Marcus Parks

I mean, like good, like great people, great directors.

But we're all we're all the stepkids.

That's how it works.

It's always pretty loose.

I mean, I think you have to have a, you know, somewhat of a blueprint.

There has to be some specificity so you can design the set and, you know, get every all of the ingredients for the sequence have to sort of show up.

And so that that has to be present in the script.

But with Ready or Not 2, I mean, we were...

we were moving so fast and flying so by the seat of our pants with the sequel that we knew, you know, the sort of broad strokes of how the thing was going to start and like what, how it had to conclude and what that had to sort of mean emotionally for the characters.

But within that, if you've got a great stunt team that is really good at improvising, I mean, it's like watching any sort of great, you know,

performer improvise.

They, you sort of look at the set and what you have and, oh, we've got these things are all breakaway and, and the brainstorm in the, you know, in the moment of, well, shit, let's throw this person through this.

And it's, it's one of the most fun things because it is, it is so alive.

And I mean, the only big stunt things that have to ever feel

For us, anyway, our, like, super, super planned and rehearsed are the things where you're, like, pulling people up into the sky and, you know, wire work, things that require real rigging and there's real danger.

You know, you just have to premeditate all of that.

But the fight stuff, man, it's really fun to watch.

And by the way, to throw at a cast member, like, hey—

We know you rehearsed this.

What if we do this?