMILY GETTING THAT CALL. 1655 00:51:21,988 --> 00:51:23,590 >> THE TRAIN'S IMPACT HAD 1656 00:51:23,590 --> 00:51:30,463 SNAPPED A BONE IN JOYCE'S ARM. 1657 00:51:30,463 --> 00:51:32,799 >> SARAH WAS THE FIRST PERSON 1658 00:51:32,799 --> 00:51:35,969 I SAW. 1659 00:51:35,969 --> 00:51:36,336 SHE WAS LYING ON THE SIDE OF THE 1660 00:51:36,336 --> 00:51:39,539 TRACKS DEAD. 1661 00:51:39,539 --> 00:51:44,310 YOU DIDN'T KNOW IT WAS HER. 1662 00:51:44,310 --> 00:51:53,753 YOU DIDN'T KNOW IT WAS HER. 1663 00:51:53,753 --> 00:51:55,355 >> I RECEIVED A PHONE CALL FROM 1664 00:51:55,355 --> 00:51:57,991 ONE OF THE ‐‐ HER FRIENDS. 1665 00:51:57,991 --> 00:51:59,058 SHE SAID, SARAH'S NO LONGER 1666 00:51:59,058 --> 00:52:01,761 HERE. 1667 00:52:01,761 --> 00:52:03,329 I SAID, WHAT DO YOU MEAN? 1668 00:52:03,329 --> 00:52:05,765 YOU MEAN AS IN DEAD? 1669 00:52:05,765 --> 00:52:06,466 SHE SAID, YES, MA'AM. 1670 00:52:06,466 --> 00:52:07,500 HOW DO YOU TELL YOUR HUSBAND 1671 00:52:07,500 --> 00:52:11,271 THAT YOUR DAUGHTER'S DEAD? 1672 00:52:11,271 --> 00:52:12,338 >> IT WAS ROUGH. 1673 00:52:12,338 --> 00:52:13,306 I MEAN, IT TOOK THE WIND OUT OF 1674 00:52:13,306 --> 00:52:15,475 ME. 1675 00:52:15,475 --> 00:52:15,975 >> SARAH JONES WAS JUST 27 YEARS 1676 00:52:15,975 --> 00:52:19,712 OLD. 1677 00:52:19,712 --> 00:52:20,747 >> RANDALL MILLER CALLED US THAT 1678 00:52:20,747 --> 00:52:21,281 DAY. 1679 00:52:21,281 --> 00:52:23,716 HE WAS VERY UPSET. 1680 00:52:23,716 --> 00:52:25,184 HE, UM ‐‐ 1681 00:52:25,184 --> 00:52:29,722 >> HE WAS CRYING. 1682 00:52:29,722 --> 00:52:40,066 >> HE WAS NEARLY 1683 00:52:40,066 --> 00:52:41,134 HYSTERICAL. 1684 00:52:41,134 --> 00:52:42,201 >> SO IMMEDIATELY AFTER THE 1685 00:52:42,201 --> 00:52:42,735 ACCIDENT, INVESTIGATORS ARE 1686 00:52:42,735 --> 00:52:43,770 TRYING TO FIND OUT WHO HAD 1687 00:52:43,770 --> 00:52:44,837 FAILED TO PROTECT THE "MIDNIGHT 1688 00:52:44,837 --> 00:52:45,371 RIDER" CREW. 1689 00:52:45,371 --> 00:52:46,372 POLICE QUESTIONING PRODUCER JAY 1690 00:52:46,372 --> 00:52:47,407 SEDRISH ABOUT SHOOTING ON ACTIVE 1691 00:52:47,407 --> 00:52:47,941 TRAIN TRACKS. 1692 00:52:47,941 --> 00:52:49,008 >> OF COURSE, OUR QUESTION WAS, 1693 00:52:49,008 --> 00:52:49,542 "DID YOU HAVE PERMISSION?" 1694 00:52:49,542 --> 00:52:50,610 WE GOT THAT, "WELL, IT'S 1695 00:52:50,610 --> 00:52:51,644 COMPLICATED," ANSWER. 1696 00:52:51,644 --> 00:52:52,178 >> RANDALL MILLER GOT AN INITIAL 1697 00:52:52,178 --> 00:52:53,246 EMAIL THROUGH THE LOCATION 1698 00:52:53,246 --> 00:52:54,280 MANAGER, CHARLIE BAXTER, WHICH 1699 00:52:54,280 --> 00:52:55,348 SAID THAT IT WAS THE COMPANY 1700 00:52:55,348 --> 00:52:56,416 POLICY OF CSX NOT TO ALLOW 1701 00:52:56,416 --> 00:52:57,450 PEOPLE TO FILM ON THEIR TRACKS. 1702 00:52:57,450 --> 00:52:58,518 >> ON THE MORNING OF THE SHOOT, 1703 00:52:58,518 --> 00:53:01,187 A REPRESENTATIVE OF THE RAILROAD 1704 00:53:01,187 --> 00:53:02,255 ONCE AGAIN REFUSED TO GRANT THE 1705 00:53:02,255 --> 00:53:03,289 FILM PERMISSION TO SHOOT ON ITS 1706 00:53:03,289 --> 00:53:04,357 TRACKS. 1707 00:53:04,357 --> 00:53:05,425 >> TO ME THOSE EMAILS WERE 1708 00:53:05,425 --> 00:53:06,459 EXTREMELY CLEAR THAT THEY DID 1709 00:53:06,459 --> 00:53:07,527 NOT HAVE PERMISSION TO BE ON THE 1710 00:53:07,527 --> 00:53:08,595 TRACKS. 1711 00:53:08,595 --> 00:53:11,764 IN FACT, MR. BAXTER WAS 1712 00:53:11,764 --> 00:53:14,400 SCHEDULED TO BE AT THE SCENE AND 1713 00:53:14,400 --> 00:53:17,070 WOULD NOT COME BECAUSE OF THAT 1714 00:53:17,070 --> 00:53:18,137 EMAIL. 1715 00:53:18,137 --> 00:53:19,172 >> RANDY KNEW THAT I WASN'T 1716 00:53:19,172 --> 00:53:19,706 GOING TO GO IF WE DIDN'T HAVE 1717 00:53:19,706 --> 00:53:20,773 PERMISSION. 1718 00:53:20,773 --> 00:53:21,274 >> HOW DO YOU KNOW THAT? 1719 00:53:21,274 --> 00:53:22,342 >> BECAUSE HE TOLD ME. 1720 00:53:22,342 --> 00:53:23,409 >> HE TOLD YOU WHAT? 1721 00:53:23,409 --> 00:53:24,477 >> THAT HE WAS GOING TO GO DOWN 1722 00:53:24,477 --> 00:53:27,113 AND GOING TO FILM BY THE TRESTLE 1723 00:53:27,113 --> 00:53:28,715 WHETHER THEY HAD PERMISSION FROM 1724 00:53:28,715 --> 00:53:29,215 CSX OR NOT. 1725 00:53:29,215 --> 00:53:33,987 >> MY INVESTIGATION SHOWS THAT 1726 00:53:33,987 --> 00:53:35,588 RANDALL MILLER GAVE THAT 1727 00:53:35,588 --> 00:53:36,656 DECISION TO TELL EVERYBODY TO 1728 00:53:36,656 --> 00:53:37,690 MOVE ONTO THE TRACKS. 1729 00:53:37,690 --> 00:53:38,758 >> RANDY MILLER HAD NO 1730 00:53:38,758 --> 00:53:40,893 PERCEPTION OF DANGER AND WAS 1731 00:53:40,893 --> 00:53:45,098 RELYING ON HIS TEAM THAT HAD 1732 00:53:45,098 --> 00:53:46,099 NEVER FAILED HIM THAT HE WAS IN 1733 00:53:46,099 --> 00:53:47,166 A SAFE PLACE. 1734 00:53:47,166 --> 00:53:48,234 HE'D BEEN TOLD THERE WERE JUST 1735 00:53:48,234 --> 00:53:52,438 TWO TRAINS AND THOSE HAD GONE. 1736 00:53:52,438 --> 00:53:56,676 >> BUT IN FACT, THE "MIDNIGHT 1737 00:53:56,676 --> 00:53:57,744 RIDER" PRODUCTION HAD NO WAY OF 1738 00:53:57,744 --> 00:53:58,811 KNOWING WHEN A TRAIN MIGHT BE 1739 00:53:58,811 --> 00:53:59,879 COMING. 1740 00:53:59,879 --> 00:54:01,981 >> YOU DON'T SHOOT ON A RAILROAD 1741 00:54:01,981 --> 00:54:03,049 TRACK UNLESS YOU ABSOLUTELY ARE 1742 00:54:03,049 --> 00:54:04,117 POSITIVE THAT YOU HAVE 1743 00:54:04,117 --> 00:54:07,820 PERMISSION TO BE THERE AND YOU 1744 00:54:07,820 --> 00:54:08,454 KNOW THAT A TRAIN ISN'T GOING TO 1745 00:54:08,454 --> 00:54:10,623 COME BY. 1746 00:54:10,623 --> 00:54:12,725 >> CSX WOULD LATER TELL 1747 00:54:12,725 --> 00:54:13,793 INVESTIGATORS THAT IT WAS THEIR 1748 00:54:13,793 --> 00:54:17,497 BUSIEST TRACK. 1749 00:54:17,497 --> 00:54:18,564 THEY HAD PROBABLY 27, 30 TRAINS 1750 00:54:18,564 --> 00:54:20,133 THAT PASSED THROUGH ON THAT 1751 00:54:20,133 --> 00:54:21,200 TRACK A DAY. 1752 00:54:21,200 --> 00:54:24,904 PER DAY. 1753 00:54:24,904 --> 00:54:25,438 >> THERE IS NO FREIGHT TRAIN 1754 00:54:25,438 --> 00:54:29,676 SCHEDULE I CAN RELY ON TO MAKE 1755 00:54:29,676 --> 00:54:30,710 SURE THERE'LL BE NO TRAIN ON MY 1756 00:54:30,710 --> 00:54:32,311 TRACK. 1757 00:54:32,311 --> 00:54:33,913 >> IT'S A DAY TO DAY THING AND 1758 00:54:33,913 --> 00:54:34,981 THE VARIANTS CAN BE GREAT. 1759 00:54:34,981 --> 00:54:36,549 THERE'S NOT SUCH A THING AS A 1760 00:54:36,549 --> 00:54:39,218 FREIGHT TRAIN SCHEDULE THAT 1761 00:54:39,218 --> 00:54:39,719 APPROXIMATES WHAT, SAY, A MAJOR 1762 00:54:39,719 --> 00:54:43,456 AIRLINE MIGHT PUBLISH. 1763 00:54:43,456 --> 00:54:44,490 >> SO YOU'RE GOING TO HELP ME 1764 00:54:44,490 --> 00:54:45,058 STAY SAFE WHILE I SHOOT A SCENE 1765 00:54:45,058 --> 00:54:48,661 THAT INVOLVES A TRAIN. 1766 00:54:48,661 --> 00:54:49,729 HOW ARE YOU GOING TO DO THAT? 1767 00:54:49,729 --> 00:54:50,797 >> YOU NEED A RAILROAD EMPLOYEE, 1768 00:54:50,797 --> 00:54:51,864 YOU NEED THE AGREEMENT OF THE 1769 00:54:51,864 --> 00:54:53,433 RAILROAD, AND YOU ALSO NEED TO 1770 00:54:53,433 --> 00:54:54,500 MAKE SURE THAT THE FILM CREW HAS 1771 00:54:54,500 --> 00:54:56,102 BEEN TRAINED AND KNOWS HOW TO 1772 00:54:56,102 --> 00:54:57,170 OPERATE SAFELY IN THIS VERY 1773 00:54:57,170 --> 00:55:02,975 UNIQUE, INDUSTRIAL ENVIRONMENT. 1774 00:55:02,975 --> 00:55:03,509 THE LAWS OF GRAVITY AND INERTIA 1775 00:55:03,509 --> 00:55:05,111 ARE NOT REPEALED FOR FILM CREWS. 1776 00:55:05,111 --> 00:55:07,747 >> AND JUST LIKE WITH THE USE OF 1777 00:55:07,747 --> 00:55:08,281 GUNS ON A SET, THERE ARE ALSO 1778 00:55:08,281 --> 00:55:10,416 VERY STRICT GUIDELINES WHEN 1779 00:55:10,416 --> 00:55:14,620 FILMING NEAR RAILROAD TRACKS. 1780 00:55:14,620 --> 00:55:15,688 >> ATTORNEY JEFF HARRIS HAS 1781 00:55:15,688 --> 00:55:16,756 FILED A LAWSUIT ON BEHALF OF 1782 00:55:16,756 --> 00:55:17,790 SARAH JONES' PARENTS. 1783 00:55:17,790 --> 00:55:20,460 >> I THINK THEY SAID, WELL, WE 1784 00:55:20,460 --> 00:55:20,993 DON'T HAVE ACTUAL PERMISSION, 1785 00:55:20,993 --> 00:55:22,028 BUT ULTIMATELY, WE'RE JUST GONNA 1786 00:55:22,028 --> 00:55:23,096 TRY TO STEAL THIS SHOT. 1787 00:55:23,096 --> 00:55:24,163 >> IF SO, IT WOULD APPARENTLY 1788 00:55:24,163 --> 00:55:25,198 NOT BE THE FIRST TIME 1789 00:55:25,198 --> 00:55:26,265 RANDALL MILLER HAD STOLEN A 1790 00:55:26,265 --> 00:55:27,867 SHOT. 1791 00:55:27,867 --> 00:55:29,469 >> HE WOULD SAY, BUT WE'RE 1792 00:55:29,469 --> 00:55:32,338 TRYING TO MAKE A MOVIE HERE. 1793 00:55:32,338 --> 00:55:34,407 AS IF THAT OUTWEIGHED THE NEEDS 1794 00:55:34,407 --> 00:55:36,909 AND SAFETY OF OTHER PEOPLE. 1795 00:55:36,909 --> 00:55:37,977 IT WAS LIKE THAT, SOME KIND OF 1796 00:55:37,977 --> 00:55:39,212 MAGIC CARD. 1797 00:55:51,190 --> 00:55:53,826 >>> IT WAS SO FAST. 1798 00:55:53,826 --> 00:55:54,360 I COULD FEEL THE WIND GOING BY, 1799 00:55:54,360 --> 00:55:59,565 AND THEN IT FINALLY STOPPED. 1800 00:55:59,565 --> 00:56:02,735 AND IT WAS VERY, VERY QUIET FOR 1801 00:56:02,735 --> 00:56:08,574 JUST A MOMENT. 1802 00:56:08,574 --> 00:56:09,642 >> AT FIRST, IT WAS LIKE PEOPLE 1803 00:56:09,642 --> 00:56:12,278 WERE IN SHOCK. 1804 00:56:12,278 --> 00:56:15,214 I REMEMBER HEARING SOMEBODY SAY, 1805 00:56:15,214 --> 00:56:20,253 OH, MY GOSH, SHE'S DEAD. 1806 00:56:20,253 --> 00:56:21,354 >> WAYNE COUNTY 911. 1807 00:56:21,354 --> 00:56:22,388 >> CAN YOU GET MY LOCATION WHERE 1808 00:56:22,388 --> 00:56:23,456 I AM? 1809 00:56:23,456 --> 00:56:23,956 WE NEED AN AMBULANCE. 1810 00:56:23,956 --> 00:56:25,024 WELL, SOMEONE GOT HIT BY A 1811 00:56:25,024 --> 00:56:27,360 TRAIN. 1812 00:56:27,360 --> 00:56:28,394 >> THE NEWS THAT SARAH JONES HAD 1813 00:56:28,394 --> 00:56:29,962 BEEN KILLED ON THE SET OF THE 1814 00:56:29,962 --> 00:56:31,564 FILM "MIDNIGHT RIDER" REACHED 1815 00:56:31,564 --> 00:56:33,699 HER FRIENDS ON "VAMPIRE DIARIES" 1816 00:56:33,699 --> 00:56:34,734 JUST A FEW HOURS AFTER IT 1817 00:56:34,734 --> 00:56:35,802 HAPPENED. 1818 00:56:35,802 --> 00:56:38,437 >> I GOT THE CALL. 1819 00:56:38,437 --> 00:56:40,006 WE JUST SAT IN THE CAR GOING TO 1820 00:56:40,006 --> 00:56:46,412 SET, AND IT WAS JUST PURE SHOCK. 1821 00:56:46,412 --> 00:56:49,015 >> SHE JUST LEFT TOO SOON. 1822 00:56:49,015 --> 00:56:50,116 SHE WOULD'VE BEEN ‐‐ 1823 00:56:50,116 --> 00:56:57,490 YEAH, IT WAS TOO SOON. 1824 00:56:57,490 --> 00:56:58,024 >> I WAS ANGRY. 1825 00:56:58,024 --> 00:56:59,659 REALLY ANGRY. 1826 00:56:59,659 --> 00:57:01,727 FOR THEM TO OVERLOOK SOMETHING 1827 00:57:01,727 --> 00:57:03,329 THAT JEOPARDIZES THE SAFETY OF 1828 00:57:03,329 --> 00:57:10,736 THE PEOPLE THAT ARE WORKING WITH 1829 00:57:10,736 --> 00:57:11,804 THEM IS ABSOLUTELY, 1830 00:57:11,804 --> 00:57:13,906 POSITIVELY ‐‐ IT'S UNACCEPTABLE. 1831 00:57:13,906 --> 00:57:14,974 >> THEY WANTED TO GET THE SHOT, 1832 00:57:14,974 --> 00:57:16,042 SO WHATEVER IT TOOK TO GET THE 1833 00:57:16,042 --> 00:57:17,643 SHOT IS WHAT THEY DID. 1834 00:57:17,643 --> 00:57:19,745 >> INFORMATION STARTED TO EMERGE 1835 00:57:19,745 --> 00:57:21,314 ABOUT HOW RANDALL MILLER AND HIS 1836 00:57:21,314 --> 00:57:25,017 WIFE JODY SAVIN WERE THESE 1837 00:57:25,017 --> 00:57:25,551 GUERILLA FILMMAKERS WHO PLAYED 1838 00:57:25,551 --> 00:57:26,619 BY THEIR OWN RULES. 1839 00:57:26,619 --> 00:57:27,687 >> IN A PANEL DISCUSSION, 1840 00:57:27,687 --> 00:57:29,789 RANDALL MILLER ACTUALLY BOASTED 1841 00:57:29,789 --> 00:57:30,857 ABOUT STEALING A SHOT IN THE 1842 00:57:30,857 --> 00:57:31,924 NEW YORK CITY SUBWAY FOR HIS 1843 00:57:31,924 --> 00:57:35,628 2013 MOVIE "CBGB." 1844 00:57:35,628 --> 00:57:36,696 >> YOU ARE NOT ALLOWED TO SHOOT 1845 00:57:36,696 --> 00:57:37,730 IN NEW YORK SUBWAYS. 1846 00:57:37,730 --> 00:57:38,764 I DON'T KNOW IF YOU KNOW THAT, 1847 00:57:38,764 --> 00:57:39,832 BUT YOU'RE NOT ALLOWED TO. 1848 00:57:39,832 --> 00:57:41,434 >> AND ON THE DVD EXTRAS FROM 1849 00:57:41,434 --> 00:57:42,468 "CBGB," RANDALL MILLER JOKED 1850 00:57:42,468 --> 00:57:44,070 ABOUT PULLING OFF SOME 1851 00:57:44,070 --> 00:57:46,739 QUESTIONABLE SCENES IN SAVANNAH, 1852 00:57:46,739 --> 00:57:47,273 GEORGIA, WHERE MOST OF THAT 1853 00:57:47,273 --> 00:57:48,841 MOVIE WAS FILMED. 1854 00:57:48,841 --> 00:57:49,909 >> HE ACTUALLY WOULD LAUGH AND 1855 00:57:49,909 --> 00:57:52,011 BRAG ABOUT BREAKING THESE SAFETY 1856 00:57:52,011 --> 00:57:53,079 PROTOCOLS, WHETHER IT WAS HAVING 1857 00:57:53,079 --> 00:57:54,680 A CHILD ‐‐ A LITTLE CHILD 1858 00:57:54,680 --> 00:57:55,748 RUNNING AROUND IN A PASTURE WITH 1859 00:57:55,748 --> 00:57:57,316 COWS. 1860 00:57:57,316 --> 00:57:58,384 >> I MEAN, I DON'T THINK IT'S 1861 00:57:58,384 --> 00:58:01,487 DANGEROUS AT ALL TO HAVE A 1862 00:58:01,487 --> 00:58:02,555 LITTLE KID RUN THROUGH COWS, DO 1863 00:58:02,555 --> 00:58:03,623 YOU THINK? 1864 00:58:03,623 --> 00:58:04,690 >> NO. 1865 00:58:04,690 --> 00:58:05,725 >> NAH, NO. 1866 00:58:05,725 --> 00:58:06,759 >> OR THROWING A PIANO DOWN THE 1867 00:58:06,759 --> 00:58:07,860 STAIRS. 1868 00:58:07,860 --> 00:58:08,928 >> THIS IS A REAL HOUSE, AND I 1869 00:58:08,928 --> 00:58:09,962 DON'T THINK THEY FULLY KNEW THAT 1870 00:58:09,962 --> 00:58:11,530 WE WERE GOING TO DROP A PIANO 1871 00:58:11,530 --> 00:58:12,632 DOWN THEIR STAIRCASE. 1872 00:58:12,632 --> 00:58:13,666 >> WE HAD MORE COMPLAINTS ABOUT 1873 00:58:13,666 --> 00:58:14,200 THE ACTIVITIES OF THIS FILM THAN 1874 00:58:14,200 --> 00:58:15,234 WE DID IN ANY PREVIOUS ENTIRE 1875 00:58:15,234 --> 00:58:16,836 YEAR. 1876 00:58:16,836 --> 00:58:18,437 >> JAY SELF, WHO WAS THEN THE 1877 00:58:18,437 --> 00:58:19,505 HEAD OF THE SAVANNAH FILM 1878 00:58:19,505 --> 00:58:23,209 COMMISSION, SAID THAT DURING THE 1879 00:58:23,209 --> 00:58:24,277 FILMING OF "CBGB" A STOP SIGN 1880 00:58:24,277 --> 00:58:25,311 WAS REMOVED BY THE PRODUCTION. 1881 00:58:25,311 --> 00:58:26,412 ANOTHER WAS PAINTED OVER. 1882 00:58:26,412 --> 00:58:27,446 AND CARS WERE PARKED IN FRONT OF 1883 00:58:27,446 --> 00:58:28,481 FIRE HYDRANTS OR IN HANDICAP 1884 00:58:28,481 --> 00:58:30,616 SPOTS. 1885 00:58:30,616 --> 00:58:31,684 >> HE WOULD SAY, BUT WE'RE 1886 00:58:31,684 --> 00:58:33,252 TRYING TO MAKE A MOVIE HERE. 1887 00:58:33,252 --> 00:58:38,024 AS IF THAT SOMEHOW OUTWEIGHED 1888 00:58:38,024 --> 00:58:38,557 THE SAFETY OR THE WELFARE OR THE 1889 00:58:38,557 --> 00:58:42,261 BUSINESS OF OTHER PEOPLE. 1890 00:58:42,261 --> 00:58:43,863 WHEN "CBGB" WAS OVER, WE WERE 1891 00:58:43,863 --> 00:58:44,931 LIKE, I CAN'T BELIEVE NOBODY GOT 1892 00:58:44,931 --> 00:58:49,969 HURT. 1893 00:58:49,969 --> 00:58:52,071 >> THERE WERE PEOPLE INVOLVED 1894 00:58:52,071 --> 00:58:54,206 WITH THIS THAT WERE ALLOWED TO 1895 00:58:54,206 --> 00:58:55,241 GET BY WITH THINGS THAT THEY 1896 00:58:55,241 --> 00:58:59,412 SHOULD NOT HAVE. 1897 00:58:59,412 --> 00:59:04,717 THEY THOUGHT THEY COULD MAKE UP 1898 00:59:04,717 --> 00:59:05,251 THEIR OWN RULES, AND THEY ‐‐ 1899 00:59:05,251 --> 00:59:06,852 THEY PUSHED IT TOO FAR. 1900 00:59:06,852 --> 00:59:08,421 >> THE AUDACITY TO PUT SOMEONE 1901 00:59:08,421 --> 00:59:15,861 ELSE'S LIFE IN SUCH DANGER. 1902 00:59:15,861 --> 00:59:16,896 >> THE ENTIRE CREW WAS PUT IN A 1903 00:59:16,896 --> 00:59:18,497 SITUATION WHERE WE ALL HAD TO 1904 00:59:18,497 --> 00:59:20,066 BASICALLY RUN FOR OUR LIVES. 1905 00:59:20,066 --> 00:59:23,235 >> THERE WERE SO MANY LIVES AT 1906 00:59:23,235 --> 00:59:24,303 RISK, AND WHEN RANDALL MILLER IS 1907 00:59:24,303 --> 00:59:25,905 PUT IN THE HOT SEAT, HE TRIES TO 1908 00:59:25,905 --> 00:59:28,941 PASS THE BUCK. 1909 00:59:28,941 --> 00:59:30,009 >> YOU DIDN'T ASK CSX HOW MANY 1910 00:59:30,009 --> 00:59:32,545 TRAINS WERE COMING DOWN THAT 1911 00:59:32,545 --> 00:59:35,581 TRESTLE, DID YOU? 1912 00:59:35,581 --> 00:59:38,284 >> AGAIN, THAT'S NOT MY JOB. 1913 00:59:43,756 --> 00:59:44,824 >>> THE CREW HAD NO IDEA THAT 1914 00:59:44,824 --> 00:59:45,358 THE FILMMAKER WAS THERE STEALING 1915 00:59:45,358 --> 00:59:49,595 A SHOT. 1916 00:59:49,595 --> 00:59:51,731 >> FORTUNATELY FOR 1917 00:59:51,731 --> 00:59:54,867 INVESTIGATORS, THERE WAS VIDEO 1918 00:59:54,867 --> 00:59:55,968 LATER USED IN COURT OF THE 1919 00:59:55,968 --> 00:59:57,003 "MIDNIGHT RIDER" ACCIDENT. 1920 00:59:57,003 --> 00:59:58,070 >> THE TRAIN COMES THROUGH THE 1921 00:59:58,070 --> 00:59:59,038 SET AT ABOUT 58 MILES PER HOUR. 1922 00:59:59,038 --> 01:00:01,707 IT WAS PANDEMONIUM. 1923 01:00:01,707 --> 01:00:03,275 >> A CAMERA MOUNTED ON THE 1924 01:00:03,275 --> 01:00:05,411 LOCOMOTIVE SHOWS THE CREW ON THE 1925 01:00:05,411 --> 01:00:06,479 TRESTLE HAD A LOT LESS TIME THAN 1926 01:00:06,479 --> 01:00:06,979 THEY THOUGHT TO GET OFF THE 1927 01:00:06,979 --> 01:00:10,716 TRACKS. 1928 01:00:10,716 --> 01:00:12,818 26 SECONDS BEFORE IMPACT, THE 1929 01:00:12,818 --> 01:00:18,124 ENGINEER STARTS TO BLARE THE 1930 01:00:18,124 --> 01:00:20,726 HORN CONTINUOUSLY ‐‐ 1931 01:00:20,726 --> 01:00:21,227 AS MEMBERS OF THE CAST AND CREW 1932 01:00:21,227 --> 01:00:23,362 TRY TO FLEE TO SAFETY. 1933 01:00:23,362 --> 01:00:25,464 THREE SECONDS BEFORE IMPACT, 1934 01:00:25,464 --> 01:00:28,100 IT'S TOO LATE TO GET THE BED OFF 1935 01:00:28,100 --> 01:00:29,702 THE TRACKS. 1936 01:00:29,702 --> 01:00:30,736 WILLIAM HURT AND WYATT RUSSELL, 1937 01:00:30,736 --> 01:00:32,872 THE ACTORS, ALONG WITH TWO CREW 1938 01:00:32,872 --> 01:00:33,406 MEMBERS, ARE SCRAMBLING JUST TO 1939 01:00:33,406 --> 01:00:40,279 MAKE IT OFF THE TRESTLE. 1940 01:00:40,279 --> 01:00:41,347 ONE SECOND BEFORE IMPACT, PEOPLE 1941 01:00:41,347 --> 01:00:42,415 COVER THEIR EARS. 1942 01:00:42,415 --> 01:00:43,482 THEY'RE CLINGING TO THE BRIDGE 1943 01:00:43,482 --> 01:00:44,517 FOR THEIR LIVES BECAUSE THE BED 1944 01:00:44,517 --> 01:00:45,584 ON IMPACT BECOMES A DEADLY 1945 01:00:45,584 --> 01:00:46,652 WEAPON. 1946 01:00:46,652 --> 01:00:48,254 >> THE TRAIN HITS THE BED AND 1947 01:00:48,254 --> 01:00:49,288 THE BED FLIES UP, AND APPARENTLY 1948 01:00:49,288 --> 01:00:50,356 A PORTION OF THE HOSPITAL BED 1949 01:00:50,356 --> 01:00:51,424 STRIKES SARAH AND PUSHES HER 1950 01:00:51,424 --> 01:00:55,127 INTO THE TRAIN. 1951 01:00:55,127 --> 01:00:56,195 >> THERE WERE SEVERAL INJURIES 1952 01:00:56,195 --> 01:00:57,763 ON THAT TRACK THAT DAY. 1953 01:00:57,763 --> 01:01:01,434 IT WASN'T JUST THE DEATH OF 1954 01:01:01,434 --> 01:01:01,934 SARAH, BUT THERE WERE SEVEN 1955 01:01:01,934 --> 01:01:03,536 PEOPLE INJURED. 1956 01:01:03,536 --> 01:01:05,671 >> JOYCE GILLIARD, THE 1957 01:01:05,671 --> 01:01:07,773 HAIRSTYLIST, SHE NEEDED A PLATE 1958 01:01:07,773 --> 01:01:08,841 AND TEN SCREWS PUT IN JUST TO 1959 01:01:08,841 --> 01:01:11,477 RECONSTRUCT HER ARM. 1960 01:01:11,477 --> 01:01:12,545 >> IT'S NOT JUST MY ARM THAT WAS 1961 01:01:12,545 --> 01:01:14,113 HURT. 1962 01:01:14,113 --> 01:01:15,714 I SUFFERED SUCH A TRAUMATIC 1963 01:01:15,714 --> 01:01:21,520 EXPERIENCE SEEING MY CO‐WORKER, 1964 01:01:21,520 --> 01:01:23,122 FRIEND, LOSE HER LIFE BECAUSE OF 1965 01:01:23,122 --> 01:01:30,529 SOMEONE ELSE'S NEGLIGENCE. 1966 01:01:30,529 --> 01:01:31,597 >> IT WASN'T SIMPLY THE 1967 01:01:31,597 --> 01:01:33,199 ACCIDENT. 1968 01:01:33,199 --> 01:01:34,233 IT'S A LOT OF THE AFTERMATH. 1969 01:01:34,233 --> 01:01:38,504 I DON'T THINK I HAVE TO EXPLAIN 1970 01:01:38,504 --> 01:01:41,140 WHAT IT FEELS LIKE TO SUDDENLY 1971 01:01:41,140 --> 01:01:42,208 BE A LITTLE MORE AFRAID OF 1972 01:01:42,208 --> 01:01:46,979 EVERYTHING. 1973 01:01:46,979 --> 01:01:49,615 >> IT'S CLEAR THAT CERTAINLY 1974 01:01:49,615 --> 01:01:51,217 THE PRODUCERS AND DIRECTOR, 1975 01:01:51,217 --> 01:01:52,284 THEY MESSED AND THEY MESSED UP 1976 01:01:52,284 --> 01:01:53,352 REAL BAD. 1977 01:01:53,352 --> 01:01:57,022 >> IT WAS A LIVE TRACK. 1978 01:01:57,022 --> 01:01:59,625 THERE WERE TRACKS ELSEWHERE IN 1979 01:01:59,625 --> 01:02:01,227 THE VICINITY THAT WERE NOT LIVE. 1980 01:02:01,227 --> 01:02:01,727 TRACKS THAT COULD HAVE BEEN 1981 01:02:01,727 --> 01:02:05,464 USED. 1982 01:02:05,464 --> 01:02:08,134 >> RANDALL MILLER VISITED ME IN 1983 01:02:08,134 --> 01:02:10,236 MY HOSPITAL ROOM A COUPLE DAYS 1984 01:02:10,236 --> 01:02:13,939 AFTER THE TRAGEDY HAPPENED. 1985 01:02:13,939 --> 01:02:14,473 HE DIDN'T SAY ANYTHING. 1986 01:02:14,473 --> 01:02:17,109 E JUST CRIED. 1987 01:02:17,109 --> 01:02:24,617 HE JUST CRIED. 1988 01:02:24,617 --> 01:02:25,651 >> IN THE MONTHS FOLLOWING 1989 01:02:25,651 --> 01:02:26,719 SARAH'S DEATH, THE AUTHORITIES 1990 01:02:26,719 --> 01:02:29,355 IN GEORGIA INDICTED 1991 01:02:29,355 --> 01:02:30,956 RANDALL MILLER AND HIS WIFE, 1992 01:02:30,956 --> 01:02:33,626 JODY SAVIN, AND ANOTHER 1993 01:02:33,626 --> 01:02:34,660 PRODUCER, JAY SEDRISH, AND FIRST 1994 01:02:34,660 --> 01:02:38,397 ASSISTANT DIRECTOR, 1995 01:02:38,397 --> 01:02:38,931 HILLARY SCHWARTZ, FOR 1996 01:02:38,931 --> 01:02:39,965 INVOLUNTARY MANSLAUGHTER AND 1997 01:02:39,965 --> 01:02:41,033 TRESPASS. 1998 01:02:41,033 --> 01:02:43,169 THEY PLED NOT GUILTY. 1999 01:02:43,169 --> 01:02:44,737 >> IF THEY'D HAVE JUST FOLLOWED 2000 01:02:44,737 --> 01:02:47,373 THE EMAILS OR FOLLOWED THE 2001 01:02:47,373 --> 01:02:49,508 SAFETY REQUIREMENTS BY THE FILM 2002 01:02:49,508 --> 01:02:50,576 INDUSTRY, SARAH JONES WOULD BE 2003 01:02:50,576 --> 01:02:51,610 ALIVE TODAY. 2004 01:02:51,610 --> 01:02:54,780 >> RANDALL MILLER ACTUALLY 2005 01:02:54,780 --> 01:02:56,916 WANTED TO GO AHEAD AND FINISH 2006 01:02:56,916 --> 01:02:57,983 THE MOVIE "MIDNIGHT RIDER," BUT 2007 01:02:57,983 --> 01:02:59,018 GREG ALLMAN FILED SUIT TO TRY TO 2008 01:02:59,018 --> 01:03:01,153 STOP THE PRODUCTION FROM GOING 2009 01:03:01,153 --> 01:03:04,857 FORWARD, AND IT WORKED. 2010 01:03:04,857 --> 01:03:05,925 >> OR HIM TO WANT TO KEEP MAKING 2011 01:03:05,925 --> 01:03:08,027 A MOVIE WHERE SOMEONE DIED ON 2012 01:03:08,027 --> 01:03:08,561 HIS WATCH. 2013 01:03:08,561 --> 01:03:10,162 IT JUST SEEMS SO COLD‐HEARTED. 2014 01:03:10,162 --> 01:03:11,197 >> THE SUIT FILED BY 2015 01:03:11,197 --> 01:03:12,264 GREGG ALLMAN COMPELLED 2016 01:03:12,264 --> 01:03:13,332 RANDALL MILLER TO TESTIFY ABOUT 2017 01:03:13,332 --> 01:03:15,467 THE TRAGEDY ON VIDEO WHERE HE 2018 01:03:15,467 --> 01:03:19,705 SAID ONE PHRASE THREE TIMES. 2019 01:03:19,705 --> 01:03:23,943 >> DID YOU EVEN EMPLOY ANYONE TO 2020 01:03:23,943 --> 01:03:25,511 GO DOWN THE RAILROAD TRACK, 2021 01:03:25,511 --> 01:03:26,579 MAYBE THREE OR FOUR MILES DOWN, 2022 01:03:26,579 --> 01:03:27,646 TO WARN PEOPLE WHEN THE TRAIN 2023 01:03:27,646 --> 01:03:28,714 WAS COMING? 2024 01:03:28,714 --> 01:03:29,748 >> UNFORTUNATELY, THAT'S NOT MY 2025 01:03:29,748 --> 01:03:30,282 JOB. 2026 01:03:30,282 --> 01:03:31,350 >> DO YOU KNOW WHERE ANYBODY WAS 2027 01:03:31,350 --> 01:03:32,418 DOWN THAT TRACK BEFORE THE TRAIN 2028 01:03:32,418 --> 01:03:33,452 ACCIDENT OCCURRED? 2029 01:03:33,452 --> 01:03:34,520 >> AGAIN, THAT'S NOT MY JOB. 2030 01:03:34,520 --> 01:03:35,588 >> YOU DIDN'T ASK CSX HOW MANY 2031 01:03:35,588 --> 01:03:36,088 TRAINS WERE COMING DOWN THAT 2032 01:03:36,088 --> 01:03:38,757 TRESTLE, DID YOU? 2033 01:03:38,757 --> 01:03:39,825 >> AGAIN, THAT'S NOT MY JOB. 2034 01:03:39,825 --> 01:03:40,893 >> THAT IS HIS JOB. 2035 01:03:40,893 --> 01:03:41,927 HE'S THE DIRECTOR. 2036 01:03:41,927 --> 01:03:43,028 NOW, THE FIRST ASSISTANT 2037 01:03:43,028 --> 01:03:44,597 DIRECTOR IS RESPONSIBLE IN THE 2038 01:03:44,597 --> 01:03:45,664 INDUSTRY, TRADITIONALLY, FOR 2039 01:03:45,664 --> 01:03:46,699 SAFETY. 2040 01:03:46,699 --> 01:03:48,300 BUT RANDALL MILLER'S ULTIMATE 2041 01:03:48,300 --> 01:03:50,402 JOB IS TO MAKE SURE THAT WHAT 2042 01:03:50,402 --> 01:03:53,606 HE'S DOING AS DIRECTOR IS NOT 2043 01:03:53,606 --> 01:03:54,673 PUTTING HIS CREW, OR THE CAST 2044 01:03:54,673 --> 01:03:56,242 FOR THAT MATTER, IN JEOPARDY. 2045 01:03:56,242 --> 01:03:58,844 AND HE DID NOT DO THAT. 2046 01:03:58,844 --> 01:03:59,912 >> AS FIRST ASSISTANT DIRECTOR, 2047 01:03:59,912 --> 01:04:02,014 WHAT ARE YOUR RESPONSIBILITIES? 2048 01:04:02,014 --> 01:04:04,149 >> I AM ONE OF THE PEOPLE THAT 2049 01:04:04,149 --> 01:04:05,184 HAVE SAFETY RESPONSIBILITIES 2050 01:04:05,184 --> 01:04:09,455 ON SET. 2051 01:04:09,455 --> 01:04:10,489 >> HILLARY SCHWARTZ, SHE WAS 2052 01:04:10,489 --> 01:04:11,023 RESPONSIBLE FOR HAVING A MEDIC 2053 01:04:11,023 --> 01:04:13,659 ON SET. 2054 01:04:13,659 --> 01:04:14,727 SHE WAS RESPONSIBLE FOR THE 2055 01:04:14,727 --> 01:04:15,794 SAFETY BULLETINS OUT THAT THEY 2056 01:04:15,794 --> 01:04:18,430 WERE GOING TO SHOOT ON LIVE 2057 01:04:18,430 --> 01:04:19,498 TRAIN TRACKS. 2058 01:04:19,498 --> 01:04:21,100 DIDN'T DO THAT. 2059 01:04:21,100 --> 01:04:22,167 >> I HEARD THAT IF THE TRAIN 2060 01:04:22,167 --> 01:04:26,405 WERE TO COME THAT, AT THE VERY 2061 01:04:26,405 --> 01:04:27,473 LEAST, WE WOULD HAVE 60 SECONDS. 2062 01:04:27,473 --> 01:04:28,507 >> AND YOU ACTUALLY BELIEVED 2063 01:04:28,507 --> 01:04:31,176 THAT YOU COULD GET A METAL BED 2064 01:04:31,176 --> 01:04:32,211 OFF THE TRACK AND THE PEOPLE OFF 2065 01:04:32,211 --> 01:04:33,279 THE TRACK IN 60 SECONDS? 2066 01:04:33,279 --> 01:04:36,448 >> WELL, YES. 2067 01:04:36,448 --> 01:04:38,550 >> DID YOU SEE A WRITTEN 2068 01:04:38,550 --> 01:04:39,652 PERMISSION FROM CSX TO PUT THOSE 2069 01:04:39,652 --> 01:04:40,686 PEOPLE ON THAT TRACK? 2070 01:04:40,686 --> 01:04:43,322 THAT'S A SIMPLE QUESTION. 2071 01:04:43,322 --> 01:04:44,923 >> I DID NOT DO PERMITS. 2072 01:04:44,923 --> 01:04:46,525 >> YOU DIDN'T SEE ANY PERMIT 2073 01:04:46,525 --> 01:04:47,026 BEFORE YOU ASKED THOSE PEOPLE TO 2074 01:04:47,026 --> 01:04:48,627 GET ON THE TRAIN TRACK? 2075 01:04:48,627 --> 01:04:49,695 >> I DID NOT SEE THE PERMITS, 2076 01:04:49,695 --> 01:04:50,763 NO. 2077 01:04:50,763 --> 01:04:51,797 I WAS IN THE MIDDLE OF THE 2078 01:04:51,797 --> 01:04:56,568 TRACK, AND I ALMOST DIED. 2079 01:04:56,568 --> 01:04:59,705 >> RANDALL FELL ONTO THE TRACK, 2080 01:04:59,705 --> 01:05:00,739 AND SO I DROPPED MY CAMERA AND 2081 01:05:00,739 --> 01:05:02,875 GRABBED HIM. 2082 01:05:02,875 --> 01:05:05,544 >> RANDALL MILLER'S LIFE WAS 2083 01:05:05,544 --> 01:05:06,578 SAVED, BUT SARAH JONES DIED ON 2084 01:05:06,578 --> 01:05:10,282 THOSE TRACKS. 2085 01:05:10,282 --> 01:05:12,951 >> THE PEOPLE WHO MADE POOR 2086 01:05:12,951 --> 01:05:16,121 CHOICES THAT DAY NEED TO BE HELD 2087 01:05:16,121 --> 01:05:17,723 FULLY ACCOUNTABLE WHAT THEY DID. 2088 01:05:17,723 --> 01:05:19,825 >> BUT WOULD RANDALL MILLER BE 2089 01:05:19,825 --> 01:05:21,960 THE FIRST DIRECTOR EVER TO GO TO 2090 01:05:21,960 --> 01:05:24,063 JAIL FOR A DEATH ON A MOVIE SET? 2091 01:05:24,063 --> 01:05:25,664 >> IN THE "MIDNIGHT RIDER" CASE, 2092 01:05:25,664 --> 01:05:28,834 IT WAS CLEAR WHO HAD MADE THE 2093 01:05:28,834 --> 01:05:32,438 DECISION TO GO TO THE RAILROAD 2094 01:05:32,438 --> 01:05:39,345 TRACKS. 2095 01:05:39,345 --> 01:05:40,779 IN THE "RUST" CASE, THE QUESTION 2096 01:05:40,779 --> 01:05:42,414 IS JUST, WHO IS RESPONSIBLE FOR 2097 01:05:42,414 --> 01:05:44,550 IT? 2098 01:05:44,550 --> 01:05:46,452 >> COULD ALEC BALDWIN BE 2099 01:05:46,452 --> 01:05:48,220 CRIMINALLY CHARGED? 2100 01:05:57,896 --> 01:05:58,964 >>> I'M NOT TRYING TO BE A 2101 01:05:58,964 --> 01:06:00,532 MASOCHIST AT ALL, BUT I WANT TO 2102 01:06:00,532 --> 01:06:03,736 SEE THAT TRAIN. 2103 01:06:03,736 --> 01:06:05,304 >> ONE OF THE HARDEST THINGS FOR 2104 01:06:05,304 --> 01:06:06,905 ANYBODY TO DO AFTER A TRAGEDY IS 2105 01:06:06,905 --> 01:06:08,507 TO GO BACK TO THE PLACE WHERE 2106 01:06:08,507 --> 01:06:12,211 THEIR LOVED ONES WERE KILLED. 2107 01:06:12,211 --> 01:06:13,779 AND RICHARD AND ELIZABETH JONES 2108 01:06:13,779 --> 01:06:16,982 DID THAT. 2109 01:06:16,982 --> 01:06:19,084 THEY WENT BACK TO THE BRIDGE 2110 01:06:19,084 --> 01:06:21,220 TO SEE WHERE THEIR LITTLE GIRL 2111 01:06:21,220 --> 01:06:24,390 WAS KILLED BY A TRAIN. 2112 01:06:24,390 --> 01:06:25,391 >> I WANT TO EXPERIENCE IT. 2113 01:06:25,391 --> 01:06:30,162 I WANT TO SEE WHAT IT'S LIKE. 2114 01:06:30,162 --> 01:06:31,230 >> OH, MY GOD. 2115 01:06:31,230 --> 01:06:35,968 HOW FAST IS THAT GOING? 2116 01:06:35,968 --> 01:06:37,035 >> IN A WAY I FELT LIKE 2117 01:06:37,035 --> 01:06:38,103 ELIZABETH AND I NEEDED TO DO 2118 01:06:38,103 --> 01:06:39,171 THAT. 2119 01:06:39,171 --> 01:06:43,409 BUT IT WAS HARD. 2120 01:06:43,409 --> 01:06:48,714 AND TO SEE THE SPOT WHERE SHE 2121 01:06:48,714 --> 01:06:49,748 LOST HER LIFE, UH, IT ‐‐ IT'S 2122 01:06:49,748 --> 01:06:51,884 HEARTBREAKING. 2123 01:06:51,884 --> 01:06:52,951 THEY COULDN'T GET OUT OF THE 2124 01:06:52,951 --> 01:06:53,986 WAY. 2125 01:06:53,986 --> 01:06:57,723 >> THE ARROGANCE OF SOMEONE 2126 01:06:57,723 --> 01:07:00,359 PUTTING MY BABY ON THE TRACK ‐‐ 2127 01:07:00,359 --> 01:07:01,427 AND THE FEAR SHE MUST HAVE FELT, 2128 01:07:01,427 --> 01:07:07,766 I CAN'T IMAGINE. 2129 01:07:07,766 --> 01:07:10,969 >> SEVERAL OF THE SUPERVISING 2130 01:07:10,969 --> 01:07:12,004 CREW FROM "MIDNIGHT RIDER" WERE 2131 01:07:12,004 --> 01:07:13,071 BROUGHT TO TRIAL FOR CRIMINAL 2132 01:07:13,071 --> 01:07:15,207 TRESPASS AND INVOLUNTARY 2133 01:07:15,207 --> 01:07:19,445 MANSLAUGHTER ON THE DEATH OF 2134 01:07:19,445 --> 01:07:24,716 SARAH JONES IN A VERY SMALL 2135 01:07:24,716 --> 01:07:25,717 TOWN, JESSUP, GEORGIA. 2136 01:07:25,717 --> 01:07:26,251 >> IF CONVICTED, MILLER, ALONG 2137 01:07:26,251 --> 01:07:28,353 WITH TWO OTHER PRODUCERS AND THE 2138 01:07:28,353 --> 01:07:29,421 FIRST A. D., STOOD TO SERVE AS 2139 01:07:29,421 --> 01:07:31,523 MUCH AS TEN YEARS IN PRISON. 2140 01:07:31,523 --> 01:07:32,591 >> BUT AS THE TRIAL WAS ABOUT TO 2141 01:07:32,591 --> 01:07:33,659 GET UNDERWAY, THERE WAS AN 2142 01:07:33,659 --> 01:07:37,896 UNEXPECTED TURN OF EVENTS. 2143 01:07:37,896 --> 01:07:39,465 >> IN THE COURTHOUSE, THE 2144 01:07:39,465 --> 01:07:40,532 PROSECUTOR CAME TO US AND SAID 2145 01:07:40,532 --> 01:07:41,600 THAT IF WE AGREED THAT THEY HAD 2146 01:07:41,600 --> 01:07:42,668 A PLEA DEAL. 2147 01:07:42,668 --> 01:07:43,735 >> THE DEFENDANT WILL BE 2148 01:07:43,735 --> 01:07:45,838 SENTENCED TO A TEN‐YEAR TERM. 2149 01:07:45,838 --> 01:07:47,973 HE WILL SERVE TWO YEARS IN 2150 01:07:47,973 --> 01:07:49,541 CUSTODY IN THE COUNTY JAIL. 2151 01:07:49,541 --> 01:07:52,177 HE WILL PAY A FINE OF $20,000. 2152 01:07:52,177 --> 01:07:53,745 >> RANDALL MILLER BECAME THE 2153 01:07:53,745 --> 01:07:56,415 FIRST DIRECTOR IN THE HISTORY OF 2154 01:07:56,415 --> 01:07:57,483 THE MOVIES TO GO TO JAIL FOR A 2155 01:07:57,483 --> 01:08:00,152 DEATH ON THE SET. 2156 01:08:00,152 --> 01:08:01,186 >> HE CANNOT SERVE AS A 2157 01:08:01,186 --> 01:08:03,288 DIRECTOR, PRODUCER, FIRST 2158 01:08:03,288 --> 01:08:06,492 ASSISTANT DIRECTOR OR A 2159 01:08:06,492 --> 01:08:07,559 SUPERVISOR ON ANY FILM WHERE HE 2160 01:08:07,559 --> 01:08:09,127 HAS RESPONSIBLE FOR THE SAFETY 2161 01:08:09,127 --> 01:08:10,195 OF OTHER PEOPLE FOR THE ENTIRE 2162 01:08:10,195 --> 01:08:13,899 TEN YEARS. 2163 01:08:13,899 --> 01:08:24,009 >> THE FIRST A. D. HILLARY 2164 01:08:24,009 --> 01:08:25,043 SCHWARTZ AND THE UNIT PRODUCTION 2165 01:08:25,043 --> 01:08:27,613 MANAGER, JAY SEDRISH, BOTH GOT 2166 01:08:27,613 --> 01:08:28,680 10 YEARS PROBATION. 2167 01:08:28,680 --> 01:08:29,748 >> I BELIEVE IT SENDS A MESSAGE, 2168 01:08:29,748 --> 01:08:31,850 FRANKLY, THAT IF YOU DO NOT 2169 01:08:31,850 --> 01:08:32,918 RESPECT THOSE THAT YOU'RE IN 2170 01:08:32,918 --> 01:08:33,986 CHARGE OF, THAT YOU MAY END UP 2171 01:08:33,986 --> 01:08:35,020 BEHIND BARS. 2172 01:08:35,020 --> 01:08:36,088 >> SOMETHING WENT HORRIBLY WRONG 2173 01:08:36,088 --> 01:08:36,622 HERE IN SANTA FE ON THE SET OF 2174 01:08:36,622 --> 01:08:38,223 ALEC BALDWIN'S NEW WESTERN FILM 2175 01:08:38,223 --> 01:08:39,258 "RUST." 2176 01:08:39,258 --> 01:08:40,325 A YOUNG AND HOPEFUL 2177 01:08:40,325 --> 01:08:43,629 CINEMATOGRAPHER IS DEAD. 2178 01:08:43,629 --> 01:08:47,833 >> IT HAS BEEN SEVEN YEARS SINCE 2179 01:08:47,833 --> 01:08:49,468 THE TRAGEDY ON "MIDNIGHT RIDER" 2180 01:08:49,468 --> 01:08:51,570 WHEN SARAH JONES LOST HER LIFE 2181 01:08:51,570 --> 01:08:54,206 AND I WAS SEVERELY INJURED. 2182 01:08:54,206 --> 01:08:59,478 HEARING ABOUT WHAT HAPPENED ON 2183 01:08:59,478 --> 01:09:00,546 THE SET OF "RUST," IT JUST 2184 01:09:00,546 --> 01:09:01,613 BROUGHT BACK A LOT OF PAINFUL 2185 01:09:01,613 --> 01:09:03,215 MEMORIES FOR ME. 2186 01:09:03,215 --> 01:09:06,919 AFTER THE SHOCK, I BECAME ANGRY. 2187 01:09:06,919 --> 01:09:09,555 SUCH A HORRIFIC TRAGEDY OF 2188 01:09:09,555 --> 01:09:12,224 SOMEONE LOSING THEIR LIFE AGAIN. 2189 01:09:12,224 --> 01:09:13,258 >> IT JUST FELT LIKE A KNIFE IN 2190 01:09:13,258 --> 01:09:15,928 MY HEART. 2191 01:09:15,928 --> 01:09:17,496 WHEN SARAH DIED, WE'D HOPED THAT 2192 01:09:17,496 --> 01:09:19,064 HER DEATH MIGHT SAVE SOMEONE'S 2193 01:09:19,064 --> 01:09:22,000 LIFE. 2194 01:09:22,000 --> 01:09:22,968 WOULD HAVE PREVENTED HALYNA'S 2195 01:09:22,968 --> 01:09:25,270 DEATH, BUT IT DIDN'T. 2196 01:09:25,270 --> 01:09:27,439 AND IT HURTS. 2197 01:09:27,439 --> 01:09:27,940 >> NOBODY SHOULD DIE MAKING A 2198 01:09:27,940 --> 01:09:32,611 MOVIE. 2199 01:09:32,611 --> 01:09:33,679 >> I WOULD BE ON SET, AND I 2200 01:09:33,679 --> 01:09:35,781 COULDN'T UNDERSTAND WHY I WAS 2201 01:09:35,781 --> 01:09:38,450 CRYING SO MUCH. 2202 01:09:38,450 --> 01:09:40,018 AND THEN, I REALIZED THAT IT WAS 2203 01:09:40,018 --> 01:09:42,154 TRAUMATIC FOR ME. 2204 01:09:42,154 --> 01:09:43,221 >> PTSD IS VERY DIFFICULT THING 2205 01:09:43,221 --> 01:09:45,324 TO DEAL WITH. 2206 01:09:45,324 --> 01:09:46,391 I'M SURE THAT JOYCE HAS GONE 2207 01:09:46,391 --> 01:09:49,027 THROUGH LOT OF MENTAL ANGUISH 2208 01:09:49,027 --> 01:09:52,764 STILL TO THIS DAY. 2209 01:09:52,764 --> 01:09:55,901 UNFORTUNATELY, I THINK THE CREW 2210 01:09:55,901 --> 01:09:56,435 OF "RUST" WILL ENDURE THE SAME 2211 01:09:56,435 --> 01:09:59,104 PATH. 2212 01:09:59,104 --> 01:09:59,638 >> YOU CAN'T KNOW WHAT THIS 2213 01:09:59,638 --> 01:10:02,874 FEELS LIKE. 2214 01:10:02,874 --> 01:10:04,209 AND ‐‐ I DON'T KNOW. 2215 01:10:04,209 --> 01:10:05,244 MOST OF US ARE GOING TO BE 2216 01:10:05,244 --> 01:10:06,311 DEALING WITH THIS FOR THE REST 2217 01:10:06,311 --> 01:10:07,879 OF OUR LIVES, MAN. 2218 01:10:07,879 --> 01:10:11,283 >> TO THIS DAY, I STILL AM SO 2219 01:10:11,283 --> 01:10:12,884 SHOCKED THAT THIS HAPPENED. 2220 01:10:12,884 --> 01:10:13,986 IT'S UNBELIEVABLE. 2221 01:10:13,986 --> 01:10:17,656 JOEL SOUZA, THE DIRECTOR WAS 2222 01:10:17,656 --> 01:10:19,257 RIGHT OVER HALYNA'S SHOULDER. 2223 01:10:19,257 --> 01:10:20,325 HE WAS SHOT. 2224 01:10:20,325 --> 01:10:21,360 >> THERE ARE TWO VICTIMS OUT 2225 01:10:21,360 --> 01:10:22,427 THERE, HALYNA HUTCHINS AND JOEL 2226 01:10:22,427 --> 01:10:26,064 SOUZA, AND THEY DESERVE JUSTICE. 2227 01:10:26,064 --> 01:10:27,132 >> JOEL IS STILL RECOVERING, 2228 01:10:27,132 --> 01:10:28,200 AND HALYNA'S GONE AND WE CAN'T 2229 01:10:28,200 --> 01:10:31,903 GET HER BACK. 2230 01:10:31,903 --> 01:10:33,505 >> IN THE "MIDNIGHT RIDER" CASE 2231 01:10:33,505 --> 01:10:34,539 IT WAS CLEAR WHO HAD MADE THE 2232 01:10:34,539 --> 01:10:35,073 DECISION TO GO TO THE RAILROAD 2233 01:10:35,073 --> 01:10:38,276 TRACKS. 2234 01:10:38,276 --> 01:10:39,845 HERE IN THE "RUST" CASE, THERE 2235 01:10:39,845 --> 01:10:41,980 ARE STILL QUESTIONS ABOUT WHO IS 2236 01:10:41,980 --> 01:10:43,548 RESPONSIBLE AND HOW IT HAPPENED. 2237 01:10:43,548 --> 01:10:45,684 >> WE WANT TO KNOW HOW THAT LIVE 2238 01:10:45,684 --> 01:10:47,786 ROUND GOT ON THE SET. 2239 01:10:47,786 --> 01:10:49,388 BUT WHAT'S MORE IMPORTANT IS HOW 2240 01:10:49,388 --> 01:10:50,455 THAT LIVE ROUND GOT INTO THE 2241 01:10:50,455 --> 01:10:52,024 GUN. 2242 01:10:52,024 --> 01:10:53,625 THE FACT THAT IT WAS ON THE SET 2243 01:10:53,625 --> 01:10:56,294 WAS OBVIOUSLY A FAILURE. 2244 01:10:56,294 --> 01:10:58,397 BUT HOW IT THEN WENT FROM JUST 2245 01:10:58,397 --> 01:11:01,566 ON THE SET TO INTO THE GUN 2246 01:11:01,566 --> 01:11:05,804 WITHOUT ANY OF THOSE LEVELS OF 2247 01:11:05,804 --> 01:11:07,906 PROTECTION WORKING IS THE MORE 2248 01:11:07,906 --> 01:11:08,974 IMPORTANT INQUIRY THAT MY OFFICE 2249 01:11:08,974 --> 01:11:10,575 IS FOCUSED ON. 2250 01:11:10,575 --> 01:11:14,279 >> I'M NOT COMMENTING ON 2251 01:11:14,279 --> 01:11:14,813 CHARGES, WHETHER THEY WILL BE 2252 01:11:14,813 --> 01:11:16,915 FILED OR NOT OR ON WHOM. 2253 01:11:16,915 --> 01:11:17,449 >> THE CRIMINAL INVESTIGATION IS 2254 01:11:17,449 --> 01:11:19,551 ONGOING. 2255 01:11:19,551 --> 01:11:22,754 CIVIL LAWSUITS HAVE ALREADY BEEN 2256 01:11:22,754 --> 01:11:23,822 FILED. 2257 01:11:23,822 --> 01:11:25,323 MORE ARE COMING. 2258 01:11:25,323 --> 01:11:26,391 THERE'S SCRUTINY ON BOTH THE 2259 01:11:26,391 --> 01:11:28,493 FIRST ASSISTANT DIRECTOR, DAVID 2260 01:11:28,493 --> 01:11:31,697 HALLS, AND THE ARMORER, HANNAH 2261 01:11:31,697 --> 01:11:32,731 GUTIERREZ REED, BUT ALSO ON ALEC 2262 01:11:32,731 --> 01:11:36,435 BALDWIN'S ROLE. 2263 01:11:36,435 --> 01:11:38,570 >> THIS WAS CLEARLY AN ACCIDENT, 2264 01:11:38,570 --> 01:11:40,672 BUT JUST BECAUSE SOMETHING IS AN 2265 01:11:40,672 --> 01:11:41,740 ACCIDENT DOESN'T MEAN THAT A 2266 01:11:41,740 --> 01:11:44,910 CRIMINAL ACT DIDN'T OCCUR. 2267 01:11:44,910 --> 01:11:50,215 >> I'VE BEEN TOLD BY PEOPLE WHO 2268 01:11:50,215 --> 01:11:52,851 ARE IN THE KNOW, IN TERMS OF 2269 01:11:52,851 --> 01:11:53,919 EVEN INSIDE THE STATE, THAT IT'S 2270 01:11:53,919 --> 01:11:54,986 HIGHLY UNLIKELY I WOULD BE 2271 01:11:54,986 --> 01:11:56,021 CHARGED WITH ANYTHING 2272 01:11:56,021 --> 01:11:56,555 CRIMINALLY. 2273 01:11:56,555 --> 01:11:57,589 >> COULD ALEC BALDWIN BE 2274 01:11:57,589 --> 01:11:58,690 CRIMINALLY CHARGED? 2275 01:11:58,690 --> 01:11:59,758 >> EVERYTHING IS ON THE TABLE 2276 01:11:59,758 --> 01:12:00,792 AND NOTHING IS OFF THE TABLE. 2277 01:12:00,792 --> 01:12:01,860 >> ENORMOUS QUESTIONS REMAIN 2278 01:12:01,860 --> 01:12:04,663 ABOUT WHO WILL ULTIMATELY BE 2279 01:12:04,663 --> 01:12:04,930 HELD RESPONSIBLE IN HALYNA'S 2280 01:12:04,930 --> 01:12:07,599 DEATH. 2281 01:12:07,599 --> 01:12:10,268 >> THE REASON WE STILL USE REAL 2282 01:12:10,268 --> 01:12:11,803 FIREARMS ON SET IS BECAUSE WE 2283 01:12:11,803 --> 01:12:12,871 HAVE TO. 2284 01:12:12,871 --> 01:12:15,407 >> SHOULD THEY JUST STOP USING 2285 01:12:15,407 --> 01:12:17,242 REAL GUNS ON SETS? 2286 01:12:22,047 --> 01:12:23,115 >>> A CALIFORNIA STATE SENATOR 2287 01:12:23,115 --> 01:12:25,717 INTENDING TO INTRODUCE 2288 01:12:25,717 --> 01:12:26,752 LEGISLATION IN HUTCHINS' HONOR 2289 01:12:26,752 --> 01:12:27,819 THAT WOULD BAN LIVE 2290 01:12:27,819 --> 01:12:28,353 AMMUNITION ‐‐ 2291 01:12:28,353 --> 01:12:31,523 >> PRODUCERS AT THE ABC CRIME 2292 01:12:31,523 --> 01:12:32,591 DRAMA "THE ROOKIE" HAS ANNOUNCED 2293 01:12:32,591 --> 01:12:33,625 THEY WILL NO LONGER USE LIVE 2294 01:12:33,625 --> 01:12:34,192 WEAPONS ON SET. 2295 01:12:34,192 --> 01:12:35,761 >> SAYING THEY WILL BAN ALL LIVE 2296 01:12:35,761 --> 01:12:36,795 GUNFIRE ON SET IMMEDIATELY. 2297 01:12:36,795 --> 01:12:38,430 >> THERE IS A MOVEMENT HAPPENING 2298 01:12:38,430 --> 01:12:41,066 IN HOLLYWOOD RIGHT NOW IN THE 2299 01:12:41,066 --> 01:12:42,634 WAKE OF THE "RUST" TRAGEDY TO 2300 01:12:42,634 --> 01:12:48,106 BAN REAL FIREARMS FROM SETS. 2301 01:12:48,106 --> 01:12:49,608 >> ANY MOVIE WE HAVE MOVING 2302 01:12:49,608 --> 01:12:51,443 FORWARD WITH SEVEN BUCKS 2303 01:12:51,443 --> 01:12:53,645 PRODUCTIONS, WE WON'T USE REAL 2304 01:12:53,645 --> 01:12:56,982 GUNS AT ALL. 2305 01:12:56,982 --> 01:12:57,482 WE'RE GOING TO SWITCH TO RUBBER 2306 01:12:57,482 --> 01:12:58,550 GUNS. 2307 01:12:58,550 --> 01:12:59,618 >> IF WE ARE GOING TO SEE ANY 2308 01:12:59,618 --> 01:13:00,685 CHANGE IN HOLLYWOOD ABOUT THE 2309 01:13:00,685 --> 01:13:01,753 USE OF GUNS, IT'S GOING TO HAVE 2310 01:13:01,753 --> 01:13:02,254 TO COME FROM BIG NAMES, AND 2311 01:13:02,254 --> 01:13:03,321 DWAYNE JOHNSON IS THE BIGGEST 2312 01:13:03,321 --> 01:13:03,855 STAR IN THE WORLD RIGHT NOW. 2313 01:13:03,855 --> 01:13:04,956 AND THAT'S A BIG DEAL, BECAUSE 2314 01:13:04,956 --> 01:13:05,991 IT'S NOT LIKE THE ROCK MAKES A 2315 01:13:05,991 --> 01:13:06,525 LOT OF ROM COMS. 2316 01:13:06,525 --> 01:13:07,559 HE MAKES ACTION MOVIES. 2317 01:13:07,559 --> 01:13:08,093 THAT COULD START THE PROCESS FOR 2318 01:13:08,093 --> 01:13:10,028 REAL CHANGE. 2319 01:13:10,028 --> 01:13:11,163 >> ARE YOU KIDDING ME? 2320 01:13:11,163 --> 01:13:11,696 >> SHOULD THEY JUST STOP USING 2321 01:13:11,696 --> 01:13:13,265 REAL GUNS ON SETS? 2322 01:13:13,265 --> 01:13:16,968 >> SOMEONE ELSE CAN DETERMINE 2323 01:13:16,968 --> 01:13:18,036 WHAT IS THE SAFEST, BEST THING. 2324 01:13:18,036 --> 01:13:19,070 WHAT DO WE COME OUT OF THIS 2325 01:13:19,070 --> 01:13:20,172 LEARNING? 2326 01:13:20,172 --> 01:13:21,239 WHAT DO WE COME OUT OF IT ‐‐ 2327 01:13:21,239 --> 01:13:23,341 WHAT CHANGES CAN BE MADE? 2328 01:13:23,341 --> 01:13:25,410 IF YOU'RE GONNA WIND UP WHERE 2329 01:13:25,410 --> 01:13:26,978 THE GUNS ARE GONNA BE PLASTIC OR 2330 01:13:26,978 --> 01:13:28,013 RUBBER. 2331 01:13:28,013 --> 01:13:31,116 I'VE USED RUBBER GUNS BEFORE. 2332 01:13:31,116 --> 01:13:33,185 YOU'RE GOING TO CGI EVERYTHING 2333 01:13:33,185 --> 01:13:34,152 EVENTUALLY. 2334 01:13:34,152 --> 01:13:38,490 IF I AIM THE GUN AND I POINT THE 2335 01:13:38,490 --> 01:13:39,524 GUN AND GO, "BANG," AND IT CGIs 2336 01:13:39,524 --> 01:13:40,625 THE EXPLOSION, THEN THAT'S 2337 01:13:40,625 --> 01:13:41,660 GREAT. 2338 01:13:41,660 --> 01:13:44,296 >> AT BARNSTORM‐VFX, A VISUAL 2339 01:13:44,296 --> 01:13:45,363 EFFECTS HOUSE IN L. A., MUZZLE 2340 01:13:45,363 --> 01:13:45,897 FLASHES ARE SIMULATED IN 2341 01:13:45,897 --> 01:13:49,067 POSTPRODUCTION FOR SHOWS LIKE 2342 01:13:49,067 --> 01:13:51,203 "THE BIG SKY" AND THE MAN IN THE 2343 01:13:51,203 --> 01:13:52,237 HIGH TOWER. 2344 01:13:52,237 --> 01:13:53,305 >> I WOULD SAY THAT A SIMULATED 2345 01:13:53,305 --> 01:13:54,372 MUZZLE FLASH, IF IT'S DONE 2346 01:13:54,372 --> 01:13:55,974 CORRECTLY, CAN GET PRETTY CLOSE 2347 01:13:55,974 --> 01:14:00,212 TO LOOKING LIKE A REAL GUNSHOT. 2348 01:14:00,212 --> 01:14:01,246 A MUZZLE FLASH IS A LIGHT SOURCE 2349 01:14:01,246 --> 01:14:05,483 ESSENTIALLY. 2350 01:14:05,483 --> 01:14:09,721 I HAVE TAKEN A STOCK ELEMENT 2351 01:14:09,721 --> 01:14:12,891 OF A SIMILAR, GUN, MUZZLE FLASH. 2352 01:14:12,891 --> 01:14:14,993 I HAVE ILLUMINATED MY KNUCKLES 2353 01:14:14,993 --> 01:14:15,527 AND THE FRONT OF THE GUN AND 2354 01:14:15,527 --> 01:14:17,128 EVEN MY FACE FOR JUST ONE FRAME. 2355 01:14:17,128 --> 01:14:18,730 I'VE EVEN ADDED A REFLECTION OF 2356 01:14:18,730 --> 01:14:21,900 THE MUZZLE FLASH IN THE EYES. 2357 01:14:21,900 --> 01:14:26,605 THE ACTOR MIMED THE ACTION OF 2358 01:14:26,605 --> 01:14:29,774 SHOOTING IT, SLIGHTLY KICKING MY 2359 01:14:29,774 --> 01:14:30,809 WRISTS BACK, AND THEN WE 2360 01:14:30,809 --> 01:14:31,910 COMPOSITE THAT IN OVER 2361 01:14:31,910 --> 01:14:32,410 EVERYTHING ELSE TO MAKE IT 2362 01:14:32,410 --> 01:14:39,718 REALISTIC. 2363 01:14:39,718 --> 01:14:40,785 >> THE REASON WE STILL USE REAL 2364 01:14:40,785 --> 01:14:43,955 FIREARMS ON SET IS BECAUSE WE 2365 01:14:43,955 --> 01:14:45,023 HAVE TO. 2366 01:14:45,023 --> 01:14:47,158 THERE'S A CERTAIN AMOUNT OF 2367 01:14:47,158 --> 01:14:48,226 PHYSICALITY TO THIS PROP, AND AN 2368 01:14:48,226 --> 01:14:49,261 ACTOR HAS TO REACT CORRECTLY TO 2369 01:14:49,261 --> 01:14:52,964 THE GUNFIRE. 2370 01:14:52,964 --> 01:14:54,032 THERE'S REACTION TO THE GUNFIRE, 2371 01:14:54,032 --> 01:14:55,066 EYES FLINCHING, THINGS LIKE 2372 01:14:55,066 --> 01:14:56,701 THAT. 2373 01:14:56,701 --> 01:14:57,736 YOU JUST CAN'T DUPLICATE THAT 2374 01:14:57,736 --> 01:15:00,405 WITH CGI. 2375 01:15:00,405 --> 01:15:02,474 WE'VE FIRED BILLIONS OF ROUNDS 2376 01:15:02,474 --> 01:15:05,176 OF BLANKS OVER THE YEARS, AND IT 2377 01:15:05,176 --> 01:15:07,279 CAN BE DONE IN A SAFE MANNER. 2378 01:15:07,279 --> 01:15:10,982 >> THERE PROBABLY SHOULD BE LAWS 2379 01:15:10,982 --> 01:15:12,050 OR STRONGER RULES THAN INDUSTRY 2380 01:15:12,050 --> 01:15:14,719 STANDARDS. 2381 01:15:14,719 --> 01:15:17,889 IT CLEARLY NEEDS TO CHANGE 2382 01:15:17,889 --> 01:15:19,991 BECAUSE SOMETHING LIKE THIS 2383 01:15:19,991 --> 01:15:20,525 HAPPENED AND IT HAS HAPPENED 2384 01:15:20,525 --> 01:15:22,127 BEFORE. 2385 01:15:22,127 --> 01:15:23,728 AND WE'VE GOT TO PROTECT LIVES. 2386 01:15:23,728 --> 01:15:24,195 NOTHING'S MORE IMPORTANT THAN 2387 01:15:24,195 --> 01:15:26,298 THAT. 2388 01:15:26,298 --> 01:15:30,535 >> NEVER AGAIN LET SOMEONE'S 2389 01:15:30,535 --> 01:15:31,069 DAUGHTER DIE, NEVER AGAIN 2390 01:15:31,069 --> 01:15:36,608 SOMEONE'S SON. 2391 01:15:36,608 --> 01:15:38,543 IT'S NEVER, NEVER WORTH A LIFE. 2392 01:15:38,543 --> 01:15:39,644 >> I SEE MANY SIMILARITIES AND 2393 01:15:39,644 --> 01:15:40,679 PARALLELS BETWEEN SARAH AND 2394 01:15:40,679 --> 01:15:44,416 HALYNA. 2395 01:15:44,416 --> 01:15:47,018 THEY BOTH LOVE THE CAMERA AND 2396 01:15:47,018 --> 01:15:48,086 CINEMATOGRAPHY AND ALL THAT 2397 01:15:48,086 --> 01:15:50,221 COMES WITH IT. 2398 01:15:50,221 --> 01:15:54,459 THEY BOTH SHOWED SUCH PROMISE. 2399 01:15:54,459 --> 01:15:58,697 THEIR DEATHS WERE SO SENSELESS, 2400 01:15:58,697 --> 01:15:59,764 SO UNNECESSARY. 2401 01:15:59,764 --> 01:16:04,402 IT SHOULD NOT HAVE HAPPENED. 2402 01:16:04,402 --> 01:16:04,769 >> WE ARE. 2403 01:16:04,769 --> 01:16:05,937 >> WE ARE. 2404 01:16:05,937 --> 01:16:07,138 >> WE ARE. 2405 01:16:07,138 --> 01:16:08,840 >> SARAH JONES. 2406 01:16:08,840 --> 01:16:09,207 >> SARAH JONES. 2407 01:16:09,207 --> 01:16:13,478 >> SARAH JONES. 2408 01:16:13,478 --> 01:16:17,182 >> WHEN SARAH JONES LOST HER 2409 01:16:17,182 --> 01:16:18,249 LIFE SEVEN YEARS AGO, MANY 2410 01:16:18,249 --> 01:16:18,750 PEOPLE IN THE INDUSTRY ADDED HER 2411 01:16:18,750 --> 01:16:23,521 NAME TO SLATES THAT SHE ONCE 2412 01:16:23,521 --> 01:16:24,589 HELD SO THAT EVERY SHOT WAS A 2413 01:16:24,589 --> 01:16:25,657 TRIBUTE TO HER. 2414 01:16:25,657 --> 01:16:26,725 NOW HALYNA HUTCHIN'S NAME IS 2415 01:16:26,725 --> 01:16:29,194 BEING ADDED NEXT TO SARAH'S. 2416 01:16:29,194 --> 01:16:35,000 >> HOW MANY MORE NAMES NEED TO 2417 01:16:35,000 --> 01:16:36,601 GO ON A SLATE BEFORE THE NEEDED 2418 01:16:36,601 --> 01:16:37,669 CHANGES ARE MADE IN THIS 2419 01:16:37,669 --> 01:16:38,737 INDUSTRY SO IT JUST WILL NOT 2420 01:16:38,737 --> 01:16:39,270 HAPPEN AGAIN? 2421 01:16:39,270 --> 01:16:44,943 HOW MANY? 2422 01:16:44,943 --> 01:16:46,011 >> I AM HERE TO EXPRESS TODAY 2423 01:16:46,011 --> 01:16:47,045 WHAT I BELIEVE WE ARE ALL 2424 01:16:47,045 --> 01:16:48,113 FEELING ABOUT THE LOSS OF A 2425 01:16:48,113 --> 01:16:49,714 VIBRANT, GIFTED, UNIQUE 2426 01:16:49,714 --> 01:16:50,248 VISIONARY THAT IS HALYNA 2427 01:16:50,248 --> 01:16:51,816 HUTCHINS. 2428 01:16:51,816 --> 01:16:53,418 >> LAST WEEK, AN EMOTIONAL 2429 01:16:53,418 --> 01:16:57,122 TRIBUTE TO HALYNA AND HER WORK 2430 01:16:57,122 --> 01:16:58,189 AT THE POWER WOMEN SUMMIT IN 2431 01:16:58,189 --> 01:16:59,257 LOS ANGELES, WITH HER HUSBAND 2432 01:16:59,257 --> 01:17:00,291 MATTHEW IN ATTENDANCE. 2433 01:17:00,291 --> 01:17:01,359 >> SO LET'S TAKE A MOMENT TO 2434 01:17:01,359 --> 01:17:11,403 TAKE A LOOK AT HER WORK. 2435 01:17:11,403 --> 01:17:14,572 >> HER WORK WAS EXQUISITE. 2436 01:17:14,572 --> 01:17:15,106 HER FRAMING OF THE SHOTS. 2437 01:17:15,106 --> 01:17:17,776 HER COLORS WERE BEAUTIFUL. 2438 01:17:17,776 --> 01:17:18,810 SHE REALLY CARED A LOT ABOUT THE 2439 01:17:18,810 --> 01:17:22,013 SCENES. 2440 01:17:22,013 --> 01:17:23,581 >> FILMMAKING FOR HER WAS REALLY 2441 01:17:23,581 --> 01:17:30,422 A HIGHER CALLING. 2442 01:17:30,422 --> 01:17:30,922 SHE HAD THE SOUL OF A POET AND 2443 01:17:30,922 --> 01:17:32,524 SO MUCH INTEGRITY AS AN ARTIST. 2444 01:17:32,524 --> 01:17:34,125 >> SHE WAS AN INCREDIBLE 2445 01:17:34,125 --> 01:17:36,761 CINEMATOGRAPHER AND SHE IS A 2446 01:17:36,761 --> 01:17:40,365 GREAT FRIEND, A MOTHER, A WIFE, 2447 01:17:40,365 --> 01:17:43,435 A DAUGHTER AND SHE IS OUR 2448 01:17:43,435 --> 01:17:47,439 SISTER.