Original subtitles

CHRIS: I feel like we're being tasked with,

you know, carrying the stuntman's name

on our shoulders,

and I think Dave feels that way as well.

I look at some of the stuff that we've done.

(ENGINE REVS)

It's just overwhelming.

It's funny, this movie has been going on for a long, long time,

and now we're in the final stretch,

and we have two big, big stunts still left.

And one of those events, standalone,

would be a big event for a movie.

All of these things that we're doing can't be taken lightly.

Every I has to be dotted

and every T needs to be crossed

because the consequences are huge.

Hi-yah!

How was that?

(ALL EXCLAIM)

CHRIS: Everybody wants a happy workplace,

because if you have a happy workplace,

I don't think it feels like work.

And so, we're just trying to get some group activities together

to kind of create that bond.

Good job, mate.

CHRIS: A lot of the guys are from Queensland,

so they're away from home.

A lot of them have new babies,

and families and similar stories.

And we're all down here in Sydney making a movie.

This has been a seriously long jaunt.

And to be honest, pretty stressful

trying to divide work and life and find the balance.

BEN: The relationships that you build working on a movie

for six, seven, eight, nine months is always amazing.

I've met some people that I'll be friends forever with.

LEO: One of the biggest joys is that team environment

that, at the end of the day,

even though it was completely exhausting,

we're all super stoked with how everything went.

Everyone's safe. That's what, you know, really drives me.

JUSTIN: It's important to have your head in a good place

and that's something that people don't always consider.

"Oh, yes, I spent six months in Australia filming."

"Wow, how glamorous."

Well, I spent six months away from my wife,

away from my family.

But the only way this business is designed to work

is with that sacrifice.

So, there's an important element within that

of knowing your limitations and skirting them.

- Cheers. - Thank you.

All right, cheers.

JUSTIN: I was an incredibly timid kid, kind of overweight

and was very unsure of myself, of the world.

I was definitely a late bloomer.

Socially, I think I was just very awkward.

I definitely fell back on doing impressions and accents,

trying to, you know, fit in with kids and stuff like that.

My first school years were actually spent

in a private school,

a very small, very, very small private school.

I think there was seven kids in my class.

And then, going right into a public school,

I just got bullied mercilessly.

I think being bullied was definitely something that...

made me look for something else.

I think if everything had just been,

"Yeah, I have a thousand friends and things are super fun,"

I wouldn't have been looking.

It just kind of starts to shape you a little bit differently.

And then finding martial arts, that was my outlet.

That just kind of helped get me out.

And that completely took over my life entirely.

Part of the reason I spent so much time there

is because I knew the moment I left school,

my best excuse to be away from everybody

was just to go to the karate school.

(GRUNTING)

Oh, my God.

Show me those three hits.

- It's one, two, then it's... - Nice.

JUSTIN: So, when I finally got into stunts

and started having that success,

it's almost like a validation of your previous choices.

There's that confidence in what you're doing,

that you're made to be doing that.

You make all those sacrifices,

and you do everything you can to support that career.

There's the bumps and bruises that come along the way with it,

and there's always that risk factor,

but I couldn't sit behind a desk.

I'm not made for it. My brain is not made for that.

I know my brain is made for this and it's adapted to this.

So, the joy people get when they have a Christmas bonus

or they get a promotion at work,

I get that every day at work

cos I get to test and challenge myself.

That's a gift that a lot of people don't get.

That's...

The only way I think

I could live this life is just like that.

WOMAN: Very windy.

CHRIS: Even in the 11th hour of doing things,

there's still questions and still things changing

and we have a pretty big four days

where we have the high fall.

That's something we've been rehearsing

and getting into a place that's repeatable.

High falls are a very specific, very specific stunt,

and there's not a lot of guys that do it.

When it comes to something like that,

you can't just call anybody.

The only name that came to my head...

was Bob Brown.

Bob Brown is a high-fall legend

who's done numerous high falls from super-high heights.

but he's retired from doing high falls.

So, his son, Troy, was the obvious choice

because I know he's been trained

by his dad, who's the best in the business, for years.

So, if I could get Bob and Troy, that was a recipe for success.

- Great. Give us a good line-up. - Sure.

I'll make sure that I'll back up three feet,

like I did yesterday.

- Yeah. - I'll actually go out.

Yeah, the end of the bag is about right here.

- Right. - That would be fine.

Maybe even here. Just not back there. All right.

I've been in this for about 40 years

as a stunt performer, coordinator,

second-unit director.

And now I'm my kid's high-fall...

what are they calling me on this?

High-fall consultant. (LAUGHS)

I don't know if I was supposed to wear a suit today or what.

TROY: This is the only bag in the world

that's this big and this style of bag.

It was his bag back in the day.

He did a 210-foot-high fall into this bag.

It's crazy having this bag here.

It's been in South Africa for the last about 20 years,

just in a box.

So, I'm glad that they kept it in good condition,

cos I feel like it's some sort of destiny

that me and this bag have come together like this.

So, this fall that I'm doing is a half in, half out.

I partition it into two different tricks.

The first flip is called an Arabian.

It's a backflip with a half twist.

And the second flip is a front flip with a half twist,

and you just roll that over to your back.

It's a trick that you gotta do at least over 80 feet,

but given the opportunity and given this bag

and the team that I'm working with,

if we can stomp this 150, it's gonna be really good.

DAVID: The high fall

is a bit of a lost art.

With the rigging involved nowadays,

we use wires for safety reasons

and for controllability and for camera.

We could do the high fall with wires.

We're not gonna do it with wires.

We're gonna do a real practical stunt

because that's what this movie's about.

(CHEERING, APPLAUSE)

TROY: As I do the fall, everything goes pretty silent.

And then the next thing I hear

is the awesome sound that the bag makes.

Dude, that on the header side of it,

I was just looking at it the whole way.

It feels so good.

A little more gas at 130, you'll get it?

- Yeah. It feels so good. - It really choked me up.

It chokes me up

that we're playing the winds like we just did.

But when he starts getting up to the height

that he's gonna do on film day, it's serious business.

CHRIS: I think working on Fall Guy

has given these guys career-defining moments.

They're all getting a chance to do stunts

that people are gonna remember.

CHRIS: I come from a kind of a high-fall background.

That's kind of one thing I did when I was coming up.

So, my moment in my career was getting a chance

to do a 110-foot decelerator on a movie called Magnolia.

A decelerator's kind of a wire gag.

It's free fall all the way to the last 15 feet,

and then the system that the stunt riggers

had set up decels you down.

I was standing on the top of the building there.

I think I fell five times. Five times on the big fall.

And then we went around the backside of the building

and there's one shot inside the kitchen

when the mom shoots and blows out the window.

So just to get that insert shot through the window of me falling

was done on the back side,

and I actually fell on a line past the window every time.

That was not a set. That was actually real location,

real building, real fall every time.

So being in Hollywood for three years

and getting an opportunity to do this stunt

was pretty unheard of at the time.

KRISTIN: We talked about Magnolia.

He had a big jump off of a building

and I said, "Can I come see you?"

And we were new in our relationship.

He said to me, "I don't want you to come see

because if anything goes wrong,

I don't want that to be the last memory you have of me."

And I thought, "Holy crap! What are you talking about?"

You made it seem like it's no big deal, whatever.

And then, I saw the dailies, and I thought,

"I'm so glad I wasn't there."

CHRIS: Spouses are rock stars in their own right.

They support this crazy lifestyle, this crazy business,

but there's still the unknown,

and we're still putting ourselves in positions

that catastrophic things could happen.

I don't know what else I would be doing

if I wasn't in this business.

But I can honestly say there's no way...

(CHUCKLES)

...no way I could do my job without KristIn.

Because I'd be a miserable...

You know, just be a miserable guy

going through this business.

And I tell her, I tell her that a lot, you know.

And I truly, honestly mean it.

And sometimes when, you know... I just do.

(AIR HISSES)

(INDISTINCT CHATTER)

DAVID: This movie is about stunt performers.

And there's such a legacy of the high fall.

I mean, look at this. It's amazing.

Yeah, we don't even need the (INDISTINCT)

- with all this weight. - Yeah.

CHRIS: The iconography of the high fall and the airbag

are so just quintessential stunts.

And I just couldn't see this movie

without a real, legitimate high fall.

- Hey, Troy. This is Ryan. - Hi.

- How are you? - Pleasure to meet you.

It's really awesome to meet you, man.

And then this is his dad, Bob.

- Hi. Pleasure. - Nice to meet you.

- Bob is the high-fall legend. - I know.

You loom large in your legend, sir.

We're passing the torch to this kid.

- Yeah. - Been a long time coming.

Growing up doing it,

just repetitions over and over and over

has gotten me comfortable with, you know,

committing off of whatever I'm jumping off of.

Get off clean, don't twist early, um...

Once you see the bag,

everything just kind of flows from there.

I always knew that I wanted to go big

watching videos of my dad, watching videos of this bag.

So doing it is just... It means a lot to me.

OK.

The thing about bringing stunt people on to a movie is

experience is kind of what you rely on.

If I bring somebody in, like Bob Brown

who's had 30 or 40 years of experience

doing something like this,

I know that I got the best guy for the job to do it.

Bringing somebody in that's kind of newer to the business

and putting all that pressure on them,

it's just hard as a coordinator to kind of know I got the guy,

because he hasn't established himself as the guy yet.

(EXHALES)

CHRIS: We need to release the helicopter in the air.

Everyone stay clear please.

DAVID: Troy is an amazing athlete

and he has been training 15, 20 years for this.

But you're feeling it. I'm not gonna lie.

And you know that he can do it

and you know they've rehearsed it

and you know they have the repetition.

But...

But it doesn't take away the... that anxiety.

MAN: Here we go, let's roll cameras.

- MAN 2: And rolling. - MAN: Cameras are rolling.

We are ready. And three, two, one, action.

(THUD)

(CHEERING, APPLAUSE)

MAN: Come on!

- (LAUGHTER) - BOB: You had it all day!

- (APPLAUSE) - Cut, cut, cut.

- (CHEERING) - (TROY WHOOPS)

DAVID: This is a career-defining moment for Troy.

It's a lost art.

And to think that now there's one premier guy in the business

who has brought it back...

- (CHEERING, APPLAUSE) - Yes!

And there's legacy with this father,

so I think it's a real great moment for him.

Yes! Damn.

CHRIS: We achieved it safely and efficiently

and got a great shot.

We had the right bag.

We had the right people. We had the right prep.

And, uh... and we pulled it off.

(BOTH LAUGH)

Oh, my God!

- Great work. - Thank you, sir.

CHRIS: That's a career-defining stunt for Troy.

He is playing in the big leagues with that stunt,

and he may never get a chance to do that stunt again.

(CHEERING, APPLAUSE)

This is how you bond as a family, as a stunt family.

It doesn't matter what country you're from or anything.

He's dependent on what they did to stay in one piece.

So very appreciative as a father.

He's gotta call his mother.

- That was sick. - His momma.

(LAUGHS)

- Hello. - Hello

CHRIS: Just one of those moments

that's really, really cool and really emotional.

(LAUGHTER)

It's better than I could have ever imagined, seriously.

It means a lot to me.

There's so many personal levels

to this job alone and to this fall.

That was so good.

Thank you, man. That was incredible.

Nice work, man. Nice work.

For the stunt world, this is huge.

You know, this whole movie is huge.

People are going big on this show, breaking records,

and doing it big and I'm just glad to join the party.

Where are we at?

- Anybody see it? - Under there?

- Here it is. - Hey, let's see.

I don't know where it's at.

You can sign your own, Troy, if you want.

- There, right there. - There it is.

DAVID: That's what's beautiful about stunts.

Not all careers start with legacy.

- Can I sign this thing? - Yeah, let's go.

But the ones that do, it's sometimes really sweet to see.

You know, having Bob reveal that moment on the bag

and having Troy sign where Bob signed,

and knowing that Bob's done some of the biggest falls of his life

into that same device is just, uh...

It's a crazy story.

- All right. - (CHEERING, APPLAUSE)

That was great.

- Awesome. - Thank you, guys, everyone.

Super fun.

(EXHALES)

- TROY: History. - MAN: Yeah, yeah, yeah, yeah.

MAN 2: One hundred percent.

We know we need the third act

to be the climactic conclusion

to this sort of stunt extravaganza.

We're gonna break some records or do some things

that haven't been done in movies in a long time.

CHRIS: The truck jump actually came from early prep

and driving in Sydney Harbour.

There's, I don't know what they call it,

it's like a spin bridge or something,

and there's one right at the base of the Anzac Bridge.

It's just these iconic bridges that are around Sydney.

And I looked at it, and I was like,

"We gotta jump something over that."

I went on Google Maps and it was 200 feet across.

And that's where it kind of started.

But to get permissions to jump there

was never gonna happen.

Still that idea of that idea of that truck jump kind of stuck.

So, David Scheunemann designed our set for the third act

knowing that we were doing a 200-foot jump.

It's a pretty big task

and a pretty big weight on my shoulders.

I feel, you know, everybody in my business

is gonna be looking at what we're doing

We had this truck built from the ground up.

SCOTT: So, basically, the jump truck came in

and it was just a rolling chassis.

So, no engine, no gearbox, nothing in it at all.

Just, basically, a cage, and we had to fit everything to it.

So that's a major job that would normally take

six months to do, and we did it in six weeks.

- (LAUGHTER) - So, yeah, it was challenging.

(ENGINE REVS)

SCOTT: It's an offroad brush truck,

but you can put whatever body you want on it.

Five hundred and 50 horsepower, so quite a lot.

They just go over any sort of terrain.

CHRIS: Logan Holladay is gonna drive the truck,

and he has a very great knowledge of cars

and has jumped 200 feet on a motorcycle before.

The number-one thing you're responsible

for when you're doubling an actor

is making the character that they're playing

look the best they can look.

OK, I'm ready.

LOGAN: I'm competitive

and I like the feeling of the adrenaline.

I always wanna drive. Like, even though my wife wants to drive,

I'm always the one that drives.

I like being on the start line of a race.

There's so many stunts in this film.

It's like everybody's dream no matter what your discipline is.

(LAUGHTER)

That's the most dangerous thing I'll do.

MAN: What's going on today?

LOGAN: We are surveying the jump

to get the straightest path for our ramp.

So, we can start small and slowly build the ramp back.

And we're surveying it

so everything is perfectly straight.

Cos at 200 feet, if we're off by six inches,

I may not hit the landing.

This is the practice area, so we can build up to our distance.

And then we will go over to the set,

and put the ramp over there, and I'll jump over the set.

(LAUGHS)

(WHISTLES)

MAN: Have you got your working from heights certificate?

- Sure do. - (LAUGHTER)

We are testing the trophy truck.

This is the first test.

The weather has actually let up. It's been raining all last week.

There's no wind. Cos wind is a major factor in this.

The down ramp goes that way, though?

No, that way.

- Oh, that way? - Yeah.

All right.

- I think it's dead straight. - Hey, Leo, are you on channel?

Our whole life, we've done silly stuff like this,

so we're sort of used to it.

There is definitely an engineering perspective with us.

As a rigger, safety's the first thing that comes to mind,

and we do a lot of training.

We spend a lot of hours doing these sort of things.

Generally, you can't just be an amazing stunt person.

That takes years and years of experience to be that person.

We're gonna start at 75 feet.

We're gonna move in increments of 25 feet until he's happy,

making sure the truck is jumping nice in the air.

Cos the further you get back,

the more time he has to spend in the air,

so we'll try and fix any issues

from bottoming out when he lands,

or suspension problems when he takes off,

and then just the flight of the car, as well.

LOGAN: For the driver inside the car,

we have a full roll cage that protects us.

You have a special containment seat that contains your body

from any side-to-side motion.

Then you put a five-point harness on

that keeps you in that seat.

I run a neck restraint

that keeps my head pulled back into the seat, as well.

- OK. - All right, have fun.

Yeah, buddy.

I then go for it.

(ENGINE STARTS)

Logan, that was 80 foot.

I wonder if, as we go faster,

if it's going to wanna drop the nose or pop it more,

because right now, it's a little bit nose high,

but I wanna hit it again.

(ENGINE REVS)

- It's still a little bit... - Bumpy.

Ah, just a little bit left-hand side.

LOGAN: A lot of times

when I explain something like this to somebody,

they have no idea what it takes to set it up.

When you watch it really fast,

it kinda looks like all you do is just drive in and do it,

but there's the weight of the truck

and the suspension on the truck

and the way that I drive the truck when it's jumped.

We're gonna move the ramp back

with the information that we've recorded.

After every jump, the suspension guy would come in

and we'll work out the trajectory

and then just start balancing it,

because jumping at 25 foot to 200 foot

is a completely different setup.

Words can't explain how good I feel to be a part of this.

I know for a fact that every stunt team in Australia

wants to be on this film.

Ever since I was a child,

I've always had a fascination with movies.

And I studied acting full time.

Outside of film, I'm an electrician.

Moving into stunts and rigging,

it married in and gelled pretty well with me.

I'm here as a stunt rigger.

I'm also playing a character.

- You're on fire, right? - Yep.

- Three, two, one, go. - Yeah.

Like, it just hits you.

All right, ready.

I'm so thankful that I get to play one of these guys

because you hear these stories over the years

of these stunt guys that, "Oh, so-and-so did this and that."

"What? Wow."

And for us to be able to play these characters,

it's so special.

- MAN: Cut. - MAN 2: Cut, cut, cut.

(APPLAUSE)

MATHESON: The guy running the show, David, is a stuntman.

Chris O'Hara, my boss, is a stuntman.

And to be surrounded

by this elite collection of people, it's...

Yeah, I just pinch myself sometimes.

- CHRIS: Awesome job. - DAVID: That was great.

- CHRIS: Great job, guys. - DAVID: Woo!

CHRIS: Look at that.

They landed perfect.

It was perfect. It was perfect.

(ENGINE STARTS)

(ENGINE ROARS)

LOGAN: So, we've worked up to 200 feet.

We've had to rework suspension over and over

to make sure the truck flies correctly,

cos as you increase that speed when you hit the ramp,

you hit the ramp harder each time,

the truck reacts different and things need to be changed.

It's built completely different than a regular car.

It's a race car meant for taking big hits.

Got the distance, but massive endo...

Yeah. Landed it sweet.

You can see on the skid plate where it hit,

but it was super close.

Yeah, our hearts were in our mouth on that one.

It was... it was pretty wild.

But he's safe. Everyone's safe. The truck is sweet.

At least we got there. We got over 200 today.

So it's a good, successful test anyway.

LOGAN: The truck is really designed

for doing this kind of stuff.

You know, not this big of a jump in particular,

but it can handle it.

And it's much better on your body as well.

It has in the range of 30 inches of wheel travel,

big tires, very, very strong and stout.

It's made for hitting big bumps and jumping.

It's not going to bend.

PATRICK: We built this alien spaceship

down in the gully there.

And today, the plan is to stick it on that crane

and lift it up and attach it to that scaffold structure.

(WHISTLE BLOWS)

You don't see as many car jumps these days,

but we're definitely doing 'em here.

This is a 200-foot gap.

On the test, at the highest part of the jump,

I was about 40 feet off the ground.

Over here at the highest part,

I'm about 80 feet off the ground,

and I'm jumping over a space shuttle.

It's different. It looks much, much bigger.

With a 200-foot gap, I'm jumping 225 feet.

I haven't jumped the canyon yet

because I'm only gonna jump that on camera.

We've already jumped the actual distance now

and everything we can do to prep for this is done.

And so, we're just waiting to get the green light.

(THUNDER RUMBLES)

This is the run to come in,

and we need solid ground, we need traction.

Otherwise, it just pushes us into next week.

So, we've got the Kurnell curse, you know.

The other week, it was those floods coming through,

and now we're in this valley,

and it all just... it all just funnels into this big bowl,

and it just sits, and it's like it comes up out of the ground.

You push it all one way, and then it just pools up again.

It's pretty standard for an Australian

to do some hard labor.

(MAN LAUGHS)

It's like any other day growing up.

MAN: When you put a team together, Chris,

do you always look at the good brushers or...?

I do, I do. I look at guys' eagerness

to just keep doing what I tell them to do.

Even though it keeps coming back in,

I keep telling them to go,

and if they don't question that, then that's a good teammate.

- MAN: Very. - And notice,

there's only one person standing here being that person.

All my other teammates that I thought were there with me,

- have all left. - (MAN LAUGHS)

You push the water, it doesn't really go anywhere,

it just comes right back.

But I really don't have anything else

to do right now, so, yeah.

We'll just do something pointless.

- That's the problem. - I'm gonna go back to it.

MAN: Chris said he only selected you to be on this production

for your brush.... brush skills.

- Well, he made a mistake. - (MAN LAUGHS)

They're not that good, to be honest.

They're really not that good.

Is everybody set?

(MEN GRUNT)

Mm! This makes all the difference.

It's very warm again, but this time,

we're not looking directly into the sun.

That was quite tricky. That was quite tricky. Worth it, though.

No complaints here, as always, you know.

Look, it's hot. It's hot.

Do you know what it is? It's sweat in your eyeballs.

Sweat in your eyeballs, man. I can't even wipe anywhere.

Still chic though, no? Still chic.

MAN: Yeah. Still chic.

CHRIS: We're filming at a place called Boat Harbour in Kurnell,

and that has its own kind of weather system.

(WIND BLOWS)

CHRIS: We're trying to rehearse, and we're trying to shoot

and Mother Nature kind of dictates a lot of that.

Oh, God, so disappointing.

CHRIS: You have this production

that's spending X-amount of dollars per day,

and if it's windy, I'm gonna tell them they can't shoot.

That's a hard thing cos you wanna please

and you wanna get the shot,

but when it comes down to it,

if it's not safe, it's my job to say, "No."

LOGAN: This is a very windy place.

We're right by the beach, and our jump is up high.

So, the wind's always more the higher you go.

And the wind is very critical.

A headwind will make the truck fly nose high.

A tailwind is best-case scenario because you go with it.

Side winds will turn the truck,

and it doesn't take much wind to do it.

DAVID: We needed to pick a distance

that, like, was worthy of doing.

We could jump this car... We could do that in CG.

You could make a CG car, jump the car,

but how can you tell a movie about stunt performers

and not do practical stunts?

It just wouldn't be authentic or fair.

CHRIS: The truck jump is one of those ones

that we have to go 200 feet,

because that's what the set's been designed around

and there's consequences for going shorter than that.

But in this business, there's no, "You can't do something."

It's like, "Find a solution."

Logan, he's a good friend.

I know his wife. I know his kids.

And I know how important they are to him.

I feel responsible for everybody. It's hard.

LOGAN: It's trying to nail this perfectly

is what makes me excited about it.

But there's variables, there's certain things, you know,

that you just can't control.

You're not supposed to wreck,

it's supposed to be a clean jump,

but there's so many things that could happen

that could throw you off slightly.

So, you're thinking about the family,

you're thinking about all these things.

It's just a lot of sleepless nights,

which you end up mastering as a stunt performer.

I don't wanna be blocking anything out.

I want it all there,

and I could figure out how to work with it.

You figure out how to deal with these emotions.

And not everybody can do it.

That's why there's very few of us.

TYLER: This is a life-and-death job.

It's not necessarily just business and personal life.

Big days, when there's big stunts going on,

that's the most stressful part.

It's not hearing from anybody, until you do,

and you're hoping it's gonna be your husband's phone.

It's not necessarily that I'm in fear.

There's always the "what if" and...

I don't think it ever really hit me

until we started having kids.

That was the fact that I was like...

"What do I tell them if something were to happen?"

And that is a huge fear.

Every outcome is gonna be different

and he can only control it up to a certain point,

and then he's just a passenger in the car,

and then it's just at God's will what's gonna happen.

I've never told him, "Don't do something,"

but I've gone to him and I've been like,

"I have this feeling and it doesn't feel right."

Um...

In his world, if you turn down a job,

you don't get called again.

You don't keep getting calls.

Thankfully, he's at a level

where he has such ability, such talent,

they do need him.

This job going to Australia with Chris O'Hara was amazing

cos Chris is like, "This is what's gonna happen."

Everything was on the table.

And that feels so comfortable for him to work with people

who know that they care about him

and his life outside of work.

And some people respect it, and other people are like,

"What's your wife's problem?"

He's so talented and capable

and I know that all the people working around him

want the same positive outcome

and are all the best of the best,

so I have to trust in that.

CHRIS: Thank you, folks. Guys, come in a bit closer please

so you can hear what's going on today.

Just to walk through the day.

The winds are favorable right now,

so we're gonna start with the jump.

LOGAN: Some stunt guys don't like to tell their wives

when they're doing big stunts.

They don't wanna make them nervous. But I always tell her.

And so she is anxiously waiting.

CHRIS: We're gonna warm up the car.

Logan is gonna do a couple speed runs

so all the cameras will get a chance to kind of look

at what his speed will be coming up over the crest of the hill.

He has a bit of an out time as soon as he crests

in case anything's wrong.

He has the out to go,

the ability to go right of the ramp and left of the ramp,

but once he's over that hill,

he pretty much has a very short window to kinda commit to it.

And once he's in it, he's in it.

DAVID: We have the best in the world out here

doing some crazy, crazy stunts,

but, you know, those are your friends in those positions.

They are people that trust you,

and there's a lot of pressure to keep them safe.

MAN: All of, like, 20 seconds.

KIER: Safety briefings.

In the event of something happening

that we don't want to happen

medical arrangements are the same

as "medic, medic, medic."

In the event of an accident,

on channel one, give name and position of the incident.

In the unlikely event of an evacuation, the assembly area

is halfway between the unit base

and the set area and the open road.

The top of the spaceship is eight person maximum.

On the top of the spaceship, you must be harnessed.

Snake sighting. Should you see a snake,

please do not approach or handle.

CHRIS: I'll just give Logan a "three, two, one, action,"

so all the cameras know what's coming.

MAN: Copy you.

Hey, folks, let's all clear back up, please.

We're gonna bring the helicopter in,

do some speed tests with Logan.

LOGAN: It's a different type of run than the test.

The test is all flat.

You just get up to a speed, hold speed, hit the jump.

Over here, because it's an elevated jump,

at some point on the run in,

I have to drive up on the elevation.

DAVID: Rehearsing. This is a speed test.

Ready in three, two, one, action.

CHRIS: Give me a "three, two, one"

as he's getting close to the jump.

LOGAN: When you're in the vehicle

and you're coming at the ramp at speed,

I'm not looking at anything but the ramp.

You don't see the depth of the gap or any of that stuff.

Once you hit that ramp,

then at that point, you're along for the ride.

CHRIS: Logan, can you hear me?

CHRIS: No worries. Everything feel good?

CHRIS: Copy that. See you on the other side.

DAVID: This is a take, everyone. This is the real thing.

Keep it locked up. Let's roll all cameras, please.

WOMAN: Everything is speeding.

DAVID: Thank you. Cameras are set.

Ready?

And three, two, one, action, Logan.

CHRIS: And go. In three, two, one.

(CHEERING)

(CHEERING, APPLAUSE)

(WHOOPING)

- (INDISTINCT) - OK!

(CHEERING, APPLAUSE)

LOGAN: We did it. It came up a little bit short,

and took a lot of the space shuttle with it.

When the rear tires hit it, it ripped the space shuttle apart.

But the good thing is that

without that being part of the plan,

it parlayed perfect into the story

of the truck actually wrecking.

- Thanks, guys. - Thank you.

KELLY: There's such a brotherhood

in this collection of people

that we just know what all that means to each other,

and it's so, so amazing.

LOGAN: It's been an emotional rollercoaster

through this process of doing something so big.

I think from this point right now...

KELLY: Oh, my God!

...I don't know what I'll do next.

I'm happy doing what I'm doing for the next ten to 15 years.

Then, after that, I'll do something different.

It may not be in this business. I don't know.

For me, I wanna keep performing for the next, like, five years,

and then I think I'd make

a really good coordinator, but not yet.

I feel like I have a lot left in the tank performance-wise

and I wanna see that through, you know.

But I also don't know what I'm gonna do tomorrow,

so I have no idea.

I feel very privileged and I'm very grateful

to have been given an opportunity to keep people safe.

And I love coordinating,

and I love the journey that I'm, sort of, like, taking myself on,

that I decided about five or six years ago to start writing.

I think it's a great way

of moving forward as a creative person

who wants to direct films,

and, yeah, I'm looking forward to that.

CHRIS: This profession,

we're putting ourselves into situations

that are supposed to look dangerous

and scary and out of control.

But I feel proud because we all work together.

Everybody had input.

And the most important thing is everybody went home safe.

DAVID: We set out to make this

a love letter to the stunt community.

MAN: Go!

And I think we did it justice.

I like to quote Harrison Ford,

and I hope I'm not misquoting him,

but he called action like physical acting.

And when I heard that term, I was like,

"Yeah, that's a really great way to put it."

Kind of realizing the potential of the drama of action.

The action that's going to tell the story.

Just close your eyes.

KELLY: I think stuntmen and women are a rare breed.

Usually athletes or engineers

or, you know, things along those lines,

somehow they tumble into this career.

- MAN: Go. - (GRUNTING)

KELLY: And that means that they're taking

all the hits and all the knocks and never being seen.

DAVID: Part of the job is to be unrecognized.

But it's really, uh...

humbling as a director to get to work with such talent.

KEANU: I would say...

I think it would be great for the stunt community

to be recognized by the Academy Awards.

And I think to be in the Academy,

to have an award,

to be recognized by that tradition... of Hollywood

that they have been not included in,

but have been so instrumental to movies,

should be corrected by their inclusion.

Subtitles: Iyuno