00:00Every sprinting coach I talk to, they're like, you know, there's the only one actor that knows how to run on screen.
00:05It's Tom Cruise. I was like, yeah, well, that's my coach.
00:20Employment status. Blacklisted.
00:23But there's still a way out for you.
00:27It's the biggest show in the country.
00:29When I got cast in this movie, my first call was to Tom.
00:33Tom Cruise is obviously one of the great actors of all time, but maybe the greatest stunt performer ever.
00:39And so I just said, hey, what do I need to know?
00:41And I was expecting a five-minute conversation. He stayed on the phone with me for two hours.
00:45So I have a breakdown of how he goes into every movie and the prep that you need to do.
00:53He's like, hey, you notice when you watch other people running movies, if it's called The Running Man, it's like, you better show up ready to run.
00:59Yeah, yeah.
01:00You better run.
01:04I was very, very grateful to him because not everybody, you know, especially people at his level, send the elevator back down and say like, hey, like, let me bring you into the fold.
01:18Let me protect you. Let me show you how to do this right.
01:20His main thing was really making sure that your body's like bulletproof.
01:24Because he's like, he's like, when you get hit, it's going to hurt.
01:27Everybody thinks the movies are fake.
01:28He's like, if you're in a fight, people are hitting you.
01:31Just like know that.
01:31Like not every punch is going to land where it's supposed to.
01:34You're going to take some kicks in places you don't want to take kicks.
01:37And, you know, when you fall, it's going to hurt.
01:40So he's like, just make sure you're bulletproof as possible.
01:42So you live to fight another day.
01:44You can show up to set the next morning.
01:46Right there is why you can win this game.
01:49You'll get your family out of Slumside for good.
02:02Edgar Wright is one of our great filmmakers.
02:05He has been on my vision board, my bucket list for as long as I can remember.
02:11There were these like, kind of like, almost like online videos that kind of like went around
02:15where they kind of broke down Edgar Wright's shooting style.
02:17And what made me love Edgar Wright so much is that he had such intention behind every shot.
02:23And I just always like that when there's like a dance with a filmmaker where you know
02:27that they're not just trying to capture something.
02:30Because the camera really is this amazing instrument.
02:33You know, what you're choosing in terms of the lenses and how you're framing it up and
02:36how it moves.
02:37Edgar is so aware of like that impact on the audience.
02:41And it's really fun for me to be in film school with a guy who is like the greatest film
02:45professor ever.
02:47He slaves over the shots that may exist for a second in the movie.
03:02But, you know, in the aggregate over the course of a movie, it has incredible impact.
03:06I mean, when I say prepared, I mean there will sometimes be a musical track in my ear so that
03:13I am hitting things to a cadence, that looks are done on a musical cue and things are rack
03:19focused.
03:20It's that level of awareness.
03:22Whether the shot lasts for, you know, 10 seconds, whether it lasts for, you know, a
03:28tenth of a second, he slaves over it.
03:30And I think that level of, you know, care is why his movies are so great.
03:39Stop filming me!
03:40There's a difference in the investment of an audience when they know it's you.
03:44You can always kind of tell when there's like a double, the way they're cheating it, the
03:47way they're framing it is trying to like hide the face.
03:49There were times where like Edgar would be like shooting something and I'm getting rocked.
03:53Like I'm getting thrown over like off of roofs and over walls and taking real punches to the
03:58gut.
03:58And I'm like, Edgar, that looks like you're shooting it like there's a double.
04:02Like if I'm going to be taking a shot to the face, like please, please let them know it's
04:06me that I'm like putting my body on the line to entertain them.
04:09That's the kind of entertainers I like is people that don't compromise on that, that they want
04:13to, they want to do it right.
04:15You leave with a couple of bruises, you leave with some scars, but at the end of the day,
04:19that's what this job's about.
04:20It's like, you don't want to half ass it.
04:22That's the spirit.
04:24This is America, God damn it.
04:26And we don't put up with no bullshit.
04:37I've been the beneficiary of a long, slow run in this business.
04:41I mean, I've been doing this job since I was 10 years old and it feels like I just started.
04:46I literally have a book that I keep and everybody I work with, including many people on The
04:51Running Man, I write down the sage advice that I get, not even just their advice, but
04:55the wisdom I take from how they orient around performance or how they treat the crew.
05:00I'm always learning.
05:01But I think like there's not one movie that I can look at and say that was responsible
05:06for everything.
05:07I could look at Spy Kids as the thing that made me fall in love with movies.
05:09Great Debaters is the thing that got me out to L.A.
05:12I could look at Scream Queens as the, you know, as the thing that made me realize comedy could
05:17be a fun lane for me.
05:18Hidden Figures, you know, working on a movie that really had resonance, that meant something
05:22to people.
05:23Top Gun, the best film school I've ever gotten.
05:26Again, it's been the greatest gift ever.
05:28Just learning from every single one of them.
05:30I'm really trying to not only like not let audiences get bored of what I'm doing, but
05:46also like not letting myself get bored of what I'm doing.
05:49You know, I think if you feel too safe going into a movie, if you're like, oh, I got this,
05:53that means it's probably wrong.
05:55Everything I've done in the last little bit, everything I have coming up scares the shit
06:00out of me, and that's a good thing.
06:01I'm still here, you shit eaters.
06:05Boom!
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