All language subtitles for Action.2024.S01E01.1080p.SKST.WEB-DL.DD5.1.H.264-playWEB_track3_[eng]

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