Stunt doubles

In fact, it is stuntman Bob Simmons doubling for Connery in these pre-credits shots. Now, director Guy Hamilton recalls the next sequence which was filmed at Eden Rock Beach in Cap d'Antibes. That was shot in the south of France. The thing that I enjoy about that is how you can remove a lady's brassiere without getting any sensor problems because that was one of the absolute basic things about Bond that you had to have

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In the upcoming shots, when the patient rises out of the mud, it is Bill Morgan. Director Guy Hamilton recalls shooting the scene. This is all at Pinewood Studios. The stuntman was never very keen on coming out from all that muck, but it's lovely goo. The art department did a lovely job. Tom Mankiewicz recalls the difficulties faced by the stuntman in filming the mud cavern scene.

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Coincidentally, Guy Hamilton also worked on the third man as an assistant director. For the climactic chase through the sewers, Hamilton doubled Orson Welles. When the actor's shadow appears on the walls, it is really Guy Hamilton. Now Tom Mankiewicz recalls this scene which was shot on location in Dover. This fellow here, Mr. Franks, is a stuntman, a British stuntman with whom Sean's going to have a terrific fight. And since we didn't have a scene in M's office,

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and all these pillars and the ruins we built ourselves. And way out there, see all those thousands and thousands of charging horsemen? There was really only about 100 of them at that point. This guy needs some dental work. And we multiplied them. But then we did have, there's 500 guys racing around on horses, firing guns. Every time you see any guy on a horse firing gun, it's a Czechoslovakian stuntman. Because no matter how many times we went over it with the extras on horseback, they didn't understand us for some reason. A little language.

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act behind my back, and every one of them in this movie was just spectacular. They were so sweet. And we put them through a lot. Okay, now check out here. We got a stuntman in drag here. Freeze frame right here, and look at that guy. Oh, it is a hideous sight. Right here, right here. You do not want to see that. It's like Rachel, she saw the dailies, and she just hoped we could cut it together well. That's also the stuntman, of course, there too. Now here, watch this. This shot was take one.

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We only shot one take, that's it. Rachel's now crawling in as the stuntwoman is crawling under the camera and I told her to stand up and perfect. Take one, one take only, that's it. 12,000 bucks. Steve called me from the location saying, okay, so what does it look like? Do we need to shoot it again? And I thought, well, I'm not sure what else you'd do to that shot. I think it's about as good as it could be. Yeah, it was a real pain because we arrived on the set

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This is a... You know, this is an interesting scene... ... because, again, the comedy... These two really worked well together. You believe them as a couple... ...and the comic timing is really pretty sweet, I have to say. I remember when I watched a lot of the dailies... ... they would always fool around whenever you... You wouldn't yell, "Cut," and they kind of just... They'd keep going a little bit and do some silly stuff. I think they really-- You know, again, it was a kind of... At times, it was tense being on the set... ...because these actors, who are so good, didn't know why they were there. And on the second one, that eased up completely. Because everyone felt that they had a responsibility... ...because they knew a lot of people would see this movie. Now, here's something I always felt pretty horrible about because... ...particularly once you have your own kids, this is the last thing you want them to do. This was a big worry, I remember. - Oh, yeah. Whether or not this was gonna stay or not. See, no one really ever understood when I'm lining up the sled... . that it doesn't exactly line up with the door. There's people who watch it who actually giggle, I remember... ...saying, "That doesn't line up. How is he gonna do that?" Yeah. You would've smashed into the wall. Yeah. But that was Larry. I remember watching the dailies. That was hilarious. Larry, our stuntman. - Yeah. Stuntman, literally. - He was probably 20... No, maybe he was about 30 back then. - Yeah. And he was your size. - Yeah. He was built like me too. Now, he was amazing. He would do anything. There's one moment coming later when we'll talk about Larry. Where he falls? - Where he falls, and he froze that day. He didn't wanna do it, but Larry had... As most of the stuntmen did in this movie... I don't know if these types of stuntmen exist anymore. Yeah, I know. - Willing to kill themselves for... It's amazing. I have a lot of that, yeah.... ...a lot of memories of these guys doing all kinds of crazy stuff. Oh, yeah. - They were my favorite, the stunt guys. The stunt guys were great. - When you're 9... ...they can do all kinds of neat stuff. - That's true. Ha, ha. Oh, yeah. They were always my best friends. We'll talk about-- A little later, we'll talk about Troy Brown and Leon Delaney... ...the two stuntmen for Joe Pesci and Daniel Stern, who were truly... Truly went above and beyond the call of duty. I haven't spoken to them in years... ...but they probably are still in a great deal of pain... ...because of some of this stuff. Daniel Stern is interesting... ...because Dan Stern was my first choice for this role... ...and the studio didn't wanna pay him at the time. We cast another actor, unfortunately-- This is the only time in my career this happened. and we did a screen test with the other actor and Joe Pesci. And the screen test was flat... ...and the other actor just couldn't really improvise with Joe... ...and you didn't believe him in the role. And I had the-- I had the horrible situation of actually telling the actor... ...I couldn't use him. Basically firing him. Oh, boy. And then the studio then understood. They saw the screen test, and they were willing to hire Danny... ...which was really an amazing working situation for me. He's one of the funniest guys I've met. And he truly was up for anything, as we'll see later in this commentary. I still have that sled in my office.... In my office here in San Francisco. I just saw it before I came over here. Signed by everyone. Signed by everyone. That's really cool. - Yeah. And when I get a little older, and things start not working out in the career... ...1 can sell it. - EBay. Yeah, eBay.

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We shot two different versions of this... ...and you weren't sure which ones you were gonna use. What was that? - We ended up using both. This one and there's the singing one, and you ended up using both. Oh, that's true. Right. I didn't know we shot them as two different versions. We just-- Yeah. - Yeah, yeah. There it is. - There it is. The face that launched a thousand posters. I never expected that to be the... It was Joe Roth at Fox who came up with that image. And realized that that should be the iconic pose. Oh, here we are. - This is Larry's... Larry, our stuntman, who is basically Mac's size... ...maybe a few inches taller, who was 30. Who is completely-- I mean, Larry was just a very brave guy and a tough guy. He was a pro. - He was a pro. But when he got here to do this particular stunt, he froze that day. This was dangerous though, you know? - And it was dangerous and I... You know, you have no protection. So it was-- It took quite some time to film. He was fine afterwards, and it's actually... Looking at it, it's not one of the more violent stunts in the film. But it's dangerous. - Yeah. Because it's not like you got a harness on. No, no, no. It was....

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And, now, I can't remember if this was you... ...or the stuntman running across the bridge. Or even just-- Or one of the stand-ins. I remember I had like 10 stand-ins. Oh, that's true. That is true. And so then you guys would do a lot of, like, just stuff after I'd go off... ...or at the same time, even. "I'm a criminal." I think this was the first day too. Yeah. - Yeah. This entire concept of the Wet Bandits... ... I'm trying to remember if that was in the original script or not. I don't know or.... I think possibly it was. I thought... For some reason, I had... I have a memory of Dan Stern coming up with it, and I could be wrong. You know, that's why I really wish John Hughes was here because he could... But Dan, for whatever reason... ...was obsessed with the concept of the Wet Bandits. The Wet Bandits and the Sticky Bandits. - Yeah. But this whole look of Dan's is this sort of white-trash, trucker look. It's just something that didn't catch on, unfortunately. And just the contrast in size between the two of them... ...and just height and just build. But the, uh... All of these were little touches by Dan, which, on a movie like this... ...people, you know, don't talk about, don't notice... ...but putting the snow globes from each house with the... You know, attaching them... There's a scene on the deleted sequences... ...where Dan wanted to... He's stolen a cappuccino maker, and they share a cappuccino in the truck. I remember that. - I think it was that scene. This was all shot backwards. - Oh, yeah, that's right. Coming up here. This. So I would scream, and then the car would back out... ...and I would walk backwards. And we did it several times. And it looked pretty awful each time... ...and then finally, that one shot, it worked out perfectly. Well, you had somebody shaking the van, right, you know, at the beginning. And I had to walk, like, backwards, like, heel first or whatever.

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Yes, actually what we did is we did the insert shots in the Saugus Cafe, which is coming up. We did it, we laid the guy in the ground and did his... In the back room or something, right? Yeah, no, I think it was right in the restaurant after we had shot the restaurant scene. Oh, and when he does come out, which is happening with the pogo stick shortly, our stunt double couldn't pogo. So we ended up having to slow it down

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Because I think in Warwick Davis's book, he says that they gave him, he asked Ron Howard if he should do Leprechaun 2, and he said, well, you know, my daughter and her boyfriend love Leprechaun, so go ahead and do it. That's great. Now this is, again, now that's a double, as you can see, probably. There's Warwick. We intercut between Warwick and a stunt double.

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There we go. There you can see the dental acrylic nails that were attached to the gloves. There's a scene here. That was a stunt double who broke his wrist hitting the windshield. I hate to think I'm a jinx, but I had two stunt people break their wrist.

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Paul M. Sammon

had a thing like a telephone pole underneath it that an explosion would hit the ground and flip the car. And that's a real driver inside, a stuntman. This was shot on Halloween. I remember it was Halloween night. We were all down there. And we actually had a robo-pumpkin that the art department spray-painted. And the robo-pumpkin kept moving around. And here's another explosion. And nobody in at that time except the dummy.

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Paul M. Sammon

the stuntman who played Robo's stunt double. If you keep looking, you'll see a lot of stunt guys get killed, the same people over and over again. Again, lots of gunfire, lots of squids. There's a nice shot. You can see the thing is vaguely human-like, but is capable of moving and expanding and contracting and very scary-looking.

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Paul M. Sammon

All of the plates, incidentally, were shot in VistaVision, which is a 65-millimeter process. There's Russell Towery again. Yes, the third time he's been killed. That is, again, Robo's stunt double who was in the suit a lot.

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That is the special effects coordinator going down there, Gary Combs. I mean, the fall is, of course, is Nancy, but the big fall is Gary Combs because the stuntwoman we had couldn't do it. So Gary took on, let's say, took a female part there. Gary Combs I worked with also in Hollow Man and in Showgirls. He was my stunt coordinator on three movies. And he had a broken back, too.

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And there was a sequence here where we had this stuntman guy who's playing this fella here. And Paul said he wanted to have him say,

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Nicely done, Mr. Verhoeven. Yeah. I don't know if it was a stuntman. I think it was an actor. No, no, that was one of the stuntmen that... We had a lot of stuntmen who had to have lines in this, and they did really well. Right. Well, we cast 80% of the movie in Dallas, isn't it, Jon? Yes, because we could not take the entire cast from Los Angeles. Because we had no money, isn't it? Right, of course. And it worked out very well, because we were forced to be extremely creative, and the casting women...

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This was shot in an elevator shaft, so there's three different locations here. There's a small set that was built for the diner. There's the Eagle Rock Power Station, and then there's an elevator shaft, and then there's a set for the elevator here. Yeah, you don't need more than that. Wow. Even doing that, I couldn't do. I would need a stuntman for that.

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Again, this is all pre-CG, so there's no digital stunt doubles or anything like that. That was really different. Are the cars actually moving when you do that? Yeah, they're moving, and they're moving at speed. I kept wanting them to go faster and faster, so we started the scene with the cars going at about 25 miles an hour, and then by the time...

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And we rehearsed it with a stuntman. And the stuntman was injured because of this rap. This is the conveyor belt scene. So that was actually shot in the studio. Oh, I get it. Yeah, I was wondering. But this shot as well was with a camera car being on a trailer. And I think we did some of it with rear projection, like old school rear projection as well with the two real actors.

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Because there was a shot that we needed seeing Tom jumping from the wall to the ridge, did it all in one shot. And that shot, I was set for the stunt double to do it. But Tom insisted to do it by himself. We had a really long argument about it because I tried to stop him, but it didn't work. Tom said he liked the challenges. He liked to do something he had never done before.

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And he had never liked cheating. And he told me, whenever he watched an action movie, he said, it was easy to tell which shot was done by a stunt double, which shot was done by the actor, because the body movement, the timing, the performance would never match. And he didn't want to see it happen. And I let him do it. And then I was very scared. And by the meantime, I was scared of heights. So I would stay away from the cliff 20 feet.

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Please, baby, open up. Open up. Five, four, three, two, one. I'm going down. Ethan, wait. We have four things, put them together. The second unit shot the helicopter fly around the building on the roof, and the stunt double hang outside the helicopter. We saw all Tom's jump on green screen. And then we built a platform about 80 feet high.

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Here comes what? Here comes some more blood spraying the face. Here it is. Look at that, right on his own face. It's a tricky thing to fake that you accidentally are spraying yourself with something by accident. It's counterintuitive. Yeah. That's Jeff Imada. He's a very accomplished stuntman. Oh, gut shot. It looked a lot like Egg Fu Young, I remember, on the day. Well, we did a test with real animal guts, and that was too realistic, so we went with more cartoony sort of guts.

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But your timing on you talking to me this whole time is really, to me, one of the funniest things. How did you get up there on that mountain peak? They dropped me off in a helicopter. The helicopter hovered over there. It doesn't really look quite as dangerous anymore. Man, you had gone crazy at that point. You were doing shit that no normal motherfucker would have allowed himself to do. It was the last thing we were shooting in Hawaii, so if something went wrong, we would have had most of the movie, the exteriors, in the can. So it wasn't that big of a deal. Even the stuntman said he was scared shitless. Yeah, Brad. You're really nailing the accent more than you ever have. Yeah, yeah.

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black rain wait a minute yeah what the hell is that thing it's actually um there's a combination there's a uh is it animatronic it was there's an animatronic head and then there was a um a um a little person inside of a suit um stuntman guy and he and i wrestled a little bit it's like that movie alien though the less you see of the beast the scarier it is right except for this beat we have to reveal this is a little bit what you think when you see that mr black

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Richard Wright, producer. Mans, director. Bjorn Stein, director. Gary Lucchesi, producer. James McQuaide, executive producer and visual effects supervisor. What, you get two titles? - Well, you know. Big shot. So here we are... ...at the beginning of the fourth Underworld movie. That's right. Been a lot of them. The first appearance of Len Wiseman's... ...new logo. - New logo. The world premiere. - In 3D, no less. Oh, my God. It's like our life flashing before our eyes. Yeah. We've lived through these. Exactly. I think it's fun to say that... ...I think we cut the... Edited the whole film for eight weeks... ...and then we spent three weeks editing the first three minutes. That's exactly right. - It was crazy how to get it... And it was, "Shall we do a recap or shall we not? Does it feel cheesy with a recap or is it good?" But I think that everybody agreed in the end... ... that we have this wonderful library or cupboard of wonderful images... ...SO let's use it. And it's a wonderful way to get into the mood... ...and this is the world. lt has been a while too, since Underworld 2... ...where this one picks up from. We're reminding ourselves of all the characters. It's not cool, but in the end it... Wow, it really works. Yeah, I had a friend-- We had a premiere yesterday, actually... ...and I had a friend who hasn't seen the prior ones... ...and she said it was helpful... ...to just get into the soul of what this is, so.... And it's so nice to see Michael Sheen... ...and Scott Speedman and Bill Nighy. Yeah. - Losing their heads. killed the elders.... Yeah. One of the things we really liked when we got the script... ...was that number four... That it was the beginning of something new. That it was not just number 17 or something. It was.... The trilogy was done... ...and now we got into something new... ...which is exactly what we're watching right now. And this was a big thing how... That we wanted it to be brutal... ...and hand-held and gritty, using a camera language... ... that hasn't been used in Underworld before. Yeah. To turn everything upside down. This is another part of the film where we did... ...a tremendous amount of work trying to figure out... ... how to frame the fact that we're 15 years in the future... ...and the world has changed... ...and how you do that economically... ...In a different camera style than the rest of the film. Because this is in 2D, not in 3D as the rest of the film is. One of the biggest inspirations for this intro... ...Was actually the Gavras video, the M.I.A. video. What's the name of that? "Born Free." - "Born Free." Oh, that guy. - He's great. This guy, he's just at casting... ...and we realized that we need something... ...and we cut this rollout and then suddenly we needed him... ...SO this is his casting tape. - His audition tape, yeah. Yeah. - Yep. Used it in the film. I love that head shot. James really enhanced this with the visual effects he put into it. These creatures, yeah. The creature shots. Because they weren't shot that way. Yes. They're hard to come by, these creatures. That one was a real one. That's a real one. - Yeah. A real Werewolf. Yeah, we had a few. - Yeah. We can cast them in the forests of Vancouver. What we just saw... That girl on the wall... ...IS Kate's stunt double. - Yeah. She did... - Alicia. Alicia Vela-Bailey, yeah. She took iPhotos of her body for each bruise she got. She was black and blue, this girl... ...and she's the toughest girl I've ever met. Went to the hospital more than once too. Yeah. - Yeah. But as he said, the toughest girl I ever met. Yeah, always with a smile. Always with a smile. And you will see her getting thrown around a lot in this one. All of those flying-into-the-wall sort of things... . It's actually a person, Alicia, getting thrown in. Or Kate sometimes, as well. - Yeah. So we wanted to start off in 2D, gritty... ...and then since this is 3D movie... ...we wanted it to... Really make it big... ...when we see Kate for the first time, and that's when we switch to 3D. This shot was actually planned to start inside the fire... .In the beginning, inside a skull... ...and then going through the flames... ...a Vampire skull, but it became too tedious. That was the four-hour version. Yeah, this... We're very European. European version. Very... It was also a shot that we fought to keep in... ...and there was some obstacle to that... ...but we succeeded in keeping it in. Obstacle being money. - I love the way you say that. We ran out of money. And you see the surroundings here is-- We tried to create... Since this is the first time we introduce a man really... ...In the Underworld franchise... ...we wanted to find architecture... ... for the city that wasn't, you know, just another city. And after a lot of thinking and looking.... You know, we were thinking the first film was shot in Budapest... ...and it had that gothic feel to it and... By the way, great blood splatter there. - I love it. That was beautiful. And then we found something-- If you haven't been to Eastern Europe... ... you see all these beautiful houses... ...but next to them you have these concrete, hard, depressing buildings. And there's something called brutalism. You mean brutalism? - Brutalism, yes. A word we've heard 700,000 times during the making of this film. You were insanely annoying by just trying to put brutalism in... ...brutalism in, put brutalism in... ...to find what we call neo-Goth. Which is a new Goth. - Neo-Goth, yeah. This plate's actually from Underworld 2. This was.... We were doing tests for that boat that exploded... ...and we went back and found the footage... ...and stole that plate and revamped it here for what you see. Yeah. The secret of every great artist is knowing where to steal. Where stuff is hidden, in this case. - Yeah. It was one of the biggest challenges that we didn't have Scott Speedman. So that was a face replacement of a stuntman... ...and I think that was the trickiest part to pull off, I think, in the movie... ...because we're setting up this love story. She's running for her love and we don't have the real guy. Yeah. - But I think because of the recap... ...we do get that.... Do you see that city in--? That city is all CG behind her that's burning. And I remember James had said, "What do you think?" And I remember we asked about that, like, months ago... ...or half a year ago, and I forgot about it... ...and then you just come up with this. It was like a birthday present. I was so happy. All these backgrounds in it... ...makes It so much richer. And remember this next shot coming up too of Kate swimming... ...was really the last footage that we shot on the movie. Yeah. In the tank. We all had this great concern that, you know... ...can Kate swim or not? She ended up being a fantastic swimmer. She was great. She was.... This is more than swimming. It's performing underwater. She held her breath so well. lt was unbelievable. We were.... - Yeah. Well, that's typical Kate, you know. Everything she does, when she does it is, like, perfect. Yeah. - Yeah. But filmmaking's about being afraid... ...things aren't gonna work. - Right. We had anticipated the worst and we were wrong. And this is-- Originally the Underworld title was here. This is our homage to Tree of Life. - Yes. We had the title here at one point... ...and this is a transition... ...which is very abstract and weird, actually. But I'm happy with it. These were the things... ...that I remember it was hard to describe. We were very sure exactly how we wanted it... ...but we couldn't really say "this is how to do it"... ...because we'd never seen it before. But now when I see it... James, who did this? - Celluloid. Fucking great. - It's great. Yeah. It's great too, because we added the spin... ... sort of late in the equation. This may be an intellectual idea. Hopefully it works. To sort of make the audience... ...particularly when you see it in 3D, disoriented. Kind of like Kate was as a result of being underwater... ...being Knocked out and waking up 12 years later. There's something about spinning... ... that sort of makes you visually confused. Also, not only the spinning, but also the kind of... ...stop and motion feel to it, that it's... - Time passing? lt has a time-lapse feel to it... ...which, you know, was a subtle way of saying time has passed... ...actually, 12 years. - It's one of my favorite shots. Yes. - This is beautiful. Another very disorienting shot, though. So this is actually Alicia hanging here... ...and it's Kate's face replacement on her. Yeah. And the ice is CG. - Yeah. Smoke is CG. I am glad that we put the name on the glass there, "Subject 1." Yeah. So nobody would get into the wrong tank. No, but the thing is, I don't think it's just for like: "Oh, it's for the idiots." But I think it looks good. Subject 1 sounds brutal, I think, in a very good way. There's that word again. - Yeah. And remember that set initially... ...when we first saw it, had all these shower curtains in front of it... ...and we asked Claude to remove them. Yeah. - Oh, right, yeah. One thing that we really wanted to do in this movie was that... And we told Brad, who was the excellent second-unit director... ...and stunt coordinator, we said that we very.... We want to hurt Selene a lot. "Could you find somebody we can do that to?" Yeah. Because she wasn't that hurt in the other movies. We said, "We really want to--" Do you think anybody's listening to you right now? The naked girl, I'm watching that instead. Everybody's so nervous when you shoot something like this... ...but Kate was so cool. She was. Yeah. - Yeah. It was nothing. - Here we have Stephen Rea. Yep, there he is. Our Irish. - Yeah. I think, yeah... I really liked working with him. He was... Stephen is a handful, but he's also.... He gives you what you need. Is there anybody in this film that ended up doing their native accent? The North Americans were doing English... Kate. - Yeah, Kate, that's true. Everybody else was doing a different accent. Sandrine Holt there. - Sandrine Holt. Hurry. Releasing... ...maximum dose of fentanyl.

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Oh, we started watching the movie. - Yeah. This is cool. - Will she make it? Got her clothes on. One of the things that we were very keen on... ... that we wanted, was that we wanted.... We had this ambition... ... that the audience should have their first breath... ...after the first 10 minutes... ...when she gets dropped off the truck... ...which we will see. And when I was watching the premiere yesterday with my wife... ...when she get-- She: At exactly that spot and I felt, "Wow... ... this was exactly what we were aiming for." I think the audience was a little surprised too. We had the premiere last night so we got to watch... ... the movie with a big audience. But they were surprised at the level of violence of the movie. This is a tougher movie than the other movies. Selene is a lot more badass in this movie. She kills a lot of people. - Yeah. Went through a lot more buckets of blood too. A sign of the times, I suppose. Yeah, you'll wish you hadn't done that. This was one of the big scenes in the trailer... ... that we had shown Screen Gems right at the beginning. I love the little splat of blood hitting there. That was sweet. I repeat, full containment... No, there was buckets of blood. I mean, it's.... Violence Is an aesthetic I think that, I mean, goes a hundred years back. Yep. Have we actually done a body count in this? It's a lot. You know what? I did once. Did you? What'd it end up being? - I can't remember. Counting Lycans and humans. Yeah, dead-- Corpses. Now, this moment was an additional shoot moment. It was the first thing we sh... - Wes Bentley, yeah. It's the last and first... - The uncredited Wes Bentley. The first and the last... - This jump was the first thing we shot. First day of shooting. - Look at this boom here. There. That hit in that shot, was Alicia... ...our excellent stunt girl, who just smacked... It sounded like the worst sound I ever heard. It's like, "We killed the stunt double on the first shot." And then you said, "Let's go again." The first day of shooting went so well... ... that I walked away thinking, "God, this is gonna be an easy movie." Oh, my God! - You were wrong. I was wrong. It was so difficult. This was the toughest by far we've done. They're not supposed to be easy. No. - There's a direct correlation... ...between the amount of suffering to do a movie... ...and how well it turns out. We never did a film, like, with this big budget kind of thing... ...but I think you always end up in the same position, you know? You don't have enough money. You always... Imagination can always outrun money. Yeah. - Yeah. The 3D made it more complicated too. Yeah, the 3D really-- You know, nobody had really done it. You know, how to plan it and how to shoot it and.... This is where we want people to breathe. Yeah, here. Here's brutalism again. - Yeah. I was talking with the cinematographer... ...ocott Kevan, last night and... Who did a great job. - He did a great job. And the person... I introduced him to my daughter. My daughter said, "Was this your first 3D movie?" He said, "No, my second. I made all my mistakes on the first one... ...So this one I could get right." Yeah, he was the only guy kind of who had done it. Yes. - And he kept telling us: "It'll take a long time." I remember-- Gary, you said: - It did. "If we go down the Amazonas, it'd be nice... ... to have someone who's been there." Done that trip. That was true. Scott was really there. - Yeah. He was great. But it's also-- It has been very... ...weird. - First shot of Kate. This was the first shot of Kate. Yeah. - First night. That terrible night when it would not stop raining. This was one of those.... - There's a gale right now. When the duck flew into the light? - Yeah. It was a duck who came from the sky... ...and landed in the middle of the set. The camera broke down about four times. Yeah. No, just shooting 3D was a weird experience in that sense... ... that we hadn't done it before and all the rules that you get... ... from various people who has done it... ...Just turn out to be not true or.... - Bullshit. Total bullshit. I don't know if the Red Epic that we used, the camera... ... kind of discarded some of them so it actually works now... ...and it's also.... You have to realize you're telling a story... ... you're not doing a 3D ride. Although this movie is like a ride but... No, but I think what.... True, because... .all these people that we talked about, they were technicians... ...and not filmmakers or storytellers. So they speak about the perfection of everything... ...and that's not really interesting, perfection... ...ecause what you go for is emotion, and emotion is not always perfect. It's also... You know, 3D is in its infancy. People really don't know the rules. When we took those classes... ... there'd been like six movies made and so people didn't know. Half of them were not real 3D, either. - Correct. Where you actually were using binocular cameras... ...to shoot the entire movie, which we did. I don't think any... There wasn't a rule they gave us... ...that we didn't break. - No. I mean, it was... - No. Everything. This is that hybrid POV, as we Call it. It's when Kate starts seeing through.... She thinks she sees through Michael's eyes... ...but it's actually India's. Eve, her daughter. This is so hard, I think, to decide as a filmmaker... ...when you do this. What it should look like? - No. Not technically, but I'm saying the suspension of disbelief... ...of is it Michael or not, and.... We didn't know... All the marketing now you've seen... ... you know, It's all out that she has a daughter in this one... ...which, you know, when we were planning this.... Hopefully that would be the secret. It's gonna be a surprise, yeah. - "Wow, she has a daughter." But.... And I think what helps us Is that we... - Michael Ealy, by the way. Michael Ealy. - Appearance of Michael Ealy. What helps us is the pace that we had to this. You just move so fast that, you know... ... you don't leave time for the mind to think that much. But it's.... Yeah, it's interesting. One of the scenes we shot here is outside in Vancouver. Vancouver-- When we heard we're shooting Underworld... ...and we're shooting it in Vancouver... ...we thought that was pretty strange because it's not gothic. But as Bjorn was talking about... ...when we found the neo-Goth and the brutalism... ...Vancouver Is fantastic. - We'll start counting... ...how many times that word comes. - You do that. It might be even more people than die. Yeah. A couple of words about Kate.... She's a movie star and a really, really good actress. Sometimes that's not the same thing. But she is, and she's very fun to work with. And she... You know, she's British, she always... Theo James. - Theo James. Very witty, yeah. - Young English actor making his... Who's also extremely funny. - Those damn Brits. Yeah. He's so funny. And you're around people who are gorgeous and funny... . It takes its toll on you. Yeah, it doesn't go together usually, yeah. No, and you just stand there in the middle and talking really bad English. I love this shot we did with Stephen. I remember we were shooting it, he was really somewhere else. He was... That was a scene we added after we had started shooting. It was Gary's scene. - That was my idea. We initially had a scene outside of here that l.... I remember seeing this location. I thought it was beautiful... ...but I couldn't wrap my head around a desk being in an exterior atrium... ...so I was struggling with that, but I'm sure glad we did it. I think it looks beautiful. I think you said when you saw it, "It's outside?" It started raining. - "It's outside?" And it was freezing cold. You remember how cold it was? Oh, my God, it was freezing. - God. This is the second... - Then we said: "We have all this concrete and it's freezing cold. Let's get water everywhere. That'll make it really comfortable." This is day one. Day zero, we did the jump we saw before. This is day one where it was full-on, all teams... ...SO this is the first scene that we shot of the whole film. And this shot was actually blown up. We had shot it wider, but we were able to push in on it. We did that with an enormous number.... One of the beauties of using the Red Epic camera... ...was the ability to push in and resize afterwards... ...1N postproduction. That's 175 percent. - Yeah. One of the things I believe that Mans and Bjérn should discuss... ...because we experienced it our first day of shooting... .IS that they are slightly unorthodox in terms of a directorial team. Slightly? They alternate the days they're shooting. So the first day, I believe it was Bjérn, right? You were directing the first day... ...and then Mans would direct the second day. And so, you know, you guys may wanna enlighten the audience... ...as to your procedure. - This was Mans. The prior one in the corridor, I did. I can't remember, but we always have the producer flip a coin... I did. I remember I flipped a coin. Yeah, flipped a coin and whoever gets the tails... ...whatever we decide, begins the day. The thing is, when I'm directing, Bjorn's my best buddy... ...as we Call it, and he doesn't do anything... ...except helping me. Nobody's allowed to talk to him. - Wait. We'll miss Wes getting thrown through the window. This is a totally reshot scene. - Yeah. We had another scene that was... - Just not working. No, it was a bit of a disaster. We got the opportunity to reshoot this, and I love this scene. I love it too. - It's great. This whole spider-webbing window thing.... That was actually Len Wiseman's idea of having him... ...be pushed through the window as it spider-webbed behind him. Yeah, we had.... Yeah. Fantastic idea. - Yeah, great shot. In the background, you see he's got little stuffed animals... ...because we wanted him to be a tinker... ...because he's been tinkering with her... What? I never saw those stuffed animals. I love this shot. I love this. It's too short. - Way too short. Yeah. It's way too short. You know, if you're starting to do movies or anything.... Please listen up, because Bjérn is saying something important. If you get into doing green-screen stuff, stay on it longer... ...because the visual effects will come in and you'll go: "Why the hell didn't we stay longer?" You had 36 frames of tail handle that you didn't use. So it's... So there. - Bollocks. I did not see that. - The famous.... Larz. Thank you, Larz. This is a 300-pound dummy in steel. Oh, God. Nothing.... I mean... Larz is the visual effects... - Special effects. Special effects. We thought, "There's no way. That's not gonna smash the car." Larz was like, "It's gonna smash the car." It did. - It smashed it great. Larz was right. It worked. And I love this shot of the camera pulling up... ...and catching Theo there. - Yeah. SO we are boosting up the mystery here. Theo, who is this guy. - The mystery man. And hopefully you don't know that he's a Vampire yet. He could be anyone, probably a human. Yeah, that was one of the challenges, as well, with the introducing. We introduce Michael Ealy, who plays Sebastian... ...and we have introduced David. We had introductions of a character called Quint, which is... Love this knife. - Yeah. The Uber-- Who was a Lycan, but it was taken out. Because there were too-- Yeah. Kris. - Kris Holden. Brilliant. - Brilliant guy, brilliant actor. It was taken out because there were too many people presented... ...and he gets presented after the car chase... ...and we only see him once. I'm not sure if that was perfect. In hindsight, maybe we should have. - But it's tough. That's... This is a movie where there's only one character... ... left over from other films. Every character has to be introduced. At a certain point, it's a struggle... ...trying to figure out ways to do it without overwhelming the audience. So we just caught a glimpse of the lower Lycans. And one of the things that we really loved in this one... ...was that we could expand the mythology and the universe... ...by inventing new creatures. And we liked the idea that they have been living in the sewers. There's one now. Yeah. And, you know, we thought, you know.... Here we thought Gollum. We thought rabid dog. We thought puss-- Run... Is that what you call it? Puss? Pus. - Pus running. Yeah. Saliva. Fucking crazy in the head. Rabid crazy. That... - Syphilitic. We wanted to because there's... One of the most wonderful lines... .In the history of Underworld is: "You're acting like a pack of rabid dogs! And that, gentlemen, simply won't do." That Michael Sheen says in Underworld 7. And we said, well, let's turn them into those rabid dogs now. They-- You know, they have lived here underground for so long... ... that they actually became these rabid dogs. Yeah, we actually don't see these guys as being human anymore. They're just Lycans. - And they... They turned out beautifully, James. Really beautiful. - These are my favorite Lycans. I think if there is a part five, there should be just these guys. I love them, just those.... The horde. - Yes. Really sick. It was the first time we moved away from suits. We always relied on practical prosthetic suits... ...and this was the first. This and the Uber are the two creatures that are purely CG. The Uber was hard to cast, so we had to go CG. This is an important moment. I loved shooting this. - This is where Selene sees... ...this child for the first moment. Without realizing who it is. - Right. She thinks it's Michael. I remember when shooting it... - She expected to find Michael. Right. Exactly. And she was so beautiful, and she looks so scared. Vulnerable. - Yeah. And the whole thing here we set up, you know.... We're gonna reveal later in the van, when she rips the Lycan's head apart. Hopefully that works, because we set up this girl as weak... ...as we see here, and vulnerable and so on... ...but she is the daughter of Selene, which means the girl's got powers. She's got the kick-ass gene. - Her name is Eve... ...which is never pronounced. - No. It isn't? We never say it? - We never say it. She says, "I'm Subject 2. You're Subject 1." So we might give her another name if we want to for the next one. Eve is perfect, I mean. No, but I think Selene is so beautiful... ...because Selene means moon in Greek. Is that right? - Yeah. Selene means moon in Greek? - Don't you know your Greek? Apparently not. Good Lord. Yeah. So here's the car chase, as we Call it. And it is pretty much... ...on the money on every shot that we storyboarded... ...which is extremely rewarding for a director... ...to see that it pulls off. This is also a triumph of visual effects. Probably half of the scene it was pouring down rain... ...and shooting in 3D, which means you can't really shoot. Shooting in 2D. We shot most of it in 2D. Because you can't shoot in 3D, the rain hits the mirror. The half-silvered mirror that you use in a 3D rig. So this whole thing was pieced together... ... from very, very rudimentary pieces.

10:50 · jump to transcript →

We got so much mileage out of that set too. Yeah. - It just looks like it goes on forever. And most of all, it looks really real. Yeah. The texture-- The scenic painting and the texturing is first-rate. Claude, the production designer, said that he took great pride in detail. He said, "That's my middle name." And also in the wood too. The way they sandblasted the wood... ... to make it look ancient, it's just great. Yeah, I remember I talked to Gary, who was the art director. When they presented to Claude... ...Claude just... Like I said, they were working so hard with the detail... ...and Claude had been doing some other stuff, came back... ...and walked around, and then took Gary's head and kissed it. On the forehead. And he said, "Thank you. It's gorgeous." - Sounds like Claude, yeah. And here we are. - This is a fantastic scene. Yeah. There's a shot coming up that is just... ...beautiful, that Brad Martin, the second-unit director, shot. It's just... This oner. This is one of the things we.... This one. This one here. It's fantastic. There was no way we would have staged this shot as we did... -.../f it wasn't a 3D movie. - Yeah. Yeah. We wanted much more, actually, than we... That's all one shot. - Yeah. All with CG. It's... - That was a blend of CG and suits. Here, it's just CG. In the end of that scene, it was suits as well. Yeah, everything mixed. Like every trick we had In one shot. Here's suits and CG mixed. - That's a suit. Suit, suit. Background guy's CG. - Background guys are CG. That's a real one. Yeah. - If they're moving, they're CG. I remember at a certain point too... I remember at a certain point, for budget reasons, we had to cut... ...a lot of the CG shots of this sequence. You look at the sequence now and you can't imagine.... Well, Clint did give us more money. No. But I remember once we got the rule... James just said, "We can only have--" - There she goes. "We can only have 36 Uber shots in the movie." It's more. - Oh, yeah. There are 275 creature shots in this movie. Is that right? - The other thing is... ... for the audience, we keep using this word Uber because... It's not in the movie. - It's not referred to in the movie... ...but this larger than... This five-times-the-size Lycan. We sort of... - Nine foot tall. We... - We called it the Uber-Lycan. The inner circle called it the Uber-Lycan. He's not 9 foot tall. - Twelve feet tall. Fifteen feet tall or something. Theo, extremely... - Nine hundred pounds. Did all the stunts himself. The Necklace. - Yes, the Necklace. We give all these kind of moves aname. That was the Necklace. You threw that in, the head getting blown off. Had to happen. - Yeah. It's an Underworld movie. I love that when she bites him. - What? Where'd that come from? This one's great too. - Yeah. It's great. Oh, I remember... - The blood spray. We had to fight for that ax in the head, which I don't understand... ...because it's kind of given, I think. Always... - Was that a gibe? That was a gibe. No. And always put people in water. - Oh, this too. Yeah. Because they like it. - Yeah. Actors really like being cold and wet. No. It was freezing cold. Theo was extremely cool. Yeah. Not cold. Cool. - I really hate Theo, actually. I sincerely hate him for being gorgeous... ...and he played me the first two days, and I thought: "Oh, is he slow, this guy?" And he was so much smarter than me. And he was pulling my leg and just, you know, he was.... He's a perfect human being and so kind. So, you know.... I hear he's single. - Yeah. I hope he can't draw. He actually had a very nice... He has a very nice girlfriend. Even the sun has spots, I guess. Anyway, he's just one of those perfect human beings... ... that walk around there which makes you feel not perfect. Yeah. - The weaponry here... ... you saw that little glint there, or what do you call it? The: On her gun. I mean, the weaponry Is real important... ... for the Underworld movies. One of the things that we also love. I don't know how many hours or days we actually talked about what kind of... ...guns shall she have and when and where. It's an enormous amount of research. This was inspired, by the way, to shoot... To have the Uber-Lycan appear... ...and to do his first shots where you didn't see him... ...and then have a second reveal. We actually-- This... That came up because of the set. We didn't plan that. Then we saw the set, and I think... . James, it was your idea that we should have... This is the Uber-Lycan. And this is what we talked about. We really wanted to hurt Selene. We really wanted to, yeah. Although she hurt him, didn't she? Yeah. - That'll teach him. That's a setup for later on. You know, look, the fact of the matter is, when we shot this, we had... ...Kate or her stunt double in the foreground doing all the stunts. That's Kate there. - The Uber-Lycan... ...was placed in afterwards and.... - Yeah. Just brilliant. Just brilliant. - Yeah. Remember the giant to-scale Styrofoam gray Uber head? Which we all laughed at on the set. - No, I remember... Kate doesn't like shooting these kinds of things. She's like-- Because she feels like... You know, she does it perfectly, but it's, you know.... It's not her favorite thing to do. - No. It's hard. Because you look at the Styrofoam thing... ...and it's hard. - Yep. But she does it perfectly. - Yep. There's our dam. The Suede pose. - Yeah. This is beautiful in 3D. Yeah. He looks like Brett Anderson in Suede. Beautiful death. Death position. Yeah. Yeah. He died with style. - Like a dying dandy. One of my favorite Swedish paintings, The Dying Dandy. Yes. Wow, you really snuck that one in, didn't you?

43:18 · jump to transcript →

Edward Berger

By the way, also look at, here's another sound cue when Felix blows up. We go into, and the typical thing would be, I think, again, another, we wanted in one shot to have him run and then be thrown into the air. That shot where he explodes is a VFX shot. It's actually a stuntman that gets thrown into the air, but we stitched it together with Paul running.

1:16:44 · jump to transcript →

Edward Berger

And the guy who's playing the Frenchman, who's playing Duval, I cast a lot of people. And you know who I took? I took a stuntman in the end. Because I knew, okay, I want to concentrate again. I want to have the time to concentrate on Paul's face. Check out this makeup in this scene. And to be with him and not to worry about the soldier. And if you have an actor, if you have someone, first of all, he needs to fall down that crater hole and lie in the mud.

1:24:05 · jump to transcript →

Edward Berger

You know, you can't let an actor lie in the mud for 10 hours. A stuntman, that's his job. And he also needs to fall down this little crater when he gets blown up in the beginning. And so that gave me the ability to concentrate on Felix and just let this guy lie in the mud for 10 hours. We try to take good care of him. But I think he did such a fantastic job of playing this dying. And it's really hard.

1:24:33 · jump to transcript →

Roger Moore

Now, when you look at a set like this... ... you know that the glass is going to get broken. Purely because the stuntman and the stunt arranger... ...don't have to pay for it.

46:16 · jump to transcript →

Roger Moore

The stunt work on this was done by Dickie Graydon... ...and by Martin Grace, my.... Who was then my stunt double, and then became the arranger... ...after this film. Dickie Graydon doubled me. And Martin Grace, who is just a fraction shorter than I am... ... doubled Richard Kiel. And it is attitude... ...that works. And Martin is a very, very good actor. In fact, he doubled in The Spy Who Loved Me. He doubled Richard Kiel on the top to the temple of Karnak.

1:06:56 · jump to transcript →

Roger Moore

Bob Simmons, who is a very, very good... ...fight arranger and stunt director... ...I've worked with him for many years as a stuntman. And I've worked with him.... Oh, I must have known Bob for 20, 30 years.

1:40:53 · jump to transcript →

This sequence was kind of difficult, because I wanted to have the bike actually do an endo, and we got it. Our sound man was an aspiring stuntman, and he did a good job there, because he just turned the wheels and went head over heels. He hit so hard, the wig that he was wearing went flying off. I tell everyone that's me. Oh, doing the stunt? I've been lying about that for years. Well, we'll dispel that one.

13:46 · jump to transcript →

Once again, here's Angus. No stuntman. Does all his own stunts in this film. Really deserves credit. This is very scary stuff. People are screaming. Yeah. We cut a little hole there for Angus's fingers to fit through. Just hear the clatter. I stood with my fingers in that position for two hours. I remember. About between 1 and 3 in the morning. That's the first appearance of yellow blood, which I think surprised everybody.

38:17 · jump to transcript →

That was a really, once again, without a stuntman, Bill's shooting at a loaded blank. And that's Lenny there, too, being pulled back by a rope. Yeah, no, he's in an actual jerk-off harness. We yanked him back in there. Home sweet home. And we're shooting out here back at the Dunsmuir Mansion again. And once again, you know, when I say we didn't have any stuntmen, we didn't have any stunt drivers either. It was usually, you know, one of the more

47:33 · jump to transcript →

John McTiernan

So the movie had been planned with a second unit, to shoot the attack. And this stuff was all shot, sort of, stuntman style,

21:37 · jump to transcript →

John McTiernan

And no one was hurt on the film. One stunt double for Arnold later on... Ah, there is Painless firing.

25:12 · jump to transcript →

John McTiernan

One stunt double for Arnold, he had hurt his knee. I think we were pretty lucky, we didn't...

25:24 · jump to transcript →

And of course, the ubiquitous bear trap, a signature of David's work. In every movie, there'll be a bear trap. Now, did O.J. do that whole thing himself? Absolutely. Or we cut the stuntman. I think the stuntman fell out of the... But everything else was O.J. Everything else was O.J. Amazing work. And the entire cast is on that plane. I think we're coming up on my dad here. Every family member's in this, right? Yes. Always. There he is with the camera there. Third from the left or second from the right.

7:20 · jump to transcript →

No, we took it out. We took it out. He had a comic take and it made us squirm. I bet this is... I forgot about that one. That's a good gag. Oh, Dr. Alfred, I have Mrs. Kepley's chart. Are you ready to go over it? That's Mallory Sandler, who also used to be in Kentucky Fried Theater. Yeah, and the doctor's a stuntman. Oh, the mother of 12. This guy's been a bad guy in a lot of movies, too. He has. Yeah, I think he was also in 33 and a Third. Was this his first picture? I think he came back, even though he...

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Oh, that's Connie Palmisano. Our stuntman, second unit director. Now, this was a surprise for the audiences. Yeah. We'd actually roped John Houseman into doing this. Oh, my god. He became famous for doing everyone's last picture. I think Ethel Merman died shortly after Airplane. Airplane. And John Houseman literally expired after this picture. Yeah.

32:32 · jump to transcript →

...decades and decades ago... ...and brought as an extension from this person's home. Oh, and the stuntman who was the lead Hungarian... ...was the double for the one who cuts the kid's throat... ...was the double for all of the Pink Panther movies for Peter Sellers.

1:00:51 · jump to transcript →

Hoping you've come for these details. Yeah. That is Kevin, and now is Kevin's identical twin. That guy is the father of one of the, that stuntman is the father of one of the kids who gets killed. Oh, that's, well, the family that slays together, I guess. Lays together. And this is Kevin's double, which. This is, yeah, I thought he, I think he looks great. Yeah. Like, he looks, he's exactly like, I actually trimmed his goatee

1:18:52 · jump to transcript →

Originally a line, scream. Which I like much better. The moon in the background, I'm very thankful for. I think it makes that very cool. And this is Steven the lunatic about to do the jumping. Now this man running who gets shot in the back, boom. He's about 80 years old. He's a stuntman. He falls, clunk, clunk.

1:19:59 · jump to transcript →

Simon West

I thought she should do something beautiful, but also very athletic and daring. And this is a very impressive routine that Lara does every night before she goes to bed, but Angelina actually had to learn to do for real. Now, I never expected her to do all this. When I cast her, I never thought of her as a stunt person, but during her training program before the shoot, she just learned how to do this thing from top to bottom, and I realized I wasn't going to have to use stunt doubles at all.

26:15 · jump to transcript →

Simon West

As I said, I came up with the idea of the swinging log quite late while we were already shooting. And so the set wasn't actually built with the log inside it. And so it was a late addition. And Angelina hadn't had time to rehearse jumping on this log and riding it. And so I had the stunt doubles.

51:12 · jump to transcript →

Simon West

she got on the log and we let it start swinging and literally within three or four minutes she was standing up on it and something that not even the stunt doubles could do and she obviously of course didn't just stand up she did it with style and grace and I was rolling with three or four different cameras and I got the whole thing with Angelina actually surfing the log into the into the urn for the scene but as I said it's one of these things you just think up very quickly and you're not sure whether anyone's going to be able to to do and

52:06 · jump to transcript →

Oded just, you know, there's nothing there. So Oded is throwing himself at windows and over chairs and benches. He and Brendan were rather beaten up in this sequence. It's very hard for... If you're fighting a stuntman or a man in a mummy suit, it's much easier because at least you have some resistance, somebody holding you back from really hurting yourself somehow. But when there's nobody there and you're throwing a punch and there's nothing to connect with, or you're throwing yourself...

44:55 · jump to transcript →

back over a chair and there's no one to catch you. It's much harder on the actors when there's nothing there than when there's a stuntman in a mummy suit. Brendan is particularly good at that in this sequence. He's a terrific physical actor, and he really sells the fight. Obviously, we're cutting all over the place. Again, these are soundstage shots.

45:22 · jump to transcript →

It's a wire gag, and the stunt performer is sort of wrapped in a wire as he's thrown across the room. It unwinds. So imagine being wrapped in piano wire and then being yanked 40 feet through the air. It's not real fun.

1:52:57 · jump to transcript →

We wanted the focus of the battle to be Gandalf trying to out-strategize the orcs... ...and to give him a real hands-on feeling. And we wanted him to get his hands dirty, as they say... ...rather than just be shouting out commands... ...to actually be doing some, fighting himself. This is no place for a hobbit! Suffice to say that this is a mixture of Ian plus a stuntman... ...who is also doing some of the fighting.

2:05:37 · jump to transcript →

And then as a separate pass, we shot the stuntman being jerked back onto the pyre, and we combined the two elements. And this was just another image that I had in my head way back at the very beginning, as I just wanted the flaming Denethor to jump off the prow of the city and plummet. And now, it could never happen in real life because the distance between where the tomb is and where the prow is is so far. He'd have to be running about a mile to get there. Poetic license. I just like the image of him plummeting.

2:38:17 · jump to transcript →

Oh, that's a great pile-up, isn't it, that one? Yeah. We literally were just following Miranda or Miranda's stunt double on a horse and we put all the battle action in afterwards. We shot a lot of elements of background horses galloping left and right and we were able to take those and put them into all sorts of different shots and build the battlefield up, add a lot of CG horses, make it seem a lot busier. If you look at these original plates, the documentary on the green screen, they're so much less spectacular than what you're seeing here.

2:41:47 · jump to transcript →

Something happened with Kate just gets riled up around Speedman, and it makes her just go a bit batty, and she just loses it. Now this next scene coming up here, Marcus is swooping in. Jim Churchman, my rigger, my main rigger and assistant coordinator, has this great rig right here. It's a computerized winch, which allows us to repeat these moves. And this was the stunt double Adrian Hine.

29:20 · jump to transcript →

playing on our video. Mike Gunther. We had this prosthetic piece that went over Gunther that was a shirt, and he didn't have as much rubber on it as the Marcus stunt double, so it really looked like a shirt, and unfortunately right there it did, and then at the end of the movie when we do the fight in the dungeon,

48:52 · jump to transcript →

See? You spilled wine all over my Han Solo shirt. Okay, okay. I'm sorry. I get a little carried away with that cut thing. Wave my hands. This Millennium Falcon's not going to look the same. This was Brad on second unit right here. Who was doing that stunt? That was Adrian Hine, the Marcus stunt double. That was great. I really wanted that to be a...

1:03:18 · jump to transcript →

He's so taken aback that he doesn't know to grab for it, you know? Yeah. It's great. Just a little aside here, where Mitchum falls as he's going up the steps, that's a stuntman doing that, a double. Naturally. He didn't actually do that. Yeah. It's coming right up.

52:53 · jump to transcript →

But then when it's Mitchum himself going up the stairs, he looks, yes, that's the stuntman. Now he looks like Frankenstein's monster with the short cuffs. Yeah, yeah, he does. Wow. It was actually James Whale who directed Frankenstein and Bride of Frankenstein who introduced Whale. I mean, Lawton to Gregory. That's a strange shot there of the two kids, which is a freeze. And it actually, Lawton removes some dialogue between Mitchum and the kids at that point that he didn't like. And that's why they had to put that in there to cover that. I always wondered why that was there. There's a gap.

53:10 · jump to transcript →

Terrence said, there's nothing for you in it this time, but don't worry, I'll remember you. Stuntman George Leach has his own memories of Sean Connery as 007. And Sean Connery was one of the very strong types that were really ideal for the Bond, for James Bond.

24:10 · jump to transcript →

I thought he was very right for the part, as they say. Stuntman Richard Graydon also recalls the director. I suppose it would be nice to make a tribute to the originator of the films, which was certainly Terence Young. He set a style which, in fact, has been developed and continued through. Without Terence Young's setting of that style, Sean Connery, who was in those days a very rough

1:30:52 · jump to transcript →

stuntwoman hitting the bed because there was a huge splash of blood, and they were, like, completely offended by that. Right, so you just trimmed frames because she did actually hit the bed, right? I don't know whether you actually see her more than just, you know, make a split second of contact. Father abandoned ten years ago. Mother's in Vegas with a boyfriend. We're trying to reach her now. Now, this is Joseph Whipp, the actor, and John, of course, yourself, but John, before we go to you, Joseph ended up on, I think, Cheers for years, didn't he? Playing, I think, a mad adventurer.

18:22 · jump to transcript →

large stuntman or very very old guys and I just suddenly came to the realization it's not going to be a stuntman that can come up with that kind of evil and probably will be a younger man especially and Robert Englund came in and he had so much enthusiasm for it and was so fearless with the role that he was prepared to play that kind of evil you know it's very difficult for an actor to come up with that kind of portrayal of evil a lot of people try to make it sort of comic or a camp because it's

1:29:37 · jump to transcript →

Gary Goddard

This is good. This is the stunt double for Billy Barty making a little hop through the fire here. I always liked that shot. Now we have the detective, and he's going to take matters in hand. He's going to get out there. This is the shot coming up that blew out the windows on all the local businesses. Another interesting thing is you're going to see a lot of aerial shots later over this street in Whittier.

1:05:13 · jump to transcript →

Gary Goddard

but there were pyros on the guy's actual armor, so as the sword hit the stuntman, pyro actually burst from the chest to, you know, emphasize the power of that particular sword. This was actually Franklin Langella's first night. This was his first...

1:14:30 · jump to transcript →