00:00So, what's the biggest challenge in making this movie, but especially in action movies in general, for your opinion?
00:07You know, the biggest challenge in action movies is, like, finding something that you can hang your hat on that's not related to the action itself, but that actually wants you to go on the ride.
00:18I think that people don't understand sometimes that they want to relate to these characters, and that makes the action so much better.
00:26So, you know, and this movie is about family, it's about, like, these two guys who are estranged from their brother and sister for so long, and they reconnect, and, you know, the moral of the story is, like, it shouldn't take a world-ending virus to, you know, get you to call your brother or your sister.
00:41So, having characters that you care about and relate to makes all that stuff they do in the McLaren or all hanging off a helicopter mean something, because they're characters you, you know, you want to win and you want to survive.
00:55So, it's basically two movies together.
00:57One is the script, and one is the part of the action.
01:00Yeah, you really, yeah.
01:01The action needs to support that, what I just talked about, in terms of, like, it needs to define the characters, it needs to move the plot forward, and it can't all just be a spectacle, because those movies, they fail, and people don't maybe understand why they're detached.
01:20But when an action scene is working on all cylinders, you have spectacle, but you have emotional connection, and you have plot, you know, further, yeah, and then it's, like, this thing's perfect, you know, it feels like it needs to be in the movie.
01:34In Obsession, you direct some of the biggest actors in the show biz, you know, how did you manage all the physical stuff inside the movie?
01:43How did you put everybody together in the same scene?
01:46I think that's the challenge, you know?
01:48It is, it is, I think, but, you know, Dwayne and Jason are both very savvy, and they've been in the business a long time, and they're both really game to do their physical action.
02:00So it was really fun to work with them, because they, me coming from a stunt background, an action background, I have a little bit of street cred with them, and if I say they can do it, they'll maybe have more trust in me than a different director, because I know they can physically do it.
02:15I have coordinated stunts, I perform stunts, and so, and I also push them, you know, sort of in a way, like, do this, you can do this, trust me, you know, as opposed to, they may not have had the trust with another director who didn't know action,
02:30But did you have a special camera to capture both together?
02:34Oh, because of their size?
02:36Yeah, we had these wide-angle lens, yes.
02:38You mentioned before, you wore the stunt double for Brad Pitt five times, and did you see Once Upon a Time in Hollywood?
02:46I did.
02:46It's funny.
02:47It is.
02:47Yeah, did you inspire Tarantino for the story?
02:51No, you know, I think he's portraying a stuntman from a different era, but I do get asked that question a lot, you know.
02:58Look, he's got, I'm sure he's got a lot of crazy stories about me, that maybe he used a piece of it here and there to form that character, but all I can say is it's a really great, fun character, and I'm not surprised, knowing Brad's work, he's amazing.
03:15Would you like to do a movie like that?
03:17I would, yeah, and I'd love to work with Brad.
03:19As an actor, maybe.
03:20Oh, as an actor.
03:22Portray a stuntman?
03:23Yeah.
03:23Yeah, there you go.
03:24You know, my grandfather was the, was a stuntman for the first Ben Hur, and he always told me this incredible story from the set.
03:33I don't know if you have some funny story to tell me during, you know, shooting this big movie or maybe as a stuntman.
03:40Oh.
03:42Yeah?
03:42I have plenty, but they're just going to get me in trouble.
03:46So I'm like, I have plenty.
03:48We need a movie for that.
03:51Yes, we need a whole new, we need a whole movie of my stunt stories on set.
