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<i>Hey, everyone, this is Justin Lin,</i>
director of Furious 6.

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<i>I know that all the posters out there...</i>

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Official YIFY movies site:
YTS.MX

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<i>Everybody was talking about</i>
Fast & Furious 6 and everything,

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<i>but I just wanted it to be</i>
<i>totally clear and on the record,</i>

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<i>when we were working on the trilogy,</i>
<i>starting from Four,</i>

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the idea was to always call it, Fast & Furious

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and then Fast Five and then Furious 6

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<i>to be the culmination</i>
<i>of this chapter of the franchise.</i>

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<i>But I think the marketing part of the studio,</i>
<i>I think with Fast Five they did some research</i>

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<i>and, for some reason, they came back</i>
and wanted to do Fast & Furious 6.

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<i>So, it was many discussions,</i>

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<i>Long discussions with executives,</i>
<i>heads of the studio.</i>

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<i>I really wanted to keep it in the spirit</i>
<i>of what we were trying to do</i>

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<i>so that's why when you watch</i>
<i>the film now it will say Furious 6.</i>

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<i>And it was always intended to be that way.</i>

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<i>The start of the movie here,</i>
<i>on the cliffs in Tenerife...</i>

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<i>This really...</i>
<i>l wanted to start this film off with no music.</i>

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<i>I think at the core of it,</i>
<i>I really wanted that visceral connection</i>

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<i>with the audience</i>
<i>that we've never had in this franchise.</i>

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<i>And hopefully, it sends a signal</i>
<i>to everybody that's watching it.</i>

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<i>That even though this is</i>
<i>part six of a franchise,</i>

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<i>we're not resting,</i>
<i>we're going to keep pushing.</i>

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<i>And I thought it turned out really well,</i>

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<i>it was really tough</i>
<i>because those are real cliffs,</i>

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<i>Long drops, and it was very dangerous</i>
<i>and for the right...</i>

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<i>For the drivers to get together</i>

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<i>and to be able to execute that,</i>

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<i>I feel very fortunate to have, again,</i>
<i>the best crew in the world.</i>

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Because I'll be there to kick your ass
if you ain't.

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-Get in there.
-Go.

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<i>So, here we have, obviously, the misdirect.</i>

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<i>Where you think it's the end of Fast Five</i>

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<i>but we're actually going into</i>
<i>the life-changing aspect of this franchise,</i>

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<i>which was Brian and Mia having their baby.</i>

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<i>We didn't really have a... Well, here it is,</i>

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<i>here's the montage of the last 12 years.</i>

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<i>But we didn't really have too many</i>
<i>discussions about having the baby,</i>

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<i>and I was very...</i>

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<i>From pretty much the fourth one, Fast Four,</i>

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<i>I wanted to evolve and grow the franchise.</i>

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<i>And with that, I think, it just felt natural that</i>

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<i>Brian and Mia would get together</i>
<i>and, ultimately, start a family.</i>

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<i>It will be very interesting to see</i>
<i>where an action franchise will go after 6,</i>

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<i>with the baby growing up</i>
<i>along with everything.</i>

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<i>This montage actually came</i>
<i>pretty late in the game,</i>

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<i>but it was actually</i>
<i>such a great time working on it.</i>

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<i>And PIC, who did this montage,</i>

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<i>did an amazing job.</i>

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<i>I thought they captured,</i>

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<i>not only the linear narrative of this franchise,</i>

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<i>but at the same time,</i>
<i>the spirit of what this franchise is about.</i>

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<i>I remember watching it for the first time</i>
<i>and a lot of the crew members, too.</i>

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<i>You do get a little emotional.</i>

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<i>For me, it's been eight years,</i>
<i>almost a whole decade doing these films.</i>

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<i>And to be able to get excited every morning,</i>

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<i>wanting to show up, work with people.</i>

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<i>And we've developed</i>
<i>and grown into a family.</i>

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<i>It is quite emotional.</i>

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<i>And I felt it was very appropriate for this</i>

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because again, Fast & Furious 6,

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Furious 6 was always designed
<i>to be the culmination.</i>

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<i>l know there were rumors out there</i>
<i>about shooting two at once, and that's true.</i>

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<i>But it was always going to culminate</i>
<i>in the plane sequence.</i>

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<i>It was very interesting</i>
<i>because we had so much story to tell</i>

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<i>but at the end of the day I felt like,</i>

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<i>we could actually squeeze it all in one.</i>

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<i>So, that's why when you watch this film,</i>

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<i>you might get a sense that,</i>

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<i>"Wow. There's probably a little more action</i>
<i>than I'm used to."</i>

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<i>And that's true in the sense that,</i>
<i>at one point I was going to be...</i>

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<i>There was going to be two movies.</i>

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<i>When we were working on it,</i>
<i>it was so massive</i>

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<i>because there was 1 3 characters,</i>

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<i>there's a whole other intro of a team.</i>

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<i>And I was up for doing two movies.</i>

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<i>It was going to be quite challenging.</i>

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<i>And we were actually going to call it...</i>
After Fast Five,

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<i>we were going to do back-to-back movies</i>
and call it The Fast and The Furious

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<i>and that was going to end it.</i>

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<i>But at the end of the day</i>
<i>it all worked, it all worked out for...</i>

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<i>I'm happy with the fact</i>
<i>that we could put it all into one movie.</i>

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<i>And this is it for this chapter.</i>

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<i>And here you can see, Gina Carano</i>
<i>has joined the franchise as Riley.</i>

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l got you five minutes with this guy.

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l only need two.

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<i>I'm so excited to have her be part of this film</i>

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<i>because of the fact that she really can fight</i>

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<i>and she has this confidence.</i>

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<i>I remember meeting her for the first time</i>

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<i>and she's the nicest person.</i>
<i>One of the nicest people I've ever met.</i>

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<i>And she's so calm.</i>

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<i>And I think part of that calm</i>
<i>comes from the fact</i>

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<i>that she just knows she can</i>
<i>break you in half if she wanted to.</i>

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<i>And she's so great to work with,</i>
<i>always comes prepared.</i>

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<i>And it was just such a pleasure</i>
<i>to be on set with her every day.</i>

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I've got rights...

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<i>And here is Oakes, who's being</i>
<i>interrogated by Dwayne as Hobbs.</i>

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<i>He's a great guy. He's actually a magician.</i>

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<i>And l was told to be careful</i>

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<i>and not look into his eyes too long.</i>

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<i>But he was a really fun guy.</i>

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<i>He was up for being</i>
<i>thrown around by Dwayne all day.</i>

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So, any information you just beat out of him,
Interpol has now.

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Great. Now they can take the morning off.
Shaw's in London.

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Let's go pick him up.

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<i>This scene right here in the hallway,</i>

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<i>we actually had a couple of</i>
<i>other scenes written</i>

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<i>about Letty and joining the team.</i>

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<i>And it explained a lot more.</i>

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<i>But at the end of the day</i>
<i>I really didn't think it was necessary.</i>

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<i>I thought it would be better</i>

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<i>for us to find out.</i>

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<i>We all, kind of, already know</i>
because of the end of Fast Five.

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<i>To be able to be here and find out with Dom.</i>

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<i>And l think it all worked out</i>
<i>because the first act of this film,</i>

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<i>there's just so much going on</i>

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<i>that I felt like we needed to,</i>
<i>hopefully, stay just long enough</i>

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<i>to be able to have that emotional impact,</i>

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<i>and for the audience</i>
<i>to be able to connect with the characters.</i>

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<i>And at the same time,</i>
<i>to be able to always be moving forward.</i>

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<i>And I remember here,</i>
<i>we had some fun discussions</i>

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<i>about Dom drinking beer in the morning</i>

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<i>because, as with all shoots,</i>

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<i>I will always have conversations with Valeria,</i>

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<i>the script supervisor, about clocks.</i>

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<i>You will see that there's</i>
<i>a clock in the background</i>

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<i>and I think it's like,</i>
<i>8:00 or 9:00 in the morning.</i>

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<i>And finally, I just thought,</i>

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<i>"Yeah, Dom would be drinking beer</i>
<i>at 8:00 or 9:00 in the morning."</i>

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...and no extradition.

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So what are you doing here, cop?

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Last Tuesday, a team
of highly coordinated drivers

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took down an entire military convoy
in Russia.

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l don't do cold weather.

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l know it wasn't you.

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But you're going to help me
catch the team responsible.

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And you ain't gonna need that.

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You can't touch him, Hobbs.

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<i>This Dom and Hobbs scene,</i>
<i>it was very interesting going on set</i>

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<i>because of the relationship between</i>
<i>Dom and Hobbs from Fast Five.</i>

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<i>And l think both</i>
<i>Dwayne and Vin were coming in</i>

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<i>and trying to find that right balance</i>

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<i>of the fact that they don't</i>
<i>have to like each other,</i>

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<i>but they have to respect each other.</i>

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<i>And I thought they did a great job of that.</i>

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<i>It took a little time to, kind of, fine-tune it.</i>

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<i>But it's always hard, I think,</i>

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<i>with scenes like this</i>
<i>where you do have two main characters.</i>

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<i>I like to play with the gray, and I thought that</i>
<i>these were some of the fun days for me,</i>

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<i>to be there with Dwayne and Vin</i>
<i>and really make adjustments.</i>

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<i>And that's what I enjoy a lot of times,</i>
<i>working with them,</i>

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<i>with actors who can really take it in</i>
<i>and make these adjustments as we go.</i>

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I'm going to need everything...

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<i>I remember this day</i>
<i>when we were shooting...</i>

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<i>It's funny because it looks like there's</i>
<i>sunlight behind on that wide shot,</i>

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<i>but right now, where the shot's on Vin,</i>
<i>it was actually our last shot.</i>

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<i>l had to shoot this scene in about an hour</i>
<i>because there was a huge rainstorm coming.</i>

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<i>And really on the last take with Vin...</i>

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<i>You just started seeing the rain come down.</i>

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<i>But we were able to just get enough</i>
<i>and the performance was great</i>

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<i>that it didn't become a problem.</i>

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<i>But that's always</i>
<i>the thing about shooting practically.</i>

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<i>It's always a challenge.</i>

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<i>Especially... It was funny, at Tenerife,</i>
<i>I was told that it rained four days a year.</i>

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<i>And it happened that when we were there</i>
<i>it rained every day.</i>

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<i>So, there's another scene later on where</i>
<i>you can actually see when we lost the light.</i>

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<i>And this intro scene here,</i>
<i>actually, I had it scripted,</i>

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<i>and as with all these big budget films,</i>

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<i>the numbers come in and l remember</i>
<i>getting a call from the studio saying, "No.</i>

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<i>"We have to cut the budget.</i>

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<i>"And you can't have the intros."</i>

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<i>And this is very much like</i>
the favela chase in Fast Five.

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<i>I remember thinking,</i>
<i>"How can you not have the intros?"</i>

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<i>And they said, "Well, we can't afford it."</i>

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<i>So l said, "Okay, fine."</i>

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<i>And I just kept working it</i>

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<i>and somehow l was able to</i>
<i>squeeze in all these scenes here.</i>

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<i>I was able to get it into the schedule.</i>
<i>And so, it was never scheduled.</i>

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<i>We were able to get all these scenes,</i>
<i>even Hong Kong.</i>

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<i>Hong Kong was actually</i>
<i>the last day of production.</i>

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<i>I actually have four sound stages</i>
<i>running at once</i>

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<i>and l ran outside to shoot this.</i>

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<i>I left my assistant with the Antonov pilots</i>
<i>to shoot some inserts</i>

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<i>while we shot this in two hours.</i>

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<i>And sometimes it takes that,</i>
<i>even with a big budget film,</i>

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<i>you never have enough.</i>

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<i>And it was incredible that we were able to,</i>

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<i>basically, be shooting</i>
<i>four different crews at one point.</i>

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<i>And this was definitely a fun way</i>
<i>to end this big journey.</i>

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<i>To shoot Hong Kong</i>
<i>and only have two hours to do it.</i>

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<i>Coming up here, there's gonna be,</i>
<i>at the very end of the sequence,</i>

194
00:12:17,320 --> 00:12:22,116
<i>the button, which is the</i>
<i>"Roman with a voucher" joke.</i>

195
00:12:22,283 --> 00:12:26,829
<i>It is probably the most</i>
<i>divisive joke of my career.</i>

196
00:12:28,581 --> 00:12:31,500
<i>I would say, it almost crossed like...</i>

197
00:12:31,835 --> 00:12:35,379
<i>It basically divided by race...</i>

198
00:12:35,463 --> 00:12:38,006
<i>Or l would say, probably more class.</i>

199
00:12:38,967 --> 00:12:40,968
<i>Either people</i>
<i>thought it was the funniest thing</i>

200
00:12:41,052 --> 00:12:42,803
<i>or people just didn't get it at all.</i>

201
00:12:42,887 --> 00:12:46,640
<i>And the, "It's Roman, bitches!"</i>

202
00:12:46,724 --> 00:12:50,853
<i>It's funny because that's what</i>
<i>Tyrese actually had on his seat.</i>

203
00:12:51,187 --> 00:12:54,523
<i>He had them speciaIIy made where it said,</i>
<i>"lt's Roman bitches!"</i>

204
00:12:54,983 --> 00:12:59,319
<i>And I would always give him a hard time</i>
<i>saying, "You're missing a comma."</i>

205
00:12:59,612 --> 00:13:01,405
<i>And so I was able to bring that back.</i>

206
00:13:01,489 --> 00:13:05,659
<i>I thought when I saw the plane shot</i>
<i>I thought it'd be funny to put that in.</i>

207
00:13:10,498 --> 00:13:14,168
<i>And here we're actually</i>
<i>back in Tenerife, shooting.</i>

208
00:13:17,005 --> 00:13:19,548
<i>And this was very challenging.</i>

209
00:13:20,258 --> 00:13:24,928
<i>These days, it was supposed to play</i>
<i>sunny and paradise</i>

210
00:13:25,513 --> 00:13:28,765
<i>and we were just getting</i>
<i>horrible weather issues.</i>

211
00:13:30,435 --> 00:13:34,688
<i>But Steve Windon did</i>
<i>an amazing job of creating sunlight</i>

212
00:13:34,772 --> 00:13:38,150
<i>and at times with just rain pouring</i>

213
00:13:38,234 --> 00:13:40,235
<i>and we were able to get away with it,</i>

214
00:13:40,320 --> 00:13:42,696
<i>and not have it affect our schedule.</i>

215
00:13:44,657 --> 00:13:49,244
<i>And this scene coming up, actually,</i>
<i>was a really challenging one,</i>

216
00:13:50,413 --> 00:13:51,872
<i>especially for Paul.</i>

217
00:13:52,123 --> 00:13:56,543
<i>This idea of Brian living in paradise</i>

218
00:13:56,628 --> 00:13:59,755
<i>but yet, not feeling fully complete.</i>

219
00:14:01,549 --> 00:14:02,674
<i>This moment was tough.</i>

220
00:14:02,759 --> 00:14:06,220
<i>I remember having to</i>
<i>shut down the set one day</i>

221
00:14:06,304 --> 00:14:12,100
<i>and just basically go in</i>
<i>and really talk with Paul for a few hours</i>

222
00:14:12,435 --> 00:14:17,105
<i>about where his character was</i>
<i>and where Brian is going.</i>

223
00:14:17,273 --> 00:14:19,483
<i>And I think it's so important</i>

224
00:14:19,692 --> 00:14:25,197
<i>because in a way,</i>
<i>Brian is kind of the heart of this film.</i>

225
00:14:26,658 --> 00:14:30,077
<i>He's articulating a lot of what</i>
<i>the other characters are feeling.</i>

226
00:14:30,787 --> 00:14:34,456
<i>And it was all worth it,</i>
<i>because I remember coming in the next day</i>

227
00:14:34,540 --> 00:14:37,960
<i>and on the first take he just nailed it,</i>
<i>he got it.</i>

228
00:14:38,336 --> 00:14:40,379
<i>And I think it plays really well.</i>

229
00:14:40,546 --> 00:14:41,713
Hobbs.

230
00:14:45,510 --> 00:14:49,137
<i>If you really look on the Paul coverage,</i>

231
00:14:49,472 --> 00:14:53,600
<i>there is actually no sunlight behind him</i>
<i>because it was raining.</i>

232
00:14:55,853 --> 00:15:00,440
<i>I'm still blown away that we were able to</i>
<i>get it all without having to re-shoot.</i>

233
00:15:04,320 --> 00:15:06,280
Letty's dead, Dom.

234
00:15:06,447 --> 00:15:08,490
l need to know for sure.

235
00:15:10,576 --> 00:15:11,910
Then I'm going with you.

236
00:15:12,328 --> 00:15:16,832
<i>Here also, it's a big scene</i>
<i>between Dom and Brian</i>

237
00:15:17,250 --> 00:15:22,004
<i>and their feeling of guilt of what</i>
<i>had happened to Letty, potentially.</i>

238
00:15:22,422 --> 00:15:25,674
<i>And I felt it was very important</i>
<i>for Mia to come in</i>

239
00:15:26,009 --> 00:15:29,177
<i>and be the strength of the scene.</i>

240
00:15:30,179 --> 00:15:31,763
You always were.

241
00:15:32,348 --> 00:15:35,851
<i>I think it's very easy</i>
<i>for the guys to be strong and try to lead</i>

242
00:15:35,935 --> 00:15:40,439
<i>but I really wanted her to launch</i>
<i>our characters into their journey.</i>

243
00:15:40,690 --> 00:15:42,941
<i>I felt like it was very important to do that.</i>

244
00:15:43,067 --> 00:15:45,402
<i>Because at the end of the day,</i>

245
00:15:45,486 --> 00:15:49,865
<i>I feel like this is about the family</i>

246
00:15:49,949 --> 00:15:54,828
<i>and you need her to be able to be strong</i>
<i>for Dom and Brian to be strong.</i>

247
00:15:57,081 --> 00:15:59,207
<i>And here we're in the headquarters.</i>

248
00:16:00,918 --> 00:16:04,087
<i>These are some of</i>
<i>the hardest scenes to shoot</i>

249
00:16:04,172 --> 00:16:08,842
<i>because I'm gonna have seven</i>
<i>or eight characters to take care of.</i>

250
00:16:09,052 --> 00:16:11,428
<i>I had a lot of different personalities,</i>

251
00:16:11,721 --> 00:16:13,555
<i>and everybody works differently,</i>

252
00:16:13,681 --> 00:16:19,061
<i>so it's very important for me to</i>
<i>be able to ramp everybody up correctly.</i>

253
00:16:20,146 --> 00:16:24,232
<i>I know I try not to get Tyrese's</i>
<i>close-ups in the morning because he just...</i>

254
00:16:24,317 --> 00:16:28,904
<i>It doesn't matter what time zone you're in,</i>
<i>he's never awake in the a.m.</i>

255
00:16:29,906 --> 00:16:33,575
<i>It's just strategizing and making sure</i>

256
00:16:33,743 --> 00:16:37,079
<i>that everybody is, hopefully, ramped up</i>
<i>so that when the camera's on them,</i>

257
00:16:37,413 --> 00:16:38,830
<i>they're at their best.</i>

258
00:16:41,292 --> 00:16:43,085
Give them a reason to stay.

259
00:16:44,921 --> 00:16:47,005
Our target is Owen Shaw.

260
00:16:47,423 --> 00:16:50,384
Former major in the S.A.S., Spec-ops soldier.

261
00:16:51,552 --> 00:16:54,763
<i>With this film, more than the others,</i>
<i>I have all these photos</i>

262
00:16:55,515 --> 00:16:57,099
<i>that we had to have</i>

263
00:16:57,350 --> 00:16:59,810
<i>and it was, like, two weeks of just,</i>

264
00:17:00,603 --> 00:17:03,814
<i>outside of production,</i>
<i>shooting these photos, just so we can have,</i>

265
00:17:03,981 --> 00:17:06,566
<i>to be able to have</i>
<i>the characters throw around.</i>

266
00:17:07,568 --> 00:17:10,570
<i>It's probably the least fun part of this job</i>

267
00:17:10,905 --> 00:17:15,951
<i>is making sure that we have all these photos</i>
<i>so we can display them later.</i>

268
00:17:16,035 --> 00:17:17,953
<i>And we did that during prep.</i>

269
00:17:18,955 --> 00:17:20,747
And you're still trying to ask for money?

270
00:17:21,457 --> 00:17:24,626
That's how you stay a millionaire.

271
00:17:24,710 --> 00:17:29,548
<i>This scene... To me this is like the torture</i>
<i>scene in Fast Five and a lot of these films.</i>

272
00:17:29,757 --> 00:17:32,884
<i>It's necessary, but it means nothing.</i>

273
00:17:33,052 --> 00:17:36,555
<i>This tech bomb and Nightshade,</i>
<i>it's just a MacGuffin.</i>

274
00:17:36,639 --> 00:17:41,852
<i>And I think for us, for this franchise,</i>
<i>we're going into this new genre.</i>

275
00:17:41,936 --> 00:17:43,270
<i>And my challenge,</i>

276
00:17:43,354 --> 00:17:44,938
<i>I wanted to make it a personal challenge</i>

277
00:17:45,022 --> 00:17:47,691
<i>that we say "Nightshade device"</i>
<i>only once in this film</i>

278
00:17:48,025 --> 00:17:52,904
<i>because it's just there to help</i>
<i>drive everything forward.</i>

279
00:17:52,989 --> 00:17:54,489
Which one of these things is a dollar?

280
00:17:55,241 --> 00:17:56,283
It says something about...

281
00:17:56,868 --> 00:17:59,244
<i>And I felt like it was necessary</i>
<i>to have some fun</i>

282
00:17:59,328 --> 00:18:01,288
<i>and have some</i>
<i>character moments in this scene.</i>

283
00:18:01,664 --> 00:18:04,040
<i>Because l didn't want it</i>
<i>just to be an exposition scene.</i>

284
00:18:04,542 --> 00:18:07,169
<i>And so when</i>
<i>the vending machine idea came up</i>

285
00:18:07,253 --> 00:18:10,172
<i>I just thought that was kind of</i>
<i>the perfect complement</i>

286
00:18:11,007 --> 00:18:13,508
<i>to articulate, in a fun way,</i>

287
00:18:13,593 --> 00:18:18,638
<i>the relationship between the Toretto team</i>
<i>and Hobbs' pitch.</i>

288
00:18:18,723 --> 00:18:21,433
...to make that family whole again.

289
00:18:23,019 --> 00:18:24,686
<i>There it is, with the photo again.</i>

290
00:18:28,900 --> 00:18:30,525
You want to make this family whole again?

291
00:18:31,235 --> 00:18:35,530
<i>This is also a big moment for Brian.</i>
<i>l think for Brian's evolution.</i>

292
00:18:35,615 --> 00:18:40,243
<i>He is growing into this patriarch role.</i>

293
00:18:41,162 --> 00:18:43,121
<i>And he's not there yet,</i>
<i>but he's the one that's sitting</i>

294
00:18:43,206 --> 00:18:46,958
<i>and making sure everybody</i>
<i>is doing it for the right reasons.</i>

295
00:18:48,544 --> 00:18:50,170
That's the deal.

296
00:18:51,214 --> 00:18:52,631
Take it or leave it.

297
00:18:55,551 --> 00:18:58,220
<i>I enjoy ensemble films.</i>

298
00:18:59,263 --> 00:19:02,474
<i>But to make sure that everybody has their arc</i>

299
00:19:02,558 --> 00:19:05,894
<i>and be serviced with</i>
<i>the limited real estate at times,</i>

300
00:19:06,187 --> 00:19:10,232
<i>that's something that I really like doing</i>

301
00:19:10,608 --> 00:19:12,317
<i>but it's the most difficult thing</i>

302
00:19:12,401 --> 00:19:14,986
<i>because we only have so much time,</i>

303
00:19:15,071 --> 00:19:18,907
<i>not only on the schedule, but on film,</i>
<i>in this film for two hours.</i>

304
00:19:19,242 --> 00:19:24,079
<i>So it's always fighting and trying</i>
<i>to carve out little moments for them.</i>

305
00:19:26,874 --> 00:19:31,336
<i>And a lot of the jokes with Tyrese,</i>
<i>they're not written.</i>

306
00:19:33,756 --> 00:19:37,133
<i>I know Tyrese very well,</i>
<i>we kind of came up together</i>

307
00:19:37,218 --> 00:19:38,802
<i>and we have a lot of trust.</i>

308
00:19:39,053 --> 00:19:41,805
<i>So, a lot of times I'll just watch a scene,</i>

309
00:19:43,975 --> 00:19:46,017
<i>something will come up,</i>
<i>I'll just walk up to him</i>

310
00:19:46,102 --> 00:19:48,311
<i>and tell him to try different lines.</i>

311
00:19:48,396 --> 00:19:52,941
<i>And he always nails it and I really enjoy that.</i>

312
00:19:53,109 --> 00:19:55,443
<i>It's the scariest thing to show up on set</i>

313
00:19:55,528 --> 00:19:58,321
<i>and know that you have a scene</i>
<i>but you might not have some of the jokes</i>

314
00:19:58,447 --> 00:20:01,950
<i>and to be able to do it on the fly,</i>
<i>you really need someone that you can trust.</i>

315
00:20:02,201 --> 00:20:04,703
<i>And I feel very fortunate</i>
<i>to have that with him.</i>

316
00:20:07,957 --> 00:20:10,667
<i>And now we have this big intro scene</i>

317
00:20:10,751 --> 00:20:16,590
<i>that's gonna basically turn into</i>
<i>an intro sequence of the Shaw team.</i>

318
00:20:18,009 --> 00:20:23,263
<i>For me, this is one of the most exciting</i>
reasons why Furious 6 exists.

319
00:20:24,932 --> 00:20:27,309
<i>I feel like, in the past, in this franchise,</i>

320
00:20:27,518 --> 00:20:31,104
<i>we've always had bad guys,</i>
<i>antagonists who exist</i>

321
00:20:31,188 --> 00:20:33,398
<i>and they service</i>
<i>and they do what they need to do.</i>

322
00:20:33,649 --> 00:20:36,067
<i>And a lot of times,</i>
<i>they're there to service the plot.</i>

323
00:20:36,652 --> 00:20:39,613
<i>But l wanted to create</i>
<i>an antagonist for the first time</i>

324
00:20:39,697 --> 00:20:41,406
<i>that had a philosophy.</i>

325
00:20:41,490 --> 00:20:44,743
<i>A philosophy that's valid, that you</i>
<i>can actually watch this movie and say,</i>

326
00:20:44,827 --> 00:20:49,205
<i>"Well, it makes sense.</i>
<i>It makes sense what he's talking about."</i>

327
00:20:49,498 --> 00:20:52,709
<i>And I really wanted</i>
<i>that philosophy to challenge</i>

328
00:20:53,085 --> 00:20:57,631
<i>and really push the Toretto philosophy</i>
<i>of family and loyalty.</i>

329
00:20:59,383 --> 00:21:03,386
<i>And I feel very fortunate to have Luke</i>
<i>to be able to play Shaw.</i>

330
00:21:03,471 --> 00:21:06,264
<i>He's so good,</i>

331
00:21:06,349 --> 00:21:08,308
<i>I always had such a great time</i>
<i>with him on set</i>

332
00:21:08,392 --> 00:21:13,229
<i>because he comes ready</i>
<i>and he makes my job very easy.</i>

333
00:21:14,273 --> 00:21:17,400
<i>Because we get to...</i>
<i>We have a very strong foundation</i>

334
00:21:17,485 --> 00:21:20,236
<i>when he's on set</i>
<i>and we're able to make adjustments.</i>

335
00:21:20,529 --> 00:21:24,449
<i>So that just really makes Shaw</i>
<i>that much more interesting</i>

336
00:21:24,533 --> 00:21:26,660
<i>in a very limited amount of time.</i>

337
00:21:35,044 --> 00:21:37,045
Come on, you son of a bitch.

338
00:21:42,468 --> 00:21:44,886
<i>Here is the first time you see the Flip Car.</i>

339
00:21:45,513 --> 00:21:47,514
lt's your share from the last job.

340
00:21:48,933 --> 00:21:51,142
<i>We usually will build something.</i>

341
00:21:51,227 --> 00:21:57,148
In Fast Five,
<i>it was the truck in the train sequence.</i>

342
00:21:57,525 --> 00:22:01,027
<i>In Fast Four, it was Han's orange truck.</i>

343
00:22:01,112 --> 00:22:03,738
<i>But this time, I was so excited because</i>

344
00:22:04,073 --> 00:22:06,157
<i>when I was thinking about</i>
<i>the character of Shaw,</i>

345
00:22:06,409 --> 00:22:10,704
<i>l felt like he's not a character</i>
<i>that's gonna basically take a car</i>

346
00:22:10,788 --> 00:22:13,123
<i>and modify it, like what Dom would do.</i>

347
00:22:13,207 --> 00:22:17,127
<i>He actually would build a car</i>
<i>that would service whatever he needed to do.</i>

348
00:22:17,211 --> 00:22:19,003
<i>It was all about the function.</i>

349
00:22:20,089 --> 00:22:23,216
<i>So l remember sitting down with</i>
<i>Dennis McCarthy at one point</i>

350
00:22:23,300 --> 00:22:24,843
<i>and we were talking about a Flip Car,</i>

351
00:22:25,177 --> 00:22:29,806
<i>and he had designed this Flip Car</i>
<i>that was like a Mercedes SUV</i>

352
00:22:30,141 --> 00:22:33,268
<i>and it was pretty big, and it looked great</i>
<i>but I felt like it was wrong.</i>

353
00:22:33,561 --> 00:22:37,647
<i>So l said, "Look, let's try something</i>
<i>that's a bit more European.</i>

354
00:22:37,732 --> 00:22:41,818
<i>"We're somewhere in Europe,</i>
<i>so let the F1 cars inspire us."</i>

355
00:22:42,069 --> 00:22:46,030
<i>And within two hours he faxed me</i>
<i>the design, the blueprints,</i>

356
00:22:46,115 --> 00:22:47,657
<i>and that's what you see here.</i>

357
00:22:47,742 --> 00:22:49,993
<i>And it's unbelievable,</i>
<i>he built it from the ground up.</i>

358
00:22:50,202 --> 00:22:52,495
<i>Everything we wanted to do, it did.</i>

359
00:22:55,499 --> 00:22:57,125
<i>And here we're at Canary Wharf.</i>

360
00:22:58,502 --> 00:23:01,921
<i>And it was really a lot of fun</i>
<i>shooting the implosion.</i>

361
00:23:02,715 --> 00:23:06,968
<i>Now I can say I'm probably...</i>
<i>I consider myself a veteran in this genre</i>

362
00:23:07,052 --> 00:23:12,348
<i>and I'll tell you, it never gets old</i>
<i>when you actually have live explosives.</i>

363
00:23:12,641 --> 00:23:14,350
<i>It doesn't matter,</i>
<i>it can be 4:00 in the morning,</i>

364
00:23:14,435 --> 00:23:17,604
<i>your adrenaline will be pumping</i>
<i>when those things go off.</i>

365
00:23:20,191 --> 00:23:21,441
-There he is.
-On it.

366
00:23:22,276 --> 00:23:26,070
<i>And right here we have...</i>
<i>These are the streets of London in the film,</i>

367
00:23:26,155 --> 00:23:27,989
<i>but we actually shot in Glasgow.</i>

368
00:23:28,199 --> 00:23:32,827
<i>London is almost impossible to shoot in.</i>

369
00:23:33,078 --> 00:23:34,913
<i>Especially for these sequences</i>

370
00:23:34,997 --> 00:23:37,832
<i>where we had to shut down</i>
<i>the streets for a whole night.</i>

371
00:23:38,125 --> 00:23:44,881
<i>So Glasgow ended up being</i>
<i>a really great city to substitute for London.</i>

372
00:23:45,090 --> 00:23:47,050
<i>And the people there are great.</i>

373
00:23:47,134 --> 00:23:49,511
<i>Our crew had a really great time.</i>

374
00:23:50,846 --> 00:23:54,098
<i>But this was the one kind of</i>
<i>six blocks that we had.</i>

375
00:23:55,059 --> 00:23:57,894
<i>And there it is, there's the Flip Car.</i>
<i>Watch, there's a shot coming up.</i>

376
00:23:58,312 --> 00:24:00,563
<i>This one is the pride and joy and...</i>

377
00:24:00,773 --> 00:24:03,858
<i>Right there, we do it in a one-ER.</i>

378
00:24:04,109 --> 00:24:05,276
<i>And there's no tricks.</i>

379
00:24:05,528 --> 00:24:08,071
<i>That Flip Car did flip that police car.</i>

380
00:24:10,533 --> 00:24:13,576
<i>I remember talking to Dennis</i>
<i>when he built the Flip Car</i>

381
00:24:13,702 --> 00:24:17,080
<i>and they were talking about,</i>
<i>"We're gonna have to do it in two pieces."</i>

382
00:24:17,373 --> 00:24:19,999
<i>And I really was challenging them to say,</i>

383
00:24:20,209 --> 00:24:21,835
<i>"l want to do it in one."</i>

384
00:24:22,962 --> 00:24:27,715
<i>As you can see there, these Flip Cars</i>
<i>were actually designed to crab also,</i>

385
00:24:28,092 --> 00:24:32,220
<i>which is something I wish I could...</i>

386
00:24:32,388 --> 00:24:34,639
<i>I could get that car again...</i>

387
00:24:34,890 --> 00:24:38,142
<i>I'd probably have 10 other</i>
<i>sequences designed for it.</i>

388
00:24:41,063 --> 00:24:46,150
<i>Here we have the intro</i>
<i>of the rest of Shaw's team.</i>

389
00:24:47,570 --> 00:24:52,407
<i>l wanted them to demolish</i>
<i>and embarrass the Toretto crew.</i>

390
00:24:52,741 --> 00:24:55,535
<i>So we found this location...</i>

391
00:24:55,744 --> 00:24:58,705
<i>Again, there's another clock tower.</i>

392
00:25:09,592 --> 00:25:12,677
<i>In Fast Five, it was a lot more Dom and Brian</i>

393
00:25:12,761 --> 00:25:15,680
<i>and l feel like this is the mirror movie</i>
to Fast Five,

394
00:25:15,764 --> 00:25:20,935
<i>and I wanted to give all the other characters</i>
<i>a lot more to do.</i>

395
00:25:21,103 --> 00:25:27,400
<i>And, l think, Gal, Sung,</i>
<i>Tyrese, Chris, everybody,</i>

396
00:25:27,484 --> 00:25:30,069
<i>you could feel they were so hungry,</i>
<i>they couldn't wait.</i>

397
00:25:30,154 --> 00:25:32,906
<i>So, it was always fun showing up</i>
<i>on set with these people</i>

398
00:25:32,990 --> 00:25:35,074
<i>because they'd come ready to play.</i>

399
00:25:37,953 --> 00:25:40,788
-Shaw, we have three cars tailing us.
<i>-You know what to do.</i>

400
00:25:46,128 --> 00:25:51,007
<i>Here, we're coming into</i>
<i>part of Brian's evolution in his arc,</i>

401
00:25:51,926 --> 00:25:57,597
<i>and then we're seeing what's happening,</i>
<i>the counter with Shaw's team.</i>

402
00:25:58,807 --> 00:26:02,518
<i>It was really a lot of fun</i>
<i>putting together this team.</i>

403
00:26:03,562 --> 00:26:07,899
<i>I gotta say, it's probably</i>
<i>some of the best people to work with.</i>

404
00:26:07,983 --> 00:26:10,318
<i>They're so professional, they showed up.</i>

405
00:26:10,444 --> 00:26:16,240
<i>It was great to kind of look around the world</i>
<i>and to be able to find them.</i>

406
00:26:16,325 --> 00:26:19,827
<i>Kim was in this Sundance movie,</i>
Teddy Bear.

407
00:26:19,995 --> 00:26:26,250
<i>Sammy, he's a boxer</i>
<i>and I've known him since my Annapolis days.</i>

408
00:26:26,877 --> 00:26:29,837
<i>I was actually training with him.</i>

409
00:26:30,130 --> 00:26:36,219
<i>I remember, when we were writing</i>
<i>the scene with the joke, the evil twin joke,</i>

410
00:26:36,387 --> 00:26:40,014
<i>and I really needed someone who's smaller</i>
<i>because I wanted to do the Mini-Me joke,</i>

411
00:26:40,099 --> 00:26:42,934
<i>and l looked at Sammy and l thought,</i>
<i>"Oh, man, perfect."</i>

412
00:26:44,061 --> 00:26:47,814
<i>He actually did a great job showing up.</i>

413
00:26:48,190 --> 00:26:51,109
<i>I really like the makeup of that team.</i>

414
00:26:55,531 --> 00:26:57,073
<i>The storefront here,</i>

415
00:26:57,157 --> 00:27:01,202
<i>we actually built the whole building</i>
<i>just so we can wreck it.</i>

416
00:27:01,286 --> 00:27:03,246
<i>But it ended up being spectacular.</i>

417
00:27:03,372 --> 00:27:07,959
<i>When we did the cannon,</i>
<i>Tyrese's car just flipped perfectly.</i>

418
00:27:08,043 --> 00:27:09,669
<i>I think our biggest fear was that</i>

419
00:27:09,753 --> 00:27:13,339
<i>it was gonna tumble like the rest</i>
<i>of the cannons in the sequence.</i>

420
00:27:15,884 --> 00:27:17,385
Approaching rendezvous point.

421
00:27:22,725 --> 00:27:24,600
Dom! Tej and Roman are out! Where you at?

422
00:27:24,685 --> 00:27:25,727
I'm right behind you!

423
00:27:30,357 --> 00:27:32,400
<i>Here, we're actually in Liverpool.</i>

424
00:27:32,568 --> 00:27:35,403
<i>I found this tunnel that I loved,</i>

425
00:27:36,030 --> 00:27:40,283
<i>I've always loved how graphic it is</i>
<i>when you're traveling in tunnels</i>

426
00:27:40,409 --> 00:27:46,372
<i>and to be able to have this one</i>
<i>where it actually has arcs and turns,</i>

427
00:27:47,791 --> 00:27:50,376
<i>l couldn't ask for a better scenario.</i>

428
00:27:50,502 --> 00:27:55,965
<i>I think the only challenge was</i>
<i>to have to move the crew all over</i>

429
00:27:56,091 --> 00:27:58,176
<i>to be able to get this done.</i>

430
00:28:01,096 --> 00:28:05,641
<i>This part coming up where</i>
<i>Brian gets flipped.</i>

431
00:28:06,935 --> 00:28:10,271
<i>It was one of those moments where</i>

432
00:28:10,439 --> 00:28:14,692
<i>I wanted to make sure that we actually</i>
<i>were flipping Paul.</i>

433
00:28:15,736 --> 00:28:22,283
<i>So, we rigged up this rotisserie set</i>
<i>where he's flipping 360, rotating.</i>

434
00:28:25,662 --> 00:28:29,999
<i>Still, nothing beats doing it for real.</i>

435
00:28:30,834 --> 00:28:36,672
<i>I remember using that rig on Tokyo Drift</i>
<i>with Lucas in the first race,</i>

436
00:28:37,007 --> 00:28:40,218
<i>so it was great to be able to bring that back.</i>

437
00:28:47,935 --> 00:28:50,645
<i>We're about to hit</i>
<i>the third act of this sequence.</i>

438
00:28:54,483 --> 00:28:57,735
<i>Now we're back in London,</i>
<i>we're actually at Wembley Stadium.</i>

439
00:28:57,820 --> 00:29:00,530
<i>When we were doing all the location scouts,</i>
<i>I was getting a little worried,</i>

440
00:29:00,656 --> 00:29:07,370
<i>because I had very specific ideas about</i>
<i>what needed to be done in this sequence,</i>

441
00:29:07,621 --> 00:29:09,831
<i>and we were not coming close.</i>

442
00:29:09,915 --> 00:29:16,587
<i>As soon as I got to WembIey, it felt like</i>
<i>the stadium was designed for this sequence.</i>

443
00:29:16,672 --> 00:29:20,383
<i>It was exactly what I wanted,</i>
<i>the ramp and the curves and everything.</i>

444
00:29:20,509 --> 00:29:26,639
<i>So, it's one of those moments in filmmaking</i>
<i>where, somehow, it was out there.</i>

445
00:29:26,723 --> 00:29:29,183
<i>We found it and it was a perfect match.</i>

446
00:29:34,523 --> 00:29:37,525
<i>Dwayne, he's actually there,</i>
<i>there is no green screen or anything.</i>

447
00:29:37,609 --> 00:29:39,694
<i>We shot this at Wembley Stadium.</i>

448
00:29:47,870 --> 00:29:49,453
<i>All directors work very differently,</i>

449
00:29:49,538 --> 00:29:51,289
<i>but, for me, it's very important</i>

450
00:29:51,373 --> 00:29:56,210
<i>to make sure that first unit, second unit,</i>
<i>all the shots are in sync.</i>

451
00:29:56,378 --> 00:29:59,130
<i>So that, stylistically,</i>
<i>it doesn't feel segmented.</i>

452
00:29:59,214 --> 00:30:02,425
<i>And I'm always working with the actors.</i>

453
00:30:02,509 --> 00:30:05,052
<i>l feel like l have to be there</i>
<i>every second that they're there.</i>

454
00:30:05,179 --> 00:30:07,972
<i>In some films, the actors just go off</i>
<i>with the second unit,</i>

455
00:30:08,056 --> 00:30:10,433
<i>I just don't feel right doing that.</i>

456
00:30:10,517 --> 00:30:12,226
<i>In the example of this sequence,</i>

457
00:30:12,394 --> 00:30:18,065
<i>I literally would shoot a full day,</i>
<i>7:00 a.m. to 7:00 p.m., basically, first unit,</i>

458
00:30:18,150 --> 00:30:20,568
<i>I get in a car, I go to second unit</i>

459
00:30:20,652 --> 00:30:25,406
<i>and I shoot from 9:00 p.m. to 6:00 a.m.</i>
<i>with the second unit.</i>

460
00:30:25,532 --> 00:30:29,035
<i>And then I jump into the car</i>
<i>and go back to first unit</i>

461
00:30:29,161 --> 00:30:31,621
<i>and shoot 7:00 a.m. to 7:00 p.m.</i>

462
00:30:31,705 --> 00:30:38,085
<i>I had a couple of those instances</i>
<i>where you go almost 48 hours without sleep.</i>

463
00:30:38,545 --> 00:30:40,630
<i>But I think it's important to do that</i>

464
00:30:40,714 --> 00:30:44,008
<i>because to be able to track</i>
<i>all the arcs and the characters,</i>

465
00:30:44,092 --> 00:30:46,761
<i>l need to make sure I'm there</i>
<i>to make the adjustments.</i>

466
00:30:47,971 --> 00:30:50,097
See, man, when a woman
starts shooting at you,

467
00:30:50,182 --> 00:30:52,934
that's a clear sign to back the fuck off!

468
00:30:54,269 --> 00:30:56,604
We need to get the hell out of Dodge!

469
00:30:57,522 --> 00:31:01,359
<i>This is another example of the improv-ing.</i>

470
00:31:01,777 --> 00:31:03,945
That's not as big as your forehead.

471
00:31:05,155 --> 00:31:06,906
<i>l think the Chris joke was in there,</i>

472
00:31:06,990 --> 00:31:10,993
<i>but the forehead was something</i>
<i>that we kept playing with.</i>

473
00:31:11,203 --> 00:31:15,790
<i>I think we're able to, at the end of the day,</i>
<i>kind of give it a little extra push.</i>

474
00:31:15,999 --> 00:31:18,125
But it's complicated.

475
00:31:18,210 --> 00:31:19,919
Letty's alive.

476
00:31:20,003 --> 00:31:21,295
That's all that matters.

477
00:31:21,380 --> 00:31:24,840
<i>I feel so lucky, and this is probably</i>
karma coming from Fast Five,

478
00:31:24,925 --> 00:31:27,260
<i>when we had such baby problems.</i>

479
00:31:27,344 --> 00:31:30,179
<i>I remember shooting the favela,</i>
<i>we shot that in a day and a half</i>

480
00:31:30,264 --> 00:31:32,223
<i>and I thought it was a miracle.</i>

481
00:31:32,307 --> 00:31:36,143
<i>And then we had baby scenes the next day</i>
<i>and it killed us.</i>

482
00:31:36,228 --> 00:31:40,439
<i>We ended up having to build a favela set</i>
<i>in Atlanta just to reshoot everything</i>

483
00:31:40,649 --> 00:31:43,192
<i>because I couldn't get the babies</i>
<i>to cooperate.</i>

484
00:31:43,277 --> 00:31:46,654
<i>And on this film, every baby was just perfect.</i>

485
00:31:46,738 --> 00:31:50,574
<i>I mean, they couldn't be cuter</i>
<i>and their timing was impeccable.</i>

486
00:31:50,659 --> 00:31:52,743
She looked dead at me, Brian.

487
00:31:54,079 --> 00:31:56,580
Maybe the Letty we once knew is gone, Dom.

488
00:31:58,458 --> 00:32:01,168
Even though she's alive, maybe she's gone.

489
00:32:02,170 --> 00:32:04,839
You don't turn your back on family.

490
00:32:06,383 --> 00:32:07,800
Even when they do.

491
00:32:07,884 --> 00:32:11,971
<i>l think that the core of this franchise</i>
<i>has always been about family.</i>

492
00:32:12,931 --> 00:32:15,224
<i>I think, since this is the culmination,</i>

493
00:32:15,350 --> 00:32:18,811
<i>I felt like it was important</i>
<i>to even have the characters articulate it.</i>

494
00:32:18,895 --> 00:32:20,938
<i>I think, usually, I avoid that</i>

495
00:32:21,023 --> 00:32:25,693
<i>but l felt like this is the time</i>
<i>to really have them acknowledge it.</i>

496
00:32:28,864 --> 00:32:30,531
-Ivory.
-Yo.

497
00:32:30,991 --> 00:32:36,037
<i>Again, here, we're now seeing</i>
<i>Shaw's team together for the first time.</i>

498
00:32:37,664 --> 00:32:38,914
Yeah.

499
00:32:40,625 --> 00:32:42,209
Okay, listen up.

500
00:32:42,294 --> 00:32:46,547
<i>We found this great location,</i>
<i>it was a bus depot,</i>

501
00:32:46,715 --> 00:32:51,302
<i>and to be able to build this</i>
<i>and put together this team,</i>

502
00:32:52,054 --> 00:32:55,973
<i>l was a juror a couple years ago at Sundance</i>

503
00:32:56,058 --> 00:33:02,229
<i>and I basically casted three or four</i>
<i>of the roles in this film off of those films.</i>

504
00:33:02,314 --> 00:33:06,067
<i>That's a great way</i>
<i>to find new and exciting talents.</i>

505
00:33:06,401 --> 00:33:09,862
Tonight these common criminals were
seconds away from taking us down.

506
00:33:10,030 --> 00:33:13,199
Show them the respect they deserve,
or it weakens us.

507
00:33:13,909 --> 00:33:15,701
You might want to see this.

508
00:33:22,250 --> 00:33:24,043
Ring any bells?

509
00:33:25,128 --> 00:33:31,801
<i>I remember Michelle had a really tough time</i>
<i>with the "team pussy" line.</i>

510
00:33:32,260 --> 00:33:37,431
<i>And l was adamant that</i>
<i>we have her do that line correct</i>

511
00:33:37,516 --> 00:33:39,600
<i>because, at the core of it,</i>

512
00:33:39,684 --> 00:33:43,104
<i>I think this film is really an exploration</i>
<i>of this idea of trust.</i>

513
00:33:43,355 --> 00:33:46,774
<i>And, Letty, especially, it's so important</i>

514
00:33:46,858 --> 00:33:51,028
<i>because she's playing this trope of amnesia,</i>

515
00:33:51,113 --> 00:33:53,072
<i>which I think you see in a lot of these films.</i>

516
00:33:53,198 --> 00:33:55,866
<i>But to embrace it</i>
<i>and not wink-wink the audience,</i>

517
00:33:55,951 --> 00:33:59,078
<i>and say, "Look, let's just play it</i>
<i>for what it is."</i>

518
00:33:59,162 --> 00:34:02,790
<i>And ultimately, for her,</i>
<i>I didn't want her to get her memory back.</i>

519
00:34:02,874 --> 00:34:09,130
<i>I wanted her to really have to trust her gut,</i>
<i>and that's going to be her journey.</i>

520
00:34:09,214 --> 00:34:14,718
<i>So for that to happen, l felt like</i>
<i>I wanted the team to gang up against her.</i>

521
00:34:14,803 --> 00:34:16,971
<i>And so that's why that line was so important.</i>

522
00:34:18,265 --> 00:34:20,891
I'm sitting here looking at these images...

523
00:34:21,059 --> 00:34:23,602
lt's like we're hunting our evil twins.

524
00:34:23,937 --> 00:34:25,896
Look at this black dude right here,
he's handsome.

525
00:34:25,981 --> 00:34:29,817
<i>And this here is the evil twins scene.</i>

526
00:34:31,194 --> 00:34:37,116
<i>It came out of a discussion l had</i>
<i>where l wanted to build this team</i>

527
00:34:37,367 --> 00:34:42,079
<i>and I said, "I basically want them to be</i>
<i>the Bizarro team to our guys."</i>

528
00:34:42,164 --> 00:34:44,832
<i>And it evolved into these jokes.</i>

529
00:34:45,417 --> 00:34:49,253
<i>So then we just thought, "Okay, great,</i>
<i>let's write it up and let's make it a scene."</i>

530
00:34:49,337 --> 00:34:50,546
<i>It worked out great.</i>

531
00:34:50,672 --> 00:34:56,635
<i>It was actually a lot of fun casting,</i>
<i>not only the talent to be Shaw's team,</i>

532
00:34:56,845 --> 00:35:02,475
<i>but also, at the same time,</i>
<i>to know that this joke is gonna be played.</i>

533
00:35:03,310 --> 00:35:06,854
l got video footage from CCTV of the raid.
Let's track that, see where it leads us.

534
00:35:07,272 --> 00:35:10,357
And secondly, we just got confirmation
on what Shaw's crew grabbed from Interpol.

535
00:35:10,609 --> 00:35:11,692
They ripped off the database

536
00:35:11,860 --> 00:35:14,695
of every location that houses
the final component that they need.

537
00:35:14,821 --> 00:35:15,863
So where are they at?

538
00:35:15,947 --> 00:35:17,698
There are over two dozen of them
around Europe.

539
00:35:17,866 --> 00:35:19,992
But the list is only good for 96 hours.

540
00:35:20,160 --> 00:35:23,454
Which means, wherever Shaw's crew
is going to hit next...

541
00:35:23,538 --> 00:35:28,042
<i>Like I said before, it's usually very tough</i>
<i>shooting these scenes with all these guys,</i>

542
00:35:28,168 --> 00:35:31,045
<i>and every time I shoot these things,</i>

543
00:35:31,171 --> 00:35:34,089
<i>there's always, finally,</i>
<i>when everything comes into sync,</i>

544
00:35:34,299 --> 00:35:38,010
<i>and where there's the crew and the cast</i>
<i>and everything falls right into place,</i>

545
00:35:38,094 --> 00:35:39,345
<i>and this is that scene.</i>

546
00:35:39,429 --> 00:35:44,725
<i>I remember, the first three days was just</i>
<i>trying to get the rhythm of everybody,</i>

547
00:35:44,851 --> 00:35:48,270
<i>how they work, and making sure</i>
<i>they're on set, and this and that.</i>

548
00:35:48,605 --> 00:35:50,481
<i>Once we got to this scene,</i>

549
00:35:50,565 --> 00:35:53,567
<i>I thought Vincent, our first AD,</i>
<i>did a great job scheduling,</i>

550
00:35:53,944 --> 00:35:58,030
<i>because this is one of those scenes</i>
<i>where they need to be a well-oiled machine.</i>

551
00:35:58,490 --> 00:36:02,409
<i>And l think it was smart</i>
<i>to schedule this on the fourth day,</i>

552
00:36:02,536 --> 00:36:06,038
<i>so that when we showed up,</i>
<i>everybody here was in sync</i>

553
00:36:06,164 --> 00:36:09,667
<i>and this scene just came together</i>
<i>very fast and smooth.</i>

554
00:36:12,504 --> 00:36:14,755
Make sure they're fast.

555
00:36:15,048 --> 00:36:16,090
l got this.

556
00:36:16,174 --> 00:36:18,884
I'm already on it, Dom.
I've contacted R&D at DSS.

557
00:36:19,052 --> 00:36:20,511
Hobbs...

558
00:36:20,762 --> 00:36:22,429
l said l got this.

559
00:36:24,599 --> 00:36:26,892
This should be interesting.

560
00:36:28,853 --> 00:36:33,357
<i>We're now getting into the sequence</i>
<i>where it's the beginning of the second act.</i>

561
00:36:39,155 --> 00:36:43,576
<i>At the creation of this scene,</i>
<i>I was always a little hesitant</i>

562
00:36:43,660 --> 00:36:47,121
<i>because, tonally, it's going away</i>

563
00:36:47,205 --> 00:36:51,125
<i>from our franchise, in a way,</i>
<i>the genre, a little bit.</i>

564
00:36:51,918 --> 00:36:55,379
<i>And it's not servicing as much as I like.</i>

565
00:36:55,964 --> 00:37:01,927
<i>But it was interesting, once I was able</i>
<i>to get Ludacris and Dwayne together,</i>

566
00:37:02,304 --> 00:37:06,515
<i>and they had never really been</i>
<i>in scenes together, it just flowed,</i>

567
00:37:06,641 --> 00:37:10,102
<i>and l thought, "Okay, you know what,</i>
<i>it's okay, let's embrace it</i>

568
00:37:10,186 --> 00:37:12,396
<i>"and give it a beat, let's take a beat,</i>

569
00:37:12,480 --> 00:37:16,400
<i>"and let's go into territories</i>
<i>that we've never gone to before,</i>

570
00:37:16,651 --> 00:37:18,319
<i>"and just have a little fun with it.</i>

571
00:37:18,486 --> 00:37:22,489
<i>"You know, let's have this</i>
Pretty Woman scene. "

572
00:37:23,491 --> 00:37:26,243
...but you couldn't possibly
afford the cars in this auction.

573
00:37:26,411 --> 00:37:30,581
Substantial lack of gaudy jewelry,
no entourage, no honeys.

574
00:37:30,749 --> 00:37:32,791
Clearly you're not a "baller."

575
00:37:33,001 --> 00:37:34,084
And you.

576
00:37:34,169 --> 00:37:36,462
<i>It's funny,</i>

577
00:37:36,671 --> 00:37:40,841
<i>I think, at one point, I was thinking</i>
<i>of having him be very meta</i>

578
00:37:40,925 --> 00:37:43,344
<i>and say, "You're clearly not a rapper."</i>

579
00:37:43,511 --> 00:37:47,348
<i>And everybody loved it except for Ludacris.</i>

580
00:37:48,016 --> 00:37:52,394
<i>But I have to say, at the end of the day,</i>
<i>that was definitely too much.</i>

581
00:37:52,479 --> 00:37:55,022
But please, do finish your champagne.

582
00:37:55,190 --> 00:37:58,651
<i>This is one of the rare days</i>
<i>where we got sunlight in London.</i>

583
00:37:59,444 --> 00:38:01,528
<i>It's funny, the sun in London is so different</i>

584
00:38:01,613 --> 00:38:05,699
<i>that, behind Dwayne,</i>
<i>it almost looks like a green screen.</i>

585
00:38:10,372 --> 00:38:13,248
All right, this is number five on our list.

586
00:38:13,333 --> 00:38:16,460
<i>Here we have Firuz, played by Thure.</i>

587
00:38:17,379 --> 00:38:22,841
<i>He was in this film at Sundance that l saw,</i>
<i>that I really liked, and he did a great job.</i>

588
00:38:23,385 --> 00:38:25,803
<i>So when l knew we were going to Europe,</i>

589
00:38:25,887 --> 00:38:30,683
<i>he was one of the first guys I had</i>
<i>the casting director, Lucinda, call.</i>

590
00:38:31,643 --> 00:38:35,688
<i>He was great to work with and I can't wait</i>
<i>to do it, soon, with him again.</i>

591
00:38:37,232 --> 00:38:39,233
He's a man.

592
00:38:39,567 --> 00:38:40,818
Let's go.

593
00:38:41,861 --> 00:38:43,570
"He's a man"?

594
00:38:44,531 --> 00:38:47,366
You know, she always says that.

595
00:38:50,787 --> 00:38:56,250
<i>And now we have this bullet scene</i>
<i>with Dom and Brian.</i>

596
00:38:58,086 --> 00:39:01,004
lt's specific to one handgun, the PSM.

597
00:39:01,089 --> 00:39:02,756
Given that handguns are illegal...

598
00:39:02,841 --> 00:39:06,343
<i>I, personally, find it very refreshing</i>

599
00:39:06,636 --> 00:39:11,557
<i>that even though this franchise, at the core,</i>
<i>is always gonna be about Dom and Brian,</i>

600
00:39:11,683 --> 00:39:13,600
<i>that we are now opening it up.</i>

601
00:39:13,685 --> 00:39:16,895
<i>So that in this sequence, in the beginning</i>
<i>of second act to the middle of second act,</i>

602
00:39:16,980 --> 00:39:18,939
<i>we're sharing so much of the screen</i>
<i>with the other characters,</i>

603
00:39:21,943 --> 00:39:23,277
<i>l like that.</i>

604
00:39:23,653 --> 00:39:27,656
<i>I'm always intrigued by our other characters</i>

605
00:39:27,782 --> 00:39:31,493
<i>and this is finally getting to a point</i>
<i>where we get to really have some fun</i>

606
00:39:31,578 --> 00:39:33,412
<i>and let them breathe.</i>

607
00:39:33,913 --> 00:39:36,415
Two hot girls like you
don't wander into this neighborhood

608
00:39:36,499 --> 00:39:38,542
unless I've called the escort service.

609
00:39:39,961 --> 00:39:41,628
And l haven't, yet, today.

610
00:39:42,297 --> 00:39:45,716
<i>This is the director's cut,</i>
<i>so there's a little extra stuff</i>

611
00:39:45,800 --> 00:39:48,260
<i>that Thure had, that I really loved.</i>

612
00:39:48,344 --> 00:39:54,141
<i>It pained me, it took me till the very end,</i>
<i>I ended up taking it out just for pacing sake,</i>

613
00:39:54,476 --> 00:39:57,936
<i>but in this cut, I'm very happy</i>
<i>to see it back in.</i>

614
00:40:00,231 --> 00:40:03,984
<i>When they ask about doing another cut,</i>
<i>it's always called extended cut</i>

615
00:40:04,110 --> 00:40:08,655
<i>because I always feel like the theatrical cut</i>
<i>is my cut, it's the director's cut,</i>

616
00:40:08,740 --> 00:40:13,660
<i>but this is one of the rare times</i>
<i>where I do feel like this is the director's cut,</i>

617
00:40:13,995 --> 00:40:16,997
<i>as opposed to extended,</i>
<i>just to have more stuff,</i>

618
00:40:17,165 --> 00:40:21,293
<i>and it's not an issue with the studio</i>
<i>or anything like that.</i>

619
00:40:21,544 --> 00:40:25,672
<i>It was just that we really had</i>
<i>so much going on</i>

620
00:40:25,798 --> 00:40:28,759
<i>that the MPAA was having problems.</i>

621
00:40:28,968 --> 00:40:33,222
<i>They were really great to work with,</i>
<i>and we were ultimately able to get our PG-1 3.</i>

622
00:40:33,348 --> 00:40:35,849
<i>The theatrical cut is my cut,</i>

623
00:40:35,975 --> 00:40:38,352
<i>but, to be honest,</i>
<i>with some of the sound tweaks</i>

624
00:40:38,478 --> 00:40:41,939
<i>and some of the little things</i>
<i>that I wanted for pacing,</i>

625
00:40:42,023 --> 00:40:46,401
<i>I really do think that the director's cut</i>
<i>is a more enjoyable version.</i>

626
00:40:47,111 --> 00:40:52,324
<i>Not only in seeing more action</i>
<i>but also some of the sound design,</i>

627
00:40:52,408 --> 00:40:55,077
<i>it's much closer to what l want.</i>

628
00:40:56,037 --> 00:40:59,373
<i>l think that if the director's cut</i>
<i>was gonna be in theaters,</i>

629
00:40:59,457 --> 00:41:01,375
<i>it would've been rated R for sure.</i>

630
00:41:01,459 --> 00:41:03,001
Because you're asking me nicely?

631
00:41:03,086 --> 00:41:05,879
What can you offer that l can't get
from a thousand other girls?

632
00:41:11,094 --> 00:41:12,177
Stop! Stop!

633
00:41:14,722 --> 00:41:21,562
<i>As you can see here, Gina,</i>
<i>she has no problem manhandling anybody.</i>

634
00:41:23,106 --> 00:41:27,526
<i>Just seeing her flip Thure like nothing,</i>
<i>and she really did do it.</i>

635
00:41:29,070 --> 00:41:32,739
<i>It's always fun, because you can be</i>
<i>on set with actors sometimes,</i>

636
00:41:32,865 --> 00:41:36,952
<i>and you can see they're just trying</i>
<i>to get by, action wise,</i>

637
00:41:37,078 --> 00:41:41,707
<i>and with her, man, you just see her</i>
<i>really taking care of business.</i>

638
00:41:45,461 --> 00:41:50,799
<i>This is the B-side to our auction scene,</i>
<i>and it's great</i>

639
00:41:52,010 --> 00:41:58,599
<i>because it gave us the perfect way to present</i>
<i>these classic vehicles for our characters.</i>

640
00:41:59,058 --> 00:42:02,561
<i>And the fact that we needed cars</i>
<i>that weren't chipped,</i>

641
00:42:03,980 --> 00:42:09,943
<i>it was the perfect excuse</i>
<i>to be able to cast all these cars.</i>

642
00:42:10,445 --> 00:42:13,864
<i>The Daytona that Dom drives,</i>

643
00:42:13,948 --> 00:42:15,949
<i>this is probably the third film</i>
<i>I tried to put it in,</i>

644
00:42:16,034 --> 00:42:18,035
<i>I know it's a very popular car.</i>

645
00:42:18,161 --> 00:42:21,246
<i>I just never felt like it fit tonally.</i>

646
00:42:22,123 --> 00:42:25,208
<i>But because of the auction,</i>
<i>I felt like it worked perfectly,</i>

647
00:42:25,293 --> 00:42:28,545
<i>I was very happy,</i>
on my last Fast and Furious film,

648
00:42:28,630 --> 00:42:30,213
<i>to be able to put it in.</i>

649
00:42:31,132 --> 00:42:32,799
That's it, functional.

650
00:42:36,220 --> 00:42:37,429
Okay.

651
00:42:42,226 --> 00:42:43,977
-I'll hold that.
-Thank you.

652
00:42:44,228 --> 00:42:45,771
Come on, man, time is money.

653
00:42:45,938 --> 00:42:47,022
Yes, doing my best.

654
00:42:50,151 --> 00:42:52,944
Damn, you need some hedge clippers
for that shit.

655
00:42:53,071 --> 00:42:56,823
<i>The Hobbs and Tej scenes are...</i>

656
00:42:57,867 --> 00:43:01,495
<i>Sometimes you just don't know</i>
<i>untiI you get the actors together</i>

657
00:43:01,579 --> 00:43:02,621
<i>and they start playing,</i>

658
00:43:02,705 --> 00:43:08,418
<i>and Dwayne and Ludacris definitely</i>
<i>have a really great rapport,</i>

659
00:43:08,670 --> 00:43:11,797
<i>and to be able to see that,</i>

660
00:43:11,881 --> 00:43:17,469
<i>I just jumped on it and started creating</i>
<i>more moments for them in the film.</i>

661
00:43:21,557 --> 00:43:22,891
This is for you.

662
00:43:23,059 --> 00:43:25,018
-And this is for you.
-Thank you.

663
00:43:25,520 --> 00:43:28,021
Good day, gentlemen. Thank you.

664
00:43:34,696 --> 00:43:38,615
l got the information in here.

665
00:43:43,162 --> 00:43:46,873
<i>This sequence I enjoyed</i>
<i>and I didn't really get to talk about</i>

666
00:43:46,958 --> 00:43:51,962
<i>the Han and Roman in the balcony.</i>

667
00:43:52,213 --> 00:43:55,757
<i>I really enjoyed this location,</i>
<i>it's King's Cross.</i>

668
00:43:55,883 --> 00:43:58,844
<i>This is probably the last time</i>
<i>it's ever gonna look like that,</i>

669
00:43:59,011 --> 00:44:01,263
<i>because when we were there,</i>

670
00:44:01,347 --> 00:44:04,433
<i>they were already starting to build condos</i>
<i>and buildings and stuff like that.</i>

671
00:44:04,559 --> 00:44:08,395
<i>l think we're the last crew to be in there.</i>

672
00:44:09,647 --> 00:44:11,773
<i>That's the last time it's ever gonna</i>
<i>look like that.</i>

673
00:44:12,108 --> 00:44:15,610
<i>But I was gonna say,</i>
<i>the Han and Roman moment,</i>

674
00:44:16,154 --> 00:44:20,657
<i>were some of the best moments, for me,</i>
<i>most enjoyable moments,</i>

675
00:44:20,867 --> 00:44:25,412
<i>to see Roman and Han really evolve</i>
<i>and have that relationship.</i>

676
00:44:25,621 --> 00:44:27,038
<i>It's moments like that, that I really...</i>

677
00:44:28,040 --> 00:44:33,128
<i>I mean, these big action scenes are great</i>
<i>and they're definitely fun to shoot,</i>

678
00:44:33,337 --> 00:44:40,093
<i>but the hardest ones are</i>
<i>the Dwayne-Ludacris or Sung-Tyrese,</i>

679
00:44:40,386 --> 00:44:43,930
<i>these nice little moments</i>
<i>between characters.</i>

680
00:44:44,056 --> 00:44:47,142
<i>They're the hardest ones to get</i>

681
00:44:48,144 --> 00:44:51,897
<i>because, you know, many times</i>
<i>it's not in the script.</i>

682
00:44:52,607 --> 00:44:56,318
<i>And, as a director, I'm always trying</i>
<i>to, hopefully, create environments</i>

683
00:44:56,402 --> 00:44:59,404
<i>where we can have the opportunity</i>
<i>to have that.</i>

684
00:44:59,489 --> 00:45:02,157
<i>As soon as you have it,</i>
<i>you want to try to push it and grab it</i>

685
00:45:02,241 --> 00:45:03,784
<i>so you can capture it.</i>

686
00:45:03,868 --> 00:45:05,452
<i>And on this film I felt that,</i>

687
00:45:05,536 --> 00:45:10,707
<i>because we were able to explore</i>
<i>a lot more of the other characters,</i>

688
00:45:11,918 --> 00:45:16,296
<i>those opportunities were more present</i>
<i>than the other films.</i>

689
00:45:18,049 --> 00:45:19,090
Take care, guys.

690
00:45:23,888 --> 00:45:29,518
<i>We're about to start off</i>
<i>on one of my favorite sequences in the film.</i>

691
00:45:32,313 --> 00:45:37,108
<i>This took months and months of preparation,</i>

692
00:45:37,485 --> 00:45:42,572
<i>because Gina is a fighter, Michelle is not.</i>

693
00:45:42,657 --> 00:45:46,827
<i>I mean, she's tough,</i>
<i>but she's not a professional fighter,</i>

694
00:45:46,911 --> 00:45:49,788
<i>so it took us definitely</i>
<i>a few months, every day,</i>

695
00:45:49,872 --> 00:45:53,500
<i>for them to train and go through</i>
<i>the moves with Olivier, who did a great job.</i>

696
00:46:00,591 --> 00:46:03,844
<i>At the same time, I think as it evolved,</i>

697
00:46:03,970 --> 00:46:06,930
<i>I wanted to give the guys something to do,</i>

698
00:46:07,014 --> 00:46:11,852
<i>and, hopefully, on a subconscious level,</i>
<i>we're breaking tradition a little bit.</i>

699
00:46:11,936 --> 00:46:16,273
<i>I think having the guys...</i>
<i>The Roman, Han and Jah fight,</i>

700
00:46:16,399 --> 00:46:19,442
<i>it's a bit more comical,</i>
<i>it doesn't need to exist</i>

701
00:46:19,527 --> 00:46:22,445
<i>except the fact that this team</i>
<i>is being over-matched right now.</i>

702
00:46:26,325 --> 00:46:30,871
<i>I feel, obviously, the core of this sequence</i>
<i>is really about Letty.</i>

703
00:46:32,039 --> 00:46:38,295
<i>Again, within the theme of trust,</i>
<i>I think it was a crucial sequence for her,</i>

704
00:46:38,379 --> 00:46:41,256
<i>because she can't remember who she is,</i>

705
00:46:42,550 --> 00:46:46,052
<i>and all she can do is be who she is.</i>

706
00:46:46,554 --> 00:46:47,846
<i>Anyway, we'll get to that.</i>

707
00:46:47,930 --> 00:46:50,056
<i>Here we have a big reveal of Braga,</i>

708
00:46:50,182 --> 00:46:56,271
<i>and I know that's something that I felt</i>
<i>was important to tie all the films together.</i>

709
00:46:56,731 --> 00:47:01,318
<i>And, obviously, Gisele was</i>
<i>working with Braga in part four.</i>

710
00:47:01,485 --> 00:47:04,988
<i>And this is also</i>
<i>a great moment here with her,</i>

711
00:47:05,072 --> 00:47:08,575
<i>her focus and calm, to be able</i>
<i>to take this guy out in one shot.</i>

712
00:47:09,619 --> 00:47:13,204
<i>And, actually, that happened.</i>
<i>I designed that in five minutes,</i>

713
00:47:13,289 --> 00:47:16,041
<i>because I had this whole sequence set up</i>

714
00:47:16,125 --> 00:47:18,919
<i>where the motorcycles</i>
<i>were gonna jump the ramp.</i>

715
00:47:19,045 --> 00:47:22,964
<i>It was crazy, it was a great sequence,</i>
<i>but we were running out of time.</i>

716
00:47:23,633 --> 00:47:27,052
<i>And l think Gal was initially</i>
<i>really disappointed</i>

717
00:47:27,136 --> 00:47:28,845
<i>because it was one of her big moments.</i>

718
00:47:29,013 --> 00:47:33,350
<i>But I was running out of time</i>
<i>and I had to do something for the character,</i>

719
00:47:33,434 --> 00:47:37,103
<i>and I decided to just revamp everything</i>
<i>in five minutes.</i>

720
00:47:37,229 --> 00:47:42,776
<i>At the end of the day, I think it said</i>
<i>the same thing much more economically.</i>

721
00:47:43,527 --> 00:47:45,946
<i>I actually like it better.</i>

722
00:47:46,072 --> 00:47:47,781
<i>I have the other sequence stored,</i>

723
00:47:47,865 --> 00:47:50,825
<i>so it'll probably show up</i>
<i>in one of my future films.</i>

724
00:47:52,954 --> 00:47:56,623
<i>Again, here, with these fights,</i>
<i>this is all them,</i>

725
00:47:56,916 --> 00:47:58,959
<i>they went at it.</i>

726
00:47:59,126 --> 00:48:02,629
<i>On Letty's side, two and a half, three days,</i>

727
00:48:02,922 --> 00:48:06,716
<i>and it might be a 40-second fight</i>
<i>or a minute fight,</i>

728
00:48:06,842 --> 00:48:09,719
<i>but it was three days of them</i>
<i>going at it nonstop.</i>

729
00:48:09,804 --> 00:48:12,347
<i>It was exhausting,</i>
<i>and they did an amazing job.</i>

730
00:48:14,225 --> 00:48:17,519
<i>On the guys' side, we only had one day</i>

731
00:48:17,687 --> 00:48:22,273
<i>and I couldn't believe it was a three-day fight</i>
<i>that we had to shoot in one.</i>

732
00:48:22,483 --> 00:48:24,275
<i>And I remember pulling Joe aside</i>

733
00:48:24,360 --> 00:48:27,696
<i>and saying, "Look, it's one day,</i>
<i>just pace yourself."</i>

734
00:48:28,155 --> 00:48:30,865
<i>And he wouldn't listen to me,</i>
<i>he went all out every take,</i>

735
00:48:30,950 --> 00:48:32,993
<i>he never ran out of steam.</i>

736
00:48:34,203 --> 00:48:39,040
<i>It was insane shooting that, with all</i>
<i>the extras, and coordinating that in one day</i>

737
00:48:39,166 --> 00:48:41,584
<i>but the crew did an amazing job.</i>

738
00:48:45,172 --> 00:48:50,260
<i>Again, I was going back to this idea of Letty</i>
<i>and why this fight exists.</i>

739
00:48:50,386 --> 00:48:53,263
<i>It's probably one of the most</i>
<i>crucial moments for her,</i>

740
00:48:53,597 --> 00:48:57,267
<i>because, when we do things</i>
<i>in life sometimes,</i>

741
00:48:57,351 --> 00:49:00,562
<i>whether in sports or in fights,</i>

742
00:49:01,063 --> 00:49:03,189
<i>very rarely does it happen,</i>

743
00:49:03,274 --> 00:49:07,652
<i>but these incidents that we get into,</i>
<i>we find out who we really are.</i>

744
00:49:07,737 --> 00:49:11,322
<i>The fact that she can't remember,</i>
<i>and she gets into this fight</i>

745
00:49:11,407 --> 00:49:12,949
<i>and the way she fights,</i>

746
00:49:13,117 --> 00:49:19,289
<i>at the end of it, I felt it was important</i>
<i>for her to realize that she's a survivor.</i>

747
00:49:19,540 --> 00:49:22,292
<i>That even though</i>
<i>she might not remember anything,</i>

748
00:49:22,418 --> 00:49:24,544
<i>she would actually bite her way out of it,</i>

749
00:49:24,628 --> 00:49:27,714
<i>she would actually tackle someone</i>
<i>down a flight of stairs.</i>

750
00:49:27,798 --> 00:49:30,175
<i>She'll do whatever she has to do to survive.</i>

751
00:49:30,259 --> 00:49:32,969
<i>And that's a big component to her character.</i>

752
00:49:33,054 --> 00:49:39,559
<i>This whole fight was designed for Letty</i>
<i>and for her to be able to realize that.</i>

753
00:49:55,701 --> 00:49:57,410
<i>It was very funny</i>

754
00:49:57,536 --> 00:49:58,828
<i>because, I think, Tyrese...</i>

755
00:49:58,913 --> 00:50:01,873
<i>He always shows up</i>
<i>and we would do this fight,</i>

756
00:50:01,957 --> 00:50:04,667
<i>and he kept saying,</i>
<i>"God, I'm getting my ass kicked.</i>

757
00:50:04,752 --> 00:50:07,629
<i>"Can l get a punch in?"</i>
<i>And I said, "No, you're not,</i>

758
00:50:07,755 --> 00:50:12,842
<i>"because this whole thing is about</i>
<i>you and Han getting destroyed by one guy."</i>

759
00:50:13,260 --> 00:50:14,928
<i>And this is the third...</i>

760
00:50:15,012 --> 00:50:18,681
<i>There is a kick here</i>
<i>that's not in the theatrical cut.</i>

761
00:50:18,766 --> 00:50:22,602
<i>I really loved it and I think it works better</i>

762
00:50:22,895 --> 00:50:27,190
<i>because it actually really puts the...</i>

763
00:50:27,274 --> 00:50:29,025
<i>And this is the shot that I was talking about.</i>

764
00:50:29,109 --> 00:50:31,694
<i>About her realizing that she's a survivor.</i>

765
00:50:31,779 --> 00:50:35,281
<i>And l wanted to make sure that</i>
<i>that was in there.</i>

766
00:50:36,534 --> 00:50:40,703
<i>And I remember Tyrese kept saying,</i>
<i>"I'm getting my ass kicked all the time."</i>

767
00:50:40,788 --> 00:50:44,624
<i>He said it so much that this line...</i>

768
00:50:44,708 --> 00:50:45,708
No one needs to know about this.

769
00:50:45,793 --> 00:50:47,377
<i>"Nobody needs to know about this. No one."</i>

770
00:50:47,503 --> 00:50:48,503
No one.

771
00:50:48,629 --> 00:50:53,174
<i>I just walked up to him at the very end</i>
<i>and said, "Just go up to Han and say that."</i>

772
00:50:53,259 --> 00:50:58,471
<i>And it was on the spot</i>
<i>and I thought it turned out very well.</i>

773
00:51:02,977 --> 00:51:05,228
We lost Ivory.

774
00:51:05,396 --> 00:51:06,980
He's gone.

775
00:51:07,648 --> 00:51:08,690
Thanks.

776
00:51:13,904 --> 00:51:14,988
That's it?

777
00:51:15,573 --> 00:51:17,240
If Ivory's dead, he made a mistake.

778
00:51:17,324 --> 00:51:20,326
<i>So, tracking Letty's arc...</i>

779
00:51:20,411 --> 00:51:22,203
If you make a mistake, you pay the price.

780
00:51:22,329 --> 00:51:24,873
<i>This is where she's now</i>
<i>coming into her own a little bit.</i>

781
00:51:24,957 --> 00:51:28,751
<i>And she is questioning</i>
<i>some of Shaw's philosophy.</i>

782
00:51:28,836 --> 00:51:33,715
<i>And I think it's important because</i>
<i>it kind of gives her a sense that,</i>

783
00:51:33,799 --> 00:51:37,635
<i>even though she still does her job very well,</i>

784
00:51:37,720 --> 00:51:40,013
<i>something's not feeling quite right.</i>

785
00:51:40,639 --> 00:51:43,808
<i>And this idea of self-discovery/trust,</i>

786
00:51:43,893 --> 00:51:46,102
<i>this is something that</i>
<i>I think is very important</i>

787
00:51:46,186 --> 00:51:49,188
<i>and leads up to this scene</i>
<i>between her and Shaw,</i>

788
00:51:49,273 --> 00:51:54,027
<i>where it's evident that</i>
<i>she's now questioning a lot of the stuff,</i>

789
00:51:54,111 --> 00:51:56,362
<i>and Shaw's seeing that.</i>

790
00:51:56,447 --> 00:51:58,615
<i>He's coming in here</i>
<i>and he's all about efficiency</i>

791
00:51:58,699 --> 00:52:00,617
<i>and taking advantage of situations.</i>

792
00:52:00,701 --> 00:52:02,660
<i>And he's already planting the seed.</i>

793
00:52:05,706 --> 00:52:09,459
When l found you in the hospital,
and you couldn't remember anything,

794
00:52:10,586 --> 00:52:11,753
l said to myself,

795
00:52:13,923 --> 00:52:15,965
"This girl has a gift."

796
00:52:16,550 --> 00:52:23,389
<i>I don't know if people watching</i>
<i>would even clock it or anything,</i>

797
00:52:23,474 --> 00:52:28,853
<i>but l think this is one of those moments</i>
<i>where it could be played very differently.</i>

798
00:52:28,938 --> 00:52:35,318
<i>And it's these subtle adjustments that</i>
<i>l think make these scenes work</i>

799
00:52:35,402 --> 00:52:38,780
<i>and create layers that you might not expect.</i>

800
00:52:38,864 --> 00:52:42,617
<i>And having Michelle</i>
<i>and Luke, it was amazing.</i>

801
00:52:42,701 --> 00:52:44,369
<i>I think once, I told Luke saying,</i>

802
00:52:44,453 --> 00:52:48,081
<i>"We have to plant the seed</i>
<i>that you're so ahead of the game.</i>

803
00:52:48,165 --> 00:52:52,001
<i>"Even though it's not in the script</i>
<i>or anything, you're already ahead."</i>

804
00:52:52,086 --> 00:52:55,004
<i>This scene, the talk with Dom, everything,</i>

805
00:52:55,089 --> 00:52:57,924
<i>the kidnapping of Mia</i>
<i>is already in place starting here.</i>

806
00:52:58,008 --> 00:53:01,844
<i>And once he heard that and he got it,</i>
<i>we were able to make those adjustments.</i>

807
00:53:01,929 --> 00:53:03,346
<i>And it played...</i>

808
00:53:03,430 --> 00:53:07,100
<i>It added that eeriness for the viewer,</i>

809
00:53:07,184 --> 00:53:11,980
<i>even though nobody knows</i>
<i>exactly what's going on, but it's there.</i>

810
00:53:19,989 --> 00:53:21,990
-What the hell happened?
-We met Dom's girlfriend.

811
00:53:22,533 --> 00:53:24,450
She's lovely.

812
00:53:24,618 --> 00:53:26,494
-Are you all right?
-Yeah.

813
00:53:26,662 --> 00:53:28,955
Tej, what have you got?
Footage, CCTV? Talk to me.

814
00:53:29,123 --> 00:53:30,623
l just went through all of it.

815
00:53:30,791 --> 00:53:33,543
Believe it or not, everywhere
Shaw's team is, the cameras are down.

816
00:53:33,627 --> 00:53:37,588
<i>There's a few scenes in this film</i>

817
00:53:37,673 --> 00:53:41,926
<i>where I think when Hobbs was pitching</i>
<i>with the MacGuffin scene,</i>

818
00:53:42,011 --> 00:53:44,804
<i>and these scenes here,</i>

819
00:53:44,888 --> 00:53:48,224
<i>where we really had to explain</i>
<i>what's going on.</i>

820
00:53:48,308 --> 00:53:52,061
<i>It actually is great to have</i>
<i>all these characters</i>

821
00:53:52,146 --> 00:53:57,442
<i>where they're all linked somehow</i>
<i>with the last three films,</i>

822
00:53:57,526 --> 00:53:59,694
Tokyo Drift, Fast & Furious and Fast Five.

823
00:53:59,778 --> 00:54:03,239
<i>And now to have everything</i>
<i>kind of come together.</i>

824
00:54:03,323 --> 00:54:08,327
<i>It actually made these scenes much more,</i>
<i>I would say, fun to shoot.</i>

825
00:54:08,412 --> 00:54:12,540
<i>This very easily, for me, could just fall flat.</i>

826
00:54:12,624 --> 00:54:16,627
<i>But I think seeing all these</i>
<i>different reactions from different characters,</i>

827
00:54:16,712 --> 00:54:20,089
<i>it links everything together</i>
<i>from all the other films.</i>

828
00:54:20,174 --> 00:54:22,008
He's sitting in a prison in Los Angeles.

829
00:54:22,092 --> 00:54:23,426
How do you know that?

830
00:54:25,554 --> 00:54:27,555
Brian put him there.

831
00:54:27,723 --> 00:54:29,515
All right, so this is the break
we were looking for.

832
00:54:29,683 --> 00:54:33,519
If the two of them were working together,
Braga will know what Shaw's up to.

833
00:54:33,729 --> 00:54:36,689
-I'm going to pay him a visit.
-Are you serious right now?

834
00:54:37,066 --> 00:54:39,233
Think about what you're saying.

835
00:54:39,526 --> 00:54:41,027
You're wanted, Brian.

836
00:54:41,528 --> 00:54:45,031
The moment you step foot off that plane,
it's a wrap.

837
00:54:45,532 --> 00:54:46,699
You're not coming back.

838
00:54:46,867 --> 00:54:49,202
"Coming back"?
How are you going to get in the country?

839
00:54:49,369 --> 00:54:51,245
Let me worry about that.

840
00:54:53,999 --> 00:54:58,878
<i>To have Brian basically leave this film</i>
<i>and go into another film,</i>

841
00:54:58,962 --> 00:55:02,465
<i>it was pretty daring, I think.</i>

842
00:55:02,549 --> 00:55:07,512
<i>In many ways, I can see why people think,</i>
<i>"Wow, what's going on?</i>

843
00:55:07,596 --> 00:55:11,099
<i>"This character is actually leaving</i>
<i>the whole group to his own thread."</i>

844
00:55:11,183 --> 00:55:14,227
<i>But I think it is important because</i>

845
00:55:14,311 --> 00:55:16,646
<i>I think for Brian in this film,</i>

846
00:55:16,730 --> 00:55:20,942
<i>his arc of basically trusting his instinct</i>
<i>and becoming a father,</i>

847
00:55:21,026 --> 00:55:22,777
<i>becoming a patriarch,</i>

848
00:55:22,861 --> 00:55:27,156
<i>he needs to go back to a place</i>
<i>where he has to face his own demons.</i>

849
00:55:28,492 --> 00:55:30,910
Thank you for seeing us.
l won't take up much of your time.

850
00:55:31,245 --> 00:55:34,997
<i>Okay, this CCTV scene was, l would say,</i>

851
00:55:35,082 --> 00:55:38,292
in the last two Fast and Furious films,

852
00:55:38,377 --> 00:55:40,962
<i>I didn't really leave much</i>
<i>on the cutting room floor.</i>

853
00:55:41,922 --> 00:55:45,258
<i>I think we end up taking</i>
one scene out in Fast Five

854
00:55:45,342 --> 00:55:47,677
and l think one in Fast & Furious 6.

855
00:55:47,761 --> 00:55:50,721
<i>But this was the scene that was talked about,</i>

856
00:55:50,806 --> 00:55:54,851
<i>and I thought about maybe this scene</i>
<i>actually could've been taken out</i>

857
00:55:54,935 --> 00:55:56,352
<i>and nobody would miss it.</i>

858
00:55:56,770 --> 00:56:01,607
<i>But I felt like if we were gonna go for it,</i>
<i>we need to embrace what we're trying to do.</i>

859
00:56:02,943 --> 00:56:07,780
<i>And this scene is really about Hobbs</i>
<i>and how he takes care of business.</i>

860
00:56:08,782 --> 00:56:13,035
<i>And at the same time, I also really loved</i>
<i>Gina's performance in this scene.</i>

861
00:56:13,120 --> 00:56:17,373
<i>So at the end of the day l felt like it's worth it,</i>

862
00:56:17,457 --> 00:56:19,625
<i>because the scene works.</i>

863
00:56:19,710 --> 00:56:23,337
<i>Again, it takes its time</i>
<i>to explore these characters.</i>

864
00:56:23,422 --> 00:56:28,426
<i>That's something that a lot of times in films</i>
<i>of this genre you don't get.</i>

865
00:56:30,470 --> 00:56:33,890
<i>And I feel like we've earned our right</i>
<i>to be able to be a little bit indulgent,</i>

866
00:56:33,974 --> 00:56:38,227
<i>to be able to take a little time to spend</i>
<i>with the characters</i>

867
00:56:38,312 --> 00:56:39,854
<i>without having to always rush.</i>

868
00:56:39,980 --> 00:56:43,232
And l also strongly suggest
that you put a hold on any more

869
00:56:43,400 --> 00:56:44,567
"maintenance."

870
00:56:44,735 --> 00:56:46,611
Yeah, of course.

871
00:56:46,945 --> 00:56:49,071
We appreciate your help.
Thank you so much.

872
00:56:58,123 --> 00:57:02,919
<i>And so, this is probably one of the threads</i>
<i>and I'm sure people watch it,</i>

873
00:57:03,003 --> 00:57:07,048
<i>and some of the reaction would be like,</i>
<i>"Wow, he's going back to LA.</i>

874
00:57:07,132 --> 00:57:08,674
<i>"How is he getting back to LA?"</i>

875
00:57:10,010 --> 00:57:14,388
<i>And of course, it's Stasiak. Great actor.</i>

876
00:57:15,349 --> 00:57:16,641
<i>I always enjoy working with him.</i>

877
00:57:16,725 --> 00:57:19,518
<i>So, it was great making that call to say,</i>
<i>"Hey, can you come and play with us?"</i>

878
00:57:19,603 --> 00:57:23,898
<i>He was actually there with us in London</i>
<i>on the very first day of shoot,</i>

879
00:57:23,982 --> 00:57:26,317
<i>and this was our last day of shoot.</i>

880
00:57:27,694 --> 00:57:34,283
But he's kind of the DNA of Fast and Furious
<i>with Shea and John Ortiz.</i>

881
00:57:34,368 --> 00:57:39,205
<i>And actually for me, it was always a lot of fun</i>
watching Silver Linings Playbook

882
00:57:39,289 --> 00:57:42,041
<i>and seeing both of them in that film.</i>

883
00:57:43,502 --> 00:57:44,961
You're an asshole, you know that?

884
00:57:49,883 --> 00:57:52,677
l missed you, too, man. l really missed you.

885
00:57:53,095 --> 00:57:58,641
<i>Believe me, I think this conceit of being</i>
<i>somehow worked on</i>

886
00:57:58,725 --> 00:58:02,436
<i>and Stasiak bringing him to LA</i>
<i>and then putting him into a prison</i>

887
00:58:02,521 --> 00:58:04,563
<i>which is supposed to be max.</i>

888
00:58:05,941 --> 00:58:07,275
<i>lt's insane.</i>

889
00:58:09,069 --> 00:58:13,155
<i>I think in the construct of it, I can see that</i>

890
00:58:13,240 --> 00:58:17,994
<i>but l felt like it was worth it.</i>
<i>It was worth taking this route.</i>

891
00:58:18,954 --> 00:58:21,372
<i>Because again, I wanted to separate Brian</i>

892
00:58:21,456 --> 00:58:24,834
<i>from the rest of the crew,</i>
<i>the rest of the characters,</i>

893
00:58:24,918 --> 00:58:28,337
<i>and have him face his demons</i>
<i>and fight his way out.</i>

894
00:58:28,422 --> 00:58:31,841
<i>And to do that, I didn't want</i>
<i>any other character around.</i>

895
00:58:31,925 --> 00:58:33,050
<i>l wanted it to be him</i>

896
00:58:33,135 --> 00:58:38,723
<i>because the guilt that he felt with Fast Four,</i>
<i>he was the one that...</i>

897
00:58:39,266 --> 00:58:43,686
<i>Here, we have the call back</i>
<i>to the Fast Four Stasiak hit.</i>

898
00:58:43,770 --> 00:58:48,190
<i>But I really did want Brian to...</i>
<i>That guilt, he was running Letty,</i>

899
00:58:48,275 --> 00:58:51,569
<i>so when Letty died, he feels responsible.</i>

900
00:58:51,653 --> 00:58:56,574
<i>And for him to go</i>
<i>and face his demons, you know, Braga,</i>

901
00:58:56,825 --> 00:58:59,368
<i>l felt like it was worth it to do that.</i>

902
00:59:00,787 --> 00:59:03,205
Big Brother's about to go live.

903
00:59:03,874 --> 00:59:07,043
<i>And here, with the CCTV, it is true.</i>

904
00:59:07,127 --> 00:59:10,546
<i>If anybody's been to London,</i>
<i>there's cameras everywhere,</i>

905
00:59:10,630 --> 00:59:11,964
<i>and they cover everything.</i>

906
00:59:14,968 --> 00:59:18,971
<i>And here, of course, we have the setup</i>
<i>for the harpoon gun.</i>

907
00:59:21,099 --> 00:59:22,141
What does that mean?

908
00:59:22,267 --> 00:59:24,226
That's what they use to anchor buildings
and hold up bridges,

909
00:59:24,394 --> 00:59:26,395
stuff you know nothing about!

910
00:59:26,480 --> 00:59:28,356
<i>l liked how this scene turned out.</i>

911
00:59:28,440 --> 00:59:31,108
<i>It was fun and it kept moving.</i>

912
00:59:32,152 --> 00:59:35,988
<i>But really, this is just a setup</i>
<i>for the plane sequence.</i>

913
00:59:37,324 --> 00:59:41,535
<i>And you might think, "Well, is it</i>
<i>too convenient to have this, to have that..."</i>

914
00:59:41,995 --> 00:59:44,163
<i>I think, if you actually trace everything,</i>
<i>it actually does all work out,</i>

915
00:59:45,707 --> 00:59:48,959
<i>because Firuz is playing</i>
<i>with the harpoon gun</i>

916
00:59:49,044 --> 00:59:51,504
<i>that they were working on, on Shaw's side.</i>

917
00:59:51,880 --> 00:59:53,255
<i>And so, our guys are going to react.</i>

918
00:59:53,340 --> 00:59:56,592
<i>I actually had a lot more scenes written</i>
<i>about the back and forth</i>

919
00:59:56,676 --> 00:59:59,303
<i>and the design of the weapons and stuff.</i>

920
00:59:59,554 --> 01:00:03,015
<i>But at the end of the day, I felt like</i>
<i>it was just going to drag everything down.</i>

921
01:00:03,100 --> 01:00:05,309
<i>So, l just kind of slimmed it up.</i>

922
01:00:13,443 --> 01:00:17,947
<i>And now we're here with Brian,</i>
<i>obviously with the paper airplane.</i>

923
01:00:18,198 --> 01:00:19,323
<i>A call back to his son.</i>

924
01:00:22,369 --> 01:00:25,913
<i>And now, he's about to basically</i>
<i>find the truth,</i>

925
01:00:25,997 --> 01:00:31,502
<i>or at least for him, digging and facing</i>
<i>his guilt and everything that he feels.</i>

926
01:00:32,379 --> 01:00:34,547
<i>And this is something that...</i>

927
01:00:34,631 --> 01:00:39,301
<i>I thought he did a really good job</i>
<i>back in the scene with Dom on Canary Island.</i>

928
01:00:39,386 --> 01:00:44,181
<i>Because he has to, in a way,</i>
between Fast Four and Fast Five,

929
01:00:44,266 --> 01:00:46,976
<i>he has to accept the fact that Letty is dead.</i>

930
01:00:47,060 --> 01:00:49,854
<i>The fact that she's alive,</i>

931
01:00:49,938 --> 01:00:54,316
<i>I think he feels very personally responsible</i>
<i>for everything that's happened.</i>

932
01:00:54,401 --> 01:00:58,237
<i>And now, he's gonna find out</i>
<i>what exactly happened.</i>

933
01:00:58,822 --> 01:01:00,865
You put a lot of these men in here.

934
01:01:01,324 --> 01:01:04,160
What? You didn't think
one would recognize you?

935
01:01:04,578 --> 01:01:09,039
<i>And this Braga thread that links with Shaw,</i>

936
01:01:09,124 --> 01:01:11,292
<i>it's something that a lot of people ask,</i>

937
01:01:11,376 --> 01:01:16,505
<i>"Well, how much in advance did you know</i>
<i>all of these things?"</i>

938
01:01:17,507 --> 01:01:21,260
In Tokyo Drift,
<i>I remember going and talking to Vin,</i>

939
01:01:21,344 --> 01:01:23,512
<i>and trying to convince him to do the cameo.</i>

940
01:01:23,597 --> 01:01:27,474
<i>I thought that was one of the most</i>
<i>important steps of this franchise,</i>

941
01:01:27,559 --> 01:01:31,854
because Tokyo Drift was about
<i>trying to change the sensibility</i>

942
01:01:31,938 --> 01:01:33,314
of what Fast and Furious is.

943
01:01:33,398 --> 01:01:36,609
<i>And I felt like if I could go to him</i>
<i>and convince him</i>

944
01:01:36,693 --> 01:01:39,862
<i>what I was trying to do,</i>
<i>and he would say, "Yes,"</i>

945
01:01:39,946 --> 01:01:43,824
<i>that would mean a lot because it would</i>
<i>mean we were going on the right direction.</i>

946
01:01:43,909 --> 01:01:48,078
<i>Because Toretto is everything for him,</i>
<i>he's always gonna be Iinked with Dom.</i>

947
01:01:48,163 --> 01:01:52,708
<i>And so for Vin to be able to be convinced</i>
<i>and say, "Okay, let's go on this journey,"</i>

948
01:01:52,792 --> 01:01:55,669
<i>that was one of the most crucial points.</i>

949
01:01:55,754 --> 01:01:59,882
<i>And so I remember in 2005,</i>
<i>standing there at Vin's house by his pool,</i>

950
01:01:59,966 --> 01:02:05,512
<i>just talking for hours about the mythology,</i>
<i>the connection between Dom and Han,</i>

951
01:02:05,597 --> 01:02:09,183
<i>and in essence, Brian, and all these things.</i>

952
01:02:09,267 --> 01:02:12,728
<i>It's amazing sitting here, watching this film,</i>

953
01:02:12,812 --> 01:02:17,942
<i>and how much of that</i>
<i>was being talked about in 2005.</i>

954
01:02:18,944 --> 01:02:21,362
<i>I wouldn't say all the details,</i>

955
01:02:21,446 --> 01:02:25,407
<i>but a lot of the main stroke relationship stuff</i>
<i>was talked about.</i>

956
01:02:25,492 --> 01:02:28,953
<i>So, it's amazing to be able</i>
<i>to see it come to life</i>

957
01:02:29,037 --> 01:02:31,705
<i>and know that it's all been realized.</i>

958
01:02:32,791 --> 01:02:35,417
The minute you put Letty undercover,
she was dead, bro.

959
01:02:37,712 --> 01:02:42,508
<i>And here you see actually</i>
<i>what happened with Letty and Fenix.</i>

960
01:02:42,842 --> 01:02:46,262
<i>And I remember on the day</i>
<i>we had a whole discussion,</i>

961
01:02:46,346 --> 01:02:49,765
<i>"Is Letty gonna have the jacket</i>
<i>or not have the jacket?"</i>

962
01:02:49,849 --> 01:02:52,101
<i>And I felt like,</i>
<i>"Yeah, she should have the jacket."</i>

963
01:02:52,185 --> 01:02:53,602
<i>Because that's what she was wearing.</i>

964
01:02:53,687 --> 01:02:57,189
And what you see in Fast & Furious,

965
01:02:57,274 --> 01:02:59,233
<i>that's actually through Dom's interpretation,</i>

966
01:02:59,317 --> 01:03:02,444
<i>we actually never saw Letty dead.</i>
<i>We don't know what happened.</i>

967
01:03:02,529 --> 01:03:04,238
<i>And this is the reality.</i>

968
01:03:14,040 --> 01:03:15,499
But she survived.

969
01:03:15,750 --> 01:03:17,459
That girl is one tough bitch.

970
01:03:17,836 --> 01:03:24,216
<i>So, it's these little nuggets</i>
<i>and in-depth conversations with Valeria...</i>

971
01:03:24,301 --> 01:03:29,305
<i>And l know l threw her under the bus</i>
<i>a couple of times in this film,</i>

972
01:03:29,389 --> 01:03:33,726
<i>but it was for the sake of believability.</i>
<i>I wanted imperfections.</i>

973
01:03:33,810 --> 01:03:35,769
<i>I'll point that out later.</i>

974
01:03:40,817 --> 01:03:42,901
What happened to Letty is on your head.

975
01:03:42,986 --> 01:03:43,986
<i>This was pretty taxing.</i>

976
01:03:44,279 --> 01:03:47,489
<i>It was the actors doing all the fights.</i>

977
01:03:47,574 --> 01:03:51,035
<i>And Paul going at it for two straight days</i>

978
01:03:51,119 --> 01:03:54,997
<i>of just all the coverage</i>
<i>and all the different angles.</i>

979
01:03:57,584 --> 01:04:01,587
<i>But he loves this</i>
<i>and he is, in a way, built for this.</i>

980
01:04:01,671 --> 01:04:06,341
<i>And this scene actually sounds much better</i>
<i>on the director's cut.</i>

981
01:04:06,426 --> 01:04:08,510
<i>This is an example of,</i>

982
01:04:08,595 --> 01:04:10,846
<i>with the MPAA,</i>

983
01:04:10,930 --> 01:04:13,766
<i>where sometimes it's not even the cut,</i>
<i>it's the sound itself.</i>

984
01:04:13,850 --> 01:04:15,517
<i>And when they feel like it's too violent,</i>

985
01:04:15,602 --> 01:04:18,479
<i>and I don't know where the line is,</i>

986
01:04:18,563 --> 01:04:20,355
<i>but it is just something</i>
<i>that they'll come back with</i>

987
01:04:20,440 --> 01:04:22,483
<i>and you have to keep working with them.</i>

988
01:04:22,567 --> 01:04:26,028
<i>But I can say, in this cut,</i>

989
01:04:26,112 --> 01:04:28,989
<i>this sound is exactly the way</i>
<i>l wanted it to sound like.</i>

990
01:04:29,074 --> 01:04:31,700
<i>And l think it's much more effective.</i>

991
01:04:31,785 --> 01:04:33,535
You won't do it.

992
01:04:35,288 --> 01:04:36,789
What is Shaw up to?

993
01:04:37,248 --> 01:04:39,875
<i>A lot of people watch this and they think that</i>

994
01:04:39,959 --> 01:04:44,171
<i>maybe Brian didn't get anything,</i>
<i>but he does.</i>

995
01:04:44,255 --> 01:04:47,549
<i>He actually gets a lot,</i>
<i>and we can talk about that later.</i>

996
01:04:47,634 --> 01:04:50,803
<i>But this stuff right here...</i>

997
01:04:54,015 --> 01:04:55,724
<i>Braga's basically giving up</i>
<i>the whole Riley reveal</i>

998
01:04:55,809 --> 01:04:57,476
<i>if you really think about it.</i>

999
01:05:02,565 --> 01:05:09,404
<i>We're coming up to my final</i>
<i>car and hot chicks sequence.</i>

1000
01:05:09,489 --> 01:05:11,406
<i>Thank God.</i>

1001
01:05:12,534 --> 01:05:15,577
<i>I wanted to go out on top and this is all I got.</i>

1002
01:05:16,412 --> 01:05:19,957
<i>I hate shooting these scenes.</i>
<i>They're miserable.</i>

1003
01:05:20,041 --> 01:05:23,585
<i>l have hundreds of extras.</i>
<i>They barely have any clothes on.</i>

1004
01:05:23,670 --> 01:05:25,712
<i>It's at night. It's freezing.</i>

1005
01:05:25,797 --> 01:05:29,716
<i>And I'm trying to coordinate</i>
<i>and make everything work.</i>

1006
01:05:29,801 --> 01:05:32,136
<i>But they were troupers.</i>

1007
01:05:32,220 --> 01:05:35,556
<i>You see 'em with this</i>
<i>and it's freezing outside.</i>

1008
01:05:35,640 --> 01:05:38,725
<i>And when you call cut,</i>
<i>everybody is putting on these blankets.</i>

1009
01:05:38,810 --> 01:05:42,312
<i>And so, for this to work...</i>

1010
01:05:43,022 --> 01:05:45,524
<i>I'm so glad I never have to do this again.</i>

1011
01:05:46,192 --> 01:05:51,446
<i>Again, this is another sequence</i>
<i>where I was asking for a circular building.</i>

1012
01:05:51,531 --> 01:05:54,366
<i>I had it in my mind.</i>
<i>I wanted to design it a certain way.</i>

1013
01:05:54,450 --> 01:05:56,869
<i>And we found it.</i>

1014
01:05:56,953 --> 01:05:59,621
<i>It was pretty much exactly the way I wanted.</i>

1015
01:06:00,206 --> 01:06:02,249
<i>The funny thing is, is that this courtyard</i>

1016
01:06:02,333 --> 01:06:05,794
<i>is actually about 50 yards</i>
<i>from 10 Downing Street,</i>

1017
01:06:05,879 --> 01:06:08,422
<i>which is the equivalent of the White House.</i>

1018
01:06:08,506 --> 01:06:09,965
<i>It was a Treasury building.</i>

1019
01:06:10,049 --> 01:06:12,801
<i>And for them to shut it down,</i>
<i>and for us to be in there,</i>

1020
01:06:12,886 --> 01:06:17,890
<i>shooting with all the cars</i>
<i>and hot-looking people.</i>

1021
01:06:18,057 --> 01:06:21,393
<i>It still blows my mind</i>
<i>that they would actually let us do that.</i>

1022
01:06:32,238 --> 01:06:37,993
<i>We're coming up with the second part</i>
<i>of Letty's self-discovery.</i>

1023
01:06:38,077 --> 01:06:41,330
<i>And this is about Dom really testing her</i>
<i>and saying,</i>

1024
01:06:41,414 --> 01:06:46,668
<i>"Look, you might not remember,</i>
<i>but I'm going to help you feel things</i>

1025
01:06:46,753 --> 01:06:49,963
<i>"that you might not remember,</i>
<i>but feel familiar."</i>

1026
01:06:50,048 --> 01:06:52,507
<i>And it's always a challenge</i>

1027
01:06:52,592 --> 01:06:56,428
<i>because l know we wanna have races</i>
<i>in these films,</i>

1028
01:06:56,512 --> 01:06:59,431
<i>and to give it more meaning</i>
<i>is always the challenge.</i>

1029
01:06:59,807 --> 01:07:03,393
<i>I just felt like, again,</i>
<i>not to waste any sequence.</i>

1030
01:07:03,478 --> 01:07:05,354
<i>You know, "Let's put it in character."</i>

1031
01:07:05,438 --> 01:07:07,439
Ride or die, remember?

1032
01:07:12,612 --> 01:07:15,447
<i>And Rita Ora here. lt's funny.</i>
<i>You see her standing there?</i>

1033
01:07:15,531 --> 01:07:16,907
<i>She's actually not there.</i>

1034
01:07:16,991 --> 01:07:20,494
<i>We actually shot the sequence and then</i>
<i>Vin came up to me one day and said,</i>

1035
01:07:20,578 --> 01:07:24,373
<i>"l met Rita Ora.</i>
<i>She's awesome, and she feels like London."</i>

1036
01:07:24,457 --> 01:07:27,709
<i>And I met with her and I thought,</i>
<i>"Man, Vin's right."</i>

1037
01:07:27,794 --> 01:07:33,715
<i>And so, l had the insert unit at Shepperton</i>
<i>basically set up with a crane and two cars.</i>

1038
01:07:33,800 --> 01:07:38,095
<i>And we shot this in a couple of hours</i>
<i>in the rain, no less.</i>

1039
01:07:38,179 --> 01:07:41,306
<i>And it all cut in together really well.</i>

1040
01:07:49,691 --> 01:07:51,817
<i>This race is not really a...</i>

1041
01:07:51,901 --> 01:07:53,151
<i>Superficially, it's a race.</i>

1042
01:07:53,236 --> 01:07:57,656
<i>But it's really, again, this idea of Dom</i>

1043
01:07:57,740 --> 01:08:00,909
<i>showing Letty a little bit of who she is.</i>

1044
01:08:07,458 --> 01:08:11,670
<i>I thought it was great because we actually</i>
<i>did shoot in London in these sequences.</i>

1045
01:08:11,754 --> 01:08:13,797
<i>And we couldn't be there a long time.</i>

1046
01:08:13,881 --> 01:08:15,841
<i>And like, Piccadilly Circus...</i>

1047
01:08:15,925 --> 01:08:18,635
<i>We're only the third film...</i>

1048
01:08:18,720 --> 01:08:22,389
<i>There's my son,</i>
<i>who makes his second cameo.</i>

1049
01:08:22,473 --> 01:08:28,812
<i>And again, Piccadilly Circus,</i>
<i>we were there all night.</i>

1050
01:08:28,896 --> 01:08:33,859
<i>And they couldn't shut it down fully.</i>
<i>So we had about seven-minute windows</i>

1051
01:08:33,943 --> 01:08:37,946
<i>to kind of get the cars through,</i>
<i>shut it down for regular traffic.</i>

1052
01:08:38,031 --> 01:08:41,116
<i>And we did that all night and</i>
<i>we shut down for another 30, 40 minutes</i>

1053
01:08:41,200 --> 01:08:42,534
<i>waiting for the next window.</i>

1054
01:08:43,494 --> 01:08:46,788
<i>But I think challenges like that come</i>
<i>with the territory.</i>

1055
01:08:46,873 --> 01:08:50,000
<i>I think when we want to shoot in big cities</i>

1056
01:08:50,084 --> 01:08:52,627
<i>that are just iconic and stylized,</i>

1057
01:08:54,297 --> 01:08:55,964
<i>you're always going to</i>
<i>run into problems like that.</i>

1058
01:08:56,049 --> 01:09:01,470
<i>And I think with the right crew</i>
<i>and the right strategy, it can be done.</i>

1059
01:09:01,554 --> 01:09:05,349
<i>And I'm very proud of this sequence,</i>
<i>with everything,</i>

1060
01:09:05,433 --> 01:09:08,018
<i>and just getting everything together.</i>

1061
01:09:14,400 --> 01:09:15,609
<i>One of the shots here coming up,</i>

1062
01:09:15,693 --> 01:09:19,112
<i>l remember talking to Andy and Spiro,</i>
<i>coming up right here,</i>

1063
01:09:19,197 --> 01:09:20,530
<i>this shot right there.</i>

1064
01:09:20,615 --> 01:09:25,827
<i>I wanted the Daytona to do the 1 80</i>
<i>and go forward all at one shot.</i>

1065
01:09:25,912 --> 01:09:29,373
<i>And I really challenged and pushed them</i>
<i>and they did it.</i>

1066
01:09:29,457 --> 01:09:33,168
<i>And those are the little moments,</i>
<i>like the extra little twelve frames</i>

1067
01:09:33,252 --> 01:09:36,254
<i>that I, personally,</i>
<i>find it makes a huge difference</i>

1068
01:09:36,339 --> 01:09:37,839
<i>in the feel of the movie.</i>

1069
01:09:46,766 --> 01:09:49,518
<i>As you can see,</i>
<i>this is a much darker sequence.</i>

1070
01:09:49,602 --> 01:09:51,686
<i>We didn't really do a lot of lighting.</i>

1071
01:09:52,313 --> 01:09:55,148
<i>I felt like it actually was a great look</i>
<i>and l wanted that</i>

1072
01:09:55,233 --> 01:09:59,694
<i>because part of the growth and evolution</i>
<i>of these characters and the maturity of it,</i>

1073
01:09:59,779 --> 01:10:02,823
<i>I wanted the style and the visual</i>
<i>to reflect that.</i>

1074
01:10:02,907 --> 01:10:06,535
<i>And l think in earlier Fasts,</i>
<i>I think the first couple of days,</i>

1075
01:10:06,619 --> 01:10:09,830
<i>it was lit very bright, which I think it worked.</i>

1076
01:10:09,914 --> 01:10:13,250
<i>But I think as Dom and Letty,</i>
<i>as they're growing and maturing,</i>

1077
01:10:13,334 --> 01:10:17,129
<i>I wanted the film language to reflect that.</i>

1078
01:10:28,433 --> 01:10:30,016
<i>This sequence here,</i>

1079
01:10:30,101 --> 01:10:34,521
<i>this scene between Dom and Letty</i>
<i>is the heart of the film.</i>

1080
01:10:35,606 --> 01:10:38,567
<i>If this scene doesn't work,</i>
<i>the film doesn't work.</i>

1081
01:10:40,611 --> 01:10:44,239
<i>It took us a couple of days on this location.</i>
<i>And it's funny.</i>

1082
01:10:44,323 --> 01:10:47,200
<i>It's a huge location. Huge location.</i>

1083
01:10:47,285 --> 01:10:49,411
<i>And for much of the two days,</i>

1084
01:10:49,495 --> 01:10:54,624
<i>we were actually just shooting around</i>
<i>the close-up of Vin and Michelle.</i>

1085
01:10:54,709 --> 01:10:56,585
<i>And it's just funny seeing this huge crew</i>

1086
01:10:56,669 --> 01:11:02,632
<i>and basically shooting in a five-yard radius.</i>

1087
01:11:02,717 --> 01:11:05,218
You never could resist American muscle.

1088
01:11:09,307 --> 01:11:10,640
Nice scar.

1089
01:11:15,897 --> 01:11:17,939
You never could keep yourself
out of trouble, either.

1090
01:11:18,024 --> 01:11:20,650
<i>Chris Wagner, who cut this scene,</i>

1091
01:11:20,735 --> 01:11:24,571
<i>this is one of the scenes where, basically,</i>
<i>I think when I saw the first cut,</i>

1092
01:11:24,655 --> 01:11:27,282
<i>we made two adjustments to it.</i>

1093
01:11:27,366 --> 01:11:30,452
<i>And it's one of those great moments,</i>

1094
01:11:30,536 --> 01:11:31,953
<i>I feel like, as a director,</i>

1095
01:11:32,038 --> 01:11:36,458
<i>when I'm able to find people</i>
<i>that work together,</i>

1096
01:11:36,542 --> 01:11:40,795
<i>and we really do kind of develop</i>
<i>this sixth sense,</i>

1097
01:11:40,880 --> 01:11:43,423
<i>being able to kind of read each other's mind.</i>

1098
01:11:43,508 --> 01:11:48,803
<i>And for this scene to be able</i>
<i>to cut together that quickly,</i>

1099
01:11:48,888 --> 01:11:52,432
<i>it just means that we definitely have grown.</i>

1100
01:11:52,517 --> 01:11:57,145
<i>And it was also great to be able to see</i>
<i>this scene cut together very early on</i>

1101
01:11:57,230 --> 01:12:00,148
<i>because I knew we had the goods</i>
<i>at that point.</i>

1102
01:12:00,233 --> 01:12:01,608
No.

1103
01:12:02,276 --> 01:12:04,444
l was the kid showing off.

1104
01:12:07,615 --> 01:12:08,949
And here...

1105
01:12:15,498 --> 01:12:17,290
Boyle Heights.

1106
01:12:18,292 --> 01:12:22,420
You were fleeing with my little sister Mia
and got trapped in a corner.

1107
01:12:23,422 --> 01:12:25,840
And you thought it was a good idea

1108
01:12:26,008 --> 01:12:29,719
to ride your Torino Cobra
through a retaining wall.

1109
01:12:32,348 --> 01:12:34,474
All right, how about this one?

1110
01:12:34,559 --> 01:12:38,270
<i>Yeah, Vin and Michelle,</i>
<i>they're really in the moment there.</i>

1111
01:12:38,354 --> 01:12:42,732
<i>Sometimes with actors, they try</i>
<i>to pace themselves out with coverage.</i>

1112
01:12:42,817 --> 01:12:47,028
<i>And l told both of them that</i>
<i>the way I designed this scene,</i>

1113
01:12:47,113 --> 01:12:50,156
<i>they were not going to be able to take</i>
<i>any split second off.</i>

1114
01:12:50,241 --> 01:12:53,118
<i>They had to be in the moment.</i>
<i>Both of them, at all times.</i>

1115
01:12:53,703 --> 01:12:55,620
l followed you.

1116
01:12:56,163 --> 01:12:58,498
<i>I purposely designed it that way,</i>

1117
01:12:58,583 --> 01:13:02,043
<i>so that you can genuinely be</i>
<i>in there with them.</i>

1118
01:13:02,128 --> 01:13:03,670
<i>Even on the close-ups,</i>

1119
01:13:03,754 --> 01:13:08,508
<i>so that you never feel</i>
<i>even subconsciously cheated.</i>

1120
01:13:08,634 --> 01:13:12,345
<i>The camera is always gonna</i>
<i>see them together.</i>

1121
01:13:16,309 --> 01:13:18,393
I'm here for you.

1122
01:13:22,648 --> 01:13:24,691
That girl you remember,

1123
01:13:26,527 --> 01:13:28,194
it's not me.

1124
01:13:29,822 --> 01:13:32,490
Not from what l just saw.

1125
01:13:34,660 --> 01:13:36,328
Like it or not,

1126
01:13:38,497 --> 01:13:40,165
you're still the same girl.

1127
01:13:43,377 --> 01:13:45,670
l saw it out there.

1128
01:13:47,340 --> 01:13:49,507
l see it right now.

1129
01:13:52,345 --> 01:13:53,386
l got to go.

1130
01:13:55,681 --> 01:13:57,515
Hey.

1131
01:14:02,897 --> 01:14:04,272
<i>This cross.</i>

1132
01:14:06,859 --> 01:14:08,652
It belongs to you.

1133
01:14:08,736 --> 01:14:14,783
<i>I'll admit this cross was something</i>
<i>that started in the fourth one.</i>

1134
01:14:14,867 --> 01:14:19,412
<i>l know Vin or Michelle had worn it</i>
in the first Fast and Furious.

1135
01:14:19,497 --> 01:14:21,665
Vin did in the first Fast and Furious.

1136
01:14:21,749 --> 01:14:26,294
<i>And it was through a conversation with Vin</i>
<i>on Four early on</i>

1137
01:14:26,379 --> 01:14:31,216
<i>that we decided that was gonna be</i>
<i>a symbol for Dom.</i>

1138
01:14:31,300 --> 01:14:34,803
<i>And it's amazing to see</i>
<i>how that cross has survived</i>

1139
01:14:34,887 --> 01:14:40,558
<i>explosions in tunnels and everything</i>
<i>and how it's living on.</i>

1140
01:14:44,063 --> 01:14:45,772
There she goes,

1141
01:14:45,940 --> 01:14:47,399
leaving you again.

1142
01:14:47,900 --> 01:14:52,404
<i>And this Dom and Shaw scene...</i>

1143
01:14:52,571 --> 01:14:54,614
You want bloody? We could do bloody.

1144
01:14:55,116 --> 01:14:59,911
<i>It was probably</i>
<i>one of the scariest scenes to shoot</i>

1145
01:14:59,995 --> 01:15:04,749
<i>because there really wasn't much on page.</i>

1146
01:15:05,084 --> 01:15:09,337
<i>And Vin was very skeptical.</i>

1147
01:15:10,756 --> 01:15:14,718
<i>We had talked about it,</i>
<i>but until you start getting on the set</i>

1148
01:15:14,802 --> 01:15:18,012
<i>and start really playing with it,</i>

1149
01:15:18,097 --> 01:15:20,515
<i>you just didn't know what you had.</i>

1150
01:15:20,599 --> 01:15:24,769
<i>I think I understood, everybody understood</i>
<i>what we needed to accomplish.</i>

1151
01:15:24,854 --> 01:15:29,441
<i>But it's the delicate balance of</i>

1152
01:15:29,608 --> 01:15:33,445
<i>how are these characters gonna</i>
<i>handle the confrontation.</i>

1153
01:15:33,529 --> 01:15:38,992
<i>And I think for me,</i>
<i>it was to make sure that Vin understands</i>

1154
01:15:39,076 --> 01:15:41,619
<i>it's not about the word count.</i>

1155
01:15:41,746 --> 01:15:46,666
<i>It's not about trying to puff up</i>
<i>and show Shaw how great you are.</i>

1156
01:15:46,751 --> 01:15:49,544
<i>It's actually trying to be</i>
<i>very genuine and sincere,</i>

1157
01:15:49,628 --> 01:15:53,715
<i>and to listen to everything</i>
<i>that Shaw is saying.</i>

1158
01:15:53,924 --> 01:15:57,969
<i>And l think it was like a two-hour</i>
<i>conversation l had with Vin on set</i>

1159
01:15:58,053 --> 01:16:01,306
<i>and I remember looking at Luke and saying,</i>
<i>"You come at him."</i>

1160
01:16:01,807 --> 01:16:04,768
<i>And Luke got it right away and so...</i>

1161
01:16:06,145 --> 01:16:09,856
<i>There was a point at that night</i>
<i>where I think the crew was feeling like,</i>

1162
01:16:09,940 --> 01:16:13,151
<i>"Oh, my God.</i>
<i>We're not gonna make the schedule."</i>

1163
01:16:14,153 --> 01:16:18,990
<i>But then as soon as Luke</i>
<i>just got into the mode of attack</i>

1164
01:16:21,243 --> 01:16:24,162
<i>I think Vin started feeling, understanding...</i>

1165
01:16:26,165 --> 01:16:29,501
<i>It was one of those things</i>
<i>that it had to be done in that way.</i>

1166
01:16:30,002 --> 01:16:35,298
<i>I honestly don't know if we did it</i>
<i>any other way it would be any better.</i>

1167
01:16:37,718 --> 01:16:38,927
Most men don't.

1168
01:16:39,011 --> 01:16:41,346
<i>It came together in a very organic way,</i>

1169
01:16:41,430 --> 01:16:43,932
<i>even though it was stressful</i>
<i>and it was a little scary,</i>

1170
01:16:44,016 --> 01:16:49,437
<i>but I think a lot of times on set,</i>
<i>I think now that we know each other so well,</i>

1171
01:16:49,522 --> 01:16:52,190
<i>you know, I know Vin so well,</i>
<i>we have so much trust,</i>

1172
01:16:52,274 --> 01:16:57,529
<i>I don't mind him pushing back</i>
<i>as long as he has very valid concerns.</i>

1173
01:16:57,863 --> 01:17:02,826
<i>And l think the fact that we didn't</i>
<i>actually have it on page,</i>

1174
01:17:02,910 --> 01:17:05,036
<i>and we were growing it and evolving it.</i>

1175
01:17:05,120 --> 01:17:09,582
<i>It had to be done that way, because I felt like</i>
<i>what was on the page didn't work either.</i>

1176
01:17:09,667 --> 01:17:12,377
l walk away when she walks away.

1177
01:17:13,921 --> 01:17:15,213
Well, then,

1178
01:17:17,258 --> 01:17:20,218
it appears this inspiring tale
has come to an end.

1179
01:17:28,269 --> 01:17:29,936
If that's the way it has to go.

1180
01:17:37,069 --> 01:17:39,070
Let me guess...

1181
01:17:40,406 --> 01:17:41,406
Hobbs.

1182
01:17:45,870 --> 01:17:49,914
<i>That gun that Dwayne is carrying is so heavy.</i>

1183
01:17:57,464 --> 01:17:59,132
See you around, Toretto.

1184
01:17:59,300 --> 01:18:00,800
You can bet on it.

1185
01:18:07,057 --> 01:18:12,270
<i>The example of never giving in</i>
<i>and always push for every inch.</i>

1186
01:18:12,563 --> 01:18:16,608
<i>This moment here, I think on the script</i>
<i>this is more of a logistical thing, right?</i>

1187
01:18:17,067 --> 01:18:20,445
<i>Hobbs calling Riley and that's it.</i>

1188
01:18:20,946 --> 01:18:22,363
<i>And they have the trackerjoke.</i>

1189
01:18:22,448 --> 01:18:25,783
You know what would have happened
if l didn't put that tracker in your car?

1190
01:18:26,201 --> 01:18:28,244
<i>But I felt like it was important...</i>

1191
01:18:28,954 --> 01:18:34,000
<i>This is one of the big moments of connection</i>
<i>for Dom and Hobbs of respect,</i>

1192
01:18:34,084 --> 01:18:36,294
<i>and for him to say this line...</i>

1193
01:18:36,378 --> 01:18:40,715
<i>And I threw that in pretty late in the game</i>
<i>because I felt like it was worth trying.</i>

1194
01:18:40,799 --> 01:18:42,467
<i>And when we were on set and we did that,</i>

1195
01:18:42,551 --> 01:18:46,346
<i>you can see the</i>
<i>performances of respect between them</i>

1196
01:18:46,430 --> 01:18:51,017
<i>and we shot that kind of</i>
<i>middle of the schedule.</i>

1197
01:18:51,101 --> 01:18:56,606
<i>It became kind of an anchor for a lot of the</i>
<i>Dom-Hobbs moments for the rest of the film.</i>

1198
01:19:02,196 --> 01:19:04,030
This better have been worth it.

1199
01:19:04,531 --> 01:19:06,491
More than you'll ever know.

1200
01:19:21,840 --> 01:19:24,676
<i>Again, we're back in Shaw's hideout</i>

1201
01:19:24,760 --> 01:19:29,681
<i>and Letty again investigating,</i>
<i>finding out a little bit more about herself.</i>

1202
01:19:33,394 --> 01:19:35,395
<i>You know, we have this cross where,</i>

1203
01:19:35,688 --> 01:19:40,358
<i>I think it was until really the draft</i>
<i>before it went into production,</i>

1204
01:19:42,861 --> 01:19:47,323
<i>l wasn't sure if she should</i>
<i>give the cross to Shaw.</i>

1205
01:19:48,200 --> 01:19:52,620
<i>But I remember doing</i>
<i>our first rehearsal and seeing it done,</i>

1206
01:19:52,705 --> 01:19:56,082
<i>I thought,</i>
<i>"She has to give that to Shaw," you know.</i>

1207
01:19:56,166 --> 01:19:57,709
<i>That's part of her...</i>

1208
01:19:58,127 --> 01:20:02,338
<i>Where she is right now is that she might</i>
<i>understand cerebrally</i>

1209
01:20:02,756 --> 01:20:07,593
<i>the significance of the cross,</i>
<i>but emotionally she has no connection.</i>

1210
01:20:14,518 --> 01:20:17,228
I'm going to ask you a question, Letty,

1211
01:20:18,105 --> 01:20:19,856
and l want you to think very hard
before you answer.

1212
01:20:19,940 --> 01:20:24,318
<i>And it's funny because, there was a leak</i>
<i>on the Internet on Ain't It Cool</i>

1213
01:20:24,403 --> 01:20:27,530
<i>about this Jason Statham reveal</i>

1214
01:20:27,614 --> 01:20:32,452
<i>and if you read that leak it actually says,</i>

1215
01:20:32,911 --> 01:20:34,996
<i>Shaw tosses the dog tag.</i>

1216
01:20:35,581 --> 01:20:40,460
<i>So, l know the leak actually came from</i>
<i>a script, it's not coming from a screener.</i>

1217
01:20:41,587 --> 01:20:45,465
<i>And in that script,</i>
<i>she still hadn't given the cross,</i>

1218
01:20:45,549 --> 01:20:46,924
<i>handed the cross over to Shaw.</i>

1219
01:20:48,260 --> 01:20:49,802
<i>l kinda know who leaked it.</i>

1220
01:20:50,012 --> 01:20:54,766
<i>And I know it was from script form</i>
<i>and not from the screener.</i>

1221
01:21:00,939 --> 01:21:02,940
Tej, talk to me, what have we got?

1222
01:21:04,234 --> 01:21:08,905
<i>I have to be honest,</i>
<i>I think this sequence from here</i>

1223
01:21:09,490 --> 01:21:13,284
<i>until the tank sequence is just bullshit.</i>
<i>It's boring. It sucks.</i>

1224
01:21:13,952 --> 01:21:17,080
<i>Not because of the actors,</i>
<i>everything was great, it looks great.</i>

1225
01:21:17,581 --> 01:21:19,624
<i>This is where MacGuffins take over</i>

1226
01:21:19,708 --> 01:21:24,170
<i>and l think this was kind of</i>
<i>in a way a bit of a...</i>

1227
01:21:25,798 --> 01:21:29,217
<i>As a filmmaker, I feel</i>
<i>like I can always get better.</i>

1228
01:21:29,301 --> 01:21:32,804
<i>This is tough because...</i>

1229
01:21:32,888 --> 01:21:35,723
<i>The end of second act, you know,</i>
<i>a lot of this stuff,</i>

1230
01:21:35,808 --> 01:21:37,683
<i>even though I knew</i>
<i>where the movie was going,</i>

1231
01:21:37,768 --> 01:21:39,602
<i>I knew thematically where everything is,</i>

1232
01:21:39,895 --> 01:21:42,647
<i>a lot of the script was not there.</i>

1233
01:21:42,731 --> 01:21:46,567
<i>So some of these scenes,</i>
<i>I was still writing while we were editing,</i>

1234
01:21:46,652 --> 01:21:49,821
<i>because they were not shot, it didn't exist.</i>

1235
01:21:49,905 --> 01:21:53,282
<i>And part of the challenge is that</i>

1236
01:21:53,450 --> 01:21:58,371
<i>it's very much not about what our</i>
<i>characters are going after, but what they...</i>

1237
01:21:58,455 --> 01:22:03,960
<i>This is just to service the plot points</i>
<i>to get 'em to where we need to get 'em to.</i>

1238
01:22:04,586 --> 01:22:07,922
<i>So, l mean, l definitely have</i>
<i>a good time watching it</i>

1239
01:22:08,006 --> 01:22:11,259
<i>and you see the characters and stuff,</i>

1240
01:22:12,302 --> 01:22:14,971
<i>but I felt like with a little more time,</i>

1241
01:22:15,055 --> 01:22:18,850
<i>I probably would have been able</i>
<i>to tighten it a little bit more.</i>

1242
01:22:24,940 --> 01:22:26,440
Let's go, guys.

1243
01:22:28,193 --> 01:22:32,363
Shaw, everyone is in place.
All things moving according to plan.

1244
01:22:35,534 --> 01:22:37,535
Good. Send him in.

1245
01:22:38,996 --> 01:22:44,375
<i>The Samoan Thor is funny because</i>
<i>I actually threw that in the very last minute.</i>

1246
01:22:44,751 --> 01:22:48,045
<i>I've seen so many people</i>
<i>talking about it and...</i>

1247
01:22:48,130 --> 01:22:51,924
<i>Yeah, it was kind of, for me,</i>
<i>it was kind of the rule of three.</i>

1248
01:22:52,009 --> 01:22:57,722
<i>I think we started off with The Hulk,</i>
<i>and then we went to Captain America</i>

1249
01:22:57,806 --> 01:23:00,892
<i>and I wanted to give it</i>
<i>the comedy rule of three.</i>

1250
01:23:02,394 --> 01:23:04,729
l guaran-damn-tee you
one of them is gonna match.

1251
01:23:04,855 --> 01:23:07,315
<i>Yeah, so, I mean, it's not too much,</i>

1252
01:23:07,399 --> 01:23:11,485
<i>but it's just a couple of scenes</i>
<i>that I think could have been tighter.</i>

1253
01:23:11,570 --> 01:23:12,987
That means he's got
an eight-hour lead on us.

1254
01:23:13,155 --> 01:23:15,323
<i>We gotta move now. Tej, give me that info.</i>

1255
01:23:15,657 --> 01:23:17,825
Riley and l will go ahead
and we're going to lock down the base.

1256
01:23:17,993 --> 01:23:20,119
We're going to protect
that component personally.

1257
01:23:20,287 --> 01:23:22,997
Toretto, I'll arrange transportation
for you and your cars.

1258
01:23:23,165 --> 01:23:26,959
You brush up on your Spanish, boys.
I'll see you en España.

1259
01:23:45,437 --> 01:23:47,980
<i>Here, we have Brian coming back.</i>

1260
01:23:49,483 --> 01:23:51,651
You son of a bitch! You made it!

1261
01:23:51,735 --> 01:23:54,445
<i>I know that people have talked about it.</i>

1262
01:23:55,030 --> 01:23:59,367
<i>A lot of people are saying, "Well, he didn't</i>
<i>come out with any information at all.</i>

1263
01:23:59,451 --> 01:24:02,411
<i>"There's nothing concrete.</i>
<i>His whole trip was wasted."</i>

1264
01:24:02,663 --> 01:24:05,039
<i>You know, and I disagree.</i>

1265
01:24:05,123 --> 01:24:10,336
<i>I actually think that if he did go</i>
<i>and find concrete information</i>

1266
01:24:10,879 --> 01:24:13,631
<i>it would have played much more</i>
<i>into the MacGuffin</i>

1267
01:24:13,757 --> 01:24:16,550
<i>and it would actually have been worse.</i>

1268
01:24:16,635 --> 01:24:20,471
<i>I know I'm being tough</i>
<i>on this sequence right here</i>

1269
01:24:20,806 --> 01:24:25,685
<i>but I have to say, I think the one thing</i>
<i>that l do like is the fact that</i>

1270
01:24:25,769 --> 01:24:30,564
<i>you think he doesn't have anything,</i>
<i>but he actually, on a character level,</i>

1271
01:24:31,024 --> 01:24:34,568
<i>he was able to go</i>
<i>and find closure on certain levels,</i>

1272
01:24:35,362 --> 01:24:38,072
<i>and l don't think Dom</i>
<i>is being dismissive at all.</i>

1273
01:24:38,156 --> 01:24:40,574
<i>I think Dom is actually saying,</i>

1274
01:24:40,659 --> 01:24:44,996
<i>"It's fine, you found your closure,</i>
<i>but we still have a mission to go on."</i>

1275
01:24:45,372 --> 01:24:49,333
<i>And it actually does result in something,</i>
<i>because in this next scene</i>

1276
01:24:50,294 --> 01:24:55,256
<i>Brian's gonna figure out that it's the convoy,</i>
<i>not the military base.</i>

1277
01:24:56,300 --> 01:25:00,594
<i>So, the idea of him going to Braga</i>
<i>and Braga basically telling him that...</i>

1278
01:25:00,762 --> 01:25:04,765
<i>Basically indicating that there's a mole</i>

1279
01:25:04,850 --> 01:25:09,687
<i>and also letting Brian</i>
<i>know a little bit of Shaw's philosophy.</i>

1280
01:25:12,024 --> 01:25:13,149
lt's time.

1281
01:25:13,317 --> 01:25:16,944
Something is not right.
He wanted us to find that guy.

1282
01:25:17,112 --> 01:25:19,989
Think about it.
At Interpol, you were face-to-face with him.

1283
01:25:20,741 --> 01:25:21,907
Brian, so what are you saying?

1284
01:25:22,492 --> 01:25:27,496
Braga said the only way you get near Shaw
is if he wants you to.

1285
01:25:28,165 --> 01:25:29,957
Tej, where's that component?

1286
01:25:30,375 --> 01:25:31,959
They're moving it to a secure location.

1287
01:25:37,007 --> 01:25:38,674
Shaw ain't hitting that base.

1288
01:25:38,842 --> 01:25:40,051
He's hitting the convoy.

1289
01:25:44,723 --> 01:25:49,310
<i>So, here we go, this is actually</i>
<i>one of the two biggest sequences</i>

1290
01:25:49,394 --> 01:25:51,937
<i>that's gonna go back-to-back,</i>
<i>almost, in the film.</i>

1291
01:25:53,732 --> 01:25:58,361
<i>At one point, when this was going to be...</i>
<i>This was so big, this film,</i>

1292
01:25:58,445 --> 01:26:01,072
<i>that I was thinking</i>
<i>about doing it as two films.</i>

1293
01:26:02,032 --> 01:26:07,453
<i>This tank sequence was gonna be</i>
<i>the end of the first film, The Fast.</i>

1294
01:26:07,537 --> 01:26:09,747
<i>And then the plane sequence</i>

1295
01:26:09,831 --> 01:26:14,919
<i>actually was gonna be the end of the second</i>
part of it which was gonna be The Furious.

1296
01:26:15,420 --> 01:26:16,462
Let's go!

1297
01:26:37,901 --> 01:26:40,194
<i>I actually had a sequence</i>

1298
01:26:40,278 --> 01:26:44,073
<i>prevized and designed where</i>
<i>that sequence was taking place in London</i>

1299
01:26:44,491 --> 01:26:48,411
<i>at Piccadilly Circus and everything,</i>
<i>but it was just gonna be insane.</i>

1300
01:26:48,495 --> 01:26:51,455
<i>We were actually gonna build</i>
<i>London on a sound stage,</i>

1301
01:26:51,540 --> 01:26:55,042
<i>we were gonna build it like,</i>
<i>I think it was 1 2 city blocks.</i>

1302
01:26:56,044 --> 01:27:00,089
<i>At the end of the day,</i>
<i>I felt like the money was not being well used,</i>

1303
01:27:00,173 --> 01:27:03,717
<i>because it was gonna be so much</i>
<i>visual effects for the buildings only.</i>

1304
01:27:04,094 --> 01:27:06,554
<i>And building a whole London set,</i>

1305
01:27:07,013 --> 01:27:11,559
<i>I just didn't feel right doing it and at the</i>
<i>same time we would keep going on scouts.</i>

1306
01:27:11,643 --> 01:27:15,646
<i>And as soon as it landed on Tenerife</i>
<i>and they took us on this freeway,</i>

1307
01:27:15,730 --> 01:27:21,026
<i>this highway, basically, that is brand new</i>
<i>and they hadn't opened it yet</i>

1308
01:27:21,111 --> 01:27:24,488
<i>and they said we could have it,</i>
<i>that kinda tipped the scale for me</i>

1309
01:27:24,781 --> 01:27:29,702
<i>and l felt like we would be able</i>
<i>to put much more of the money on-screen</i>

1310
01:27:30,245 --> 01:27:34,623
<i>and also have the control and to be able</i>
<i>to do everything practically, you know.</i>

1311
01:27:37,043 --> 01:27:40,880
<i>And I have to say, right here,</i>
<i>this was one of the sequences with this truck</i>

1312
01:27:40,964 --> 01:27:45,301
<i>and Joss, our special effects supervisor,</i>
<i>did an amazing job.</i>

1313
01:27:45,385 --> 01:27:47,720
<i>We had these meetings,</i>
<i>I remember pitching this to the crew</i>

1314
01:27:47,804 --> 01:27:49,430
<i>and I would just have silence.</i>

1315
01:27:49,514 --> 01:27:52,516
<i>People were, I don't know, scared</i>

1316
01:27:53,059 --> 01:27:55,311
<i>and they didn't know how</i>
<i>we were gonna do it.</i>

1317
01:27:55,395 --> 01:28:00,065
<i>And I remember them coming back saying,</i>
<i>"We can do it in two sequences,</i>

1318
01:28:00,525 --> 01:28:01,734
<i>"we can do it in four parts."</i>

1319
01:28:01,818 --> 01:28:03,861
<i>I said, "No, I want it in one part."</i>

1320
01:28:04,362 --> 01:28:08,491
<i>And Joss and his team, they figured it out</i>
<i>and it was unbelievable.</i>

1321
01:28:08,575 --> 01:28:11,202
<i>And I think you feel the difference.</i>

1322
01:28:11,286 --> 01:28:18,042
<i>When these things are done practically</i>
<i>and there's no editing tricks, it is what it is,</i>

1323
01:28:18,543 --> 01:28:21,504
<i>you just feel that sense of awe</i>

1324
01:28:21,796 --> 01:28:25,007
<i>that l think makes these films</i>
<i>so much fun to watch.</i>

1325
01:28:25,091 --> 01:28:26,300
We got company, guys.

1326
01:28:26,426 --> 01:28:28,677
<i>Toretto is coming right at you.</i>

1327
01:28:28,845 --> 01:28:31,472
Okay. Get the weapons hot.

1328
01:28:33,058 --> 01:28:35,017
Give me satellite imaging.

1329
01:28:36,520 --> 01:28:39,980
<i>We're gonna come up to this sequence</i>
<i>with Han and Gisele.</i>

1330
01:28:40,065 --> 01:28:43,275
<i>Again, this is an example of...</i>

1331
01:28:43,360 --> 01:28:47,821
<i>I have so many characters and the</i>
<i>budgets always come in and they say,</i>

1332
01:28:47,906 --> 01:28:51,450
<i>"Well, we don't have enough money,</i>
<i>you can't do it, you can't do it."</i>

1333
01:28:51,535 --> 01:28:55,412
<i>I can't print any more money,</i>
<i>I can't get any more money, it is what it is.</i>

1334
01:28:55,747 --> 01:28:58,832
<i>And as the production goes on</i>
<i>we get into better shape</i>

1335
01:28:58,917 --> 01:29:00,334
<i>and l went to Spiro and l said,</i>

1336
01:29:00,418 --> 01:29:04,255
<i>"Look, I need you to splinter off your unit</i>
<i>and go shoot some of these shots."</i>

1337
01:29:05,006 --> 01:29:10,928
<i>And he was able to do that and this whole</i>
<i>sequence was shot, in a way, unscheduled.</i>

1338
01:29:11,263 --> 01:29:13,472
<i>It was never on the original schedule.</i>

1339
01:29:26,444 --> 01:29:30,364
<i>The other great thing about having a...</i>
<i>Being able to own a whole highway is that</i>

1340
01:29:30,448 --> 01:29:34,493
<i>I could actually put the actors</i>
<i>behind wheels and have 'em drive.</i>

1341
01:29:34,786 --> 01:29:38,205
<i>And I know, that's always</i>
<i>one of the big things I get on set.</i>

1342
01:29:38,290 --> 01:29:39,748
<i>Everybody wants to drive.</i>

1343
01:29:40,292 --> 01:29:44,920
<i>Of course it's so dangerous to begin with,</i>

1344
01:29:45,297 --> 01:29:48,716
<i>but finally I was able to go</i>
<i>to Vin and Paul and say,</i>

1345
01:29:48,800 --> 01:29:50,718
<i>"Hey, guys, you're gonna be</i>
<i>driving on this one."</i>

1346
01:29:50,802 --> 01:29:53,554
<i>And l can see the excitement in their faces.</i>

1347
01:29:53,638 --> 01:29:56,557
Hey, we do what we do best.

1348
01:29:56,641 --> 01:29:58,058
We improvise, all right?

1349
01:30:11,781 --> 01:30:16,076
<i>This whole sequence started off</i>
<i>a little bit as a joke.</i>

1350
01:30:16,161 --> 01:30:18,746
<i>You know, I think we were saying,</i>
<i>"How do we top the vault?"</i>

1351
01:30:18,997 --> 01:30:23,417
<i>And we thought, "Okay, if the vault</i>
<i>can drive and you can shoot."</i>

1352
01:30:23,501 --> 01:30:26,587
<i>And you know, then we're thinking,</i>
<i>"Well, that's a tank!"</i>

1353
01:30:27,130 --> 01:30:33,344
<i>So, we went and looked at some tanks</i>
<i>and we got one. l remember, at Shepperton,</i>

1354
01:30:33,428 --> 01:30:34,595
<i>we didn't know what it was gonna do.</i>

1355
01:30:34,679 --> 01:30:37,723
<i>So we just had a car and just drove a tank</i>
<i>towards it,</i>

1356
01:30:38,308 --> 01:30:39,600
<i>and I think I've got the footage somewhere,</i>

1357
01:30:39,684 --> 01:30:41,727
<i>and it just crushed the car</i>
<i>like it was nothing.</i>

1358
01:30:41,811 --> 01:30:48,025
<i>And at that point, I realize, "This is</i>
<i>something we can do and we can design it."</i>

1359
01:30:48,109 --> 01:30:52,071
<i>And it wasn't as easy as that</i>
<i>because of the safety factor,</i>

1360
01:30:52,155 --> 01:30:55,532
<i>making sure that we can execute</i>
<i>everything I want in a sequence.</i>

1361
01:30:56,034 --> 01:31:01,163
<i>We actually ended up with the real tanks</i>
<i>and then we built these medium-sized tanks,</i>

1362
01:31:01,706 --> 01:31:05,501
<i>and then we had lightweight tanks.</i>
<i>And it was the combination of all three</i>

1363
01:31:05,877 --> 01:31:11,006
<i>that we were able to execute and maneuver</i>
<i>these vehicles the way we wanted to.</i>

1364
01:31:18,181 --> 01:31:19,848
We got one right in front of us.

1365
01:31:20,183 --> 01:31:21,225
Boom.

1366
01:31:23,144 --> 01:31:24,186
Shit!

1367
01:31:31,486 --> 01:31:32,903
You lucky bastard.

1368
01:31:33,988 --> 01:31:35,614
Roman, you hang in there.

1369
01:31:35,782 --> 01:31:37,408
<i>Hang in there, man!</i>

1370
01:31:40,787 --> 01:31:44,456
Somebody better do something!
l got a tank on my ass!

1371
01:31:46,793 --> 01:31:48,377
There's gotta be a break up ahead.

1372
01:31:48,920 --> 01:31:53,549
<i>Yeah, this whole tether anchoring the car,</i>

1373
01:31:53,633 --> 01:31:56,510
<i>it was probably another moment,</i>

1374
01:31:56,594 --> 01:32:01,557
<i>and one of many, where I would pitch it and</i>
<i>tell the crew, "This is what we're gonna do."</i>

1375
01:32:01,641 --> 01:32:06,061
<i>And you could just see people's faces,</i>
<i>just blank stares of,</i>

1376
01:32:06,521 --> 01:32:10,941
<i>"Really? We're gonna what?</i>
<i>We're gonna crush a car and then drag it?"</i>

1377
01:32:11,025 --> 01:32:13,235
<i>To me, that's what's so much fun.</i>

1378
01:32:13,319 --> 01:32:16,697
<i>That's part of the fun of doing</i>
Fast and Furious films.

1379
01:32:16,781 --> 01:32:18,824
<i>I feel like,</i>

1380
01:32:18,908 --> 01:32:23,746
<i>we have this great relationship</i>
<i>with the viewer, the fans,</i>

1381
01:32:23,830 --> 01:32:27,750
<i>and we're the only kind of</i>

1382
01:32:29,127 --> 01:32:33,005
<i>cinema in the world...</i>
<i>Like this, with that car articulating like that</i>

1383
01:32:33,298 --> 01:32:36,091
<i>I remember telling Andy saying,</i>
<i>"That nose has to be down."</i>

1384
01:32:36,176 --> 01:32:37,217
<i>He would say, "Well, it's gonna flip."</i>

1385
01:32:37,302 --> 01:32:40,137
<i>I said, "Doesn't matter,</i>
<i>do it until you get it right."</i>

1386
01:32:40,430 --> 01:32:42,097
<i>And, you know,</i>

1387
01:32:42,891 --> 01:32:46,226
<i>in reality when you do that, it does,</i>
<i>the nose hits and it flips the car,</i>

1388
01:32:46,311 --> 01:32:49,938
<i>but we have the ability, we have the budget,</i>

1389
01:32:50,023 --> 01:32:52,733
<i>we have the manpower,</i>
<i>we have the craftsmen,</i>

1390
01:32:52,817 --> 01:32:57,613
<i>to be able to get together and do anything</i>
<i>that comes out of my head,</i>

1391
01:32:57,697 --> 01:33:00,199
<i>and that's incredible to me.</i>

1392
01:33:01,868 --> 01:33:04,912
<i>I don't think there's any other cinema</i>
<i>in the world that can support that.</i>

1393
01:33:04,996 --> 01:33:09,208
<i>So, my whole thing is</i>
<i>that we wanna make sure that we respect that</i>

1394
01:33:09,334 --> 01:33:13,337
<i>and we show up every day. Just, let's play.</i>

1395
01:33:13,421 --> 01:33:18,926
<i>And l have the best crew in the world</i>
<i>who are up for the challenge.</i>

1396
01:33:22,514 --> 01:33:26,099
<i>It's funny, when you see these guys run,</i>
<i>it runs a little funny.</i>

1397
01:33:26,184 --> 01:33:29,728
<i>In real life, those highways are built...</i>

1398
01:33:29,813 --> 01:33:33,357
<i>When I was walking I felt like I was drunk,</i>
<i>because they were never flat.</i>

1399
01:33:33,733 --> 01:33:38,153
<i>So, it always created a bit of a problem</i>
<i>for the camera in this sequence.</i>

1400
01:33:39,072 --> 01:33:41,615
Letty, go take care of the cable.

1401
01:33:44,869 --> 01:33:50,874
<i>And now we're coming to the end where</i>
<i>the anchor and also the launch of Letty.</i>

1402
01:33:52,669 --> 01:33:56,964
<i>And it was one of those moments</i>
<i>where discussions were had, you know,</i>

1403
01:33:57,340 --> 01:33:58,841
<i>"Are we jumping the shark?"</i>

1404
01:33:59,133 --> 01:34:03,428
<i>I get the sentiment, but I always feel like</i>

1405
01:34:03,513 --> 01:34:07,474
<i>if it's there to service the character,</i>
<i>which to me,</i>

1406
01:34:07,559 --> 01:34:10,811
<i>that moment is the only moment</i>
<i>why this whole sequence exists.</i>

1407
01:34:10,895 --> 01:34:13,105
<i>Which again, when you're going</i>
<i>with this idea of trust,</i>

1408
01:34:13,523 --> 01:34:16,900
<i>it's Dom showing Letty, as a character,</i>

1409
01:34:17,485 --> 01:34:20,195
<i>that he didn't know</i>
<i>that there was gonna be a car there,</i>

1410
01:34:20,280 --> 01:34:24,908
<i>but he went with blind faith, he trusted that,</i>
<i>you know, he was gonna do something and</i>

1411
01:34:25,910 --> 01:34:29,079
<i>no matter what happened</i>
<i>he had to have blind faith and trust</i>

1412
01:34:29,455 --> 01:34:32,291
<i>and he's demonstrating it to her.</i>

1413
01:34:33,877 --> 01:34:36,211
<i>I remember screening</i>
<i>this film for an audience,</i>

1414
01:34:36,713 --> 01:34:39,882
<i>and when that moment happened,</i>

1415
01:34:40,925 --> 01:34:43,760
<i>this cheer, everyone just stood up</i>
<i>and started cheering</i>

1416
01:34:43,970 --> 01:34:48,473
<i>and that's when I really... It felt good because</i>

1417
01:34:49,142 --> 01:34:52,019
<i>it wasn't about the idea of jumping</i>
<i>the shark or not jumping the shark.</i>

1418
01:34:52,103 --> 01:34:57,232
<i>It was really the idea of, there's that moment,</i>
<i>is it earned by the characters?</i>

1419
01:34:57,442 --> 01:35:02,571
<i>And when they cheered, l felt like, "Okay,</i>
<i>it worked because it truly was earned."</i>

1420
01:35:04,866 --> 01:35:08,744
That 3-ounce computer chip
is more deadly than 1 ,000 of those tanks.

1421
01:35:12,290 --> 01:35:13,916
What about her?

1422
01:35:14,459 --> 01:35:16,084
Not her.

1423
01:35:16,252 --> 01:35:17,711
She was working with Shaw.

1424
01:35:17,879 --> 01:35:18,962
Was,

1425
01:35:21,132 --> 01:35:23,133
but she's always been one of us.

1426
01:35:26,220 --> 01:35:28,138
Let's give them a minute.

1427
01:35:41,986 --> 01:35:43,946
Let's go process Shaw and his crew.

1428
01:35:44,113 --> 01:35:47,324
I've never looked more forward
to filling out paperwork in my life.

1429
01:35:52,163 --> 01:35:54,581
<i>You know, usually,</i>
<i>budget-wise for these films,</i>

1430
01:35:54,666 --> 01:35:57,250
<i>I mean, we have a lot of money to spend,</i>

1431
01:35:57,335 --> 01:36:00,629
<i>but all we can afford is two big set pieces.</i>

1432
01:36:00,713 --> 01:36:03,757
<i>On this one, on the same budget,</i>

1433
01:36:03,841 --> 01:36:06,301
<i>we were able to basically</i>
<i>squeeze out a third one.</i>

1434
01:36:06,386 --> 01:36:10,722
<i>We had the team versus team,</i>
<i>the tank and they're not small ones,</i>

1435
01:36:10,807 --> 01:36:16,520
<i>I mean, these sequences dwarf</i>
<i>even the vault sequence in Five,</i>

1436
01:36:16,604 --> 01:36:18,855
<i>or even the train sequence.</i>

1437
01:36:19,440 --> 01:36:23,652
<i>Again, it means a lot to be working</i>
<i>with Clayton and the whole crew</i>

1438
01:36:23,736 --> 01:36:25,320
<i>and everybody being so efficient</i>

1439
01:36:25,405 --> 01:36:28,365
<i>that we're able to basically</i>
<i>squeeze out another huge sequence.</i>

1440
01:36:28,449 --> 01:36:30,367
<i>To be able to be done with one...</i>

1441
01:36:30,451 --> 01:36:35,414
<i>The tank sequence, where it usually...</i>
<i>The size of it is a third action set piece.</i>

1442
01:36:35,707 --> 01:36:38,500
<i>And then to have another one</i>
<i>that's even bigger coming up,</i>

1443
01:36:39,919 --> 01:36:44,172
<i>that's something that I'm very proud of</i>
<i>and I'm very proud of the crew.</i>

1444
01:36:46,092 --> 01:36:48,635
<i>And here you have the Han-Gisele</i>

1445
01:36:50,263 --> 01:36:54,850
<i>kind of working their way</i>
into the Tokyo Drift rap.

1446
01:36:55,393 --> 01:36:57,811
<i>And I felt like it was important,</i>
<i>I think in the theme of trust,</i>

1447
01:36:57,895 --> 01:37:00,272
<i>l think for them it's more existential</i>

1448
01:37:00,356 --> 01:37:03,817
<i>and anytime I can get on set</i>
<i>with Gal and Sung,</i>

1449
01:37:03,901 --> 01:37:07,654
<i>it was always something</i>
<i>that we would sneak in.</i>

1450
01:37:07,739 --> 01:37:11,783
<i>Because these scenes are always so huge</i>
<i>with all the coverage and stuff,</i>

1451
01:37:12,076 --> 01:37:15,871
<i>it's never quite officially on schedule.</i>

1452
01:37:16,080 --> 01:37:18,790
<i>So l would always have wardrobe be ready</i>

1453
01:37:19,333 --> 01:37:22,836
<i>and l would look at Sonia and Lorenzo</i>

1454
01:37:22,920 --> 01:37:28,050
<i>and they'd just know and they grab Sung</i>
<i>and Gal and they just run off to get changed.</i>

1455
01:37:32,346 --> 01:37:35,932
Some things you just have to take on faith.

1456
01:37:37,602 --> 01:37:38,935
Hey, Toretto!

1457
01:37:39,103 --> 01:37:42,731
<i>And this sequence here, again,</i>
<i>this is early on our schedule</i>

1458
01:37:42,815 --> 01:37:47,235
<i>and there was only two days,</i>
<i>this is basically Luke's first day on set.</i>

1459
01:37:47,487 --> 01:37:52,365
<i>And I remember talking to him and he's like,</i>
<i>"Way to throw me into this franchise."</i>

1460
01:37:52,450 --> 01:37:54,868
<i>You know, it's like first day,</i>
<i>we're at end of second act</i>

1461
01:37:54,952 --> 01:37:58,413
<i>and he basically has</i>
<i>to stand up to all, everybody.</i>

1462
01:37:58,956 --> 01:38:02,584
<i>But he's great,</i>
<i>he's just a consummate professional</i>

1463
01:38:03,336 --> 01:38:05,921
<i>and I can't wait to work with him again.</i>

1464
01:38:07,090 --> 01:38:10,425
l told you exactly what l was gonna do
if you didn't walk away, Toretto.

1465
01:38:11,260 --> 01:38:15,180
<i>And again, here we work in this,</i>
<i>hopefully it's a bit of a surprise.</i>

1466
01:38:15,264 --> 01:38:19,226
<i>l think the conceit is that</i>
<i>when Mia sends them off,</i>

1467
01:38:19,310 --> 01:38:22,521
<i>you think,</i>
<i>"Oh, it's just get rid of the baby and..."</i>

1468
01:38:23,106 --> 01:38:26,525
<i>But they actually end up playing</i>
<i>a huge part of the third act.</i>

1469
01:38:26,859 --> 01:38:29,152
<i>And I think when this was figured out,</i>

1470
01:38:29,278 --> 01:38:32,114
<i>I really, you know,</i>
<i>it was a sigh of relief for me</i>

1471
01:38:32,198 --> 01:38:34,407
<i>because not only do you get to incorporate</i>

1472
01:38:34,492 --> 01:38:36,868
<i>and bring back all the characters,</i>
<i>bring everything around,</i>

1473
01:38:36,953 --> 01:38:41,498
<i>but it actually fits into both philosophies.</i>

1474
01:38:45,670 --> 01:38:47,170
-Mia?
-Brian!

1475
01:38:50,633 --> 01:38:51,967
Let me go!

1476
01:39:05,273 --> 01:39:07,983
So, this is how it's gonna go down.

1477
01:39:08,526 --> 01:39:10,485
You're gonna cut me loose from these cuffs,

1478
01:39:10,945 --> 01:39:12,195
you're gonna hand me the chip,

1479
01:39:12,363 --> 01:39:14,364
I'm gonna walk out of here
and you're not gonna follow.

1480
01:39:14,532 --> 01:39:16,700
You must be joking.

1481
01:39:20,705 --> 01:39:21,955
Look at his face.

1482
01:39:25,960 --> 01:39:27,335
Ask him if I'm joking.

1483
01:39:27,503 --> 01:39:32,215
One hostage does not outweigh
the threat to millions.

1484
01:39:33,301 --> 01:39:37,053
I'm sorry, but this changes nothing.

1485
01:39:42,143 --> 01:39:43,476
It changes everything.

1486
01:39:44,854 --> 01:39:47,564
You tell your men to stand down.

1487
01:39:50,359 --> 01:39:52,194
Stand down.

1488
01:39:52,320 --> 01:39:54,362
<i>Adding this turn on Hobbs,</i>

1489
01:39:54,447 --> 01:40:00,118
<i>it's something that, if you really look</i>
<i>at this exercise of an ensemble</i>

1490
01:40:00,369 --> 01:40:04,289
<i>and I think Dwayne got it right away</i>
<i>and I told him, I said,</i>

1491
01:40:04,373 --> 01:40:08,251
<i>"Look, if you really count the time</i>
<i>he's on-screen, it's not that much."</i>

1492
01:40:08,836 --> 01:40:11,838
<i>But if you really look at the impact of Hobbs,</i>

1493
01:40:11,923 --> 01:40:14,090
<i>it outweighs that by many times,</i>

1494
01:40:14,175 --> 01:40:16,509
<i>because Hobbs is the character</i>

1495
01:40:16,594 --> 01:40:20,764
<i>that actually brings Dom and the team</i>
<i>into this new genre, this new world.</i>

1496
01:40:21,933 --> 01:40:27,103
<i>I always enjoy working with Dwayne</i>
<i>because he gets the bigger picture.</i>

1497
01:40:28,231 --> 01:40:32,025
<i>I think, a lot of times,</i>
<i>some people might get pushed back</i>

1498
01:40:32,109 --> 01:40:35,487
<i>because they feel like</i>
<i>they're not in the movie enough, or whatever.</i>

1499
01:40:35,571 --> 01:40:39,908
<i>But never from Dwayne,</i>
<i>we just have one conversation and he gets it.</i>

1500
01:40:40,660 --> 01:40:43,787
<i>And that's what you need</i>
<i>for a movie like this.</i>

1501
01:40:45,414 --> 01:40:47,082
Coming, babe?

1502
01:40:48,834 --> 01:40:51,253
<i>And here we have the Riley turn.</i>

1503
01:40:52,338 --> 01:40:55,257
<i>Which I always loved watching it in theaters,</i>

1504
01:40:55,341 --> 01:40:56,549
<i>and we always end up</i>

1505
01:40:56,634 --> 01:41:00,553
<i>eliciting some sort of reaction</i>
<i>from the viewer when that happens.</i>

1506
01:41:02,098 --> 01:41:06,643
<i>It might surprise,</i>
<i>but the seed was planted with Braga.</i>

1507
01:41:06,727 --> 01:41:09,729
<i>So even if it's a big or mild surprise,</i>

1508
01:41:09,814 --> 01:41:14,025
<i>it actually fits into everything that Shaw...</i>
<i>Who he is.</i>

1509
01:41:15,319 --> 01:41:20,573
<i>I think that's always part of the fun</i>
<i>when you set the game plan</i>

1510
01:41:20,658 --> 01:41:21,950
<i>and philosophy for different characters,</i>

1511
01:41:22,034 --> 01:41:24,911
<i>and when things organically</i>
<i>kind of come together.</i>

1512
01:41:24,996 --> 01:41:26,871
So, what about Toretto's sister?

1513
01:41:29,583 --> 01:41:33,253
<i>I think I have to give credit to Jay,</i>
<i>one of the execs at Universal.</i>

1514
01:41:33,337 --> 01:41:36,756
<i>He actually came up with the mole with Riley.</i>

1515
01:41:36,841 --> 01:41:39,884
<i>And usually when you hear executives talk,</i>

1516
01:41:41,512 --> 01:41:45,223
<i>you just want to basically</i>
<i>throw them in the closet or something.</i>

1517
01:41:45,766 --> 01:41:48,310
<i>But Jay is a superstar.</i>

1518
01:41:49,020 --> 01:41:52,939
<i>I enjoy working with Jeffrey Kirschenbaum,</i>
<i>who is now the president.</i>

1519
01:41:53,024 --> 01:41:55,984
We came up together on Tokyo Drift.

1520
01:41:56,068 --> 01:41:59,404
<i>And now he's co-president of the studio.</i>

1521
01:41:59,488 --> 01:42:04,784
<i>And Jay, who's just starting off his career,</i>
<i>he's a superstar in the making.</i>

1522
01:42:04,869 --> 01:42:09,914
<i>And I feel very fortunate.</i>
<i>A lot of times you have this tug and puII</i>

1523
01:42:09,999 --> 01:42:12,959
<i>when you're working with the studio.</i>

1524
01:42:13,044 --> 01:42:15,628
<i>But I actually have a great relationship.</i>

1525
01:42:15,713 --> 01:42:18,965
<i>I work with people who are passionate,</i>
<i>who don't mind a good fight,</i>

1526
01:42:19,050 --> 01:42:21,801
<i>but at the end of the day,</i>
<i>respect the process.</i>

1527
01:42:21,886 --> 01:42:26,097
<i>You can't ask for anything more than that</i>
<i>as a director.</i>

1528
01:42:26,182 --> 01:42:29,309
<i>Because l know I'm not</i>
<i>the easiest person to work with,</i>

1529
01:42:29,393 --> 01:42:33,563
<i>because I feel like it's my job to fight</i>
<i>for a point of view.</i>

1530
01:42:33,981 --> 01:42:36,191
<i>And I will fight to the end.</i>

1531
01:42:36,275 --> 01:42:41,488
<i>And to be able to have collaborators</i>
<i>that are not afraid to do that,</i>

1532
01:42:41,572 --> 01:42:46,159
<i>but also, at the same time,</i>
<i>respect the director and what he does,</i>

1533
01:42:46,243 --> 01:42:47,786
<i>I think it's very rare.</i>

1534
01:42:47,870 --> 01:42:52,457
<i>And l think this franchise has been</i>
<i>able to benefit from that relationship.</i>

1535
01:42:54,710 --> 01:42:58,546
She's as good as dead
if Shaw gets away on that plane.

1536
01:43:02,301 --> 01:43:04,219
Then we don't let him get away.

1537
01:43:11,894 --> 01:43:13,186
Let's end this thing.

1538
01:43:13,270 --> 01:43:17,273
<i>And here we are,</i>
<i>this is the big plane sequence.</i>

1539
01:43:17,358 --> 01:43:21,194
<i>It took about four years</i>
<i>for it to finally come to life.</i>

1540
01:43:21,278 --> 01:43:25,198
<i>I started designing the plane sequence</i>
after Fast Four,

1541
01:43:25,282 --> 01:43:29,035
<i>and I actually still have the previz for it.</i>

1542
01:43:29,120 --> 01:43:33,540
<i>At one point it was just an exercise</i>
<i>on what can be done,</i>

1543
01:43:33,624 --> 01:43:37,627
<i>and then I started incorporating</i>
<i>more character moments in there.</i>

1544
01:43:41,507 --> 01:43:46,094
<i>There was talk about maybe using it</i>
at the end of Fast Five,

1545
01:43:46,178 --> 01:43:50,557
<i>but I didn't think we had the resources,</i>

1546
01:43:50,641 --> 01:43:53,560
<i>I didn't think the technology was ready.</i>

1547
01:43:53,644 --> 01:43:57,188
<i>And so, finally, now to see it come to life,</i>

1548
01:43:57,273 --> 01:44:00,733
<i>the fact that it took four years</i>
<i>for it to all come together,</i>

1549
01:44:00,818 --> 01:44:03,695
<i>it's very fulfilling to see it on-screen.</i>

1550
01:44:04,989 --> 01:44:08,366
<i>The challenge, also, with this sequence,</i>

1551
01:44:08,451 --> 01:44:10,118
<i>there's not a lot...</i>

1552
01:44:10,202 --> 01:44:11,703
<i>You have to make a commitment.</i>

1553
01:44:11,787 --> 01:44:13,371
<i>Because, I think with other action sequences</i>

1554
01:44:13,456 --> 01:44:17,167
<i>you can always cheat</i>
<i>and change the order of things.</i>

1555
01:44:17,251 --> 01:44:21,087
<i>But with this, there are so many characters,</i>
<i>you have to make a commitment,</i>

1556
01:44:21,172 --> 01:44:23,465
<i>there is no going back.</i>

1557
01:44:23,549 --> 01:44:27,010
<i>And so, it did take many, many months,</i>

1558
01:44:27,094 --> 01:44:31,181
<i>and once l decided that this was</i>
gonna end Fast 6, or Furious 6...

1559
01:44:32,558 --> 01:44:35,685
<i>This interior set itself...</i>

1560
01:44:35,769 --> 01:44:41,733
<i>I didn't have it totally set until about</i>
<i>three weeks before we went into that set.</i>

1561
01:44:41,817 --> 01:44:48,239
<i>And part of that was, I had to make sure</i>
<i>the overall connections were all set,</i>

1562
01:44:48,324 --> 01:44:51,075
<i>and that all the character arcs</i>
<i>were gonna be serviced.</i>

1563
01:44:51,368 --> 01:44:52,619
Tell them to take off!

1564
01:44:52,703 --> 01:44:55,788
<i>And that started from the outside</i>
<i>and we worked our way in,</i>

1565
01:44:55,873 --> 01:45:00,627
<i>knowing that a lot of the big pieces</i>
<i>were gonna be in the interior.</i>

1566
01:45:00,711 --> 01:45:03,755
<i>But we were shooting second unit first.</i>

1567
01:45:04,089 --> 01:45:07,634
<i>And with first-second units,</i>
<i>again, directors all work very differently.</i>

1568
01:45:07,718 --> 01:45:11,721
<i>There's directors out there who</i>
<i>basically just hand off whatever action</i>

1569
01:45:11,847 --> 01:45:14,849
<i>to the second unit director.</i>

1570
01:45:14,934 --> 01:45:16,809
<i>I don't like doing that. I don't do that at all</i>

1571
01:45:16,894 --> 01:45:20,480
<i>because l feel like that makes the film</i>
<i>feel very segmented.</i>

1572
01:45:20,564 --> 01:45:26,778
<i>So all these shots have to be designed,</i>
<i>talked about, and it has to be executed.</i>

1573
01:45:26,862 --> 01:45:28,196
<i>You don't get any time back.</i>

1574
01:45:28,280 --> 01:45:30,865
<i>If the second unit,</i>
<i>they don't get the shots right,</i>

1575
01:45:30,950 --> 01:45:32,825
<i>you're never gonna get it again.</i>

1576
01:45:32,910 --> 01:45:38,540
<i>So l have a great relationship</i>
<i>with Spiro, Andy, and the whole second unit.</i>

1577
01:45:38,624 --> 01:45:41,501
<i>And they're usually shooting nights</i>
<i>and we're shooting days,</i>

1578
01:45:41,585 --> 01:45:43,920
<i>so I'm up all night</i>
<i>talking to them on the phone.</i>

1579
01:45:44,004 --> 01:45:46,673
<i>If for some reason a shot that's designed...</i>

1580
01:45:47,841 --> 01:45:50,885
<i>I work with Alex Vegh, who's head of previz,</i>
<i>and he's unbelievable,</i>

1581
01:45:50,970 --> 01:45:53,680
<i>he's become such a big part of this team.</i>

1582
01:45:53,764 --> 01:45:58,059
<i>These shots are designed for</i>
<i>the move and lens, everything.</i>

1583
01:45:59,103 --> 01:46:01,771
<i>And so when we're on set,</i>
<i>there should be no surprises,</i>

1584
01:46:01,855 --> 01:46:05,024
<i>but yet, there will always be.</i>
<i>l would get a call from Spiro saying,</i>

1585
01:46:05,109 --> 01:46:08,319
<i>the 1 8mm lens is not quite working</i>
<i>because of this and that.</i>

1586
01:46:08,445 --> 01:46:10,363
<i>Can we go to 1 6? Can we go to 14?</i>

1587
01:46:10,447 --> 01:46:15,326
<i>Whatever it is, that's how specific I like to get</i>

1588
01:46:15,411 --> 01:46:17,870
<i>when dealing with these sequences.</i>

1589
01:46:17,955 --> 01:46:19,914
<i>And also, there's enough trust with Spiro</i>

1590
01:46:19,999 --> 01:46:23,668
<i>because we talk about these sequences</i>
<i>for months and months and months</i>

1591
01:46:23,752 --> 01:46:30,717
<i>that when he suggests,</i>
<i>"This doesn't work, let's try this,"</i>

1592
01:46:30,801 --> 01:46:33,928
<i>it's always in the ballpark</i>
<i>because we're all in sync.</i>

1593
01:46:34,013 --> 01:46:35,847
<i>And it's important to have that.</i>

1594
01:46:36,974 --> 01:46:41,811
<i>And then, in the first unit</i>
<i>I'm with all the actors, and also with Olivier.</i>

1595
01:46:44,648 --> 01:46:48,318
<i>He had a lot on his plate in this film</i>
<i>designing all the fights.</i>

1596
01:46:48,402 --> 01:46:51,446
<i>On Fast Five, l thought there was a lot,</i>

1597
01:46:51,530 --> 01:46:54,866
<i>but that was nothing compared quantity-wise</i>

1598
01:46:54,950 --> 01:46:58,036
<i>to what we're doing in this film.</i>

1599
01:46:58,120 --> 01:46:59,829
<i>Yeah, he did an unbelievable job.</i>

1600
01:46:59,913 --> 01:47:03,249
<i>I'd never worked with Olivier,</i>
<i>this is the first time.</i>

1601
01:47:03,334 --> 01:47:06,252
<i>The challenge, a lot of times,</i>
<i>working with fight coordinators is that,</i>

1602
01:47:06,337 --> 01:47:08,588
<i>they come from a very different background.</i>

1603
01:47:08,672 --> 01:47:11,716
<i>They really see it through a different lens,</i>
<i>they look at fights as fights,</i>

1604
01:47:11,800 --> 01:47:13,426
<i>and they are very technical.</i>

1605
01:47:13,510 --> 01:47:18,806
<i>With Olivier, l love talking about</i>
<i>character and motivation,</i>

1606
01:47:19,433 --> 01:47:21,184
<i>and he gets it.</i>

1607
01:47:57,554 --> 01:48:02,892
<i>Right here, this is actually the Dom-Hobbs</i>
<i>moment that I really wanted to earn.</i>

1608
01:48:02,976 --> 01:48:07,271
<i>And it's always very satisfying to be</i>
<i>in the theater and watch it with the audience</i>

1609
01:48:07,356 --> 01:48:09,148
<i>where they cheer for that moment.</i>

1610
01:48:29,253 --> 01:48:33,589
<i>And we had a lot of cars that we destroyed.</i>

1611
01:48:33,674 --> 01:48:36,134
<i>We keep breaking our own records.</i>

1612
01:48:36,260 --> 01:48:39,720
<i>I think this one,</i>
<i>we went above 250 cars, we wrecked.</i>

1613
01:48:40,931 --> 01:48:45,852
<i>I remember on Tokyo Drift, I'd asked</i>
<i>for a cannon of a car for a stunt</i>

1614
01:48:45,936 --> 01:48:47,520
<i>and it was a big deal.</i>

1615
01:48:47,604 --> 01:48:52,233
<i>And it feels like every day we were doing</i>
<i>one of those big deals on this film.</i>

1616
01:48:55,946 --> 01:49:02,034
<i>And I remember in Longcross, we were trying</i>
<i>to see what would happen with these cars</i>

1617
01:49:02,119 --> 01:49:03,870
<i>and we got a crane.</i>

1618
01:49:05,956 --> 01:49:09,375
<i>And as soon as I saw that you could actually</i>
<i>lift them up and how wild they would swing</i>

1619
01:49:10,419 --> 01:49:13,004
<i>that's when I knew we had something.</i>

1620
01:49:18,427 --> 01:49:23,598
<i>You know, how do you top</i>
<i>the Dom and Hobbs fight of Fast Five?</i>

1621
01:49:23,682 --> 01:49:24,891
<i>I don't think you try to top it,</i>

1622
01:49:24,975 --> 01:49:27,351
<i>you really try to service the character</i>
<i>in the moments.</i>

1623
01:49:27,436 --> 01:49:32,273
<i>But that being said,</i>
<i>I was very happy to have found Kim,</i>

1624
01:49:34,193 --> 01:49:39,322
<i>because Dwayne is a huge guy, but he looks</i>
<i>like a normal guy standing next to Kim.</i>

1625
01:49:39,406 --> 01:49:44,076
<i>And Kim was just game.</i>
<i>And I loved playing with them on their fights,</i>

1626
01:49:44,161 --> 01:49:47,872
<i>even the way they would take the hits.</i>
<i>It was so good.</i>

1627
01:49:54,171 --> 01:50:01,177
<i>And this clothesline was the perfect ending</i>
<i>to the Dom-Hobbs end of it.</i>

1628
01:50:03,222 --> 01:50:04,805
What happened? Did you hit the flap?

1629
01:50:07,059 --> 01:50:08,476
You should buckle up right now.

1630
01:50:08,560 --> 01:50:09,602
What?

1631
01:50:20,030 --> 01:50:23,533
<i>This sequence here,</i>
<i>we had built a set that was the fuselage,</i>

1632
01:50:23,617 --> 01:50:28,788
<i>and it had a rotating set</i>
<i>just to make it feel authentic.</i>

1633
01:50:28,872 --> 01:50:31,666
<i>I think a lot of these little things,</i>
<i>when you watch the film,</i>

1634
01:50:31,750 --> 01:50:33,626
<i>it goes into the planning of it,</i>

1635
01:50:33,710 --> 01:50:40,132
<i>so that subtle moves in the movement</i>
<i>in the background, it all really helps overall.</i>

1636
01:50:45,097 --> 01:50:48,474
<i>At the end of the day,</i>
<i>we basically built a whole Antonov.</i>

1637
01:50:48,559 --> 01:50:49,642
<i>We built them in parts.</i>

1638
01:50:49,726 --> 01:50:53,271
<i>So we had the fuselage set,</i>
<i>we had the pilot set,</i>

1639
01:50:53,355 --> 01:50:56,566
<i>and we had to build a wing,</i>
<i>we built the wheels,</i>

1640
01:50:56,650 --> 01:50:59,193
<i>and when you put it all together,</i>
<i>we basically built a whole plane.</i>

1641
01:51:16,503 --> 01:51:17,545
Shit.

1642
01:51:18,255 --> 01:51:22,883
<i>And here we have Mia and Brian.</i>
<i>Again, it's nice when things work out</i>

1643
01:51:22,968 --> 01:51:25,595
<i>where it feels like Mia is basically</i>
<i>sending the guys off</i>

1644
01:51:26,179 --> 01:51:28,347
<i>so she can take care of her baby,</i>

1645
01:51:28,432 --> 01:51:31,267
<i>and now she's driving the car</i>
<i>that's gonna take down the plane.</i>

1646
01:51:36,356 --> 01:51:42,194
<i>And this is the moment for Brian, where,</i>
<i>again, his discovery of this idea of trust.</i>

1647
01:51:42,279 --> 01:51:44,780
<i>He actually has to shoot not at the target</i>

1648
01:51:44,865 --> 01:51:48,534
<i>but at where he thinks it's gonna go</i>
<i>to hit the target.</i>

1649
01:51:55,917 --> 01:51:57,251
l got you.

1650
01:51:59,504 --> 01:52:02,465
<i>This Han-Gisele moment l love.</i>

1651
01:52:04,634 --> 01:52:09,096
<i>I always love, whether it's Star Wars</i>
<i>or any kind of franchise movies,</i>

1652
01:52:09,181 --> 01:52:12,892
<i>where you have</i>
<i>these iconic characters that have...</i>

1653
01:52:12,976 --> 01:52:17,313
<i>They actually have an expiration date.</i>
<i>They don't live on forever.</i>

1654
01:52:17,397 --> 01:52:19,857
<i>And that's what makes them so cool.</i>

1655
01:52:20,525 --> 01:52:24,153
<i>It's like James Dean or Bruce Lee,</i>
<i>there's this mystique.</i>

1656
01:52:26,031 --> 01:52:31,035
<i>l think now we're at a time</i>
<i>in franchises with studios</i>

1657
01:52:32,162 --> 01:52:35,498
<i>where they just want everybody alive.</i>

1658
01:52:35,582 --> 01:52:38,417
<i>Just in case, forever.</i>

1659
01:52:38,502 --> 01:52:42,838
<i>And so, I gotta give the studio a lot of credit.</i>
<i>We had a lot of discussions</i>

1660
01:52:42,923 --> 01:52:46,050
<i>on this whole Han-Gisele thing.</i>

1661
01:52:46,551 --> 01:52:51,263
<i>And at the end of the day,</i>
<i>they really did support me as a filmmaker,</i>

1662
01:52:51,348 --> 01:52:53,182
<i>and I appreciate that,</i>

1663
01:52:53,266 --> 01:52:57,436
<i>because the amount of work, commitment,</i>
<i>that goes into making these films,</i>

1664
01:52:57,521 --> 01:53:01,941
<i>to have a studio that basically has been</i>
<i>an amazing partner</i>

1665
01:53:02,025 --> 01:53:04,318
<i>these last eight years...</i>

1666
01:53:04,403 --> 01:53:10,616
<i>Because without them you can't have</i>
<i>a chance to make a decent movie nowadays,</i>

1667
01:53:10,700 --> 01:53:13,202
<i>because there's just so many people.</i>

1668
01:53:16,081 --> 01:53:20,918
<i>I have said this before, you know,</i>
<i>a lot of times with franchises and sequels,</i>

1669
01:53:21,920 --> 01:53:23,295
<i>there's so much money involved</i>

1670
01:53:23,380 --> 01:53:26,924
<i>that when one works,</i>
<i>the tendency is to be conservative</i>

1671
01:53:27,008 --> 01:53:30,094
<i>and say, "Well, it worked on that last one,</i>
<i>so let's do the same thing over."</i>

1672
01:53:30,178 --> 01:53:33,431
<i>And that's why, for me as a moviegoer,</i>

1673
01:53:34,266 --> 01:53:37,643
<i>I find that that's the problem with sequels</i>
<i>a lot of times.</i>

1674
01:53:37,727 --> 01:53:39,311
<i>And so, when I go to the studio</i>

1675
01:53:39,396 --> 01:53:42,940
<i>and say, "Hey, I know that</i>
<i>we were successful on this last one,</i>

1676
01:53:43,066 --> 01:53:45,484
<i>"but in this next one we're gonna</i>
<i>do something very different."</i>

1677
01:53:45,569 --> 01:53:50,364
<i>And for them to say, "Okay. Let's evolve it.</i>
<i>You do it. Let's push it."</i>

1678
01:53:50,449 --> 01:53:53,367
<i>That is very rare.</i>

1679
01:53:53,452 --> 01:53:57,496
<i>And there's a lot of trust that goes in</i>
<i>between the filmmaker and the studio,</i>

1680
01:53:57,581 --> 01:54:01,542
<i>and I appreciate Universal</i>
<i>for being such great partners.</i>

1681
01:54:01,626 --> 01:54:05,504
<i>For us to start off in a streetcar race scene</i>

1682
01:54:05,589 --> 01:54:09,175
<i>and for us now to be fighting in an Antonov</i>

1683
01:54:09,259 --> 01:54:13,512
<i>with people getting</i>
<i>ejected through a windshield,</i>

1684
01:54:13,597 --> 01:54:17,183
<i>this takes a lot of conversations</i>
<i>and a lot of trust.</i>

1685
01:54:17,267 --> 01:54:20,686
<i>And for us to be here and to see this,</i>

1686
01:54:20,770 --> 01:54:24,190
<i>to see the explosion of the plane</i>
<i>and everything,</i>

1687
01:54:25,609 --> 01:54:28,152
<i>it just shows you that this is earned, too.</i>

1688
01:54:28,236 --> 01:54:32,072
<i>And the fans are a huge part of this process,</i>

1689
01:54:32,157 --> 01:54:36,744
<i>because sequels aren't given,</i>
<i>sequels are earned.</i>

1690
01:54:36,828 --> 01:54:41,582
<i>And for us to be able to be a part of this,</i>
<i>for me to be able to be a part of this</i>

1691
01:54:41,666 --> 01:54:44,376
<i>and to be able to push it and challenge it,</i>

1692
01:54:44,461 --> 01:54:46,462
<i>and even stylize it to a point where</i>

1693
01:54:46,546 --> 01:54:50,674
<i>we're able to really push</i>
<i>what can be done physically,</i>

1694
01:54:51,801 --> 01:54:55,095
<i>it's been an amazing ride</i>
<i>for the last eight years.</i>

1695
01:54:59,309 --> 01:55:02,603
<i>I feel like my job is to somehow</i>

1696
01:55:02,687 --> 01:55:06,607
<i>take our characters</i>
<i>on all these adventures around the world</i>

1697
01:55:06,691 --> 01:55:09,401
<i>and ultimately bring them home.</i>

1698
01:55:09,486 --> 01:55:11,862
<i>And to have the opportunity to do it,</i>

1699
01:55:11,947 --> 01:55:16,242
<i>I just don't think</i>
<i>you get that much in life in what I do,</i>

1700
01:55:16,326 --> 01:55:19,328
<i>and so I definitely don't take this lightly.</i>

1701
01:55:30,382 --> 01:55:34,385
<i>And I have to give David Vickery,</i>
<i>Double Negative, Calvin...</i>

1702
01:55:34,928 --> 01:55:39,431
<i>I mean, there were so many people</i>
<i>that worked on this, and with pride,</i>

1703
01:55:39,516 --> 01:55:42,351
<i>and just the crazy schedule that we had,</i>

1704
01:55:42,435 --> 01:55:46,772
<i>and for them to be so tirelessly working</i>

1705
01:55:46,856 --> 01:55:49,191
<i>and just giving their all...</i>

1706
01:55:50,193 --> 01:55:51,610
<i>And especially visual effects.</i>

1707
01:55:51,695 --> 01:55:56,865
<i>I have to say,</i>
l think in Star Wars or Star Trek,

1708
01:55:57,033 --> 01:56:00,286
<i>you know when it's a visual effect,</i>
<i>it looks great and everything.</i>

1709
01:56:00,537 --> 01:56:03,956
<i>Here, in this sequence</i>
<i>they're the unsung heroes.</i>

1710
01:56:04,040 --> 01:56:07,793
<i>When they do their job,</i>
<i>you're not supposed to notice anything.</i>

1711
01:56:07,877 --> 01:56:11,130
<i>And it's definitely</i>
<i>very practically driven, this film,</i>

1712
01:56:11,214 --> 01:56:14,675
<i>but I still have 1 ,800 effects shots.</i>

1713
01:56:14,759 --> 01:56:18,470
<i>And the only time</i>
<i>you recognize visual effects in this franchise</i>

1714
01:56:18,555 --> 01:56:20,556
<i>is when it doesn't work.</i>

1715
01:56:20,640 --> 01:56:22,641
<i>So the fact that everything looks so great</i>

1716
01:56:22,726 --> 01:56:25,811
<i>is a testament</i>
<i>to everybody that's worked on it,</i>

1717
01:56:25,895 --> 01:56:27,730
<i>the visual effects crew...</i>

1718
01:56:28,940 --> 01:56:30,733
<i>I'm forever grateful.</i>

1719
01:56:30,817 --> 01:56:33,319
<i>I think for them to be in a dark room all day,</i>

1720
01:56:33,403 --> 01:56:36,947
<i>just working and taking these notes,</i>
<i>and working and reworking things.</i>

1721
01:56:37,157 --> 01:56:41,827
<i>And to see it now, we're gonna have</i>
<i>this film that's gonna exist forever,</i>

1722
01:56:41,911 --> 01:56:44,747
<i>that's something that</i>
<i>I think we're all very proud of.</i>

1723
01:56:45,790 --> 01:56:47,499
Where's Gisele?

1724
01:56:47,584 --> 01:56:50,002
<i>And again this moment with Han,</i>

1725
01:56:51,588 --> 01:56:57,343
<i>l think there was some concern that it was</i>
<i>taking the cheer moment away from the film.</i>

1726
01:56:57,427 --> 01:57:01,305
<i>And, to me, I don't think it takes it away,</i>
<i>it adds depth.</i>

1727
01:57:01,389 --> 01:57:05,684
<i>l think it's the accumulation</i>
<i>of everything, emotionally,</i>

1728
01:57:05,769 --> 01:57:07,353
<i>that this is what...</i>

1729
01:57:07,437 --> 01:57:12,316
<i>If you really want to talk about</i>
<i>this idea of family, it does embody that.</i>

1730
01:57:12,400 --> 01:57:16,487
<i>You're gonna have moments of triumph,</i>
<i>you're gonna have moments of support,</i>

1731
01:57:16,571 --> 01:57:20,199
<i>you know, people there for each other.</i>
<i>That's what a family is.</i>

1732
01:57:20,283 --> 01:57:26,372
<i>And I'm glad that we're able to conclude</i>
<i>everything and to have these moments.</i>

1733
01:57:26,456 --> 01:57:30,084
<i>And I think it speaks to</i>
<i>the maturity of the franchise.</i>

1734
01:57:30,460 --> 01:57:31,794
Name your price, Dom.

1735
01:57:36,716 --> 01:57:39,134
1 327.

1736
01:57:56,611 --> 01:57:59,029
<i>So we're back here in the Toretto house.</i>

1737
01:58:01,324 --> 01:58:04,034
<i>And in the UK shooting,</i>
<i>the weather's always unpredictable.</i>

1738
01:58:04,119 --> 01:58:06,829
<i>It's a challenge, and everybody knows that.</i>

1739
01:58:06,913 --> 01:58:09,707
<i>And I was looking forward to</i>
<i>coming back to LA and shooting,</i>

1740
01:58:09,791 --> 01:58:12,793
<i>and, of course, as soon as we got back,</i>
<i>it was raining.</i>

1741
01:58:14,546 --> 01:58:16,839
<i>Our two-day shoot became a four-day shoot.</i>

1742
01:58:16,923 --> 01:58:19,508
<i>And it was pretty tough getting this.</i>

1743
01:58:20,218 --> 01:58:21,844
<i>But it was definitely worth it,</i>

1744
01:58:21,928 --> 01:58:24,680
<i>I think, for the actors,</i>
<i>but definitely for me, too,</i>

1745
01:58:24,764 --> 01:58:29,935
<i>to be able to, in a way,</i>
<i>take the characters on this crazy journey</i>

1746
01:58:30,019 --> 01:58:34,273
<i>and then bring 'em home,</i>
<i>and conclude my chapter of the franchise.</i>

1747
01:58:34,816 --> 01:58:36,108
You're confusing the kid.

1748
01:58:36,276 --> 01:58:37,484
Mia, you're gonna let him get away with this?

1749
01:58:37,652 --> 01:58:39,027
You're really going to do it?

1750
01:58:39,863 --> 01:58:40,904
Tokyo.

1751
01:58:42,157 --> 01:58:44,825
Yeah, it's just something l gotta do.

1752
01:58:44,993 --> 01:58:48,287
You know we got your back,
whenever you need us.

1753
01:58:52,375 --> 01:58:54,793
Hey, Mia, you better hide your baby oil.

1754
01:58:54,878 --> 01:58:55,919
I'm just playing.

1755
01:58:56,004 --> 01:58:57,671
You better hide that big-ass forehead.

1756
01:58:57,839 --> 01:58:59,047
l was just joking, but whatever.

1757
01:58:59,549 --> 01:59:00,966
Definitely not that funny.

1758
01:59:01,134 --> 01:59:02,801
lt's official.

1759
01:59:02,969 --> 01:59:04,178
You're all free.

1760
01:59:08,892 --> 01:59:12,936
<i>Now, a lot of people, they would ask me,</i>
<i>"Did you know everything?"</i>

1761
01:59:13,938 --> 01:59:18,400
<i>I knew enough, even in '05, talking to Vin,</i>

1762
01:59:18,485 --> 01:59:21,695
<i>that it is really cool to see...</i>

1763
01:59:21,780 --> 01:59:24,573
<i>When you see Roman and Tej talking to Han</i>

1764
01:59:24,657 --> 01:59:28,118
<i>and you're seeing Letty talking to Elena,</i>

1765
01:59:28,203 --> 01:59:30,996
<i>it just means that we've earned all this.</i>

1766
01:59:31,080 --> 01:59:36,084
<i>And all these characters that exist in this</i>
franchise, in the Fast and Furious universe,

1767
01:59:36,169 --> 01:59:38,754
<i>are able to interact with each other.</i>

1768
01:59:40,298 --> 01:59:41,840
He's an amazing guy.

1769
01:59:42,509 --> 01:59:44,051
Yeah, he is.

1770
01:59:45,553 --> 01:59:46,762
Try to keep him out of trouble.

1771
01:59:46,846 --> 01:59:51,934
<i>I like our approach because</i>
<i>we never shy away from the fact that</i>

1772
01:59:52,018 --> 01:59:53,852
<i>there's two women who love Dom,</i>

1773
01:59:55,271 --> 01:59:59,149
<i>there is a baby now in an action franchise.</i>

1774
02:00:01,152 --> 02:00:04,822
<i>The fact that we embrace it</i>
<i>instead of pushing things away,</i>

1775
02:00:05,782 --> 02:00:08,951
<i>that's kind of a badge of honor for me,</i>
<i>for sure.</i>

1776
02:00:12,288 --> 02:00:13,997
Until next time.

1777
02:00:14,624 --> 02:00:17,334
Until next time.

1778
02:00:23,800 --> 02:00:24,800
Elena.

1779
02:00:33,643 --> 02:00:35,060
You know you don't have to go.

1780
02:00:38,147 --> 02:00:41,567
All this... This is your family.

1781
02:00:42,652 --> 02:00:44,486
lt's who you are.

1782
02:00:44,863 --> 02:00:46,822
This is my family.

1783
02:00:49,158 --> 02:00:50,993
This is who l am.

1784
02:01:09,137 --> 02:01:10,345
All right, everybody, let's eat.

1785
02:01:10,847 --> 02:01:11,847
Want some help with that?

1786
02:01:12,056 --> 02:01:13,599
lt's all here, it's done.

1787
02:01:14,517 --> 02:01:16,852
Come on, man, let's get with it.

1788
02:01:19,689 --> 02:01:21,356
First bite, he's got grace.

1789
02:01:21,524 --> 02:01:23,191
House rules, man. House rules.

1790
02:01:23,318 --> 02:01:27,362
<i>Usually, working on the script,</i>
<i>these are always the toughest moments,</i>

1791
02:01:27,447 --> 02:01:29,740
<i>to wrap everything up.</i>

1792
02:01:29,824 --> 02:01:34,411
<i>But I have to say,</i>
<i>it came pretty easy for this film.</i>

1793
02:01:35,872 --> 02:01:38,540
<i>It came across pretty organically.</i>

1794
02:01:39,417 --> 02:01:40,751
That's good enough for me.

1795
02:01:42,462 --> 02:01:45,631
<i>I think the biggest issue was,</i>
<i>"Can we cram everything into one film?"</i>

1796
02:01:45,715 --> 02:01:47,758
<i>That was probably the biggest issue.</i>

1797
02:01:47,842 --> 02:01:54,389
<i>But it was a challenge and I'm glad that</i>
<i>we were able to do that.</i>

1798
02:01:55,642 --> 02:02:01,438
<i>And for me, it's just a nice way</i>
<i>to close everything out.</i>

1799
02:02:02,148 --> 02:02:04,733
...because that's what makes us who we are.

1800
02:02:05,526 --> 02:02:09,112
<i>It just felt right for me</i>
<i>that this was the time to go.</i>

1801
02:02:09,197 --> 02:02:13,408
<i>I feel like I was able to help it</i>
<i>evolve and grow,</i>

1802
02:02:13,493 --> 02:02:17,079
<i>and at a certain point, I had to let it go.</i>

1803
02:02:18,581 --> 02:02:22,793
<i>I remember watching the first</i>
Fast and Furious when l was in film school,

1804
02:02:22,877 --> 02:02:27,339
<i>so I actually can't wait to get back to that role</i>

1805
02:02:27,465 --> 02:02:31,051
<i>of being a viewer again, a fan again,</i>

1806
02:02:31,135 --> 02:02:36,264
<i>and see where the next filmmaker's</i>
<i>gonna take this franchise,</i>

1807
02:02:36,349 --> 02:02:39,643
<i>and the adventures of Dom and Brian</i>
<i>and everybody.</i>

1808
02:02:40,728 --> 02:02:44,064
<i>And l know that</i>
<i>the franchise is gonna move forward</i>

1809
02:02:44,148 --> 02:02:46,942
<i>and it's gonna go on and on and on.</i>

1810
02:02:56,619 --> 02:02:58,495
<i>We're gonna have the tag here now.</i>

1811
02:02:58,579 --> 02:03:00,580
<i>And people were like, "There's no way</i>

1812
02:03:00,665 --> 02:03:03,709
<i>"you could have figured that out</i>
way back in Tokyo Drift."

1813
02:03:03,793 --> 02:03:08,463
<i>And to be honest, I knew we were</i>
<i>always gonna come back to Tokyo.</i>

1814
02:03:09,549 --> 02:03:15,470
<i>And l felt like there were</i>
<i>two pivotal points in this franchise for me.</i>

1815
02:03:15,555 --> 02:03:19,474
<i>And the first one was, I mentioned earlier,</i>
<i>it was talking to Vin,</i>

1816
02:03:19,559 --> 02:03:22,227
<i>convincing him to come back for the cameo.</i>

1817
02:03:22,311 --> 02:03:26,231
<i>Because that, to me, was a big indication</i>

1818
02:03:26,315 --> 02:03:28,066
<i>that I was doing something right</i>

1819
02:03:28,151 --> 02:03:32,362
<i>and that the sensibility of this franchise,</i>
<i>even if it's being shifted,</i>

1820
02:03:32,447 --> 02:03:36,992
<i>and that we were gonna do</i>
<i>something hopefully, and evolve and grow,</i>

1821
02:03:37,076 --> 02:03:42,247
<i>and he got that, and we were able to</i>
<i>really move from there.</i>

1822
02:03:42,331 --> 02:03:46,460
<i>I have to say,</i>
<i>probably the second biggest moment for me,</i>

1823
02:03:46,544 --> 02:03:49,588
<i>it was actually after Tokyo Drift,</i>

1824
02:03:50,673 --> 02:03:53,592
<i>and I wasn't sure if I was gonna</i>
do another Fast and Furious.

1825
02:03:53,676 --> 02:03:55,761
<i>The studio had called and I didn't know,</i>

1826
02:03:55,845 --> 02:03:58,263
<i>I felt like,</i>
<i>"God, is it something l want to do?"</i>

1827
02:03:59,307 --> 02:04:02,267
<i>As much as l...</i>
<i>I really had a great time in Tokyo Drift,</i>

1828
02:04:02,351 --> 02:04:06,688
<i>I wasn't thinking...</i>
<i>This was very early on, and I wasn't sure.</i>

1829
02:04:10,693 --> 02:04:16,615
<i>I remember I was on this road trip</i>
<i>and Sung was there,</i>

1830
02:04:17,492 --> 02:04:20,577
<i>and we were at an Arby's or something,</i>

1831
02:04:20,661 --> 02:04:22,829
<i>and these kids saw him.</i>

1832
02:04:22,914 --> 02:04:26,124
<i>l think we were in the middle of nowhere</i>
<i>in Central California.</i>

1833
02:04:26,209 --> 02:04:29,628
<i>And they ran up to him and they were</i>
talking about Han and Fast and Furious.

1834
02:04:29,712 --> 02:04:31,296
<i>And at that moment I felt like,</i>

1835
02:04:31,380 --> 02:04:34,257
<i>"Okay. Well, you know what,</i>
<i>everything I was talking to Vin about,</i>

1836
02:04:34,342 --> 02:04:37,135
<i>"it could come true if Han can come back.</i>

1837
02:04:37,220 --> 02:04:42,015
<i>"Because that would create a dialog</i>
<i>for the mythology that we want to build."</i>

1838
02:04:42,100 --> 02:04:45,310
<i>And l remember</i>
<i>calling the studio at that point</i>

1839
02:04:45,394 --> 02:04:48,688
<i>and they said, "Yeah, you're back on."</i>
<i>And I said, "I need to have Han come back."</i>

1840
02:04:48,773 --> 02:04:51,024
<i>And they're saying,</i>
<i>"Why would you do that? He's dead."</i>

1841
02:04:51,109 --> 02:04:53,527
<i>And I said,</i>
<i>"Watch, this is gonna create discourse,</i>

1842
02:04:53,611 --> 02:04:55,487
<i>"and that's what's good for mythology."</i>

1843
02:04:55,571 --> 02:04:59,407
<i>And again, they went with it.</i>
<i>They trusted me, they went with it,</i>

1844
02:04:59,492 --> 02:05:02,119
<i>and those are the two big points.</i>

1845
02:05:02,203 --> 02:05:06,665
<i>And it's led to the evolution</i>
<i>and the building of this franchise</i>

1846
02:05:06,749 --> 02:05:10,877
<i>to a point that now we could actually</i>
go back to Tokyo Drift.

1847
02:05:11,879 --> 02:05:16,383
<i>It was great to be able to make that call</i>
<i>to Jason Statham and say,</i>

1848
02:05:16,467 --> 02:05:19,302
<i>"Hey, what do you think?</i>
<i>You wanna be in the next chapter?"</i>

1849
02:05:19,387 --> 02:05:21,513
<i>And him saying, "Of course."</i>

1850
02:05:22,014 --> 02:05:24,015
<i>And that, again, means so much,</i>

1851
02:05:24,100 --> 02:05:28,103
<i>because when I first signed on,</i>
<i>there was no original cast...</i>

1852
02:05:28,604 --> 02:05:32,065
<i>I don't think people were excited</i>
to be in a Fast and Furious movie,

1853
02:05:32,150 --> 02:05:36,361
<i>but we were able to build it to a point where</i>
<i>now everybody wants to be in it.</i>

1854
02:05:36,445 --> 02:05:40,115
<i>Believe me, I get caIIs,</i>
<i>everybody wants to be in it.</i>

1855
02:05:40,199 --> 02:05:43,785
<i>So it's been a pleasure to be a part of this.</i>

1856
02:05:43,870 --> 02:05:47,622
<i>And I know it's very rare to be able</i>
<i>to have such great partners,</i>

1857
02:05:47,707 --> 02:05:50,709
<i>and to be able to connect with the fans,</i>

1858
02:05:50,793 --> 02:05:55,797
<i>and to really build it to a point where</i>
<i>I can now hand it off to somebody eIse.</i>

1859
02:05:57,133 --> 02:06:00,385
<i>So, this is it, this really is it.</i>

1860
02:06:00,469 --> 02:06:02,721
<i>I'm very grateful.</i>

1861
02:06:02,805 --> 02:06:06,308
<i>And the fact that you're Iistening</i>
<i>to this commentary track means</i>

1862
02:06:06,392 --> 02:06:09,895
<i>you must really like this movie</i>
<i>and this franchise.</i>

1863
02:06:09,979 --> 02:06:12,856
<i>So l have to thank you. And that's it.</i>

1864
02:06:12,940 --> 02:06:16,610
<i>All right. So until the next film. Bye.</i>