Original subtitles

Hey. Good morning.

- What's up? - I'm Bryan.

Cha. Nice to meet you.

I started martial arts when I was three years old,

and my father was running the dojo.

So, martial arts and action movies

was always kinda nearby in my life.

Travel back.

I grew up watching Jackie Chan movies,

Bruce Lee movies, Donnie Yen,

all those Hong Kong action movies from the '80s.

Hey, guys, picture's up. Here we go. Roll sound.

Lights, ready, and action.

When I was 14, I saw on the internet

that there was a documentary about Jackie Chan.

I didn't know the term stunt performer

or stuntman, really, at that time.

I just wanted to be like Jackie Chan.

I wanted to fight in those movies.

- Jesus Christ. -Turn and run.

When I saw how they were training,

preparing for certain movies, that got me hooked

and I said from that time on, "I wanna do stunts."

Three, two, one, go.

When I mentioned that to relatives,

it was like, "Oh, yeah, that's nice, that's sweet,

but you're gonna change your mind when you get older.

You will never get there." Like, that feeling you got from them.

Three, two, one, go.

When I finished school,

I moved to Berlin to pursue stunts.

Kept telling lies to my family.

I said I'm going there to study, but actually I was going there

to find like-minded people doing film work and stunts.

That got him.

That's a wrap.

That got him.

Cut, cut. That wasn't a good one.

-Reset. -Resetting.

- She has to be aggressive. - Yes.

And action.

Go in there. There you go.

Cut. Mitra?

You're enjoying this.

You finally get a chance to kill that guy.

What would you do?

What are you gonna do? You gonna stand there and go...

Or are you gonna go... have intensity?

You gotta find within yourself how to turn that on.

You have to feel it.

You have to feel it coming down here.

OK. Yeah. Copy.

Usually, I'm a little more laid back,

but because of the time constraints,

I feel like I'm definitely

a little more temperamental than I usually am.

Twenty takes is unacceptable.

So, I think that was kind of making her a little nervous.

But I have to realize too, it's like, as a performer,

I think you get your best performance

when you're comfortable.

All right, just don't think about it.

Do what you did before.

Don't think about it. Just go. Yeah, yeah.

OK. Here we go.

And three, two, one, action.

Go! Yes.

Boom!

All right. Cut. That was good.

That was it. You're in the mood.

She's in the mood now. She's in the mood.

That was good, guys. Moving on.

So, I think for me, it's just...

You just gotta read those cues

and make sure I'm more thoughtful

and empathetic about it.

-OK, we can get this. -And action.

Nice!

- Cut. That was good. - Cut.

That was a good one. Do another one.

OK, going again.

You're always meaner

to the ones closer to you than other people,

maybe cos you feel comfortable with them.

But I do think it's tough love,

and I do think... Like, now that we see her in this character,

I can't see anyone else doing it.

She's doing such a good job.

Like this. Stab.

Like, stab, then start a little bit up and then go down into it.

Like that. Like that. Yes.

And rolling.

- Action. -Nice. Ooh, that's nice.

-Action. -Yeah, like that.

Action.

-Cut. -Good.

We got three good ones.

Good job, guys. Good job.

Thank you.

Jojo's work is memorable

because it's not just action for the sake of action.

There is opportunity to tell a story within that fight.

Three, two, one, action.

Vertical, right? Not horizontal? Dumbass.

- Cut. -Cut.

I like that one better. Great one.

After this experience,

I'd love to do action acting moving forward.

-All right. Good job. -We're gonna break.

I can do it. Like, I can do both.

I'm so grateful. I feel like this role is changing my life.

Can I try one?

Mm!

These are so good.

Mm!

We're running out of ketchup.

It's hard to be a single mom in general.

No days off.

Your kids are with you all the time.

You don't have extended family.

You don't have certain people

that you can call upon to help ease the load.

It definitely feels a little bit lonely.

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

to help support me with raising them.

That is one of the dreams I had.

That's something that was promised to me

but it never happened.

- Chocolate. - I ate too much.

Daddy's.

It's been a little rough here for my kids.

Come on, let's go this way, OK?

Their dad worked in special effects.

At my first ever stunt job, I met him.

After having kids and working all the time,

our relationship, it got a little bit intense.

He had a sickness, um...

with substance abuse.

Our love kind of grew apart.

You get to tell him whatever you want,

and this is gonna send a message to him.

And he was gone for, like, two years,

and I remember one day, I drive to work, I park my car,

and I've got a whole bunch of missed calls.

And I remember just having

a really bad feeling in my stomach,

I couldn't even eat.

I go outside,

and the police officer is like, "Is it OK if we talk privately?"

And then he said, "He's dead."

I already knew. I already knew.

OK, but before you let it go,

what do you want to say to Daddy?

- I miss you, Daddy. - I love you, Daddy.

I miss when we go camping and fishing.

I love you, Daddy. Goodbye.

It's the anniversary of his death.

Good luck.

Yeah!

Aaah! It's going. Whoo-hoo!

- No. - It's going. Daddy's...

Nothing can prepare you.

I just said thank you.

I went back inside, and then I went back to work.

No one knew.

What do you wanna do now?

Do you wanna show one of these tests live?

Well, the snowmobile has to come

through this berm right here, right?

Then it comes around the backside of the hill.

It almost comes to the base of the hill.

- Which looks a lot like this. - Yeah.

All the sequences in Violent Night are challenging.

But the hardest is the snowmobile stuff.

They're cool looking in this direction?

Yes. As long as they look toward empty sky, you're OK.

For that, we have a sled sequence

where he's going down this hill

and he has to jump the berm, land on this snowmobile,

and take it over.

But the thing is, Winnipeg's flat. There's no hills.

So, we kinda suggested,

"Let's build that hill

somewhere where we can control the variables."

And that will give us time to practice, leave equipment up

and just keep doing it.

There's a lot of stuff.

Feels like we're OK cos we're used to this,

we're used to this kind of pressure.

But if you really look at it, there's no room for any error.

This week, this week is technically...

That's our bottom time.

And now you see the pace of the fights,

that fight has to be the best one.

Aside from the snowmobile stunts,

the other sequence I'm really concerned about is the barn.

It's supposed to be the big multiple-man fight with Santa,

and that's when Santa's kinda fully realized.

Manpower, we're already low. Cos you need one guy to shoot,

one guy to be Santa, and at least two guys to fight.

And you gotta be smart about how, like...

If you have only two guys against Santa,

how do you make it look like three or four?

Do you know what I mean?

The fight choreo was already gonna be the most involved

because of all the stuff that's written on the page.

So, now I'm kind of in this chicken-or-the-egg scenario.

I can get us daily hires, but I only want daily hires

when you guys know what you need,

cos I have to save money already.

I don't know how many performers I need for the sequence

without doing the pre-viz.

But then I can't do the pre-viz

without knowing how many performers I need.

In the words of Bill and Ted,

you can't have the best band without Eddie Van Halen,

but I can't get Eddie Van Halen if we're not the best band.

So, that's my dilemma.

These are the right measurements for the barn?

Pretty much the right measurements, yes.

So, I think the wall with the door

and the window's gonna be on this side.

Are we gonna use the wall

because we don't have enough card boxes to do this wall?

No, we use the white wall.

We use this white wall here?

That's this wall and we build around it...

That's the plan for the day, yeah.

...with the boxes we have. We are short on boxes.

OK, buddy, let's do it.

Can? I gotta warm my old bones.

Because we have no people,

I have to come out of retirement and wear this costume.

- You got it, you got this. - All right.

I'll go change, boys.

Let's have you guys start further.

- OK. - Yeah, yeah.

And I'll give him a signal anyways.

Just walk it by the numbers quick.

What I love about my guys

is they know how I shoot, they know how I edit.

They know how I choreograph.

I'll go... whoosh! I want you to go... whoosh.

- Pull out on the wide. - Yeah. I would do that. Yes.

Eventually, when I move up to directing,

I want Can to be my coordinator.

So, it's important for him

to kind of spearhead these pre-vizes.

All right, let's do this.

Three, two, one, action.

It's like, bang!

And you wanna be behind it like that.

So you see it smush against the wall.

The barn sequence in this movie

is technically the biggest piece in the movie.

You do your over-the-head thingy.

Maybe boom, and then you hook into Cha

maybe somehow, you know.

- I go... bang. -Knock over something. Yes.

In the barn, Santa is fighting a platoon of guys

and he's trying to be stealthy about it.

Three, two, one, action.

Jojo.

Bang.

That's it, Cha.

- Oh, sorry. - Yeah.

There's so much stuff we can do.

We just gotta figure out what's achievable

and then how many performers I need.

Hold it, boom, hold it.

You punch it. It goes down. You know what I mean?

-That's better. - You know this is set up.

- Because she's holding it. - Then she can hold it out.

-I need you to hold it. -You hold it there.

-The rest is you doing it. -And then he goes...

Yes. It's not like he throws it that gives it to me.

Don't take it down with you.

As long as you hit it, it's like...

And it's all on the performer, not on Dave.

It's all that guy. I like that one.

Let's try one.

Set.

Three, two, one, action.

That one... Honestly, that's good.

Can I see the replay quick?

Yeah, of course.

I do like the direction of our barn pre-viz.

But I do feel that we need more bodies.

So, in the event that we do get approved for more bodies,

I just want to be ready.

Dan made me a list and I told him what guys I wanted.

But he made me a list of available guys.

But because I don't really know everybody,

and you guys know the Toronto scene and the Vancouver scene,

I want you to tell me who you feel is good

and see if any of our guys cross over.

And then add any more guys that you guys recommend.

And then I'll decide who I want.

I don't want 'em all short. I don't want 'em all tall.

So, give me a good mix.

As long as they're not bigger than Santa.

- I want Santa to feel big. - Right, right.

And then give me a guy who he can thump.

Like, whoever's the acrobatic guy.

Then who's, like, the good fighter guys.

- You know what I mean? - Yeah, yeah.

I already took my chances with you guys, you're lucky.

I'm just joking. All right.

Go, go, shoot, shoot. Go shoot.

- OK. - OK, OK, OK.

- Thank you. -All right.

Thank you, thank you.

Hello.

Right now, I have a daughter.

She's three and a half years old.

And we are awaiting a new baby. It's gonna be a son this time.

Cha, how's your wife feeling?

Two days ago, she had little contractions.

- Oh. - Yeah. And I was worried a bit.

It was three... three a.m.

- How many months is she now? - Uh, eight.

- Oh, wow, so it's close. - Almost due, yeah.

How does that make you feel being here...

Hoo!

...and not being able to be there?

Of course, you wanna go home and support her, kinda.

That's why I bring my kids, cos...

I feel like you can lose a lot of time.

-Yes. - Right?

Even right now when I FaceTime her every day,

I see my daughter and she's growing and growing.

And it's not like a month before,

like two months before.

- They grow so fast. - Yeah.

I miss my kid's voice in the morning.

She wakes me up every morning.

I miss making breakfast for my kids.

I miss hugging my wife.

I kind of feel sad, right,

because I just wanna support her a little bit.

I wanna be there, help her,

and I wanna do something more for my family.

I grew up in a martial arts gym. My father was running the dojo.

My mother, she was kind of a little bit against it,

but she couldn't do anything cos it was our family business.

But doing movies, it's something they never knew about.

That's why they said, "Hey, you should better study

and become a lawyer or a doctor."

When I tried to get into stunts, I had a lot of doubters.

Like my mom, for example.

She's always the hardest doubter in my life.

She said, "You're too small. You can't be in movies.

You can't do this. You can't do that.

So, you're not good enough."

Had my first big job, that was on James Bond, Skyfall.

It was in London.

My mom, she was calling my ex-girlfriend back then.

On my day of my flight, she's like, "Hey, is he gone really?"

She's like, "Yeah, they called him.

He's now on the airplane."

"No. Can't be. Well, after a week,

they will send him home

because they will realize he's not as good

as all the stunt performers."

It's all these doubts, but...

That gave me the mentality to,

"OK, I'm gonna show you. Just wait."

And we had a big premiere in Berlin.

I brought her over, said,

"Hey, come to the red carpet. Get a good seat."

And I think that changed her mind.

"Oh, they're making...

they're rolling the red carpet out for him."

I think from that time on, she shut up.

She didn't say anything after that.

The guys made the clips today.

So, we decided to divvy up the responsibility.

I'll do all the sound effects.

Phong will do the special effects.

Can and Cha will do the ADR and score.

So, that way, we'll try to get it done

and have something to show tomorrow.

The guys are tired. I can tell they're tired. I feel bad.

This is our third show in a row

where the schedule's pretty rough.

Sounds like every time they go with me,

the schedule is terrible.

But, you know, I feel like that's the norm now.

You know, I haven't had a show where it's, like, easy.

You know, I can't remember when, so...

Every show has its challenges, I guess.

Awesome.

A lot of great ideas in there. A lot of great ideas.

There's a couple gags you can probably get rid of

because they're not as cool.

Uh, and I do think that this section by the pole

just needs more cool coverage.

-OK. Yeah. - You know?

It's good to get as much info as early as possible.

Cos once we get into that next week,

we're gonna be super busy.

Yeah. OK. Can I just talk to you? Can you guys bale?

- All right. - Bye.

These genre movies, you need the fight scene

that everybody talks about.

The one that they wanna use in the trailer. This is it.

This is the big-ticket fight.

So, the guys have to deliver.

I mean, this is good. I'm glad.

Like, I think you got a great base.

I'm worried that the fight is not as good as we hoped.

OK. OK, OK.

And I want you to make something that you go...

there's a marquee moment.

No, we don't want service.

No, we want the moment and the gags

- and how are we gonna get them? - Yeah.

- So... - OK.

I'm really just concerned about the schedule.

It's compressed time to do something great.

I know they can do it.

They're some of the best there are but...

They have a lot of things to overcome.

I need you, I think, to be proactive

from here forward, because...

- I'm not gonna be around. - Yeah.

I'm starting Fall Guy, and I'm gonna probably leave...

- This is your movie, dude. - OK.

And I want to just impose on you that...

you have to take the bull by the horns, dude,

and, like, will this to happen.

And you need to figure out you got your rigs,

figure out you got your team.

If you don't have your team, you gotta come to me and say,

"I don't know how we're gonna do this,"

or, "I know how we're gonna do this."

It's all relying on your talent.

OK.

- It has limited resources. - Yeah, yeah.

But the upside for you is massive.

And if you have to leave some to the guys...

Yeah.

Low priority compared to finale,

how we're gonna execute it...

Everyone knows if we pull it out, you did it.

- You know? - OK.

Then they're like, "Let's give Jojo a movie," basically.

- Got it. - Like, "You see all that action?

That was him. We had no money. No time.

He can still do it."

OK.

My mentor is basically telling me to do better, to take over,

and then this is what you do.

For me, it's just more of a test to how to pull these things off.

This is really important to me because...

I feel like I'm on the precipice

of going to the next level in my career.

But in this industry, you're only as good as your last job.

The barn sequence isn't the only thing on my plate right now.

But it is the most important.

So, I have to trust

that I can give responsibility to the rest of the guys

while I can put all my concentration

on the barn sequence.

-It's minus 13 right now. - Yeah.

OK. It's not bad. Not bad.

We came here today to rig up our lines and rehearse.

We've done a couple bag tests. We like how it's looking.

We're gonna put Ryan in his harness, get him on the rig

and see how it behaves with a human on there sliding down.

We're just gonna give you an up and see how high we can get you

- and how it feels, yeah? - Yeah.

Whoo-hoo!

Basically, what this rig is for is to get Santa airborne,

get him coming off a jump, and keeping him safe in the air.

So, when we come in with our cameras, we can get under him,

we can see his flight path.

We can take him into our villain on the snowmobile.

-Ryan, set? - Yeah.

Ready! Go!

So, in this scene,

three villains take off on snowmobiles.

Santa sees this happening.

He grabs a toboggan from the manger scene,

and then he runs through the woods,

picks his moment, slides down the hill,

comes off a jump, kicks his toboggan out at the villain.

Then Santa jumps on the snowmobile,

takes off after our last two villains.

Whoo!

So, if everything works correctly,

what the rig is here for

is to do all this repeatably and safely.

Three, two, one, go!

All right. So that sled likes to go squirrely.

Whoa.

Close. Getting closer.

Three, two, one, go!

-Way to go. -Good.

All right.

All right, so we'll make adjustments to that.

He's a lot heavier than the bag.

- Yeah. - All right.

Let's do another one.

What we want to do with that helicopter

if he gets on the helicopter,

- if he flies through? -I think he's hanging on,

like, it's the Bourne experience thing.

Like, it's the only way to get him

up to a height that I can think of.

Right now within what we've created,

to get him on a helicopter, to get him off onto a building,

and then he has to face his ultimate fear.

And in terms of the ones

that were supposed to be breaking records,

the eight rolls in the beginning

is a goal to break a world record.

And maybe the jump at the end with the truck.

I'm incredibly excited about Fall Guy.

And the fact that we can do cool stunts and action.

Usually you need an excuse to do those in a story.

Here we can do it

for just the sake of doing a stunt in a movie.

Cool. Running away from the bouncers.

Is it more a fight with the bouncers now?

Yeah, I don't think Colt's there to kick the crap out of guys.

- I think he's... - Trying to get away.

Knocking people over, shoving chairs, jumping down the thing.

Two more guys come out. He punches one guy.

- Got it. - They kick him back.

Still working on the script.

And more importantly,

we're working on the choreography and the stunts

that need the lead time

to manufacture and test and R&D and all of that.

Guys, mark it where they drop.

I think we're 20 weeks out from production.

And a lot of stuff we wanna do

is we wanna highlight the practicality of stunts.

My job in R&D is to try and find

what the creative team is looking to do

and trying to see if it's possible.

And so, I research and then I report back

and just let 'em know what I've found from doing that R&D.

Everything that Colt Seavers is gonna do

is chalked up to his skills.

So, be it motorcycles or cars or some free-running stuff,

some parkour, we're trying to find ways to do it practically.

Right now, Dave's just looking at options.

And so, it's a bitching stunt movie,

so why not have an awesome helicopter

that's basically a stunt helicopter?

So, inside is like, two by three foot.

Referencing certain things

from different movies that David liked,

we got in touch with the pilot of the Red Bull helicopter

that does all the maneuvers, acrobatics,

and took a little flight.

So, what we're gonna do today

is some basic helicopter aerobatics,

which are unusual for helicopters

but quite normal for airplanes.

So, we'll do all the usual loops,

then we're gonna do rolls.

Really simple, but at the very top, you'll be weightless

- as we go around. -Nice.

We wanna head into Australia with a game plan.

And so, this is the time to kind of see

if some of our ideas are even possible

so that as a team,

we can fulfill what Dave's got in his head.

I got a call from my wife.

She had some contractions

and she has a feeling that the baby might come soon.

I missed my daughter's first birthday

because I was shooting another movie.

So, I don't wanna repeat it.

So, I talked to Jojo and asked him

if I can leave after my scene is done.

And I think there's pros and cons,

so if I leave, they save a lot of money.

With that money, they can buy new stunt performers,

daily stunt performers, so...

I think we are even on that.

The real one?

- No, it's very easy. - No, with this one...

OK. Yeah.

This is Cha's finale.

This is my end, my fatality.

Cha, I'll just put it in like that.

I'm getting killed today by Santa.

He's gonna grab my grenade and put it into my shoe

and I'm gonna blow up.

He comes up. You have the grenade, right?

-Right. - Sorry.

Can you hold that for a second?

- So, you pull out the grenade. -I turn around.

- So you're down. - Yeah, down, right?

- Yeah. - He sees me go for the grenade.

Um...

And maybe give a little twist to his hand.

Yeah, grab the grenade.

-Shove it down his pants. - Yeah.

I mean, you could grab him,

pull him to his stomach, as you're pulling the stomach...

Do it in the back. That's better.

So, he comes up, he gets the grenade, bam, like that.

- Yes. And then he's like... -Stocking stuffer.

- Ready? - Let's see how it feels.

Roll sound.

Very quiet, please. Alpha mark, take one.

Ready, and action.

All right. A little stuck?

No. No. Where is it? Fuck! Fuck! Fuck!

- And cut. - Kaboom.

- Cut, cut, cut. - Very nice.

Next up, we're doing the explosion.

When we do this, no one can be down here,

so start pulling yourselves out of here.

That's it. I finished the scene.

Guys, that's a picture wrap on Cha, everyone.

Yeah, I'm leaving with a sad eye and one happy eye.

That's what we say in Germany.

Thanks, guys. Thank you, sir.

- Great stuff. - It was an honor.

Yeah, it's always good to wrap up a movie

so I can just make a cut, get some rest if I can.

As much as I can, you know.

With a new baby, you don't get as much rest as you can.

It's good to be back home though, with the family.

Where is it? Fuck! Fuck! Fuck! Fuck!

- Fuck! Fuck! - I gotta watch.

Fuck!

Holy shit.

I've been in Jojo's shoes before. I've done smaller films

as a second-unit director, as a choreographer,

and you're under-resourced, you're undermanned.

And I think he's at that critical moment

where we've decided to bring in

a little bit more manpower to help him.

These are small movies, but they rely on action.

And you can't go wrong

with putting your resources in the right spot.

Ay, ay, ay.

- OK. - Damn, dude. Damn, dude.

It's smaller than I thought.

Lighting wise, the people have to change it, right?

Because they don't...

I already see all the problems already.

I already see it. You gotta cheat big.

They got bodies all over the place.

You can't show the wide unless you reorient everything.

It's gonna... It's gonna cost us time.

For the barn fight,

everything is a little tighter than they said, or...

they communicated about,

so we're trying to make everything work in that space.

Long story short, space is smaller than expected.

...can we walk through that?

Whoa. Shoot and shift.

Don't worry about the set but talk about the...

You guys know where it is? Yeah.

The first kill would be here, Phong. Go over quickly.

First guy's got me. Pow, pow, pow, pow, pow.

This is a hit, then the second guy here.

I'm worried that I want my expectations met.

I think we all want something great for this finale.

I wanna make sure that everyone steps up and delivers

to make it what it needs to be for this movie.

Can we come in here stunt wise and walk this tomorrow?

OK. We need a day or two in here.

This is the most important fight in the movie.

They have a lot of things to overcome.

I wouldn't add more wires. That's more setup.

If I have to cut away from that wide to do another wire,

- it has to be in that shot. - OK.

It is the nature of the business,

not everything can be ideal.

We have to be ready in any case.

Even if you don't have time, we have to deliver.

There's no way around it.

Let's go. Let's go!

-Are you set? -Cameras running.

Rolling cameras. Here we go.

Yeah.

Cut.

Where'd it hit him? Did it hit him?

- It went behind him. - OK. It looked like it hit him.

I wouldn't be opposed to letting it be sucked right in.

Well, that's what I'm saying.

You wanna get in there and see the sled.

- Jojo? - Yes.

Do we wanna have the skidoo going through

and do we wanna have, like, Ryan actually kind of...

- Cos timing wise... -You wanna go with him.

You almost wanna get that lens...

And then just stay on it.

I know it's hard. Yeah.

To work in the film business,

I think you have to be somewhat of a filmmaker.

- You know how he goes up? - Yeah.

It's, like, you stay on the sled like it's gonna hit him.

Stunt coordinators or stunt teams

are kind of the gray men of all the film departments.

I have to deal with special effects.

I have to deal with visual effects.

I gotta deal with the director.

Gotta deal with the actors, actors' training.

OK, that was pretty close.

What keeps you going in this business

is you wanna keep creating and doing new things.

That's part of making it. That's part of movie magic, I think.

It looks pretty good.

The jump exceeded what I thought we could do.

I think, as a whole piece, it's looking phenomenal.

Like, the fact that it all works as one flowing piece.

Now we can just move in and pick pieces off.

Exactly. Put the camera where we want it.

Picture's up. Let's do one more.

All right.

All right. So, like, just gotta make sure

this looks like that guy went there to that way.

So, it's almost like the hit has to go like that

when he goes up in the air, goes that way.

He goes at an arc.

Cos if you hit him like this and he goes up

and then he goes there, it's weird.

We redesigned the barn sequence for the space,

and we actually got our reinforcements.

I'm starting to feel really good about it.

And I'm happy that Can and Phong have stepped up

and taken charge of this sequence

and really sharpening up the fight choreo.

Is the shot starting with me back there?

- Still. - Going forward?

The shot is starting here. Going out... Boom!

- OK. - Shoo. Boom!

- Yeah. - Pow!

The stomach hit will give you the set.

It's very refreshing to have new bloods and new guys with us.

Going up in three, two, one, up.

They bring positive energy and that's really contagious.

Go!

Ready. And three, two, one, go.

And drop.

Right now, because we're limited with time,

it's really important that our performers

are able to pick up choreo fast.

And action.

It's not just a scene

where guys are gonna get thrown around.

The timing is really important,

and performance is really important.

Three, two, action.

- And go! - Boom!

Boom!

- You're good? Are you good? -Yeah.

This is the last action scene, fight scene.

It is definitely our last chance to showcase,

to show what we're capable of doing.

We definitely have to nail this one.

Three, two, one, action. And go!

Boom!

- Oh, yeah. Everything good? - Yeah.

We worked really hard for the last three months.

And, you know, every job is hard in its own way.

But I think when we look at what we shot and what we did

in the short amount of time,

I think we did a really good job.

So, we'll do the spin first.

So, it basically is Santa

is just spinning the hammer on his hand.

And it's almost like you're looking, kinda looking up but...

We'll favor that wall.

- So we don't look at the roof. - No problem.

The barn sequence is inspired by Sam Raimi movies,

Peter Jackson movies,

the second Aliens when there's just stuff going around,

you don't know what's going on. That's what Tommy likes.

That's what we wanna see.

I want you to just hit on the top of his head, go diagonal.

You're in the top. So, you're looking up.

Like that. We'll hit it. We'll put it right there.

So, we're trying to get the action quotient

to match the zaniness of those old movies.

And at the same time,

make it different from the scenes that we already shot.

And here we go. Three, two, one, action.

Santa's gonna eat through these guys

like a plateful of cookies.

Perfect. That light's perfect.

Cut.

- That was pretty good. - Love it.

What's great about Jojo

is he's like a great general.

And I pushed him hard on this project.

All right, so enter frame.

And he delivered like he always does.

Another iconic character.

Original choreography.

And it's no doubt in my mind he's ready for more.

All right, let's shoot this.

And cut. There you go. That's cool. That's better.

Would I be content just as a coordinator

and live my whole career as a coordinator?

I don't think I could do that. It's just not in my DNA.

I think you always have to progress.

If you stay in a certain level your whole life,

I don't think humans are designed that way.

You always have to do new experiences

and do different things.

But for me, it just wasn't like I woke up and I go,

"I think I'm gonna try and direct now."

I think that passion's been there the whole time.

That was pretty good.

-Cut. That's it. -That was it.

- Whoo! - Yay!

Right, guys, that's a wrap on our incredible stunt team.

Universal has cut you a thing.

We're gonna give the first preview of the film.

And they sent it to us,

and we thought we'd share it with you guys before we wrap.

Oh, my God!

All right, what the hell is going on?

What a guy!

Having been in the spot that Jojo's been in

many times in my career as a second-unit director,

there's an incredible satisfaction you feel

when the odds are stacked against you

and you have a great team around you and you can rely on them

and everybody steps up and delivers.

Right now, since I've been off,

I've been trying to work on different things going on.

So, I had this script rewrite

for a script I wanna pitch to direct.

And then I've been working on this lookbook.

They wanna see my vision of the script.

It's a hard decision to make sometimes,

cos I get called to stunt coordinate shows.

If I pick those shows, it takes me a longer time to direct.

It's like I can pick a job

and work great for, like, seven months,

but is it getting me to where I wanna go?

I wanna be here. That might just take me that way.

And then I have to go back around a longer way.

But do I feel like I'm ready? Yeah, I'm ready.

I think everything's prepared me for this point.

Come on, buddy. Come on, Harriet.

What's next? Um...

I've been asked by a few people now if I am available.

Right now, I just need to be with the kids.

They deserve to have mom time for a bit,

so I'm gonna take a month or two off,

and then I feel like a new spark has been lit inside me,

and I feel like I have a great opportunity with this

to explore film and television in a different way

that doesn't just involve me doing stunts,

but also as an actor.

It's nice to be home.

It's very nice to see the family.

I missed my kids. I missed my wife.

But being home could be a double-edged sword,

because I love working, I'm a workaholic.

Between Jojo, me, Cha and Phong,

we are all the same, we love to work.

We love what we are doing, and I also think

that's one of the core elements

why our team works so good together.

We celebrate today the hundred days of my son, Soo-Ho.

One, two, three. Say cheese.

Phong! Phong, go in.

Phong is here with his daughter, Mia,

and he's always treated like a family member to us.

Whenever we have a family party

or a family celebration, he's also invited.

The cake!

For me, myself, coming back right now,

the plan and the goal is...

to be the best dad as I can be.

Best friend, the best whatever she needs.

Best case, my daughter.

The relationship with all the stunt people

is just super important.

In these groups, they have to work so intimately for so long.

Personally, we all have our ambitions

and creativities and our visions.

Before, it was like, OK, you get to be a stunt guy,

and then you can maybe be a coordinator.

Well, now it's like you can be a stunt person,

you can be a choreographer, a coordinator, director.

Pretty soon, it's gonna be have 'em be their own studio.

Cos they're storytellers.

They're storytellers.

Stunt people now...

can be storytellers.

Yeah, come on down. Come on down. Let's go.

Hey, how's it going?

Hey, guys. Hey.

I'm really excited about The Fall Guy.

In this movie, we're really gonna show

a modern tale of the stuntman.

And this craziness that is Hollywood.

- OK. On the video or live? - On the videotapes.

- OK. - Yeah.

Let's do it.

Ooh!

We're gonna have fun action.

And we're gonna create an iconic character.

We have some really fun vehicle work.

I know Chris and the team are cooking up some big ideas.

And I have some big ideas, too.

So, I'm excited about it. And spoiler alert...

Iyuno