Original subtitles

And marker.

What has been one of the most thrilling,

favorite action moments for you?

It's a long list.

Um...

It's a long list.

I would say one of the things

is to be able to be trained and taught

and hopefully realize something

that you hadn't been able to do before.

You know, part of the high of it

is that you get to do something cool and exceptional,

and that there is... danger.

And that you are doing something extraordinary.

So, one of the best things in my life that I've experienced

is after someone says, "Action!"

It's the best.

- We are set. - Copy.

Three, two, one, action!

And cut!

Stunts can be seductive.

The stakes, the anxiety, the adrenaline.

- Oh, my God! - Holy...! Holy...! Cut!

You're going along for the ride,

but it only takes one mistake, and it's fatal.

There's a brotherhood and a family aspect to stunts.

- I love you guys. Thank you. - Cheers.

The team is essential

into creating the stunt and making it happen.

The below-the-line heroes that make movies,

they're some of the best people in the business.

Yeah!

They're the ones that get it done.

They're the ones that maybe love movies

more than even the directors.

The heart and soul that stunt performers and coordinators

give to productions,

that's the stuntman experience.

Yeah, here we go. Roll all cameras!

Right now, we're in production on Fall Guy.

It's starring Ryan Gosling.

We're shooting in Australia, Sydney.

There's action in it.

And in this movie, we're really gonna show

analog stunts, you know, from a certain era.

My action team stunt coordinator is Chris O'Hara.

Former stuntman.

We go way back in the stunt world

and obviously, he's risen to be

one of the best stunt coordinators around.

Take all the real estate you need, Dan.

Do you have a job?

Perfect.

We're doing a full driving rehearsal.

Car backing up!

This is the sweet spot for where it's all gonna happen.

It's the perfect movie. It's about us.

It's about my industry, my profession.

- You good? - Yeah.

As for the stunt team, you want to build your team

that has strong suits in every facet of what your movie is.

Justin Eaton is a martial artist,

a fight double for our lead actor.

We have Logan Holladay for vehicle work.

He came from a stunt family.

Ben Jenkin has a free-running parkour background

and a lot of movie experience.

Keir Beck has an amazing rigging background.

He's overseeing all of the Australian locations.

This has been a long journey.

It's been almost 30 years of my life having been a stuntman.

All of my stories and anecdotes and life experiences

are in this movie right now, right here.

Good dog!

It's a love letter to the blue-collar artisans

that make these movies come to life.

But most importantly, it's a love letter to that crazy world.

I mean, it's loosely based on the show,

which I loved when I was a kid.

That was an era of, like, big car gags.

I love the sort of romanticism

of making this "below-the-line-heroes" movie,

you know, like...

The people that actually make the movies

are the stars of this movie.

And there's something that's really cool about that,

having spent my entire adult life on movie sets.

That's the truth.

That's what happens, right?

They're the ones that get it done.

The hope is to do some really big stunts.

We feel the pressure from the legacy of the IP.

And I think from the stunt community,

we'll feel pressure,

because it's like, "This is a movie for us."

Today, we're testing a cannon roll on the beach.

The plan is to go 110 kilometers an hour down the beach.

Logan's gonna be driving. It'll be quite an event.

The first one ever was done on a beach.

- Yeah, right. - On a movie called McQ.

- OK. - And so, beach, similar to this.

Probably a little wider, but that flat kind of deal.

Their whole car chase on the deal. Then he just goes...

Everything in this car is specific to this stunt.

This is the button system here for this cannon.

That's gonna blow

and that's what's gonna flip us over.

You could put the cannon in different areas of the car

to make it flip over differently.

We're putting it in this area to make it get more sideways rolls.

I will flip a switch here,

and then I will pull this thing,

and that makes me hot and ready to go.

I will just hit the button.

We're hoping for more than seven rolls.

I'm hoping for, like, eight to ten.

The script asked for a "world-record cannon roll."

And there's a reason why there's world records.

Cos they're hard to achieve.

Seven rolls is the world record.

The world record was going downhill,

and now, I gotta do it on a flat beach,

on sand, not asphalt.

Logan's done cannons. Logan's done pipe ramps.

Logan's done stuff, but he's never done something this big.

This is a career stunt.

- You good? - Yeah.

- OK. See you on the other side? - Oh, yeah.

OK. See you, buddy.

- Happy? - Good to go.

I might tense up a little more if I barf.

- OK, good. - I'm pretty tight.

I'm a little scared, a little nervous,

but that's part of the program.

I think if you weren't nervous,

there'd be something wrong with you.

It definitely keeps you safe, I believe.

OK, you can start your engine, Logan.

OK, Logan, go hot.

-Hot! -Hot.

Hot.

We're set? OK, let's put the drones in the air.

Drones are in the air and set.

Logan's all harnessed in. We'll have the rescue vehicle.

We'll be at the far end,

probably 400 feet past the event.

Hey, Logan, you are 100 percent clear. This one's for real.

Pulling out in three, two, one, go!

Good, buddy?

Is he good? What's that?

- Good? - Yeah.

Yeah? Whoever's on this radio,

- Logan's good, out of the car. -How many did we get?

You hit the mark right at the spot.

-Ah, goddamn it. -Four and three quarters.

I think the decel is just all this sand. It hits the sand.

It just sucks the energy out of it.

On the beach, which is not the best surface

for doing pole cannons,

and driving at, you know, 80 miles an hour on the sand,

it's not a very firm surface.

To get the perfect amount of rolls,

the car has to launch perfectly and land perfectly.

So a little bit of luck involved.

There's always the wish to do it bigger and better,

but your objective is to get a cool shot

and have the stuntman walk away safe.

There's no cowboys here.

I think all of our angles and directions

and travel and everything is just right.

It just didn't roll as many times as we had hoped.

Yeah.

You know, our test was four rolls.

That's a ways from seven.

My name's Logan Holladay,

I've been a stunt performer for 16 years.

I've been riding motorcycles

since I was about two and half years old.

And then, that just kinda melted into becoming a stuntman.

I've stunt performed on 70 to 100 movies.

My wife, Tyler, is also the daughter of a stuntman.

Sometimes, we can't answer our phones

for hours on end where I work.

Three hours one day and 16 hours the next day.

And she understands how it works.

So it's a great relationship that we have.

And then, we have two beautiful little kids.

They're just amazing.

My dad was a motorcycle racer.

All I wanted to do is race motorcycles.

I grew up in a racing family.

He was a stuntman, and he would go

and do what I do right now.

It was just normal that my dad went to work

and crashed cars into stuff for a living.

It scares my dad more than it scares my mom

when I'm out there taking those chances

because he knows how dangerous it actually is

cos he's been in the situation.

Whenever I'm approached with any of these stunts,

I always talk to him first.

He's done some of the biggest car jumps, the biggest cannons

that's ever been done in this business

so, my mentor is my dad, Steve Holladay.

There's so much that goes into stunts,

more than just being good at driving cars.

It's your attitude, your demeanor,

your ability in the car.

It's knowing where to be, knowing how far to push it.

It's a feel, you know?

You have to be able to change things quickly on the spot,

adjust it, hit different marks and problem solve.

-Morning. -Morning. Morning.

He just kind of hit it right on there, 280 to 300 feet.

Like, at 80 miles an hour, that's gonna be happening.

As much fun as I'm having, I'm having so much fun,

and I'm so thankful to work on this movie,

it's really hard to be away from my family.

And it's something I battle with every day.

Hey, guys.

How was school?

Hey, did you guys get my video

of me sprinkling your fairy dust on the cannon car?

Sprinkling a little fairy dust for good luck

on the car, just for you like you asked.

I show my kids the videos of all the stunts I do,

and they just think,

"Oh, that's cool. Like, are you safe?"

Like, my daughter will ask if I'm gonna be OK.

Got your good luck. Love you guys. Thanks!

I don't usually accept the long-run movies

because I want to stay close to my family

and be a good dad and be there for them.

So, I took this film with just the fact

that it's such a cool, iconic movie to work on.

And it's kind of once in a lifetime.

This is where it's happening, right here.

It's just hard because my kids are three and five years old.

So, they're changing so much

that when I'm not with 'em for a few days,

I could see big differences.

It's not easy, but it's sometimes, you know,

what we have to do.

I love you guys.

OK. I love you, bye.

It'd be cool

if you could come to the second briefing.

This cannon roll we're shooting today

is one of the biggest stunts in the film.

The expectations are high,

but we have one of the best crews in the industry.

Good morning, everyone.

What we're doing today is this pole car behind us

is gonna be going down the beach at 125 kilometers an hour

and it's gonna roll eight times.

We've done this once, went 70 miles an hour.

We were trying to get upwards in the seven rollovers.

We got almost five last time, and it was harsh.

Could you report to your buggy?

We're going high pressure here.

Let's get ready to go.

What happened was, when I blew the cannon off,

I flew about 90 feet, so I hit the ground.

When I hit the ground, I made a foot-and-half-deep hole

and took, like, half my energy away.

It was just too much cannon pressure.

So, now, we're bringing it down.

So, when it goes up, and it comes down,

it's not gonna dig into the sand so hard.

We're also gonna go faster.

Instead of going 70, we're gonna do 80

and see if we can get upwards into eight rolls.

Logan, just nod if you can hear me. Thank you.

- You guys are set. He's good. - Yeah.

Let's do it now, then.

It's a little weird cos I know that...

You know, I'm asking people to put theirselves in a situation

that you normally wouldn't put yourself in.

We've taken all the safety precautions

to make it as safe as we can.

But there's still that unknown of something happening.

I'm personally responsible for them.

It's just really hard putting your friend in that situation.

Go, boys, we're going, going.

Roger that.

Beach is clear. Eli, stand by.

Standing by in the arm car.

Going to start.

Copy. We are ready to go.

Picture's up, everyone. Let's get ready to go here.

Beach effects are hot. OK, Logan you're good?

Logan is set.

Logan, go hot please. Logan, go hot.

OK. Let's roll all cameras please.

Rolling all cameras.

All cameras...

Thank you. Here we go.

Ready. In three, two, one, action, car.

That's not gonna be good.

- Cut! - Folks, get in there.

- Cut, cut, cut. -Copy that.

Frosty, let me know when he's good.

Frosty, talk to me.

A little too sideways?

Any car going down a beach at 80 miles an hour

and hitting in a cannon is gonna be a spectacular event.

But we put all this effort and all this stuff

to try and make it perfect.

It didn't go according to plan,

and everybody was safe, but it didn't go as I pitched it.

All that money that was spent, you know,

and I felt like I was responsible for it.

When the cannon went in, it didn't go in very far at all.

I think it turned me a little bit more.

Yeah.

I knew it wasn't going sideways immediately.

When I was going through the air,

I'm like, "This is different, end over end."

Well, we also had the hardest sand that we've had yet.

Oh, yeah.

Every vehicle you have touched, you it up.

Now what?

I felt like I failed a little.

Shooting it for real with all the real cameras, ten cameras,

and then, it not going the way you had planned it to go.

And I think Logan was kind of bummed, too.

The silver lightnings at the Coyote Cantina.

That's not the place in Redondo?

-No. -That place?

-The little strip mall. -Yeah.

Dude, the margaritas there.

- Were good. - Oh, my God.

You know, it's just getting worse. The time crunch now.

And we had so much prep.

And something about being

in the southern hemisphere in Australia,

like, time goes, like, double-time.

It's a known fact.

So, the days are just flying by,

and the weeks are flying by, so...

It's fun, but it's not all that fun

because the prep has kind of gone super-fast.

Yeah. And we had all this prep,

but you couldn't get the locations.

And we're still in this position

where we don't know if some of the locations are even locked.

What's crazy to me is, like,

how fast everybody's just stepping up

to different positions.

And I realized, like, John Wick was, like, ten years ago.

Doesn't feel like ten years ago.

I've been directing that long.

That's so strange to me

cos I'm so still connected to the stunt world, right?

Coming into the stunt world.

I wasn't part of the legacy family.

None of us were legacy people.

And legacy stunt performers rarely had to hustle.

They had their family to graft them into the business, right?

They were doing stunts as a kid, you know,

cos Dad was doing it or Uncle was doing it.

So, the hustling thing was really for the people

that were outsiders in the business.

And that was a rite of passage for stunt performers.

We were the ones that were thick as thieves.

We trained every day, you know, tried to share skillsets.

Action.

Chris O'Hara had gymnastics and trampoline skills,

like, super-high-level gymnast.

We were really brothers trying to break it in Hollywood.

When I started,

there were these answering services for stunt performers.

There were three of 'em.

There was Bill's, Teddy's and Joni's.

And, you know, the young guys were all with Bill's

cos it was the newest one.

Joni's was from a certain generation,

and Teddy's was the original.

And Joni and Bill used to work for Teddy,

and they broke off

and formed their own answering services, right?

You had to sign up for one of these stunt answering services.

because, if you ever got a call time,

how are they gonna reach you?

You didn't have cellphones.

So, you'd get in your car,

you'd drive from the South Bay to the actual storefront,

go in there, say hi to Bill, Bill would be, "Hi.

Here's the LA production sheet for today.

Here's where NYPD Blue is shooting.

Here's where this is shooting."

He had 'em all highlighted for us.

And it was called the hustle sheet.

So, you knew, like, OK,

they're on location shooting a car thing,

and, like, you sneak past the PAs.

We would do anything to sneak on set

and give the stunt coordinator your headshot and résumé

or a demo tape on VHS.

That was the thing. That's how you got the job.

And then, some coordinators would bust your balls,

and others would be really cool.

But it was really about

standing in front of the person

and seeing would they match somebody.

But hustling kinda has gone away

for this new generation of stunt performers.

And it was just a way of life for all of us.

It's pretty cool.

Not that it's tequila talking or anything like that,

but, in my mind,

there was no way we weren't gonna succeed.

I love that. I love that.

And mark it.

Making it in Hollywood is a lot of luck.

Did you just stab me?

Mr. Dave Leitch here was hired as my stunt double.

A real pivot point in my stunt career

was the opportunity to work on Fight Club.

That was an important time for me.

Then I made that impression with Brad

where I got to work with him in movies going forward.

We did a few more films all the way up to "Mr. & Mrs. Smith".

We did "Troy".

Once you're in the machine,

your exposure just gets more and more and more and more.

And then, it was, like, nonstop.

Now he's the director.

- Now he's my boss. - It's a long journey.

This film has several doubles for our lead actor,

each with a specific skillset,

and each at the top of their game.

I've been brought out here

to double Ryan Gosling on The Fall Guy.

Me and Justin are his main doubles.

Logan is his driving double.

And Leo does all the boat stuff.

Actors are doubled for their stunts...

for safety and production value.

If they get hurt, the whole production goes down.

It's my first time being on a job

where there are multiple doubles for the lead.

They're so talented, and they're great people.

We're all super close.

Carry on, guys.

One of the things that happens

in terms of the relationship between...

actor, actress and a stunt double,

when a stunt person is doubling the actor, actress,

hopefully they kind of move like the performer.

Say like, "OK, I want to match this person."

Every action sequence,

the dance that you have with the cameras...

When you're looking for a double,

there's a few things you look for.

It's stature, and some guys and gals

can actually kind of imitate the way that the people move.

Action.

I want the audience

to have the experience of the stunt performer.

Moments of, like,

"Ryan's doing it. How did they do that?"

We're gonna do the live action with Ryan,

making the slide over.

So, Logan, you'll start behind. He's gonna climb out there.

We're doing Ryan's part of the coverage

for the jump off into the skip-in,

and he is basically starting in the driver seat.

And we have Logan driving the pod car.

- Car backing up! - Cars are backing up.

He has some skillsets in this from past movies, you know?

And so, hopefully, it'll be taking him to the next level.

Go, go, go, go, go.

In three, two, one. Go, Ryan.

I've had the extraordinary experience

of working with so many people who have not only...

who've helped me be the best that I could be.

Knowledge somewhere translates to knowledge somewhere else.

And that would be Keir.

Trust. Creativity.

Adaptability. Safety.

Joy.

Since the Matrix sequels, I've known Keir.

He came up in the business

as one of the marquee riggers in Australia.

There's not a better rigger in the business.

And he's also a great performer.

I like that when someone rises into, like,

that sort of key position,

if they've always been a performer first

helps the trust factor,

cos they've had to ride the wire that they're rigging you to.

My name is Keir Beck,

and I'm a stunt coordinator and stunt rigger.

I've been working in the film industry for 25 years.

Before film, throughout the '90s,

I worked as an arborist.

So, I started working and climbing trees

in my last year of school

and then, went off and studied three years of horticulture

in Western Australia.

I wanted to go off to acting school,

but my dad was like, "No, you go get yourself a trade."

So I was like, "I'll become a gardener

cos that sounds outdoorsy."

I grew up in Western Australia, out in the country.

As a kid on a vineyard...

I always wanted to be a stuntman as a kid growing up.

It's a pretty hectic industry and lifestyle to lead,

and it does require some mental stout

trying to divide work and life,

and find a balance that's out of balance.

I've got two boys.

They're flying solo. That's pretty tough.

I have been getting home on weekends.

So, don't think I'm all that bad.

This rig that we're setting up today in the car park

is a rehearsal/representation of Bligh Street,

which is in the city.

It's an inner foyer of the building.

So, what we're doing out here today is we're setting up

so that we can replicate the stepping off and the free fall

for a controlled descent with the winches.

We'll put Ben in and, you know, test it with Ben.

He'll give us feedback and then, on the day,

if Ryan wants to jump in it,

then we'll put him in and off we go.

With big sequences that involve rigging,

that's quite a challenge to create a tool

that's so big but yet still has to be super accurate,

enough to land on an inch.

Oh, my God. That's gonna be so scary.

You don't wanna say that when Ryan's here, right?

- What? -You gotta say it's fun.

- It's great fun. -I don't think I can lie.

-Quit talking. -Would anyone else...

Am I just a pussy? Would anyone else be scared of this?

I appreciate what you're going through.

I do. I sympathize

and appreciate the peril that he's going through.

All right. I'll do it now.

OK. So let's go up to 100 percent doing some flips.

-Yeah. - Perfect.

It's gonna be great! Just close your eyes.

Keep your eyes shut.

- Happy, Ben? - I my pants.

Here we go. And three, two, one, action!

It's like a rollercoaster.

There's a massive risk, and a huge responsibility

for somebody else's life on the end of a system.

And it's a strange place to be put

because you are in a position

where you could hurt someone seriously.

OK. Here we go.

I like the feeling of being scared

and being somewhat unfamiliar with a situation

and overcoming that

and trusting yourself

that you'll be able to handle what's about to happen.

And three, two, one, action!

OK. Perfect! Should we clap?

There you go. You get a clap.

Scott, we're hooking the cables on now.

So, this is in total now about four months' worth of work,

which includes negotiating with the building, engineers,

and the stunt department, and the production.

So, we're going to do a rehearsal now with Ben.

Copy that.

To ones.

OK. Ones ready full speed.

Set.

Stand by and three, two, one, action!

OK. Let's reset the ones please.

Ben goes back up.

Let's go.

All right, baby. Let's make it work.

With wire work, we're relying

on the rigging and the science of it all.

You have to trust that as a stunt performer.

But it only takes one mistake.

Things can go wrong at heights that are... fatal.

And let's move Ryan into his hook-up position.

-Ready to go. -Copy. Thank you.

And let's move back to our edge position.

So, that's Ryan Gosling up there,

and he's the star of our movie.

We're like, "Oh. Hope this doesn't break."

We're set.

Here we go. In three, two, one, action.

Cut!

I literally cried the first time he did it

cos I was so scared for him.

I would never question putting a stuntman on that.

But putting Ryan on it, despite how, you know, athletic he is

and talented he is, and, honestly, gutsy he is...

You know, it ended up being, like, an amazing, amazing feat.

I think Keir realized how special it was

that an actor, an A-level actor, would do that,

on one of his systems, and trust him that much.

For us and the rigging team to have spent so much time,

and building a rapport with Ryan

to be able to get to this point today,

to be able to pull it off and have a successful outcome,

it's awesome. The whole crew is just...

I don't know, makes me a bit teary.

They're awesome. They're awesome guys.

That's enough cos I'm gonna get weepy, dusty eyes.

"Have you done it, babe? Have you done it yet?"

"Did you do it?"

Earlier, we filmed a cannon roll.

The script called for a world record of more than seven rolls.

We got four and a half.

Even though the wreck looks amazing,

we were bummed that we didn't achieve

the goal we set out to do.

- We knew we could do better. - Morning.

-It looks smooth. -It's smooth.

But we're losing, we're losing a lot of beach.

No, low tide's 9:15.

-It'll go out a lot more. -It will.

Watch your back!

One of the objectives of this film

is to put the viewer in the seat of the stunt performer.

And part of that is doing something

that's never been done before.

Look, the team wanted to get the world record.

I wanted it, too, but especially for them.

So, we're gonna try this stunt one more time,

but this is our last chance.

I look at Logan as, like, the young version of me

cos he's got a wife and two kids that he loves very much.

They're everything to him.

And so, you take a little bit more

of a personal responsibility to it,

that at the end of the day,

you want to make sure that everybody goes home.

Every time is a risk, and it's a chance of getting hurt.

And the hard part is if it goes bad, all eyes go to me.

I'm personally responsible for them.

- I didn't do anything different. - Right.

But the ground was different.

- Yeah. - The ground was so firm.

I was over here, so, I was going straight down the path.

And for some reason, when I hit it,

it, like, it pretty much ended it.

I'm gonna turn to here and... boom!

I'm just gonna stay in it for a little bit longer

before I hit the button.

Throughout the course of film,

there are stunts that stand out that people remember.

The cannon roll for Logan is that.

Double-checking. It's good.

- I think I'm good. - Yeah, there, nothing's changed.

Let me know when you're clear of everyone there.

Copy that.

- OK. You good? - Good.

- Have a good one. - All right, buddy.

Legend. See you on the other side.

See ya!

OK.

-We're now fully locked up. -Copy.

Closing.

OK, we're back.

Helicopter and drone will work on this.

- Leo, you ready? - Yeah, set.

-Logan, you ready? - Stand by.

Effects are all hot.

Let's roll all the cameras, please.

-Roll camera. -Thank you, here we go.

Logan, go hot.

Ready. And three, two, one, action!

Oh, my God! Oh, my God! Oh, my God!

Let's see if he's OK.

Cut, cut, cut.

- That's a cut. - That's a cut.

Frosty, talk to me.

Frosty, let me know when he's good.

-Logan, you all right? -I'm good! I'm good!

Logan's good. Logan's good.

Oh, my God!

Copy, copy. It's all good. Everything's OK.

I'm OK!

OK, good. We just need to extricate him out.

I'm upside down, but I'm good.

Now, I just have to figure out how to get out.

Cut.

-Everything good? -I'm good. I'm good!

He's just coming out now. All good.

Logan, everyone, just nice and easy.

-I wanna be out. -All right, brother?

Yes, I'm good.

Yeah.

Logan's crawling out now.

That was the shot.

Eight and half.

Eight and half.

- Good? - That's killer. Yeah, yeah.

- I'm a little dizzy. - Yeah?

Yeah. It took me about at least five seconds or so

to know I was even upside down when it was over.

It's just... I'm just...

They eye checked me and everything, so it's...

And I was there for the whole thing.

It couldn't've been more perfect.

We did break the world record by one and a half rolls.

That thing rolled eight and half times in a straight line,

which is pretty much unheard of.

And I think it's probably something

that's gonna hold up for a long time.

Halfway through, I was like, "I want this to stop."

To know that we did this on flat and broke the world record

by not, you know, not a half, not one, but one and half...

- Did what we set out to do. - hell, we did.

It feels, you know, it feels pretty good,

but I'm not... I'm not in it... I'm not in it for that.

I just... I'm really excited that...

that I did my job and I got something really great for Dave.

We've been trying to pass eight, and we got eight and half.

So, we have a new standard, baby.

The stunt team crushed it today. All their hard work paid off.

Logan and Chris did an incredible job.

Effects, you know, helping engineer that car.

It was awesome.

I'm not here for the attaboys.

I'm not here for congratulations.

I'm not here for any of that stuff.

You know, everybody was OK.

It went off without a hitch, the way we designed it to go.

We call can take credit for that, every one of us.

- Thank you. - No worries. Thank you.

Thanks, brother.

Iyuno