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In part 2 of this interview we discuss directing dangerous stunts, screwing with audience expectations and working with Netflix. Part of that is because of the camera position, which I think you guys alluded to in your podcast.

Listen to the unabridged audio at the bottom, or read on. There’s a great action sequence in this where a motorcycle’s chasing him and it crashes. When you’re not placing the camera in completely artificial positions, the ‘camera on the street corner’ kind of positions, you’re keeping it really subjective with the character, you’re kind of with that character, and everything feels much more realistic. We don’t have any drone shots, etc., and so when you see a car accident, or when you see a stunt like the motorcycle stunt from the perspective of the car, that is how you would see it if you were riding shotgun with Wheelman, or if you were in the car with him.

You’ve got to design the visual language of the stunt so that it all fits together fairly cohesively, and the magic trick is invisible.

And as you’re witnessing this, standing off to the side, you’re looking at the monitors to make sure that you’ve got it.

A huge part of doing a stunt like that, where the hero vehicle with the actual cast member, with Frank, is going to be involved in the stunt…

You’re really figuring out how to edit it together, because you’re cutting together footage with Frank because you want to sell, that it’s actually him in the car, but obviously you cannot do a stunt like that, with that kind of G-force, with him in that car.

You surround yourself with THE most experienced people, that are exponentially more experienced and more talented, and then you put them in a position to try to do their best work. We set this thing up and the motorcycle driver, Joe…

I think he was coming in at the back of that Prius at about 30 miles an hour.

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