Guest: David Leitch

I had to throw the Ed Norton stunt double down that set of stairs at the end of the movie. Sure. 12 times.

I had to throw the Ed Norton stunt double down that set of stairs at the end of the movie. Sure. 12 times.

12 takes. No way. And I ran into David, you know, this was like a couple years ago, and I ran into him and I asked him like, hey, what take did you use? And he's like, oh yeah, take two.

12 takes. No way. And I ran into David, you know, this was like a couple years ago, and I ran into him and I asked him like, hey, what take did you use? And he's like, oh yeah, take two.

12 takes. No way. And I ran into David, you know, this was like a couple years ago, and I ran into him and I asked him like, hey, what take did you use? And he's like, oh yeah, take two.

I mean, with David, I think you buy into the vision, right? And so I think part of the excitement with his crew is you know the vision is so strong that you want to make sure you're providing the details for it. And so, again, like, if you're a professional and you love this business and you get to work with somebody who has this really strong vision, then you just, you know, you ratchet the gear.

I mean, with David, I think you buy into the vision, right? And so I think part of the excitement with his crew is you know the vision is so strong that you want to make sure you're providing the details for it. And so, again, like, if you're a professional and you love this business and you get to work with somebody who has this really strong vision, then you just, you know, you ratchet the gear.

I mean, with David, I think you buy into the vision, right? And so I think part of the excitement with his crew is you know the vision is so strong that you want to make sure you're providing the details for it. And so, again, like, if you're a professional and you love this business and you get to work with somebody who has this really strong vision, then you just, you know, you ratchet the gear.

And looking in that way, I'm like, okay, how can I service this vision? I mean...

And looking in that way, I'm like, okay, how can I service this vision? I mean...

And looking in that way, I'm like, okay, how can I service this vision? I mean...

But I think that... that was a mixture of those two styles. I think, you know, I had shot listed that movie with Jonathan Sela and we were very, very precise, but we allowed for, like when you look at Aaron Taylor Johnson and Brian Tyree Henry, they're playing these lemon and tangerine. When I was in my setups, I let them go. Like they were just brilliant.

But I think that... that was a mixture of those two styles. I think, you know, I had shot listed that movie with Jonathan Sela and we were very, very precise, but we allowed for, like when you look at Aaron Taylor Johnson and Brian Tyree Henry, they're playing these lemon and tangerine. When I was in my setups, I let them go. Like they were just brilliant.

But I think that... that was a mixture of those two styles. I think, you know, I had shot listed that movie with Jonathan Sela and we were very, very precise, but we allowed for, like when you look at Aaron Taylor Johnson and Brian Tyree Henry, they're playing these lemon and tangerine. When I was in my setups, I let them go. Like they were just brilliant.

And I was just like rolling, like, you know, like, and just mining for gold. So the composition and the editorial style and like all of the production design, like that was really my department heads and we curated it and we had a plan going in. And, but... We let the actors riff a lot.

And I was just like rolling, like, you know, like, and just mining for gold. So the composition and the editorial style and like all of the production design, like that was really my department heads and we curated it and we had a plan going in. And, but... We let the actors riff a lot.

And I was just like rolling, like, you know, like, and just mining for gold. So the composition and the editorial style and like all of the production design, like that was really my department heads and we curated it and we had a plan going in. And, but... We let the actors riff a lot.

Yeah, it was like height of the pandemic, before the vaccine, and we were greenlit, and we were actually getting ready to sort of prep it for Tokyo, and we were going to go shoot it on location, and then it's like... They decided they want to do it, but they're going to do it. Can I do a version on stage?

Yeah, it was like height of the pandemic, before the vaccine, and we were greenlit, and we were actually getting ready to sort of prep it for Tokyo, and we were going to go shoot it on location, and then it's like... They decided they want to do it, but they're going to do it. Can I do a version on stage?

Yeah, it was like height of the pandemic, before the vaccine, and we were greenlit, and we were actually getting ready to sort of prep it for Tokyo, and we were going to go shoot it on location, and then it's like... They decided they want to do it, but they're going to do it. Can I do a version on stage?