00:00He quit the week before and he goes, uh, I can't do this. I'm like Duane
00:04You're my secret weapon on this movie
00:06And I wrote in this long letter of all the actors I worked with they said they were scared to do something
00:11And how it turned out
00:13I'm, sorry, brother
00:16I'm, sorry that I brought you into this. I just wanted things to be the way they used to be
00:20So
00:27And I wanted to do this small movie ambulance because what I wanted to do
00:30Wasn't about the action. It's about the study of tension
00:33So we shot it very fast and uh a great cast
00:37it's fun to watch it with a with a big audience because it's
00:40It's an intense movie and uh, you just see their body language when they're like still that means it's like they're they're into it tension
00:46Yeah, I mean it's also just I mean so but the thing is like it's also so intimate inside of the ambulance
00:50But of course you also bring the bayhem all around it. Everything is going right
00:54I did not make up that word. By the way, that was my crew. That was my crew
00:57That's why we'll take it. We'll take that i've trademarked that name, by the way
01:02Most of this movie has you guys within an ambulance
01:05Did you ever get kind of the long road trip feel of god?
01:08I gotta just get the hell out of this car. I would say it's easy to
01:12To want to get out of that space, but also it's easy to just say, you know what?
01:16This is my my little corner
01:18And i'm just gonna rest here because as soon as as soon as you get out you got to get right back in you know
01:22what I mean, so
01:23It's interesting. Sometimes you just find sometimes you get frustrated with it and then other times like look
01:28This is just where I am for the day and for the rest of the day
01:31So this is this is just my own my own space
01:34I mean in truth, I think being in that small space and then trying to act in that space making it it's pretty difficult
01:40You just start realizing about you know, the people who actually do real job in that space
01:45Saving people's lives
01:46and you know, we were shooting the movie in a in the middle of the second wave in los angeles and
01:53Everyone was you know
01:55Talking about first responders and emts and we were in this ambulance shooting these sort of crazy scenes. I just thought
02:00What an extraordinary job
02:02To get what they get done in that small space
02:05I mean we could hardly act in it let alone get anywhere close to saving someone's lives. Yeah
02:10Yeah, there's a there's a life-saving surgery in the ambulance that was completely real set up by two trauma doctors
02:16I'm facetiming with a anatomically correct dummy body
02:20Every part is is real anatomically how far she has to do and i'm not going to be graphic
02:26But what's going down?
02:27That's what will go down because they were they're facetiming
02:30These are guys these are doctors that have worked with trauma bullet surgeries
02:35Uh, and I said this is the tools they have what would happen and it's intense
02:38It's an intense moment and believe it or not those two guys talking the doctors. Those are the real doctors
02:43Those are the real doctors. That's awesome. That's super cool. That's honestly one of my favorite moments in the movie
02:47it was so cool to do because
02:50You know prepping for it and educating myself on
02:54What that looked like and what that process was and really speaking to professionals and educating me on the process
03:00and then being there and they had a real dummy with every single piece of you know insides that I needed and
03:07It was so real and I mean there was a moment that I was hyperventilating because she's going through so much emotions at once
03:13not only because of the surgery because she's doing what she's been wanting to do her entire life and
03:18So it's a roller coaster of emotions and I remember at a moment. I hyperventilated so much and my hands cramped up
03:25I could I had golem claws
03:27And panic attack. Yeah from a panic attack from hyperventilating for
03:31The breathing and the nerves and and those moments become so real
03:34It's like those things that you push yourself and you really feel it on your body
03:38But when you see it on screen, it really works, you know, I you I am really having a panic attack in that scene
03:45What do you want i'm just gonna borrow it I got a cop shot I gotta get him to the hospital
03:48I'm gonna need you to help us. Why don't you help us? We're doing hostages, isn't it?
03:51This one you get pretty you get real
03:53Self-referential with guys who like quotes from the rock because the younger generation can quote my movies now better than me
03:59Sure bad boys has sort of become cultish. Uh,
04:02Uh, and I was we were making fun of dwayne johnson who I know i've worked with. Uh, I think I put that in the script
04:09Sean had just sean connery had just passed and so, uh, he meant a lot to me my career. Sure
04:14Yeah, I mean, do you think that you're at a point in your career?
04:17This is also coming after your awesome cameo in bad boys for life, right?
04:20like do you think you're at a point in your career where you're kind of just like
04:23I I know who I am in pop culture. Oh, yeah
04:25and I can make fun of myself and uh
04:28I have no problem making fun of other people and I just making a movie's got to be fun. Sure. Sure, you know, and uh,
04:34There it's intense. It's a war but it's it's uh,
04:37uh to me, I love shooting when you when you get the chance to work with um,
04:43the type of actors that michael got in this film, I think that
04:47It's really cool when you have actors that have input and have a very clear sense of what they're really trying to bring to the table
04:54Um sometimes, you know, it depends on the project the director dictates what's going to be like but once in a blue moon
05:01You get really proactive actors that are like I very very much feel like this is the way that I should go
05:07and that allows for a creative powwow, you know, and I um
05:12It was fun because I really wanted to make sure
05:16Um that cam felt a bit more, uh, even more than it was already on script. Uh
05:23Layered and and nuanced and and to have less of like i'm in a panic and i'm caught up in an ambulance and more emotion and
05:31yeah, we expanded a lot of her stuff and really built onto that and and
05:36Michael really added a lot
05:38I mean a lot of the end scenes are added to the movie and he really cared that scene with the little girl was added
05:45Afterwards and he really cared about making her the heart of the movie and i'm just really grateful that he cared that much
05:50you're going and
05:52Making choices and you're running and gunning the whole time
05:55You know, you're giving him everything. I mean as an actor
05:57It's like you're giving him all different choices of all different levels, you know
06:00When I watch the character that he created that I sort of threw choices at him
06:05I realized that guy yells a lot, you know
06:07And and a lot of that's just him going try this try that yell that you know, and it's it's a sort of
06:13Very ordered chaos, you know, but that energy that he gives you is all in the movie
06:19Um, but yeah, definitely my character does a lot of yelling. I mean, I think that also shows how mike michael
06:25He has a he has a structure, uh structure that was given to us by chris fettick
06:30Uh, and you know, it's a it's a really tight structure and he knows the vision enough to let us
06:36Play and improv, uh, and you know improvise and improve upon the relationships and and on the scenario
06:42So it was all within a you know
06:44a pretty uh
06:46Known tight structure i've gotten to
06:49Shed this ultimate fear of the concept of feeling like you don't belong there and sort of owning
06:56Why you're there and the confidence of why you're there and I feel when you really achieve that then you become more open
07:03to play with a director and let someone direct you and I sort of
07:08Let go of control and I think that that's sort of where i'm at. You know, I learn my lines. I learn what
07:14Backstory I want or I think or it feels honest to my performance and my heart and then I get to set and I let
07:21Someone else's input and their outside perspective and their eyes show me something
07:24I haven't seen before
07:26And that always allows you to become I think that the greatest actors do that and that's what really brings different
07:32Traits to them onto characters because the director seeing stuff that we don't do and we tend to go to what's comfortable for us
07:39So I I really enjoy that
07:41Don't you move
07:45You think you're so tough with that gun no daddy relax
07:51I gotta get back to my wife and my son. Does your wife know you're all banks?
07:56One of I don't think my favorite movie yours is pain and gain and I love that movie so much and a huge part
08:00Of it is just the performance that you get out of dwayne johnson is phenomenal. I mean, it's my favorite of his he he literally he literally
08:06Uh, he quit the week before and he goes, uh, I can't do this. I'm like dwayne
08:11You're my secret weapon on this movie and I wrote in this long letter of all the actors
08:15I worked with they said they were scared to do something and how it turned out and he goes. Okay. Okay. All right
08:22He was brilliant in that movie and it really is an amazing performance. That movie was always a uh, you know
08:28I I read the story. He's a very long screwed up crime and uh, it was always like a passion project of mine
08:33I made it for 22 million dollars. We did it all around my house in miami
08:36I would drive a moped to the set. That's how close it was
08:40I mean we would do things because all the cops know us in miami
08:43And mark walbert we get in a van and I got dwayne. We got a dead body
08:46We got like, uh, anthony mackie and I got a camera and just a sound man
08:50We are laughing mark is just driving illegally through the city. All right, and then like a cop would see him
08:55He goes. Oh, hey, sweetheart
08:58I mean, that's fun. That's guerrilla filmmaking and uh,
09:01Uh, I had a great time doing that
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