All language subtitles for Action.2024.S01E03.1080p.HEVC.x265-MeGusta_Track03

(DISTANT CHATTER)

Hey. Good morning.

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

Cha. Nice to meet you.

CHA: I started martial arts
when I was three years old,

and my father
was running the dojo.

So, martial arts
and action movies

was always kinda nearby
in my life.

Travel back.

I grew up watching
Jackie Chan movies,

Bruce Lee movies, Donnie Yen,

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

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

Lights, ready, and action.

CHA: When I was 14,
I saw on the internet

that there was
a documentary about Jackie Chan.

(GRUNTING)

I didn't know the term
stunt performer

or stuntman, really,
at that time.

I just wanted to be
like Jackie Chan.

I wanted to fight
in those movies.

-Jesus Christ.
-MAN: Turn and run.

CHA: When I saw
how they were training,

preparing for certain movies,
that got me hooked

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

Three, two, one, go.

CHA: When I mentioned that
to relatives,

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

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

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

Three, two, one, go.

CHA: When I finished school,

I moved to Berlin
to pursue stunts.

Kept telling lies to my family.

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

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

(LAUGHTER)

That got him.

MAN: That's a wrap.

JOJO: That got him.

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

-JOJO: Reset.
-DAN: Resetting.

-She has to be aggressive.
-Yes.

DAN: And action.

JOJO: Go in there. There you go.

Cut. Mitra?

You're enjoying this.

You finally get a chance
to kill that guy.

What would you do?

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

Or are you gonna go...
have intensity?

You gotta find within yourself
how to turn that on.

You have to feel it.

You have to feel it
coming down here.

OK. Yeah. Copy.

JOJO: Usually,
I'm a little more laid back,

but because
of the time constraints,

I feel like I'm definitely

a little more temperamental
than I usually am.

Twenty takes is unacceptable.

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

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

I think you get
your best performance

when you're comfortable.

JOJO: All right,
just don't think about it.

Do what you did before.

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

DAN: OK. Here we go.

And three, two, one, action.

Go! Yes.

Boom!

All right. Cut. That was good.

That was it. You're in the mood.

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

That was good, guys. Moving on.

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

You just gotta read those cues

and make sure
I'm more thoughtful

and empathetic about it.

-JOJO: OK, we can get this.
-DAN: And action.

Nice!

-Cut. That was good.
-Cut.

That was a good one.
Do another one.

DAN: OK, going again.

You're always meaner

to the ones closer to you
than other people,

maybe cos
you feel comfortable with them.

But I do think it's tough love,

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

I can't see anyone
else doing it.

She's doing such a good job.

JOJO: Like this. Stab.

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

Like that. Like that. Yes.

DAN: And rolling.

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

-DAN: Action.
-JOJO: Yeah, like that.

-DAN: Action.
-(GRUNTS)

-DAN: Cut.
-JOJO: Good.

We got three good ones.

Good job, guys. Good job.

Thank you.

MITRA: Jojo's work is memorable

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

There is opportunity to tell
a story within that fight.

DAN: Three, two, one, action.

Vertical, right? Not horizontal?
Dumbass.

-Cut.
-DAN: Cut.

JOJO: I like that one better.
Great one.

After this experience,

I'd love to do action acting
moving forward.

-JOJO: All right. Good job.
-DAN: We're gonna break.

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

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

GIRL: Can I try one?

Mm!

These are so good.

Mm!

We're running out of ketchup.

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

No days off.

Your kids are with you
all the time.

You don't have extended family.

You don't have certain people

that you can call upon
to help ease the load.

It definitely feels
a little bit lonely.

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

to help support me
with raising them.

That is one of the dreams I had.

That's something
that was promised to me

but it never happened.

-Chocolate.
-I ate too much.

Daddy's.

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

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

Their dad worked
in special effects.

At my first ever stunt job,
I met him.

After having kids
and working all the time,

our relationship,
it got a little bit intense.

He had a sickness, um...

with substance abuse.

Our love kind of grew apart.

You get to tell him
whatever you want,

and this is gonna send
a message to him.

And he was gone
for, like, two years,

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

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

And I remember just having

a really bad feeling
in my stomach,

I couldn't even eat.

I go outside,

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

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

I already knew. I already knew.

OK, but before you let it go,

what do you
want to say to Daddy?

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

I miss when we go
camping and fishing.

I love you, Daddy. Goodbye.

It's the anniversary
of his death.

Good luck. (SQUEALS)

Yeah!

MITRA: Aaah!
It's going. Whoo-hoo!

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

Nothing can prepare you.

I just said thank you.

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

No one knew.

DAN: What do you wanna do now?

Do you wanna show one
of these tests live?

Well, the snowmobile has to come

through this berm
right here, right?

Then it comes around
the backside of the hill.

It almost comes
to the base of the hill.

-Which looks a lot like this.
-Yeah.

All the sequences in
Violent Nightare challenging.

But the hardest
is the snowmobile stuff.

They're cool looking
in this direction?

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

For that, we have
a sled sequence

where he's going down this hill

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

and take it over.

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

So, we kinda suggested,

"Let's build that hill

somewhere where we can control
the variables."

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

and just keep doing it.

There's a lot of stuff.

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

we're used to
this kind of pressure.

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

This week,
this week is technically...

That's our bottom time.

And now you see
the pace of the fights,

that fight has to be
the best one.

Aside from
the snowmobile stunts,

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

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

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

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

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

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

If you have only two guys
against Santa,

how do you make it
look like three or four?

Do you know what I mean?

The fight choreo was already
gonna be the most involved

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

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

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

when you guys
know what you need,

cos I have to save money
already.

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

without doing the pre-viz.

But then I can't do the pre-viz

without knowing
how many performers I need.

In the words of Bill and Ted,

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

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

So, that's my dilemma.

CHA: These are the right
measurements for the barn?

PHONG: Pretty much
the right measurements, yes.

So, I think the wall
with the door

and the window's
gonna be on this side.

CHA: Are we gonna use the wall

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

PHONG:
No, we use the white wall.

CHA:
We use this white wall here?

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

PHONG: That's the plan
for the day, yeah.

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

OK, buddy, let's do it.

(* "RUNNING THIS THING" BY
KOROMAH, PRENDERGAST AND SHIELD)

JOJO: Can?
I gotta warm my old bones.

Because we have no people,

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

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

I'll go change, boys.

CAN: Let's have you guys
start further.

-OK.
-Yeah, yeah.

And I'll give him a signal
anyways.

Just walk it
by the numbers quick.

What I love about my guys

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

They know how I choreograph.

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

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

Eventually, when I move up
to directing,

I want Can to be my coordinator.

So, it's important for him

to kind of spearhead
these pre-vizes.

JOJO: All right, let's do this.

Three, two, one, action.

(YELLS) It's like, bang!

And you wanna
be behind it like that.

So you see it
smush against the wall.

The barn sequence in this movie

is technically the biggest piece
in the movie.

You do your
over-the-head thingy.

Maybe boom,
and then you hook into Cha

maybe somehow, you know.

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

In the barn, Santa
is fighting a platoon of guys

and he's trying
to be stealthy about it.

CAN: Three, two, one, action.

Jojo.

Bang.

(SHOUTING AND GRUNTING)

That's it, Cha.

(GRUNTING)

-Oh, sorry.
-Yeah.

JOJO: There's so much stuff
we can do.

We just gotta figure out
what's achievable

and then how many performers
I need.

Hold it, boom, hold it.

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

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

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

-JOJO: I need you to hold it.
-CAN: You hold it there.

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

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

Don't take it down with you.

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

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

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

CAN: Let's try one.

CAN: Set.

CAN: Three, two, one, action.

(* "THE MANIAC"
BY BEIGEL AND EMERSON)

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

JOJO:
Can I see the replay quick?

CAN: Yeah, of course.

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

But I do feel
that we need more bodies.

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

I just want to be ready.

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

But he made me a list
of available guys.

But because
I don't really know everybody,

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

I want you to tell me
who you feel is good

and see if any of our guys
cross over.

And then add any more guys
that you guys recommend.

And then I'll decide who I want.

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

So, give me a good mix.

As long as they're not bigger
than Santa.

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

And then give me
a guy who he can thump.

Like, whoever's
the acrobatic guy.

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

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

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

-(LAUGHS)
-I'm just joking. All right.

Go, go, shoot, shoot. Go shoot.

-OK.
-OK, OK, OK.

-Thank you.
-JOJO: All right.

SEBASTIAN: Thank you, thank you.

(FACETIME DIALING)

(IN GERMAN)

CHA: Hello.

CHA: Right now,
I have a daughter.

She's three and a half
years old.

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

MITRA:
Cha, how's your wife feeling?

Two days ago,
she had little contractions.

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

It was three... three a.m.

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

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

How does that make you feel
being here...

Hoo!

MITRA: ...and not being able
to be there?

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

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

I feel like you can lose
a lot of time.

-CHA: Yes.
-Right?

Even right now
when I FaceTime her every day,

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

And it's not like
a month before,

like two months before.

-They grow so fast.
-Yeah.

I miss my kid's voice
in the morning.

She wakes me up every morning.

I miss making breakfast
for my kids.

I miss hugging my wife.

I kind of feel sad, right,

because I just wanna support
her a little bit.

I wanna be there, help her,

and I wanna do something more
for my family.

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

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

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

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

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

and become a lawyer
or a doctor."

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

Like my mom, for example.

She's always the hardest doubter
in my life.

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

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

So, you're not good enough."

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

It was in London.

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

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

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

He's now on the airplane."

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

they will send him home

because they will realize
he's not as good

as all the stunt performers."

It's all these doubts, but...

That gave me the mentality to,

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

And we had a big premiere
in Berlin.

I brought her over, said,

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

And I think
that changed her mind.

"Oh, they're making...

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

I think from that time on,
she shut up. (CHUCKLES)

She didn't say anything
after that.

(FIGHTING SOUNDS)

JOJO: The guys
made the clips today.

So, we decided
to divvy up the responsibility.

I'll do all the sound effects.

Phong will do
the special effects.

Can and Cha will do
the ADR and score.

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

and have something
to show tomorrow.

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

This is our third show in a row

where the schedule's
pretty rough.

Sounds like every time
they go with me,

the schedule is terrible.

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

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

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

Every show has its challenges,
I guess.

(GUNSHOT)

Awesome.

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

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

because they're not as cool.

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

just needs more cool coverage.

-JOJO: OK. Yeah.
-You know?

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

Cos once we get into that
next week,

we're gonna be super busy.

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

-All right.
-Bye.

These genre movies,
you need the fight scene

that everybody talks about.

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

This is the big-ticket fight.

So, the guys have to deliver.

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

Like, I think you got
a great base.

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

OK. OK, OK.

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

there's a marquee moment.

JOJO: No, we don't want service.

No, we want the moment
and the gags

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

-So...
-OK.

I'm really just concerned
about the schedule.

It's compressed time
to do something great.

I know they can do it.

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

They have a lot of things
to overcome.

I need you, I think,
to be proactive

from here forward, because...

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

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

-This is your movie, dude.
-OK.

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

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

and, like,
will this (BEEP) to happen.

And you need to figure out
you got your rigs,

figure out you got your team.

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

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

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

It's all relying on your talent.

OK.

-It has limited resources.
-Yeah, yeah.

But the upside for you
is massive.

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

JOJO: Yeah.

Low priority
compared to finale,

how we're gonna execute it...

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

-You know?
-OK.

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

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

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

He can still do it."

OK.

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

and then this is what you do.

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

This is really important to me
because...

I feel like I'm on the precipice

of going to the next level
in my career.

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

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

But it is the most important.

So, I have to trust

that I can give responsibility
to the rest of the guys

while I can put
all my concentration

on the barn sequence.

(ENGINE REVS)

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

OK. It's not bad. Not bad.

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

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

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

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

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

-and how it feels, yeah?
-Yeah.

Whoo-hoo!

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

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

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

we can see his flight path.

We can take him into our villain
on the snowmobile.

-DAN: Ryan, set?
-Yeah.

Ready! Go!

(LAUGHTER)

DAN: So, in this scene,

three villains take off
on snowmobiles.

Santa sees this happening.

He grabs a toboggan
from the manger scene,

and then he runs
through the woods,

picks his moment,
slides down the hill,

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

Then Santa jumps
on the snowmobile,

takes off after
our last two villains.

Whoo!

DAN: So, if everything
works correctly,

what the rig is here for

is to do all this
repeatably and safely.

MAN: Three, two, one, go!

DAN: All right. So that sled
likes to go squirrely.

Whoa. (LAUGHS)

Close. Getting closer.

MAN: Three, two, one, go!

-DAN: Way to go.
-MAN: Good.

DAN: All right.

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

He's a lot heavier than the bag.

-Yeah.
-All right.

Let's do another one.

MAN: What we want to do
with that helicopter

if he gets on the helicopter,

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

like, it's the Bourne experience
thing.

Like, it's the only way
to get him

up to a height
that I can think of.

Right now within
what we've created,

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

and then he has
to face his ultimate fear.

And in terms of the ones

that were supposed
to be breaking records,

the eight rolls in the beginning

is a goal to break
a world record.

And maybe the jump at the end
with the truck.

I'm incredibly excited
about Fall Guy.

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

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

Here we can do it

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

Cool. Running away
from the bouncers.

Is it more a fight
with the bouncers now?

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

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

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

Two more guys come out.
He punches one guy.

-Got it.
-They kick him back.

Still working on the script.

And more importantly,

we're working on
the choreography and the stunts

that need the lead time

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

Guys, mark it where they drop.

I think we're 20 weeks out
from production.

And a lot of stuff we wanna do

is we wanna highlight
the practicality of stunts.

(TIRES SCREECH)

MAN: My job in R&D
is to try and find

what the creative team
is looking to do

and trying to see
if it's possible.

And so, I research
and then I report back

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

Everything that Colt Seavers
is gonna do

is chalked up to his skills.

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

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

CHRIS: Right now,
Dave's just looking at options.

And so,
it's a bitching stunt movie,

so why not have
an awesome helicopter

that's basically
a stunt helicopter?

So, inside is like,
two by three foot.

CHRIS:
Referencing certain things

from different movies
that David liked,

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

that does
all the maneuvers, acrobatics,

and took a little flight.

(* "MOVE" BY BENNETT AND NOON)

PILOT:
So, what we're gonna do today

is some basic
helicopter aerobatics,

which are unusual
for helicopters

but quite normal for airplanes.

So, we'll do all
the usual loops,

then we're gonna do rolls.

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

-as we go around.
-CHRIS: Nice.

CHRIS: We wanna head
into Australia with a game plan.

And so, this is the time
to kind of see

if some of our ideas
are even possible

so that as a team,

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

CHA: I got a call from my wife.

She had some contractions

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

I missed
my daughter's first birthday

because I was
shooting another movie.

So, I don't wanna repeat it.

So, I talked to Jojo
and asked him

if I can leave
after my scene is done.

And I think
there's pros and cons,

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

With that money, they can
buy new stunt performers,

daily stunt performers, so...

I think we are even on that.

CHA: The real one?

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

OK. Yeah.

JOJO: This is Cha's finale.

CHA: This is my end,
my fatality.

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

CHA: I'm getting killed today
by Santa.

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

and I'm gonna blow up.

DAVID HARBOUR: He comes up.
You have the grenade, right?

-CHA: Right.
-Sorry.

Can you hold that for a second?

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

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

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

Um...

And maybe give a little twist
to his hand.

Yeah, grab the grenade.

-DAVID: Shove it down his pants.
-Yeah.

JOJO: I mean,
you could grab him,

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

DAVID: Do it in the back.
That's better.

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

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

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

DAN: Roll sound.

Very quiet, please.
Alpha mark, take one.

Ready, and action.

All right. A little stuck?

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

(LAUGHTER)

-And cut.
-Kaboom.

-Cut, cut, cut.
-Very nice.

DAN: Next up,
we're doing the explosion.

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

so start pulling yourselves
out of here.

That's it. I finished the scene.

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

(CHEERING, APPLAUSE)

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

That's what we say in Germany.

Thanks, guys. Thank you, sir.

-Great stuff.
-It was an honor.

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

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

As much as I can, you know.

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

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

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

-Fuck! Fuck!
-I gotta watch.

Fuck!

(LAUGHS) Holy shit.

(FIGHTING GRUNTS)

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

as a second-unit director,
as a choreographer,

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

And I think
he's at that critical moment

where we've decided to bring in

a little bit more manpower
to help him.

These are small movies,
but they rely on action.

And you can't go wrong

with putting your resources
in the right spot.

JOJO: Ay, ay, ay.

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

It's smaller than I thought.

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

Because they don't...

I already see all
the problems already.

I already see it.
You gotta cheat big.

They got bodies
all over the place.

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

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

CAN: For the barn fight,

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

they communicated about,

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

Long story short,
space is smaller than expected.

...can we walk through that?

Whoa. Shoot and shift.

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

You guys know where it is? Yeah.

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

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

MITRA: This is a hit,
then the second guy here.

I'm worried
that I want my expectations met.

I think we all want
something great for this finale.

I wanna make sure that
everyone steps up and delivers

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

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

OK. We need
a day or two in here.

DAVID LEITCH: This is the most
important fight in the movie.

They have a lot of things
to overcome.

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

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

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

It is the nature
of the business,

not everything can be ideal.

We have to be ready in any case.

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

There's no way around it.

MAN: Let's go. Let's go!

-DAN: Are you set?
-WOMAN: Cameras running.

DAN: Rolling cameras.
Here we go.

Yeah.

Cut.

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

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

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

Well, that's what I'm saying.

You wanna get in there
and see the sled.

-Jojo?
-Yes.

Do we wanna have
the skidoo going through

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

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

You almost wanna
get that lens...

And then just stay on it.

I know it's hard. Yeah.

To work in the film business,

I think you have to be
somewhat of a filmmaker.

-You know how he goes up?
-Yeah.

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

Stunt coordinators
or stunt teams

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

I have to deal
with special effects.

I have to deal
with visual effects.

I gotta deal with the director.

Gotta deal with the actors,
actors' training.

OK, that was pretty close.

What keeps you going
in this business

is you wanna keep
creating and doing new things.

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

It looks pretty good.

The jump exceeded
what I thought we could do.

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

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

Now we can just move in
and pick pieces off.

Exactly.
Put the camera where we want it.

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

All right.

JOJO: All right.
So, like, just gotta make sure

this looks like
that guy went there to that way.

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

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

He goes at an arc.

Cos if you hit him like this
and he goes up

and then he goes there,
it's weird.

We redesigned
the barn sequence for the space,

and we actually got
our reinforcements.

I'm starting to feel really good
about it.

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

and taken charge
of this sequence

and really sharpening up
the fight choreo.

Is the shot starting
with me back there?

-Still.
-Going forward?

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

-OK.
-Shoo. Boom!

-Yeah.
-Pow!

JOJO: The stomach hit
will give you the set.

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

Going up in three, two, one, up.

They bring positive energy
and that's really contagious.

Go!

(GRUNTS)

DAN: Ready.
And three, two, one, go.

And drop.

MITRA: Right now,
because we're limited with time,

it's really important
that our performers

are able to pick up choreo fast.

DAN: And action.

MITRA: It's not just a scene

where guys
are gonna get thrown around.

The timing is really important,

and performance
is really important.

DAN: Three, two, action.

-And go!
-Boom!

Boom!

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

This is the last action scene,
fight scene.

It is definitely our last chance
to showcase,

to show
what we're capable of doing.

We definitely
have to nail this one.

DAN: Three, two, one, action.
And go!

Boom!

-Oh, yeah. Everything good?
-Yeah.

(PANTING)

JOJO: We worked really hard
for the last three months.

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

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

in the short amount of time,

I think we did
a really good job.

So, we'll do the spin first.

So, it basically is Santa

is just spinning the hammer
on his hand.

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

We'll favor that wall.

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

The barn sequence is inspired
by Sam Raimi movies,

Peter Jackson movies,

the second Alienswhen there's
just stuff going around,

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

That's what we wanna see.

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

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

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

JOJO: So, we're trying to get
the action quotient

to match the zaniness
of those old movies.

And at the same time,

make it different from
the scenes that we already shot.

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

Santa's gonna eat through
these guys

like a plateful of cookies.

JOJO: Perfect.
That light's perfect.

(GROANS)

JOJO: Cut.

-That was pretty good.
-Love it.

DAVID LEITCH:
What's great about Jojo

is he's like a great general.

And I pushed him hard
on this project.

JOJO: All right, so enter frame.

DAVID: And he delivered
like he always does.

Another iconic character.

Original choreography.

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

JOJO:
All right, let's shoot this.

(MUNCHES NOISILY)

(GRUNTING, GROANING)

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

JOJO: Would I be content
just as a coordinator

and live my whole career
as a coordinator?

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

I think you always
have to progress.

If you stay in a certain level
your whole life,

I don't think
humans are designed that way.

You always have to do
new experiences

and do different things.

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

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

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

(GRUNTING)

JOJO: That was pretty good.

-DAN: Cut. That's it.
-JOJO: That was it.

-Whoo!
-Yay!

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

(CHEERING)

Universal has cut you a thing.

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

And they sent it to us,

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

-(CHEERING, APPLAUSE)
-WOMAN: Oh, my God!

(WHOOPING)

(LAUGHTER)

(CHEERING)

(YELLS)

(SCREAMS)

(CHEERING)

All right, what the hell
is going on?

(CHEERING)

MAN: What a guy!

(CHEERING, APPLAUSE)

DAVID LEITCH: Having been
in the spot that Jojo's been in

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

there's an incredible
satisfaction you feel

when the odds
are stacked against you

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

and everybody steps up
and delivers.

(CHEERING)

JOJO: Right now,
since I've been off,

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

So, I had this script rewrite

for a script
I wanna pitch to direct.

And then I've been working
on this lookbook.

They wanna see my vision
of the script.

It's a hard decision
to make sometimes,

cos I get called
to stunt coordinate shows.

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

It's like I can pick a job

and work great for,
like, seven months,

but is it getting me
to where I wanna go?

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

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

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

I think everything's prepared me
for this point.

MITRA: Come on, buddy.
Come on, Harriet.

What's next? Um...

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

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

They deserve
to have mom time for a bit,

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

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

and I feel like I have
a great opportunity with this

to explore film and television
in a different way

that doesn't just
involve me doing stunts,

but also as an actor.

CAN: It's nice to be home.

It's very nice
to see the family.

I missed my kids.
I missed my wife.

But being home
could be a double-edged sword,

because I love working,
I'm a workaholic.

Between Jojo, me, Cha and Phong,

we are all the same,
we love to work.

We love what we are doing,
and I also think

that's one of the core elements

why our team
works so good together.

(CHATTER, LAUGHTER)

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

One, two, three. Say cheese.

Phong! Phong, go in.

CHA: Phong is here
with his daughter, Mia,

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

Whenever we have a family party

or a family celebration,
he's also invited.

The cake!

PHONG: For me, myself,
coming back right now,

the plan and the goal is...

to be the best dad as I can be.

(SPEAKS GERMAN)

PHONG: Best friend,
the best whatever she needs.

Best case, my daughter.

(EXCLAIMS)

KEANU: The relationship
with all the stunt people

is just super important.

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

Personally, we all
have our ambitions

and creativities
and our visions.

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

and then you can maybe
be a coordinator.

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

you can be a choreographer,
a coordinator, director.

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

Cos they're storytellers.

They're storytellers.

Stunt people now...

can be storytellers.

DAVID LEITCH: Yeah, come on
down. Come on down. Let's go.

Hey, how's it going?

Hey, guys. Hey.

I'm really excited
about The Fall Guy.

In this movie,
we're really gonna show

a modern tale
of the stuntman.

And this craziness
that is Hollywood.

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

-OK.
-Yeah.

Let's do it.

Ooh!

We're gonna have fun action.

And we're gonna create
an iconic character.

We have some really fun
vehicle work.

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

And I have some big ideas, too.

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

Subtitles: Iyuno