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[Music]

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one of the things uh having grown up in

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the business as an actor that I've

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really had to work on as a director is

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understanding action Roger Corman gave

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me a very good piece of advice when I

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was doing Grand Theft Auto and I

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admitted that I was concerned about all

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the car action scenes that I was going

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to have to stage in in that one and he

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said well here's a clue for you you

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understand staging actors because you've

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been an actor and I can see from your

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short films that you're very good with

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the actors and the staging I said yes he

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said well they're all characters I said

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yeah he said so are the cars and um ever

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since then I've learned to look at all

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of the elements in an action sequence as

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um you know as characters really as

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forces that are that are that are

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interfacing uh whether they're a human

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animal a monster fantasy or

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machine uh but I've also continued to

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try to push myself to understand the

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challenges of staging and shooting

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action um the where the camera should be

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um the editing how does the production

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planning uh influence the way the scene

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is going to work how long should the

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shots be and one day I was on an

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airplane and Raiders the Lost Ark was

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playing and I wanted to see it again I

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thought well this is perfect I'm

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thinking about action scenes I love

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Raiders of the Lost Ark I love the

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action in it it's fun it's exciting it's

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all the things that I love um I watch it

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and my headphones didn't work and there

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were no other headphones available on

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the airplane and I was really annoyed

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and I but so I said okay well I won't

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bother and then every once in a while I

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would glance up and I became riveted and

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then came the the famous truck Chase um

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where uh where where indie akes over the

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truck I watched the whole thing without

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sound and I the minute I got home I I

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got hold of what was probably then a VHS

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and I just started watching that scene

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over and over without sound and I

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learned so much I I've done that since

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then with all kinds of scenes uh music

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performance moments uh uh you know um

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other kinds of other kinds of action and

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even dramatic moments and it's very

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interesting to interesting to see how

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great directors choose to stay and shoot

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scenes and you are more sensitive to the

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details of the kind of mechanics of it

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where did the camera go how long how

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long was the shot used how many times

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was the same camera setup used in that

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scene by forcing yourself to kind of

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distance it and just watch it with the

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sound off so I thought today it would be

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good to uh flashback to that moment uh

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on that airplane where my headphones

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wouldn't work and and start off looking

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at U the great Steven Spielberg action

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sequence from Raiders of the Lost Ark

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and let's let's look at what might have

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gone into making it now I wasn't there

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I've never talked to Steven about it

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but um let's let's let's look at it I

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think we might we might we might surmise

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a few

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things well that's a camera shot with a

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crane it's one

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setup this looks like two cameras like

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an A and B camera and you can also see

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that they use the double here um and

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because you're kind of angling either to

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a profile or or the back so that might

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have been a second unit shot

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Towing scenes let's stop for one

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second as an actor these are the bane of

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your existence uh it's very

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uncomfortable and you know uh Towing

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vehicles with cameras mounted on the

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vehicle or on a trailer alongside it uh

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a camera car that's pulling it

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especially out here in a rough rough

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environment uh as as they were in with

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radiers of the Lost dark it's slow it's

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tedious it's dangerous and I was very

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interested when I was watching the scene

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to notice the speed of the vehicles now

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when I watch the sequence with the sound

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and John Williams music playing I feel

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like it's you know they're going 100

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miles an hour but um you know they're

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they're not now this scene is not the

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action yet we'll talk some more about it

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when we get to the truck but let's carry

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on it's another opportunity to use a

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stunt double probably a second unit

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shot that's second unit also well the

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reason I could see is because the stunt

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guy was definitely moving his head away

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so you could see it wasn't

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Harrison and there's a close-up of

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Harrison now let's stop for a second so

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how many times has Harrison Ford been in

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this sequence so far he he rode his

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horse out and went around on that crane

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shot the very beginning and there so how

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many times do they need Harrison Ford so

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far in this first minute or so of this

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action sequence twice uh Steven

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Spielberg is incredibly organized in

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these kinds of ways he comes out of

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Television himself and uh I guarantee

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you that those kinds of of things were

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thought of and planned for in advance

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meaning certain scenes could be done

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with the double could be done with

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second unit freeing um the the director

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Steven Spielberg to stay with the actors

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in first unit Mickey Moore um is the

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second unit director on this and I

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happen to know that because he was also

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the second unit director a few years

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later on Willow and uh George Lucas and

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uh Steven Spielberg had a lot of uh

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affection for and respect for Mickey

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Moore who was an old veteran started as

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a child actor in the U silent movie era

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worked his way up through Hollywood as a

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as a prop man as a as a an assistant

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director uh production manager and

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eventually a director and then in his

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retirement years became one of the

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preeminent uh action directors um Mickey

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directed a lot of this

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sequence let's carry

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on great shot dangerous shot very

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difficult to ride a horse down in that

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way so it's definitely double and also

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difficult to time with the

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truck let's stop now notice how long

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that shot was it's not very long so that

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tells me that they carefully set up for

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just that moment when they would be

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firing shots past the gun to the rider

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and that makes the scene safer more

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manageable and contained but it takes it

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takes either storyboarding or some

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thoughtful shot listing to say we don't

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have to ride the horse the the truck and

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the vehicle with the machine gun for you

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know a th000 ft down a bouncing road

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that that would be irresponsible and uh

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and totally inefficient but what we do

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need is this moment when the gun's

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firing and the gun misses because ind's

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able to ride the the horse and and and

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get on the other side of the truck

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that's Harrison himself no question

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about that not Harrison but a great shot

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but see the truck's not going very fast

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if you notice let's stop for a second as

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exciting as that is and it's a tricky

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shot the camera's down low to help um

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intensify the speed it also helps mask

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the fact that it's uh it's it has to be

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a stunt person it wouldn't be safe for

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Harrison to have done that and um uh and

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it gives you the illusion of

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some speed because the road's going by

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you know close to a wide lens wide

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lenses always help enhance speed um but

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you can still look that and see just by

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the rotation on the wheels that um you

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know not not going that fast going at a

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at a sane measured speed and they could

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perfectly well get away with it and

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still make the scene exciting and much

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much safer to

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do okay fight scene that's definitely

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Harrison let's stop um so a scene like

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that of course is Towing the vehicle uh

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it might not even be the entire truck

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I'm sure it wasn't they probably had to

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build a small compartment just for this

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fight because they knew they we're going

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to have a you know a great deal of

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action in that fight and uh the safe way

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is to plant that onto its own uh trailer

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you know that you don't need to see the

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front of uh of the vehicle um and it's

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much more efficient if the director is

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able to say here's here's what we

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need to sell the int the intensity of

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this action scene we don't need more uh

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but we don't need less this is it

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storyboarding helps amend mely with

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those kinds of decisions sometimes

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making a model helps just a small

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version of the set so that you can you

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can look at it you can imagine the

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action sometimes in preparation you may

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tape it out um or build a little mockup

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to just make sure that you're not short

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changing yourself but you don't want to

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be overly ambitious again it makes

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action dangerous and Incredibly uh

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inefficient um and nor nor do you want

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to um you know serve the needs of the

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scene let's keep

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going very exciting clearly second unit

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dangerous driving here we're back to

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that set with the fights going

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on great pieces again very specific

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storyboarded kind of

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sequence the shot is designed to achieve

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one thing let's stop whether it's a

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fall uh or a

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skid uh these things are not pieced

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together in long runs they're they're

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they're meant to be executed idea by

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idea and that's what makes it efficient

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and it's also what makes it uh something

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that you can execute with uh consistency

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and

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safety they're back into our

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set you can see that that wide shot

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again the truck was very measured um I'm

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sure all the ladders were wired it's

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just a good oldfashioned and fall we're

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back to our set with a different

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background here we're into second unit

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action here's a big

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stunt probably multiple

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cameras each of these action ideas set

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up to accomplish the thing it needs to

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and really no

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more let's stop for a second often in a

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situation like this it's a very good

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idea to have the design shot the

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storyboarded shot and yet to try to put

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a a b camera or a c camera if you're if

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you know if you have it in various

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places they may not be storyboarded but

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they may be places where you know the

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truck could go by closely perhaps

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something will accidentally fall in the

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foreground so you're not as meticulous

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about those shots but uh very often

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you're very happy to have them in the

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editing room

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again let's keep checking the speed of

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the

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trucks very intense sequence but they

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don't have to be going 75 or 80 mil an

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hour back to that same mockup set all

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the wider shots could be done with

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doubles so it's possible that Harrison

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only had to do a couple of days of

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shooting uh for his his part of the

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sequence although there's some pretty

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intense stuff coming up

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look at the way Spielberg keeps using

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that closeup of

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Harrison well in the in those days those

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were

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models uh Miniatures thrown off of a

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real probably off of a real Cliff or or

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a smaller

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Cliff great suspense build up back to

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that set with Harrison

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he jerks a fake steering wheel one way

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and the stunt double does

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it again look at the speed of the

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truck you don't have to be going that

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fast with those

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Riders that's a controlled

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fall Another Not So controlled fall but

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it wasn't an

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accident no wires on these

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guys still that set

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that they're using that's not that set

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that's a real

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truck with the double back to the set on

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with

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Harrison that looked like a and b

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cameras side by

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side you can begin to see if you watch a

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scene like this you know how

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storyboarded and planned it might

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be and how careful it would be and

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therefore the execution winds up

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becoming

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efficient back to our

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set that's a particular set piece same

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with

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that um so that Harrison could safely be

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in the

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shot that one as well and that was

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Harrison dragging his feet along the

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dirt this is mimicking a famous scene I

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think it's from John Ford's uh Stage

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Coach famous uh stuntman invented this

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idea and went under the stage coach

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I can guarantee you that wasn't

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Harrison but you can also see how

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specific shots are that is Harrison of

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course so it's not like he got off you

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know Scott free

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what a sequence this is back to our

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set Harrison again more fighting

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you can see that that there shots

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through uh each door and then through

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that windshield and that's basically the

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way that set is used here's that set

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that we saw earlier with Harrison that

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set up that stunt fall they did it that

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way probably so they could have pads you

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know they framed out the ground so you

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see somebody fall but you don't see them

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hit that's much safer because it meant

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they could put padding

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down That Could Have Been A and B

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cameras it's

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possible and Indie makes it to the other

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side I'm

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exhausted and I didn't have to do a darn

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thing except watch it um it just gives

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you an idea about the value of really

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analyzing what excellent directors have

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done in the past it doesn't mean that

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you will choose to make your next

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sequence um follow the Aesthetics or The

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Cutting patterns uh or the staging of um

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you know Raiders of the Lost Ark or any

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other action scene you might watch

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watching this sequence from Raiders of

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the Lost Ark over and over again in

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informed me in a number of ways but I

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think the the number

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one lesson that I

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learned was that um taking the action

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in

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controllable bits in

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moments and having the patience to plan

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it and shoot it idea to idea to idea in

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a thoughtful enough way that it could it

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could it could be seamlessly edited was

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a far superior way to approach a

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sequence like this rather than um just

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staging a lot of action and trying to

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shoot it over and over again M Mad Max

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is an interesting one to watch so is

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Matrix you know fascinating when we

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start getting into the world of CGI and

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really slow it down looking at the uh uh

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you know the Marvel movies today it's a

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it remains a

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fantastic um exercise in terms of just

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giving you some Clues and insights into

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into the way others have done it then

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it's the director's job to use it um

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only for its its its inspiration uh and

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and and also for some practical uh

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suggestions if you want to do something

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like this um here's the way you may want

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to approach it if if this if this sort

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of impact on the audience is what you're

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looking for these are the building

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blocks that at least worked in this

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particular circumstance and uh but again

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um you know it's it's it's it's it's not

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to do anything but excite you excite

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your imagination and and uh um you know

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and

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stir um a kind of a menu of

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possibilities for you to draw upon

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because there are always many many

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different ways to present a dramatic

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idea an exciting idea to audiences when

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Paul Greengrass stages a big action

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scene in Born identity he does almost

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entirely the opposite he comes from the

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documentary world he wants a different

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kind of aesthetic he's not going for

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this sort of uh movie movie action

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sequence and in that case he does use

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multiple cameras he carefully stages the

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action they they they they work on it

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they they plan it the camera operators

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have an idea as to what it's going to be

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but they begin shooting in a in a more

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of a documentary style they stage it and

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shoot it they still break it down into

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um uh action

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moments uh but it's not as choreographed

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in appearance and the shots are not

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composed

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necessarily uh or at least they're

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they're not meant to feel as as uh as as

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composed and organized and presented as

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um an action sequence like Raiders of

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the Lost Ark both incredibly effective

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but aesthetically very different and in

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both instances you can learn a lot by

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finding the scene that impresses you and

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uh watching it over and over again

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eventually turning the sound off and

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beginning to understand how do how those

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pieces came together