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01:01How good am I on this thing?
01:03You're okay?
01:04Every movie, you know, I always want to do a better and better action.
01:08In this film, there was a huge motorcycle change.
01:13Look, I just said you're okay, okay?
01:17Okay!
01:18Usually my kind of action is pretty much, you know, over the top.
01:22But in this film, I try to make a change more realistic.
01:26And I took a reference from William Frequence, The French Connection.
01:32The really wonderful thing for me is to work with a director who knows exactly what he wants,
01:36exactly what each moment is supposed to accomplish.
01:38It's like he does half my work for me.
01:41Hang on!
01:44It was great.
01:45It was really, really fun.
01:47We were dragging around on that bike for many days in a row.
01:50And I just had to hang on to Ben and not fall off the bike.
01:55Ben basically does all the work.
01:57And, you know, I sort of am a passenger in that,
02:01which is really fun because my last movie, I had to kill everybody myself.
02:14And then we do need to close up and bend off it.
02:17John has a really specific sense of exactly how he's going to use each piece of footage,
02:21even if it's only, you know, 36 frames.
02:24So he constructed it sort of in his mind.
02:26And it made it so much more efficient and so much more spectacular
02:29because you'd go out and he would shoot just this one little piece,
02:32then another little piece, and then another little piece,
02:33and then I strung together.
02:35It looks spectacular.
02:38It made that bike just fly.
02:40It was really fun.
02:42I mean, the stuff that they shot, the live-action stuff with incredible stunt driving,
02:46is phenomenal looking.
02:48I was actually scared to watch it.
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