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I don't know if they negotiated it.
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I didn't think any of us think it was gonna happen,
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but pretty sure Ed hits Brad in the ear.
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They really did Fight Club for a moment there
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in "Fight Club".
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Not what I would've recommended if I was stunt coordinating
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but I was just a new guy on the set.
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Turned out great though.
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[glass smashing]
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[men yelling]
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Karate.
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Hi, I'm David Leitch
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and I'm the director of "Bullet Train".
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I'm here to break down the action sequences
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from my previous films.
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I was a stuntman for so many years
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and a fight choreographer and an action designer.
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And as I got more into creating
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these elaborate action scenes
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where I'm taking over a big chunk of the movie
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and driving the narrative forward,
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I wanted to stretch my wings
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and see if I could tell that story
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from beginning to end.
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A scene from one of my first films that I co-directed
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with the amazing Chad Stahelski, "John Wick".
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[gun firing]
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[intense synthesizer music]
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So I think the great thing about this sequence
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was 99% of this is Keanu.
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That helps us shoot these long takes.
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And you'll notice the photography is long
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and we're not cutting that much.
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It was a choice for this sort of dramatic lighting
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to add to the tension in the scene.
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But there is a point where this type of lighting,
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which can be oversaturated,
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you can lose the choreography.
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We were really careful in the mix that we had.
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We wanted to make sure you still understood
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the moves were happening,
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felt the drama within the choreography,
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but this extra layer was being effective
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in an unnerving way.
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You're feeling the tension that John's feeling.
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So you see these moments
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making sure you come back to the actors.
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Sometimes these are the most important moments for me.
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The reaction of the bad guy,
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making a decision to do something diabolical,
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the intent of John to finish this fight.
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Never leaving the character alone too long
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where I don't feel stakes.
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[glass smashing]
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[men grunting]
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[John hitting the floor]
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So that stunt, couple things going on.
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We had him on a wire assist
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so there's a little bit of de-cell in his fall.
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And the floor, we had cut out a section of the floor
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and made a padded floor.
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It was seamless with the regular floor.
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And we're ramping the speed just slightly
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to create the illusion of full gravity.
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So this is a scene from "Fast & Furious: Hobbs & Shaw".
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Everything was on the table
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to make these sequences
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what they were in "Hobbs & Shaw".
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Every trick of the trade.
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[car engine roaring]
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[motorcycle skidding]
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So that shot, this is back lot Universal,
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tying into footage that we shot in Scotland for London.
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When you make these big epic action movies
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it's hard to find streets and long places to lock down
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and do things safely and securely at speeds.
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You sometimes have to piecemeal these scenes together
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and bring the illusion to life
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that it all happened in one location.
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[dramatic music]
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That medium shot was a shot on a rig
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where the bike is off the ground.
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This is now a bike on the ground.
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This is practical.
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[guns firing]
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Might be time for some [indistinct].
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[man yelling]
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So that is some visual effects enhancement.
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We had a proxy dummy
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that we were holding outside of the car
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and then we added animation.
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The great artists at Double Negative
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helped us with this sequence and did some great stuff.
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You wanna tell me just what in the fresh turkey hell
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we're dealing with here?
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Long story.
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So you get fresh turkey hell.
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There's probably like 12 other improv's
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on the cutting room floor.
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And to do that, while on a trailer in real traffic
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with a limited time, it wouldn't be feasible.
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You had to shoot that on a stage,
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like really to get the performance,
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and the number of takes you want,
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to get the timing right,
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we prefer to do that on a stage
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and comp in the backgrounds with great visual effects.
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Pretty cool.
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I would say it's pretty cool.
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So, the car's practical,
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sliding through the intersection,
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real play photography.
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The trucks, we shot multiple passes of the trucks
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in different configurations,
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but then the element of the motorcycle
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because of its transformer sort of aspect
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was all completely virtual.
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So it is a sort of a bit of a science project.
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And like I said, like,
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there's incredible practical stunts in this
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but when you're working on a movie like "Hobbs & Shaw"
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where you're defying physics and that's the universe,
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it's really fun to play
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with the visual effects to this level.
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They can be anywhere between 30 to 60 miles an hour.
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We're not going a hundred.
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And a lot of it is because
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not that the drivers aren't skilled,
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it's just, you run out of bandwidth
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in the places that you can lock down.
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You do feel speed in camera,
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so it's important that you have a level
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of real practical speed,
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but there's a point where it's diminishing returns
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on what you're photographing
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and how much distance you have to shoot in.
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[engines roaring]
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[glass smashing]
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The thing I like about that sequence the most,
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for me as a choreographer,
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is you understand what's happening.
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You really understand the geography,
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but it still has the speed
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that you expect for these types of set pieces.
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[gun firing]
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This is one of my favorite sequences
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and it's the stairwell fight.
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There's a lot of old school stitches
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like in camera cuts where we're matching frames,
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we're whipping and connecting things,
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using wipes in front of the foreground.
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And the idea was to build tension
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and stay with Lorraine Broughton.
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Training is so important
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to be able to do these long pieces of choreography,
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and having a great stunt team
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that can be there to support the actor
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and take up the dead spots.
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Cut.
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Another cut.
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Cut.
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But those are all old school cuts,
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there's no visual effects enhancing them.
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It was great as a director to be able to hang the scene
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on an Academy Award winning actress.
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We had six weeks with Charlize
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training four or five days a week.
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Them putting in the time and the work ethic
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to be able to have the stamina to do this
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is incredibly impressive.
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Even though there are all these little stitches,
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you have to remember they're doing this all day long.
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There might be four or five takes of that other stitch.
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Then they have to show up
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and regain the energy for the next setup
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that I'm gonna have to do four, five, six, seven takes
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'cause I'm that big of a jerk.
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For years, I've been wanting to do this type of scene.
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As a choreographer,
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I had shot Stuntvis of this type of scene
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for multiple movies and pitched it to different directors
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before I was directing.
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For whatever reason it never landed.
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So then when we're doing "Atomic Blonde",
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Kelly McCormick, my creative producer,
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my partner and my wife,
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was like, you should do the one-er.
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This is the perfect movie for it.
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She's a protagonist in peril
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and if you stay with her,
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you can basically hang the scene on her
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and feel stakes the whole time.
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And I was like, great idea.
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So I went to the stunt team and they were like,
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"We're never gonna be able to pull it off!"
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Like, "How do we do this?"
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And I just challenged them.
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I'm like, you know, get in there,
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start digging into the choreography, I'll be back.
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Then it took a long,
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it was a long process.
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A couple months of pre-production,
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figuring out all the stitches we would need.
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This is an action scene from "Deadpool 2".
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What I like about this scene
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is we have multiple characters.
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And sometimes in action,
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inter-cutting between characters actually builds up tension
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and it's a really great way to get to the highs quicker.
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So you don't have to have the shoe leather
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for the dynamics of the sequence.
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You can actually have more punctuated beats
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because you're inter-cutting between characters.
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And give me back my ski-ball token.
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Working with Ryan on "Deadpool 2"
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is like a master class in comedy.
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He improvises, but he also has a lot of alts and ideas.
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He thinks about the scene
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and he has his list in his pocket of things he wants to try.
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And so it's even more methodical at times.
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Stacking up the jokes for the edit.
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Ooh,
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somebody knows
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Karate.
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[David chuckling]
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[gun firing]
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[sword slicing bullet]
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So, this was actually a part of additional photography.
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Cable and Deadpool had a little bit more tension
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so we extended the fight in additional photography
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and the stunt team came up with this great idea
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of spoofing the original carnation of Deadpool.
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And so, again, you don't know where
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the great ideas are gonna come from.
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Often time they come from the stunt team.
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Generally, at some point in the scope of the whole movie
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the choreography team that I have built for this movie
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plays a role.
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You know, they're usually one bad guy in one scene.
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So, a lot of times they're people
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that are working on the choreography with the actors anyway.
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And so, there's also that trust that's built in
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which provides a security and a comfort
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so we can really go for it when we're on set.
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Here's the fight in the concession car
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with Brad Pitt and Aaron Taylor-Johnson on "Bullet Train".
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[dramatic intense rock music]
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It's all about the timing.
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To get the joke to work in a fight scene
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we did grift from the best.
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We were really inspired on "Bullet Train"
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by Jackie's movies and his comedic timing.
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So, there's a lot of physical comedy
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built into the fight sequences.
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The process with all of these fight scenes
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is to work with the stunt team.
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So there's a group of five or six who come in,
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the key choreography team,
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and we start to play.
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And we know where we wanna go in this fight scene
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and we know we have some funny moments
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we're trying to achieve.
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And we'll actually shoot what we call Stuntvis.
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So we'll actually shoot and edit the fight scene
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in the sound stage with cardboard boxes as sets.
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And a lot of times you can see our past fight vis
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and you can see how close it is
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to actually how we end up doing it.
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I remember seeing the stunt guys deliver
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this first piece of choreography to me
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and I was really laughing.
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[attendant speaking foreign language]
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Oh, I would love a bottle of water.
274
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That's the one.
275
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Thank you.
276
00:10:20.670 --> 00:10:21.993
Hold it.
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Hold, hold, hold.
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Uncomfortable.
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Uncomfortable beat.
280
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Not particularly, no.
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[Ladybug sighing]
282
00:10:29.291 --> 00:10:30.556
Okay.
283
00:10:30.556 --> 00:10:32.083
[bottle clanking]
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[upbeat rock music]
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You can even see how the music comes in
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to punctuate the comedy
287
00:10:37.200 --> 00:10:40.100
and how the sound effects come in to punctuate the comedy.
288
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So, a rule of three on the button.
289
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So we're setting up the stakes.
290
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It's like one, oh, is he gonna get it?
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Two -
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I know who killed the kid.
293
00:10:57.120 --> 00:10:59.000
Yeah, where is he then?
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He's on this train.
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Oh, that narrows it down.
296
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And boom.
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And so you feel the escalating stakes in the choreography.
298
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You wanna do that when you're building a fight,
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it's arching.
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Starts out at a certain level
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and it builds, builds, builds to the trailer moment
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that you're gonna get from that set piece.
303
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We do a lot of things that have the illusion of danger.
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They're not comfortable,
305
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but they are not dangerous, per se.
306
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So, Brad did 99% of his own stunts,
307
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but that moment where he was smashing the safety glass,
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00:11:27.450 --> 00:11:28.680
which is tempered glass,
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that moment is Kyle, the stunt double.
310
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And because of the great angles from yours truly,
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the illusion's never broken.
312
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Then there's the shot where Brad is being sat down
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into the chair.
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There's still rubber glass being thrown by special effects.
315
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It's a combination of safety glass that's tempered,
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that has laminate on it,
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effects throwing rubber glass into the air,
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using the stunt double for the few frames
319
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that you need that stunt double
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and then bringing the actor back into the action
321
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at the perfect moment.
322
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I want everybody out of here right now.
323
00:11:57.360 --> 00:12:00.090
Hey, you should join our club.
324
00:12:00.090 --> 00:12:03.300
So, this was actually a really important time for me
325
00:12:03.300 --> 00:12:04.470
as a stunt performer.
326
00:12:04.470 --> 00:12:06.960
I had been working on television shows
327
00:12:06.960 --> 00:12:08.617
like "Buffy the Vampire Slayer",
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00:12:08.617 --> 00:12:10.470
"Marshall Law" with Sammo Hung,
329
00:12:10.470 --> 00:12:12.030
but I had never really gotten a chance
330
00:12:12.030 --> 00:12:14.370
to work on a big Hollywood movie.
331
00:12:14.370 --> 00:12:16.110
And I was hired to be
332
00:12:16.110 --> 00:12:18.540
one of the fight trainers slash choreographers
333
00:12:18.540 --> 00:12:19.410
on "Fight Club".
334
00:12:19.410 --> 00:12:21.750
Although there's not a lot of fighting-fighting,
335
00:12:21.750 --> 00:12:23.430
David Fincher's idea was that
336
00:12:23.430 --> 00:12:26.370
we could train the actors in combat and choreography
337
00:12:26.370 --> 00:12:28.920
so they could do a lot of this stuff safely.
338
00:12:28.920 --> 00:12:30.142
You hear me now?
339
00:12:30.142 --> 00:12:32.070
[Tyler groaning]
340
00:12:32.070 --> 00:12:34.020
No, I didn't quite catch that, Lou.
341
00:12:34.020 --> 00:12:36.150
So, oftentimes this is Brad.
342
00:12:36.150 --> 00:12:37.170
Or is this me?
343
00:12:37.170 --> 00:12:38.003
I'm not sure.
344
00:12:38.003 --> 00:12:39.750
This might be me, actually.
345
00:12:39.750 --> 00:12:42.690
So oftentimes when you're over the shoulder of a punch
346
00:12:42.690 --> 00:12:45.120
you might put the stunt double in to get a reaction,
347
00:12:45.120 --> 00:12:45.953
but that's Brad.
348
00:12:45.953 --> 00:12:47.010
[David laughing]
349
00:12:47.010 --> 00:12:50.130
What was great about Brad is he's super physically talented.
350
00:12:50.130 --> 00:12:52.140
He took to action very quickly,
351
00:12:52.140 --> 00:12:53.760
and especially the fighting sequences.
352
00:12:53.760 --> 00:12:55.560
So, as much as I got to train him
353
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and choreograph stuff and teach him,
354
00:12:57.330 --> 00:13:00.240
he would do most of it because he could.
355
00:13:00.240 --> 00:13:01.650
I got it, I got it.
356
00:13:01.650 --> 00:13:02.935
Shit, I lost it.
357
00:13:02.935 --> 00:13:04.320
[Lou punching Tyler]
358
00:13:04.320 --> 00:13:05.700
Back! All of you!
359
00:13:05.700 --> 00:13:07.740
Fight scenes don't have to be big or long.
360
00:13:07.740 --> 00:13:10.380
They just need to learn something about this character.
361
00:13:10.380 --> 00:13:12.780
And now we know something about Tyler Durden
362
00:13:12.780 --> 00:13:13.613
by the end of this thing,
363
00:13:13.613 --> 00:13:16.373
and it's punctuated with physicality.
364
00:13:16.373 --> 00:13:17.923
Oh, that's right.
365
00:13:17.923 --> 00:13:20.040
You get to shut the fuck up.
366
00:13:20.040 --> 00:13:23.340
Oftentimes, the classic punch in a movie
367
00:13:23.340 --> 00:13:25.300
is going across the face like that,
368
00:13:25.300 --> 00:13:27.450
where you're seeing the head of an actor here
369
00:13:27.450 --> 00:13:29.130
and you're seeing the punch go that way.
370
00:13:29.130 --> 00:13:30.900
He wanted these direct punches,
371
00:13:30.900 --> 00:13:32.250
but depending on where the camera is
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it's really hard to sell.
373
00:13:33.630 --> 00:13:37.140
So you have to have a lot of trust in somebody
374
00:13:37.140 --> 00:13:38.610
that they're gonna put it right there
375
00:13:38.610 --> 00:13:39.900
and stop it within an inch,
376
00:13:39.900 --> 00:13:41.790
as opposed to when you're doing the big swing
377
00:13:41.790 --> 00:13:43.080
and you're gonna have a foot of distance
378
00:13:43.080 --> 00:13:44.010
and the camera stacked.
379
00:13:44.010 --> 00:13:46.998
So that was what was really sort of interesting about this.
380
00:13:46.998 --> 00:13:50.310
[Tyler laughing wildly]
381
00:13:50.310 --> 00:13:53.393
[Loud hitting Tyler]
382
00:13:54.510 --> 00:13:56.340
A lot of times you might even be doing
383
00:13:56.340 --> 00:13:57.270
over the shoulder stuff
384
00:13:57.270 --> 00:14:00.840
because there's so many head snaps, head snaps,
385
00:14:00.840 --> 00:14:03.270
and after 25 takes of head snaps,
386
00:14:03.270 --> 00:14:04.860
you're giving yourself whiplash.
387
00:14:04.860 --> 00:14:07.380
Really, it is sort of like the art of taking a punch.
388
00:14:07.380 --> 00:14:09.960
You don't really wanna like subject your lead actor
389
00:14:09.960 --> 00:14:11.580
to that too many times
390
00:14:11.580 --> 00:14:14.970
because they gotta go on and shoot the rest of this movie.
391
00:14:14.970 --> 00:14:17.160
But Brad, he's the champ.
392
00:14:17.160 --> 00:14:19.500
I think the thing that I sort of reflected on
393
00:14:19.500 --> 00:14:21.510
is that when you're a stunt performer
394
00:14:21.510 --> 00:14:24.870
you're helping an actor physically create a character
395
00:14:24.870 --> 00:14:26.190
that supports a movie.
396
00:14:26.190 --> 00:14:28.050
Training him, propping him up,
397
00:14:28.050 --> 00:14:30.570
doing things if they really hurt, something like that.
398
00:14:30.570 --> 00:14:32.760
And so, Brad and I did that for four movies.
399
00:14:32.760 --> 00:14:34.950
20 years later, we come full circle.
400
00:14:34.950 --> 00:14:37.110
And one of the best actors of our time
401
00:14:37.110 --> 00:14:39.270
is now building one of his iconic characters
402
00:14:39.270 --> 00:14:40.920
to support my movie.
403
00:14:40.920 --> 00:14:42.840
And I think that that's a really special thing
404
00:14:42.840 --> 00:14:45.480
and I don't think it happens that often.
405
00:14:45.480 --> 00:14:47.040
I think we all feel really lucky
406
00:14:47.040 --> 00:14:49.140
to have found this movie together
407
00:14:49.140 --> 00:14:51.720
and get a chance to reunite and make something so fun.
408
00:14:51.720 --> 00:14:54.030
I'm really proud of this body of work.
409
00:14:54.030 --> 00:14:57.330
and I really want to give it out to the stunt crews
410
00:14:57.330 --> 00:14:58.890
and the fight design teams
411
00:14:58.890 --> 00:15:01.350
that I came up as a part of over 20 years
412
00:15:01.350 --> 00:15:03.300
and how they really impact movies.
413
00:15:03.300 --> 00:15:05.940
Whether it's a drama, or a comedy, or a thriller,
414
00:15:05.940 --> 00:15:08.100
you couldn't have those movies without the stunt crews
415
00:15:08.100 --> 00:15:09.660
that are designing this action.
416
00:15:09.660 --> 00:15:11.010
My work, hopefully,
417
00:15:11.010 --> 00:15:12.990
is a love letter to them
418
00:15:12.990 --> 00:15:13.823
'cause it's my roots
419
00:15:13.823 --> 00:15:15.510
and it'll never leave me as a filmmaker,
420
00:15:15.510 --> 00:15:17.103
so there will always be action.