Original subtitles

Definitely, the action movie is like

a fantasy that's being played out.

Set.

Here we go, in three, two, one...

Action.

Ready. Go!

Let's go!

I think people like action movies.

I think there's just this wish fulfillment in them.

I think people like to see heroes.

Every action sequence,

if it's a car crash, or a wire hit, or you're flying,

part of the high of it

is that you get to do something cool and exceptional

and that there is danger.

I think stunts require

a really interesting personality.

Action!

Everybody can fall on the ground.

But are you capable of falling 20, 30 times?

Ow.

When you put your body in these extreme situations,

we have to be really on top of our game to achieve our job.

I love the tension before they say action.

Ready, and three, two, one, go!

When you're 500 feet in the air, you leap...

Trust.

I think a misconception about stunt performers

is people think we're daredevils.

People think it's so glamorous.

But what's not glamorous

is people are away from their families and loved ones.

This career is very, very hard on families.

It's not easy to be apart, like, away from them.

Not seeing my daughter growing up,

it's killing me.

This is my career. It's what I love doing.

There is no plan B. There's no other options.

I know the heart and soul

that stunt performers give to productions.

They're the heroes behind the heroes,

and I think it's time to tell the story of the stunt man.

Thank you for giving us your time.

-Yeah, sure. -Super appreciate it.

And mark.

So, I'd love to hear from you

your perspective on the history of action films.

Um...

The history of action.

I'm gonna you up.

Action is in the fabric, in the DNA of cinema.

Are you not entertained? Is this not why you are here?

It's fundamental. It's... it's air.

And, yeah, you don't make an action film

without stunts.

When we think of early cinema,

you know, Buster Keaton, Charlie Chaplin,

we're looking at action,

kind of realizing the potential of physical comedy.

Bridges falling, exploding trains, the chase scene.

But you know, as a kid growing up,

my eye was always kind of drawn to, like, the drama of action.

Fighting for your life, fighting for revenge,

fighting to escape.

And all of these moments had stunt people.

So, there were the people that do it,

but there was also this entity

that was looking to design it, make it happen.

And through the years,

I think this ambition of upping the game, upping the intensity,

started to get introduced to technology.

With technology, you're getting to play.

And it's like, how do we heighten the storytelling?

It's like bigger, better... bigger.

Bigger explosions, bigger fights

and collisions and smashing and falling and...

In modern stunts,

David Leitch and Chad Stahelski

have been in the prow of that boat,

kind of forging a new way.

Ay, that's it.

Nice.

One, two.

Good one.

One, two, one, two.

Yeah, OK. So, jab.

Good. And then throw the hook.

What stunt are you gonna do?

It is a hand pull ratchet back through the breakaway window.

Go!

Cut!

Coming to L.A. to be a stunt performer,

I was having fun, It was really fulfilling.

But I think the more I got exposed to good directors

and the more I got experience on set,

the more I wanted to be deeper and deeper involved.

And I wanted to add more to this process.

After Matrix 1,

Chad got to see how the Hong Kong team

really did it with Woo-ping.

They had a team of choreographers

and then they would train the actors,

and they would shoot and edit the fights.

And I think the knowledge from that shoot,

we applied it to what we were doing.

And then, we rented a space and we started 87eleven.

- You gotta swing. - Swing?

- Yep. - You have to kick it.

You're gonna have to spin it. He ducks.

You gotta spin it there.

We started to train ourselves in choreography

and started to train actors in choreography

and started to create our business around that.

When people saw actors actually fighting in the frame,

there was this thing like,

"How do we do that? How do we replicate that?"

And we're like, you know, "Hey, we do that."

And then we really were put on the map

as, like, you gotta go to Dave and Chad.

If you're a stunt coordinator, just hire them,

and they'll choreograph it,

shoot, edit, show you the pre-viz.

There was nobody doing "pre-viz" before we did it.

It was, you choreograph it, you show the director,

and he would figure out how to shoot it.

It was really us who came up with the idea.

You can't separate the choreography

from the way you're gonna shoot it.

You need to present the full idea.

We should have branded that back in the day.

And so, it was an evolution.

It was never, like, I wanna be a director.

But the more I knew, the more confidence I got.

And then, when we got the chance

to shoot John Wick as directors...

And cut.

...things just took off.

And then it was, like, nonstop.

And soon, Chad really wanted to push action in his own way,

and I started to get really excited about telling stories.

So, we went our separate ways.

Chad continued on with the epic John Wick franchise,

and I started 87North with my wife

and producing partner, Kelly McCormick.

-Can you show that video? -Yeah.

I was trying to explain it to Paul,

but I wanna show Kelly.

Right now, we're in preproduction on a few projects

that we've been championing.

One is a movie about getting your Christmas mojo back.

So, if we can walk through the movie

- where it stands right now. - OK.

Kelly called. She had gotten a pitch,

and she's like, "You gotta hear it!"

So, I sat down and she started

to lay out this crazy, insane story

about, you know, what if Santa was there

the night a family was abducted and he had to save the day.

And I was like, "This is genius."

Tonally, it has to be fun.

But ultimately, it has to service the stunts

that we need to do for the action of the movie.

So, there's that element.

There's a fun, irreverent, quick-cutting tone, you know?

But the violence is, like, darkly comedic,

and it actually allows you to do some more provocative things.

Do the stunt guys come out? Do they have a couple of traps?

-Yeah. -Like, you know,

hook this guy up to a ratchet.

When we can attach the right filmmaker and the right actors,

we can do bold things,

and provocative things, and fun things.

And if anyone knows how to do it, it's Tommy.

Tommy Wirkola's a super- interesting genre director.

You know, Dead Snow,

Dead Snow 2, What Happened to Monday.

He fell in love with Violent Night

and we were able to place him on the picture.

I have a great, great love for R-rated action movies,

and I grew up watching them.

They had a darkness and an edge

and a sense of humor all combined,

and trying to surprise the audience in different ways.

And I always love that challenge.

And I have a lot of fun with that.

Because you have to really make the action stand out.

You find your way to make it stand out.

And, yeah, we used humor and edge and attitude.

Section one.

Sway, block, carry, hit, hilt. OK, got it.

The next one, he grabs it.

Right. And then, yep.

And then you block, block. Right? Block this arm. Block.

This arm. Fling it.

OK, that's one section.

Clear. A, B, common mark.

My name is Jonathan Eusebio.

I'm the stunt coordinator,

second-unit director on Violent Night.

I go way back with Jojo

and I've probably worked with him on a dozen films.

Crack.

He's one of the original members

of our choreography team at 87eleven.

He's incredibly talented at martial arts.

He's gone on to choreograph and shoot his own things.

And he's risen to be one of the best stunt coordinators around.

Visually, this looks better, OK?

And it's like, it gives me a longer line.

Jojo has this crazy charisma. He's hysterical.

And then he ends up being phenomenal at what he does.

Go. So, as she comes up, you drop.

Go. Yes.

I've loved action movies since I was a kid.

When I was growing up, that was my way to escape

whatever I was dealing with at the time.

I just watched a lot of martial art movies.

My parents were born in the Philippines.

So, being a son of immigrants,

you know, dealing with a lot of prejudice

or people picking on us or whatever.

So, initially, I did martial arts

because my dad wanted me to protect myself.

But then I realized, I just love it.

So, I just did it my whole life.

And action.

You know, I am excited cos this is a big opportunity for me.

I wanna direct, also.

Chad and Dave were the first ones to do it.

They're in the mainstream now.

I'm trying to follow that template.

One more time. OK.

But at the same time, as a coordinator,

you're only as good as your stunt crew.

Personally for me, any time you assemble a crew,

you want the same mindset.

I remember, I did this show years ago in Germany.

The German coordinator, he's having all these guys audition

and I didn't think a lot of them were that great.

So we go online and we see these guys.

We go, "Look, these guys are in Germany.

Where are these guys? I wanna see these guys."

The coordinator is like, "They have attitude.

You won't like them. They're weird."

I'm not worried attitude. I can fix attitude.

So, he brought them in.

They audition. They were the best.

So, I got Can, I got Phong, and I got Cha.

Can is, like, the de facto leader of that group.

He'll be the one that'll end up directing.

Cha is by far the best performer.

He's like a hidden gem.

Phong is the most technical of them in terms of stunt.

So, he can rig, he can perform, he can do all these things.

They've been my main team

for the last, like, two or three shows.

I did a job in Toronto years ago.

One of my first coordinating jobs, a show called Nikita.

And there was this girl doubling the lead, Maggie Q.

So, if you can double Maggie Q, you have to be pretty good.

I've been around stunts since I was 12 years old.

The gym that I trained at,

they always had stunt performers around, training.

It didn't really hit me

until seeing Jackie Chan's stunt team at our gym.

And they were doing their break falls

and they were doing their flips.

Just blew my mind. "That's what I wanna do."

And I remember, our technical instructors saying, like,

"OK, guys, you can absolutely do this.

You have to train, dedicate yourself.

You have to condition your body. This is not a joke."

And I just remember thinking,

"OK, when I grow up, I'm gonna do that.

Until then, I gotta figure out my life,

but when I grow up, I'm gonna do that."

Ah! Fun.

- It kind of looks the same. - This looks the same.

- This looks the same. - It hasn't changed at all.

It's still dirty. It still has that Berlin...

- Ghetto? - Ghetto flavor.

I remember, we had to jump over fences to get in.

- Oh, yes. Yeah, yeah, yeah. - Right?

There was a secret entrance.

- That was our entry, actually. - That was our entry, here.

Going in here, and then just walking up there.

- Oh, man. - They closed it down.

I met Cha and Can training in a gymnast facility.

When we met, we felt like, OK, we are on the chemistry.

And we saw a video online,

like people were, like, doing some fights.

And we're like, "I think we can do that better."

Remember we had this artificial blood.

Dave was putting it on his face.

- All over his face. - It was hot, summer.

- And you had all this gluey... - And sweated bad.

We sweated bad. And we...

We were sweating bad. That was really...

We working now since, like, over 15 years.

The bonding between us is so tight.

We consider it more like we're a family.

Their family are my family. Like, their kids are my kids.

You got to take that.

The funny thing is, like, we use that term family,

but original family, you can't choose them.

Right? Like, you're just born in it.

But they, like, I choose them, or they choose me.

So, it's different. Like, it's a different family.

That's how the bonding is, like. They are real brothers.

Harper, come on. Come here.

Let's get ready, let's go. Come on.

- Where do you think he went? - In the kitchen on the shelf.

- Oh, yes, he's in there. - I knew it.

It's hard to be a single mom.

There's a lot of times where I wish I had someone

to help support me with raising them.

I'll get you your socks

and you're gonna put this on, all right?

There's a lot of hard days,

but I can't just hand them off to somebody

and, "OK, I'm gonna go to work now." No, I'm a mom.

It's not easy, working full time and having two kids.

Without my wife, I wouldn't be able to do what I'm doing.

This career is very, very hard on families.

You don't see your family days, weeks, months...

When you don't have the kids, travel the world,

you don't care really about home.

Now, when you have your child there,

it's hard to just leave them.

You can't really support them. You can't be physically there.

- Are you packing? - I am packing.

- Happy? - Yeah.

Any time when I get a call,

you have a job, everyone is like, "Yes!"

But after my daughter?

That's kinda like a heartbreaking moment because...

she doesn't understand the reason why I'm leaving her.

Sometimes jobs are last-minute.

But childcare is very hard to book last-minute,

especially a 14-hour shift.

So, yeah, I take them with me everywhere.

Let's go.

This is going to be really good for them.

When they grow up, they'll remember.

Their mom worked, and she worked hard.

It doesn't look like it, but I have teenagers as sons, right?

I don't see them that often,

cos I work eight, nine months out of the year.

So I love this job,

but to love it this much, I have sacrificed in other places.

I missed my daughter's first birthday,

because I was in Lithuania shooting another movie.

Not seeing my daughter growing up...

It's killing me.

So, not only is my job on my mind

and making sure I do my stunts safely,

but it's also, are my kids a hundred percent safe right now?

It's definitely not easy, but...

it's worth it.

A shoot, and it's in Winnipeg.

It's not a big shooting town.

Our resources are very, very limited here.

Our mats came in today.

We have our floor to our space, which is a good thing.

We can actually start to get work.

The pressure right now is we have these two sequences.

So, we're gonna try to choreograph in one or two days.

So, I don't really have a lot of time, technically.

Two, three things. Low hook, high hook, catch.

We got a lot to do. Priority one is trying to make a vocabulary.

Butterfly grip. Yep.

Yes. Now, torque, and go. Yes!

Up. Chin up straight. Cinch.

Pop. Yes. Do you understand? All right.

So, when we start making the choreo,

we all have the same language.

- What do you think? Tight? - Tight.

- Tight? - Everything. You want contact.

And then number two was getting the guys practicing falling.

Good, yeah. Great.

You have to do it a lot of times.

Nice.

Hook, cross. All right? Or you go, cross.

Hook, but I lean back. I roll.

The hard part for us

is designing a fight style that fits the actual character

that's on the page.

He's a big guy. He's, like, 6'4".

So, fight like you're more straight up.

And I don't want it... I don't want him to look like John Wick.

It's not just like, "I see these cool moves, I'm gonna copy it."

It has to be something like,

"Would this guy fight like that?"

I'm just gonna sit. And then he's just gonna roll over.

For instance, for Santa, OK, what is his background?

Vikings, wrestling.

So, we trained a lot of wrestling for this one.

Yes. Yes. Do that again.

Up. Up! Yeah. Right?

It's not just servicing action,

what was just written on the page.

It's like, how do we help design that sequence?

That's why we do those pre-viz.

We have a layout here. So, we have two chairs

and a kind of a small table with a chess set on it.

And then there's a massage chair here.

And then here is either furniture or the bar.

He's trying to pick where it goes.

So, let's just make this configuration right here.

Let's do this.

You want this?

To design the action correctly,

we have to be aware of the space

where things will be happening on set

and build our pre-viz space accordingly.

When you do the pre-viz,

we just try to make it as close

to the actual product as possible,

the best we can with cardboard and spray paint and tape.

You'd be surprised what you can do with that stuff.

Oh, you're gotta get a Christmas tree.

Granted, the sets look like makeshift cardboard boxes

and things like that,

but the rhythm and flow and everything should be there,

so when you show it to 'em,

they kinda know what you're thinking.

All right.

Take a look at the room.

Let's see this beauty.

In terms of, like, designing modern stunts,

the idea of using video to create templates,

to create digital storyboards,

I mean, where does the camera go?

How you do film action?

You're not reacting to the door getting kicked.

You know he's coming. You just do your freeze.

And I'm gonna keep going. And I kick the door open.

And they design and they create

the action that's going to tell the story.

Start in from the fireplace.

Pull with him like we're going through the window.

Kinda keep it at, like, a medium shot.

How is the technology and tools

of image acquisition being utilized?

And then just get coverage over the shoulder. Close up.

What's the story telling? What would be the cool beat?

And then, like, when he's like this, get a super closeup.

- Do you ever watch Key & Peele? - Yeah.

Remember where the guy's lying

and they put a sponge there and he's sweating?

- Oh, yeah. - I want kinda that one, right?

The dance that you have with the cameras,

all of the attention to detail and imagination,

and then doing it.

"Santa turns and charges,

tackling Tinsel into the Christmas tree.

And Tinsel pulls them off the tree."

Then pull it.

Say there's two people, I'm fighting someone,

and then, you know, I block and then I punch.

But I'm doing a super punch.

So, you know, it'd be like there, two people.

Maybe a face reaction, like, I get hit.

You know, reaction.

It's like, bang! He's like, "Oh!"

It's here, and then we'll cut to the face.

Then...

Super power, power, power, power.

Right? Then cut into the fist.

Then you're...

Then you'd cut behind the guy who I just hit.

Then he's on the camera... And land, right?

Looks good. I like it.

- Camera is rolling. - All the lights off.

Three, two, one, action!

Action!

Cut!

That, you should just keep going.

I don't want him to leave.

Just keep going as far as you can go.

- Yeah. - And getting all this.

One. Action.

And go!

Three, two, one, action!

Don't stay on him. Stay on the tree, the impact.

Do one more, but not as fast.

Cameras rolling. Action!

Action!

He's not supposed to be, like, really good yet.

I want it messy.

Action!

It's cold, dude.

A lot to do.

If you look at this, this is today.

We basically start on camera next week,

at the end of next week.

Like, someone gets Covid or anything,

we're... we're in trouble.

In our business, Covid is a huge factor.

One case can lead to multiple cases,

which can in turn, like, wipe out an entire department.

Like, no room for error.

We need to rehearse. We have to train the actors.

I have to get my pre-vizes done so I can show Dave and Kelly.

So there's a lot of pressure cos I wanna direct, also.

So in order to get that goal, I have to do well on this.

OK.

All right, let me push

a little bit more further back with the camera.

-Yeah, yeah. -Ready?

Yeah, I'm ready. Oh, my freakin' God!

Let me turn this a little bit more down.

Oh, my God. You look so great.

Hold on, let me... I gotta record this. One sec, one sec.

Recording in progress.

Oh, wow. How do you feel?

I feel good. I mean, like I feel...

It still feels a little bit loose, but maybe that's the...

Usually on a movie,

you don't wanna see the stunt performers' faces.

But sometimes on a smaller movie like Violent Night,

it's all hands on deck.

And so, we need our stunt team to play the henchmen.

This thing!

Candy Cane, Tinsel, Frosty,

they all had to be stunt performers.

The thing about making stunt performers action actors

is it actually gives you a lot of flexibility

when it comes to shooting the fight scenes.

If you have guys and gals that have acting chops,

you can amplify your action and do the action themselves.

- How's the jacket feel? -Good. Very good.

- Yeah? -I'll take it with me home.

I'm aware of my skills. And I'm not delusional.

Let's go take a photo.

Stunts are stunts. Acting is acting.

I know I'm not Marlon Brando in acting, I'm not.

But there's certain things that I'm good at.

Is it giving me a bum lift?

Yeah.

I feel like I have

a really great opportunity with this movie.

I think there's a lot of value in an actor

who can do their own action.

How do you feel? Comfortable?

-Yeah. -Awesome.

So far, so good. Thank you.

One of the great things about stunt work

is if you're smart and you ask the right questions

and you're around the right people,

you can elevate yourself.

So, I see for myself not just doing stunts,

but to pursue acting more.

There is no small role.

But this one is huge for me, so I'm really excited.

And go!

Mm... Do this.

Yeah, take a...

You can trim that a little bit so it matches more.

-Good match. - There we go, right?

So you don't have that weird J you did.

When you do the pre-viz, we just try to make it

as close to the actual product as possible.

So, when you shoot and edit it,

I'm almost forcing them to see my vision.

So as soon you grab it and start to stand up,

you go to your wide, right?

The wide's the best.

But I like that, you know what I mean? Like, this is good.

And then when we do the kick sequence,

go to the profile, you know what I mean?

This is all good. I like this one. Bang!

Pow! Yeah. Then go to profile on that.

For me, if you look at my résumé and stuff like that,

I've worked with some of the best crews in the world

alongside some big directors and stuff.

And lately, because I'm trying to transition to directing,

it's just like starting over again.

So, they still don't look at it like, "This guy can..."

You still have to prove that you can helm this ship.

I think you need to cut there. You know what I mean?

Like that, see? That tells a story. Right?

And then get the hit on the other side, right?

In stunt world or fight coordinating,

I'm very comfortable.

I know that world so well. I've done it for so long.

So, when you're kinda jumping

into the next phase of your career,

it's a scary thing.

But just like anything else, someone has to believe in you.

Now, let's see if this even makes sense.

It will work.

I'm afraid I'm gonna get crucified for this.

This better be good.

Let me see it. Let me sit there.

Yeah, sure. Absolutely. Do it.

- Look at my notes. - Yes, sir.

Physical action to me is physical dialogue.

It still has to tell a story.

Boom!

Even if it's, like, 30 seconds or a minute,

in that 30 seconds,

if you're a good choreographer, you can tell a story.

Oh, my back!

And when I do action, I wanna make each fight different.

I don't want everything to be the same.

There has to be a gimmick

or something that makes each one different.

Put the Wilhelm scream when they come out the window.

Yeah, put it out the window.

And put a splat sound, too.

That's good, dude.

You guys are masters of sound design, too.

Is Wilhelm German? Is Wilhelm German?

Oh, you guys should know that scream.

Wilhelm.

You guys didn't know what that scream was?

- And you guys are from Germany? -Everybody knows that.

- Do I look like a German guy? -Your accent's German.

Ladies and gentlemen, my name is Phong Giang.

I'm...

- Do you need my age? -If you want to.

No, I don't want to.

Ladies and gentlemen, my name is Phong Giang.

I am in the stunt business since 2004.

My parents are from Vietnam and China.

Forty-two years ago, they came to Germany.

I have three siblings.

Every weekend, my parents brought us

to the grandma and the grandpa.

And my grandpa was always watching kung fu movies.

I was just sitting there and watching, like,

"Oh, that guy is flipping around."

So, I get caught by that very quick.

I was like, "Hey, I wanna do that, too."

So, then I started with gymnastics.

I was more the clown in the gymnastic class.

I did a backflip and then I'd pose, then I looked at them.

So, they kicked me off.

And eventually, I met the boys.

And then we've been 15 years now,

trying to fulfill my journey and to get the results.

We're still fighting for it. We're still working on that.

And we see the light through the tunnel.

Thank you so much. Goodbye.

All right, let's go make some magic.

Shooting's just around the corner,

so Tommy, David, and Kelly

have to approve of any action design

before anything gets shot.

And although I'm excited to show them our pre-vizes,

I am a little bit on edge.

- All right. -There you go.

The POV's funny.

I think if Santa's backlit at this moment,

I think this gag can work. Like, I love all the tension.

This should happen faster. As soon as he hits the ground.

Correct.

I think that gag can work. Yeah.

And now, it's too schtick-y. Like, it's, like...

It could go from the struggle to the gun

- to the tackle into the lights. - OK.

And then it's strangle.

I love that flip, though.

- Flip, now keep strangling him. - Now drag.

Keep strangling him. Pull him towards you.

That's what it's supposed to be.

But on his back and it's like No Country for Old Men.

The feet are sliding on the floor,

like he's gonna fuckin' die.

It's too much.

- OK. -It's too much.

It needs to be more desperate.

Pause for a second. Like, it's too gimmicky.

My... What I think, tonally, it's like...

He gets him in a strangle, right?

Santa gets flipped over the table.

He's still caught in the wires.

The homeboy's dragging him.

Santa's trying to stop, trying to stop.

Santa stands up and does something, like, boom!

Knocks him out the...

Does something to knock him out the window and the guy falls.

And then the line goes tight. And then Santa gets ripped out.

- OK, yeah. - Like, "Ah, I did it."

And he goes out.

You see him hit the ground.

He lands, he's like, "Oh, my back."

The guy's like this. OK, That's funny.

That's when he says, "Oh, my back."

And then he turns around like, "Oh."

- The guy's there. - The guy's impaled.

We can get it done. But this timeframe...

My margin for error is like that.

So, I can't mess up anymore. Like we can't...

We have to be on constantly.

-Here, it's all about... -Survival.

Survival.

The funny shit is that it just happens to be Santa.

Like, everything else is completely straight.

It made me a little nervous

because I just wanna do a good job on this.

So, I feel like if I make a mistake here, I mess up,

I'll ruin my chances to do a film for them.

Stakes. You start off with stakes.

We make that dramatic.

I just wanna look at the choreography

that you have with the guys.

- Then we'll start refining it. - OK. OK.

- Cool? - Yeah, yeah, yeah.

Holy shit. See, that makes sense, right?

- Bang. - More brutal. Pow, pow!

A little bit more. Go ahead. Go ahead.

6:30 a.m. on a Saturday,

we decide just to come in early and get it done.

He's like... He's getting mad.

It's a lot of pressure,

but, you know, it's not like we have to redo the whole fight.

My back.

But I think if we get these pieces

that Dave was talking about,

I think it'll... it'll be great.

Hold on. Hold on, hold on.

Let's get a little bit square at the top.

Drop 41, take two.

Folks, real quick.

We're gonna continue today inside the lounge,

getting into the effects and stunt work.

Jojo, anything for you? Just...

Just kind of reiterate, if you don't have to be on set,

let's kind of keep it clear.

Because we're gonna attempt to try to do a one-er,

or a super-long shot, and there's a lot of moving parts,

so whoever's necessary, be in that room,

but everyone else, let's keep it clear.

Thanks, guys. Have a good day.

Another wrench in the gears of the Tinsel Fight.

David wants to shoot this fight as one long take, like a one-er.

And for efficiency's sake, it'd be best to shoot it that way.

So, it's up to me to kind of sell this idea to Tommy,

so we can keep the choreography of the fight intact.

All right, let's just walk it.

Yeah, this is all conventional.

Yeah, this is all your conventional coverage, right?

In this film, there's a lot of

different types of action sequences.

There's a different tone to all the fights.

We wanna make sure all the fights

have a different feel and different humor.

And Jojo and his team are vital

in trying to make them different,

and make them special and unique.

You're in the head smash. All the head smash here, right?

All this plays here.

He falls. He's cooling his hands somewhere here, I don't know.

Then he swings. He moves.

Crack. So, we're almost on this. Whoa, whoa!

He... Just back, right? Then here, Texas switch there.

And then when he come back, that's the double.

You know what I'm saying?

Then boom, they both go in.

He falls there.

We have to stay on him. And then Texas switch again.

Texas switch is, if the actor

is doing some action and it's dangerous,

somehow, I wanna insert the stunt person

and then the stunt person does it.

And then we get the actor or actress

to appear at the end of that piece,

so it looks like a seamless shot.

Two Texas switches and then we gotta figure

how to move with this.

Right? Let's walk it again. We'll know.

I have all the confidence in the world in Jojo

and I wouldn't have suggested it to be a one-er

if I didn't think he could pull it off.

That being said, it's not just him.

You have to have actors who are willing and capable of doing it.

So, he's got a... you know, a big task ahead of him.

For right now, just to test it,

do the switches with Harbour.

That way, they can see.

David Harbour picks up choreography so quickly.

And Phong is one of the best technical stuntmen out there.

I think they're gonna pull it off.

Let's just see if it works.

-Rehearsing, you good? - Yeah.

Roll video. In three, two, one. Action.

Switch out.

And then, boom, that Texas switch. Boom.

And then, yeah, go all the way to where you land.

So, so, he's here.

As it pulls back, you're crawling towards the...

-Here? -Chimney. There we go.

Then he wraps a cord around your neck.

Yep. And so, cord. There we go. And he'll pull you up.

Then we go. Punch, punch.

- And that's your blend. -That's it.

Yep, that's your cut. That'll be the cut.

So, we got two Texas switches in there. All right?

- That's pretty cool. - It's gonna be great.

Good luck, everyone. Especially me.

I feel like we have a pretty good handle on it.

Everyone knows the choreo, the camera moves.

And in theory, it works, but... we'll see, man.

Go. Ready, and action.

Hey!

Oh. Oh, hi.

You got me.

I don't want any trouble, OK?

Downstairs, now.

Look, I have a job to do, OK? That's it.

I'm just gonna scooch up that chimney.

Enough talk. Let's go!

You don't wanna do this!

What, this?

Now, move!

Are you deaf? move!

Texas switch!

Keep going, keep going, keep going, keep going.

Texas switch again.

Right out.

Cut!

Cut, cut, cut.

- Yeah! - Good job. It was really nice.

-Good job, man. -Go take a break.

It went really well.

I was pretty happy

because we didn't have a lot of time to prep it

but from what we kind of put together,

I feel like we got, like, I would say 95 percent of it.

- Yeah? - Yeah.

That's pretty good.

That was a good blend, too.

Thanks to Jojo.

He made it clear,

everything was kinda organized proper, so it was good.

Monday or Tuesday, I felt pretty bad.

So, I called to see if they would test us,

just to make sure.

And then, I guess we're all positive.

So, we just pretty much wiped out the stunt team.

So, we're kind of in trouble right now. I'm not gonna lie.

So, what are we gonna do?

Iyuno