David Bianculli

So inside the car, we build a cage. And the cage is built with steel pipe and welding. And it's designed to create just a box that protects the driver. And then the driver is in what we call a suspension harness. So they're saving their back. So they're really almost suspended above the seat. And there's a bungee system that's allowing them to take the shock off.

So inside the car, we build a cage. And the cage is built with steel pipe and welding. And it's designed to create just a box that protects the driver. And then the driver is in what we call a suspension harness. So they're saving their back. So they're really almost suspended above the seat. And there's a bungee system that's allowing them to take the shock off.

And then they're in a harness that's neck restraints. And there's a lot of things that's just built in to protect the driver. I'm not going to say it's foolproof, but that protection of the driver just gets better and better every year with more innovation and more stuff that's coming from the racing world.

And then they're in a harness that's neck restraints. And there's a lot of things that's just built in to protect the driver. I'm not going to say it's foolproof, but that protection of the driver just gets better and better every year with more innovation and more stuff that's coming from the racing world.

And then they're in a harness that's neck restraints. And there's a lot of things that's just built in to protect the driver. I'm not going to say it's foolproof, but that protection of the driver just gets better and better every year with more innovation and more stuff that's coming from the racing world.

And there's just a legacy of that stunt and information and how it's done that gets passed down generation to generation.

And there's just a legacy of that stunt and information and how it's done that gets passed down generation to generation.

And there's just a legacy of that stunt and information and how it's done that gets passed down generation to generation.

I was doubling Brad Pitt on The Mexican, and I'd just gotten the call. I was actually working in Vancouver doubling for Jean-Claude Van Damme. And I got the call to do this movie, The Mexican, and I actually told Jean-Claude I have to leave. I'm going to go double Brad Pitt.

I was doubling Brad Pitt on The Mexican, and I'd just gotten the call. I was actually working in Vancouver doubling for Jean-Claude Van Damme. And I got the call to do this movie, The Mexican, and I actually told Jean-Claude I have to leave. I'm going to go double Brad Pitt.

I was doubling Brad Pitt on The Mexican, and I'd just gotten the call. I was actually working in Vancouver doubling for Jean-Claude Van Damme. And I got the call to do this movie, The Mexican, and I actually told Jean-Claude I have to leave. I'm going to go double Brad Pitt.

He wasn't necessarily excited or happy about that, but I didn't want to lose the opportunity because I had just done Fight Club, and I was excited to sort of build this relationship with that actor because as a stunt performer, you hope that you get to double an actor and you get to do multiple films with them, and you build a career that way. So I fly down to Mexico.

He wasn't necessarily excited or happy about that, but I didn't want to lose the opportunity because I had just done Fight Club, and I was excited to sort of build this relationship with that actor because as a stunt performer, you hope that you get to double an actor and you get to do multiple films with them, and you build a career that way. So I fly down to Mexico.

He wasn't necessarily excited or happy about that, but I didn't want to lose the opportunity because I had just done Fight Club, and I was excited to sort of build this relationship with that actor because as a stunt performer, you hope that you get to double an actor and you get to do multiple films with them, and you build a career that way. So I fly down to Mexico.

We're shooting in this really small town, Rio de Catorce. It's like one road in, one road out, and I get there, And that morning, like I wake up and they're like, we got to get you to set right away. We have this car thing we want you to do. And really simple, actually, they had in the middle of the desert, they'd poured a blacktop intersection to make it look like an intersection.

We're shooting in this really small town, Rio de Catorce. It's like one road in, one road out, and I get there, And that morning, like I wake up and they're like, we got to get you to set right away. We have this car thing we want you to do. And really simple, actually, they had in the middle of the desert, they'd poured a blacktop intersection to make it look like an intersection.

We're shooting in this really small town, Rio de Catorce. It's like one road in, one road out, and I get there, And that morning, like I wake up and they're like, we got to get you to set right away. We have this car thing we want you to do. And really simple, actually, they had in the middle of the desert, they'd poured a blacktop intersection to make it look like an intersection.

And they were kind of doing a top shot over the street light. All I had to do was take the El Camino and drive it through the intersection fast. So I back up about 200 feet. And I remember the stunt coordinator giving me the thumbs up. And it's like, action, action. And I drive the car. And the speedometer doesn't work in the El Camino. I mean, we have these old cars.

And they were kind of doing a top shot over the street light. All I had to do was take the El Camino and drive it through the intersection fast. So I back up about 200 feet. And I remember the stunt coordinator giving me the thumbs up. And it's like, action, action. And I drive the car. And the speedometer doesn't work in the El Camino. I mean, we have these old cars.

And they were kind of doing a top shot over the street light. All I had to do was take the El Camino and drive it through the intersection fast. So I back up about 200 feet. And I remember the stunt coordinator giving me the thumbs up. And it's like, action, action. And I drive the car. And the speedometer doesn't work in the El Camino. I mean, we have these old cars.