All language subtitles for Action.2024.S01E06.1080p.SKST.WEB-DL.DD5.1.H.264-playWEB_track4_[eng]

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