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3, 2, 1, go!
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No!
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John Koyama is an amazing
stunt and fight choreographer.
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He's just-- I mean, we've leaned
so heavily on him,
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and he is a director.
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He has a cast of stuntmen:
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a Jesse, a Cassidy,
a DeBlanc and Fiore, a Tulip.
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And he stages these fights.
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John Koyama makes little movies of it
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that we discuss and go over together,
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and he pitches shots to us, and stunts.
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And by the end, yeah,
we've worked together,
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and we know exactly
what we're filming
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by the time we shoot the fight.
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And your face moving up, boom!
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And you both drop.
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As a team, we R&D it
and choreograph it,
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and then we run it, run it, run it.
We shoot it.
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And then we show it
to Sam, Seth, and Evan.
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They make their notes,
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we go back and forth a few times
before we lock something in.
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It's kind of
one of my favorite parts
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because you got
all the stunt guys acting,
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and the acting doesn't matter,
so they kind of blow through it.
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Doesn't make sense.
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We usually go with screaming
and graphic violence.
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- Yeah.
- Yeah, that's the easiest.
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- Aah!
- That's the easiest.
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Make it look gnarly.
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Once we lock something in,
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we'll show the actors,
train the actors
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and teach them the fight.
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And while they're putting
the flavor on it,
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the doubles are there watching.
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So they have to match their style.
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It's one thing to do it with our team
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and then another thing
when the actors come in,
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because they bring
the characters with them.
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You roll up
on these fight scenes, man.
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And they're fucking so complicated, huh?
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They look really bloody complicated.
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This is the thing.
They're so complicated,
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but you learn them quickly
and they make sense.
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Then do they make sense
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when you do those big fight sequences
that don't matter,
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just putting in moves
for no reason?
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It honestly has been incredible.
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John and the stunt team are insane.
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They're amazing.
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- Your fight in the pilot--
- Yeah.
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Unbelievable.
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Karate kicks, coming into that,
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binding through that glass tunnel there.
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It will be all right...
That felt hard.
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You know in every fight scene
there's at least one person
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- who just won't down.
- Yes.
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Most irritating man in the world.
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Shooting action is uniquely different,
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so it oftentimes helps
the cinematography department
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because then they kind of have an idea
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of what angles you're going to show
to stunt best.
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There's a nice mix of comedy
and genuine like,
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"Aw, it was awesome, man."
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And it's the least likely,
but it's my favorite scenario:
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you're a Jedi.
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Jesse practicing
and trying out the power
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that he has on his friend Cassidy,
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but it's going to become chaotic.
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Hop!
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Box!
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I can't do it without John. It's not me
that designs the stunt.
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It's the stunt coordinator.
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When he says fly, no hesitation,
just get up.
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He's out to bounce off this trampoline.
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Action.
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That's first man into a wall,
nailed it.
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Fly!
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Whoa!
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It makes me look really cool and brave.
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So I've been training
with John Koyama
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and he's been teaching me
how to use a baton lethally.
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The scene where I get
very, very angry
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about what's happened
to one of the girls
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who works in Taiwan,
is a case of mistaken identity.
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You know, if you don't
have that energy,
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you don't bring that fire,
you don't bring that intensity,
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then it's not believable.
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He'll get the pull back,
he won't get the--
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He'll get the...
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They built a deck underneath,
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so it's actually only going to be
about a 5 and a half, 6-foot drop
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out the window.
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To me only thing
that makes it gnarly
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is that I have no pants on.
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Very tender spots exposed
to large amounts of candy glass.
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I'd love to go
through the fucking window,
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but they won't let me do it.
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We have about seven scenes
with DeBlanc and Fiore. This is the first
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time we kind of introduce
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the actual regeneration
of these characters,
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how they're able to do it.
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He died?
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I'm sorry, man.
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Grab a weapon, watch out,
she'll be back.
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The clown fight:
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it is one of the maddest things
I've ever done.
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The whole experience was exciting.
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We had a lot of different
fight sequences to learn.
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We take the knife,
we do a little switch of the knife.
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So it is very technical,
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but one thing that Koyama
has told me to do,
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the more kind of crazy
it can look, the better.
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Whenever I fight taller people,
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I got to move extra forward,
and I got to punch up.
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It's almost a non-choreographed fight.
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Of course, you have to have
a choreography or else,
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you know, it'll be nothing,
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and it's a safety issue as well.
It looks sloppy.
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I talked to Seth, Evans, Sam,
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and of course, the director, Guillermo
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about the concepts and the ideas
and the style,
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and it looks messy, it looks dirty.
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Oh!
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Fuck!
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He remains blocking,
and we add more bodies and shit.
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Mm-hmm.
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And then he unblocks
and they come up continuous
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and now it's a mountain
of things and...
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They really wanted to concentrate
on the bodies piling up
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and how those would be obstacles,
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almost like if you're in a war
in a trench.
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- Real, real, real.
- Real, real.
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Yeah.
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Honestly, like, whoever has
to clean that fucking set up,
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I just feel so sorry for.
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- Do one more, Rich.
- Yes sir.
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Today, we had Dominic Cooper
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hanging out of the side
of the building.
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This door that just opens,
we didn't build that, we didn't design that,
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that was just there
in that location.
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We had a crane to bring him
from the top, hanging him,
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because he's supposed
to be frozen.
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Our next setup was Rich King
actually doing the drop.
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And on action,
we get to quick release him.
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He drops straight out.
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The believability comes across
with the choreography
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as well as what the actors
bring to it.
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The pilot of Preacher
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was the first time
we did the fight scenes
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where I was like,
"Those are pretty dark fight scenes
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on the grand scale
of fight scenes."
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And we used to go
into places and say,
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"Okay,
here's what's going to happen."
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We roughly know and we've
realized that's absurd.
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You should plan things out
in great detail.
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Every shot.