Robert Rodriguez

So this is what it would look like if you're on the set. I'm going to show you the footage and I'm going to show you the scene. I have to show it to you a couple of times because you're not going to believe what you're about to see. So if you were on the set, this is what it would look like. So I get there. They said, we're ready for that scene.

So this is what it would look like if you're on the set. I'm going to show you the footage and I'm going to show you the scene. I have to show it to you a couple of times because you're not going to believe what you're about to see. So if you were on the set, this is what it would look like. So I get there. They said, we're ready for that scene.

So I get over there to the set and I go, okay, where are you coming out of? This building. Where are you getting the bullets from? That body. Okay, bring that body closer. Okay, stunt guy, bring a pad over. I want to see you just jump and start to twist as if you're turning. I just want to see how much air time you can get to get any action before you hit the pad. He starts to jump.

So I get over there to the set and I go, okay, where are you coming out of? This building. Where are you getting the bullets from? That body. Okay, bring that body closer. Okay, stunt guy, bring a pad over. I want to see you just jump and start to twist as if you're turning. I just want to see how much air time you can get to get any action before you hit the pad. He starts to jump.

So I get over there to the set and I go, okay, where are you coming out of? This building. Where are you getting the bullets from? That body. Okay, bring that body closer. Okay, stunt guy, bring a pad over. I want to see you just jump and start to twist as if you're turning. I just want to see how much air time you can get to get any action before you hit the pad. He starts to jump.

He barely starts jumping. He's already hitting the pad. So I was like, okay, that ain't going to work. You get out of here. DJ, you're going to do it. I have no idea how I'm going to do this. I hadn't thought about it before. But now you're there. This is so awesome. And now the options are very limited. You're very limited. Look at the sun. You're going to see the sun not move.

He barely starts jumping. He's already hitting the pad. So I was like, okay, that ain't going to work. You get out of here. DJ, you're going to do it. I have no idea how I'm going to do this. I hadn't thought about it before. But now you're there. This is so awesome. And now the options are very limited. You're very limited. Look at the sun. You're going to see the sun not move.

He barely starts jumping. He's already hitting the pad. So I was like, okay, that ain't going to work. You get out of here. DJ, you're going to do it. I have no idea how I'm going to do this. I hadn't thought about it before. But now you're there. This is so awesome. And now the options are very limited. You're very limited. Look at the sun. You're going to see the sun not move.

You see, that's the point where the sun starts getting lost. I have to shoot this in 20 minutes. You're gonna do three jumps and I'm gonna cut it to look like one jump. All the bullets are gonna miss, only one's gonna go in. So here, just follow what I'm saying because we don't have time. What cameras do we have? What's on the A camera? A long lens. Oh yeah, that's my camera. I'll operate that.

You see, that's the point where the sun starts getting lost. I have to shoot this in 20 minutes. You're gonna do three jumps and I'm gonna cut it to look like one jump. All the bullets are gonna miss, only one's gonna go in. So here, just follow what I'm saying because we don't have time. What cameras do we have? What's on the A camera? A long lens. Oh yeah, that's my camera. I'll operate that.

You see, that's the point where the sun starts getting lost. I have to shoot this in 20 minutes. You're gonna do three jumps and I'm gonna cut it to look like one jump. All the bullets are gonna miss, only one's gonna go in. So here, just follow what I'm saying because we don't have time. What cameras do we have? What's on the A camera? A long lens. Oh yeah, that's my camera. I'll operate that.

What's on the B camera? Steady cam, leave it on steady cam. No chance, no time to convert it. At one point, I wanted to lower it. So just flip it upside down. We'll flop it later. Give me the main camera. Okay, DJ, start running towards that bullets and grab it and pretend like it gets shot out of your hand. I shoot it in slow motion, but I'm showing you how it would look on the set.

What's on the B camera? Steady cam, leave it on steady cam. No chance, no time to convert it. At one point, I wanted to lower it. So just flip it upside down. We'll flop it later. Give me the main camera. Okay, DJ, start running towards that bullets and grab it and pretend like it gets shot out of your hand. I shoot it in slow motion, but I'm showing you how it would look on the set.

What's on the B camera? Steady cam, leave it on steady cam. No chance, no time to convert it. At one point, I wanted to lower it. So just flip it upside down. We'll flop it later. Give me the main camera. Okay, DJ, start running towards that bullets and grab it and pretend like it gets shot out of your hand. I shoot it in slow motion, but I'm showing you how it would look on the set.

Okay, now the bullets are flying. I'm going to add those digitally. I'm going to hold the bullets up to the light in each angle so that they know what it's supposed to look like so they can match that. Otherwise, it'll look phony. Now, first jump. I just want you to commit. to just jumping out and just look at the barrel.

Okay, now the bullets are flying. I'm going to add those digitally. I'm going to hold the bullets up to the light in each angle so that they know what it's supposed to look like so they can match that. Otherwise, it'll look phony. Now, first jump. I just want you to commit. to just jumping out and just look at the barrel.

Okay, now the bullets are flying. I'm going to add those digitally. I'm going to hold the bullets up to the light in each angle so that they know what it's supposed to look like so they can match that. Otherwise, it'll look phony. Now, first jump. I just want you to commit. to just jumping out and just look at the barrel.

Just look at the barrel on your hands when you're jumping, because that'll look like you're looking at the bullets. And just don't even think about that you're going to catch a bullet. Don't think about that you're going to start turning. Just stretch your body out. Get a really graphic look at how cool that looks. And then the side view, shot this at the same time, you can already tell...

Just look at the barrel on your hands when you're jumping, because that'll look like you're looking at the bullets. And just don't even think about that you're going to catch a bullet. Don't think about that you're going to start turning. Just stretch your body out. Get a really graphic look at how cool that looks. And then the side view, shot this at the same time, you can already tell...

Just look at the barrel on your hands when you're jumping, because that'll look like you're looking at the bullets. And just don't even think about that you're going to catch a bullet. Don't think about that you're going to start turning. Just stretch your body out. Get a really graphic look at how cool that looks. And then the side view, shot this at the same time, you can already tell...