RUNNER director Scott Waugh

0:00There is so much NFL on ESPN right now. Monday night football, plus pregame and postgame. NFL live NFL prime time. Everything you need to stay on top of every game every week. Unbelievable. And now NFL Network is on the ESPN app. More football, more coverage, more ways to watch. Football's on. All season long on ESPN and streaming on the ESPN app. Hi, I'm Josh Ols. Oscar-dominated screenwriter, Josh Ols. And that was legendary director and producer Joe Dantin. Each week we bring on a guest. Filmmakers, musicians, comedians, authors, political figures, journalists, podcasters. And we talk with them about some of the movies that have influenced and affected them and the work they do. The name of the show isn't the movies I've made. It's the movies that made me.

1:26I'm away. We're just going to hum away. Don't worry. Yeah. Wow. We're here with Scott. Wow. Wow. Hey, lady. Scott, well, how was that? I'm sorry to do this. It's just it's, I don't know why. I just got fixing it right before he knows I come. I got up and a mispronounce his name. And I love it though. But your beer make me feel like I'm back in school because that's all I ever got. I was that was literally my question. What popped into my head? What was like that at school? The kids were just like just complete assholes. You always never wants a did they get it right ever ever? But they always pronounce the G-Wog. You know, I'm so so. God, you're not in England. Yeah. Yeah. Wow. Wow. Yeah, literally. I know. I said, wow. I wasn't making fun of you. Well, welcome. Welcome, sir. Oh my God. I just I don't know how to talk about this film without.

2:27Scott has a new movie, by the way. Yeah. I don't want to. But you should see. And except no, except those substitutes. It's called it's called runner. And there's a there's a you're ruining my job. You're about to go joke. He's ruining my he's gonna ruin my his own. He's a gagged. I was just I was gonna say don't let the fact that it's like the lowest rated Netflix movie in history get in the way of your pleasure because this is not that movie. This is not the one. This is runner. I don't know if you know this, but I have I have held the honor of lowest rated movie in Netflix history. So I'm I'm throwing tomatoes from a particularly advantaged position. Oh, it's it's fine. I think if anybody has made any movies in their career like us, we always have tomatoes that splat hard and you just got to get back up. That's right. That's right. But his is not that. His is his is coming up now or out now as we drop this. This is runner,

3:29not the runner. And this is because I was shocked. I thought it was Alan Richson and Gal Gadot. And I was saying like Gal Gadot was not looking really good. That must drive you insane. By the way, I have it too. Anyway, it won't be a problem for long. Anyway, but but this movie is so much fun. It is like I can't even describe it. You know, like as someone who loves movies or someone who writes them, there's just this constant sort of, you know, you have to reinvent the wheel and every and there's some amazing action films that do this. I don't mean to knock them, but you just sort of get tired of like the attempts to kind of come up with like new ways to do the action film. And then every now and then and it's been too long. I can't think of some somebody who comes along with like, oh, hey, we made an action film. And it is an action film. When you think action film, you think stuff like that. And it's so good. And it's just done so well. But that's because it's also a drama. It's not just an action film. It's got

4:32come with the good ones. The good ones are great characters. It's funny. It's dark. And it was I just I knew nothing about it. I was bold over. I thought it was terrific. Oh, man. You guys. Yeah. And that but that's what they all should be. That's what the best ones are. And it's beautifully directed. And the action scenes are incredible. Alan Richardson is just it's been so fun watching him kind of explode. This guy's like, he's a star. I mean, he's just a dynamite. He's yeah. And Owen Wilson is always great. Oh, I think I promised you, you know, I created Alan Richardson. I conjured him out of nothing. And next time we talk to him, you should tell me he owes me. I will. I'll tell him. I'll see him on Sunday. I don't think I've ever talked about this on the show. But but I was the I wrote the first draft of the Reacher movie. Wow. Yes. Wow. Yeah. Origins based on the book one shot. And we were it was for Paramount. It was a long time ago. And

5:34it was a hey, it bought me my house. So I can't complain. And I won't complain. And it was just nonstop thing where it was like, you know, if you've read the books, you know, the Reachers are very specific character physically. And that guy just didn't seem to exist as a movie star. And we would have these long conversations and everybody involved. The project was frustrated by the fact that we had to have a, you know, bonafide existing movie star to be in the thing. And Tom was the point of one of the producers on it. And it became his whole thing of, you know, whole whole long story about he ended up doing it. But because the running joke was like, well, you know, won't be Tom, of course. But we would all sit around and talk about like, imagine if we could just go find someone and we would all the other producers and myself and we would all just like we'd talk constantly and we would I feel like we formed this guy out of thin air. Because I remember years later, Amazon comes along and they're like, yeah, we don't even establish Star, we need Jack

6:36Reacher. And there he is. And yeah, you don't, you know, and and and he also writes a directs. He's not just an actor. And yeah, really? Yeah. Oh, who knew? He's around a soundspan. Stainier Lane Allen. But yeah, so it's so much fun watching him take off into other stuff. And yeah, I just, the movies, the movies just enjoy. Oh, man, thank you. I mean, you know, I think all of us, right, as we get older, we, we, we, we remember the movies that moved us the most, right? And your childhood that made you even want to be in the movie business. And like, I was just so lucky as a child, you know, growing up on set my whole life with my dad. And so it was like being a partisan really, really monumental movies like lethal weapon in these movies that you just go,

7:36that was fun. Like I left the theater with just the biggest smile going, God, I hope they make another one of these, right? And it just because they were, because they were well, and then they made four of them. Right? So it was like, it's because they haven't made so many. Yeah, I don't know, what Joe Bessie got involved. They got pretty funny too, right? Like, yeah, it definitely, they did, they did, they did raise the bar for a while. It's awesome. But I think it's because those movies then, they started with the character and the emotional driver before the action. And today, it seems like they're coming up with what's the spectacle? And then let's try to engineer an emotional reason that they're doing it. It's like, it's kind of a little, it feels backwards to me. And this is when I read the script, I was in from the beginning, because I've been trying to find something that kind of got me back to my original movie, active valor that just felt like there was an emotional reason, all of them were doing it. And in this one, when he's like, you know, down and

8:39out, dude, that's getting a redemptive second chance to try and save a daughter that seven-year-old girl. It's like, I'm in, man. Like, yeah, let's, let's save her. And it's not, you don't have to reinvent the wheel, you know? It's like, there you go. He's, he's, he's got, he's your keyed into his motivation completely. Why he's doing these crazy things. And it all makes sense. But yeah, I completely, I remember sort of feeling like something had changed radically in things where you think about the difference. And I can't remember, was it? I heard three or four. I mean, they're all fun movies, but the first die-hard movie spends 20 minutes. You see the guy, you know, a hotel room, roll his feet around on the, you know, on the carpet. Yeah. And it's just establishing character. And then I think him or the third or the fourth one just opens up on a bomb blowing up a big building at a city street. You're off and running. And I'm like, I know what they're thinking, but I like that thing where I get a little time to kind of figure out who these people are.

9:40Josh, you're nailing it, man. It's listen to this. So I was so blessed to have a conversation with Spielberg on Need for Speed. And we were talking about just that. Like, man, just like, you know, audiences are they, are they letting us have five to 10 minutes in the beginning to just let us invite you into the story and love our character and really understand. And before we immerse you in the chaos of the world that they're going to get thrust into. And he, because like, we were, we were working on the beginning of the edit. And I was trying to rush it. And he said to me, Scott, you don't need to rush it. Let the audience just take their time with learning Toby McGuire and getting him in. And then then you can thrust him in. And I was like, it was the best lesson I ever got for as a filmmaker of like, don't rush moments that don't rush stuff that's important. He's like, the audience will, they will not only forget that it was a little bit slow. They'll enjoy

10:40that it was because now they love the person that's being there rooting for. Yeah. Yeah. I mean, I absolutely. And it's frustrating that people, a lot of people seem to not know that or not acknowledge it. But yeah, as you said, we were talking a little in our back and forth in the email. But for me, it's like, if you don't have the context, the greatest stunt in the world is just, you know, certainly fun to watch. But if you have the right context and it's just, you know, one dude punching another one time, it's like, that's the greatest action scene you've seen in years. Whereas the most convoluted, incredible choreographed took a month to shoot thing. If I don't care about the characters, just doesn't just lays there, you know, I think one, you know, another thing that I think is like something that we were really focused on on this movie was I never wanted the action to feel redundant. So every single action set piece had to come be completely different than the one that we saw. So like, if he's going fist to cops on this one, I don't want

11:46that anymore on the next one. It becomes a gunfight. And then after this one, it becomes a brawl. And the car chase has become different. And it's like, as the movie progresses, I wanted the story to progress. And sometimes I just feel like the action just gets so redundant. It just, okay, chase again, chase again, you know, and then or just a fight that lasts 20 minutes of the same kind of stuff without any real emotional driver in there. And like on runner, we were so cognizant of the case. Because I kept telling the whole departments, it's all about the fight for the liver inside that case. And the whole movie needs to stay focused on that because they're everyone's fighting for that. We have to constantly remind the audience, that's it. That's the prize. Right. So you can see the camera work is always making sure we know where the case is and how they're fighting for it. And it kind of lends us to just making it more immersive. And I was just like, it's just something I'm thrilled that the audience are starting to really recognize that

12:48because it's something we really strive for. No, I know that early on, I really appreciate it. Because you are. You're so once you know what's in that case, and why it's so important, you are deeply invested in its location at all times. And yeah, yeah, yeah. And you know, and it's also one of the things too that that, you know, let's change the business right here right now. We can do it. I think I think the three of us. One of the things that makes me nuts, I mean, I literally just finished the script with the writing partner. And we just go through this all the time where you are writing an action scene. And you know, there's obviously elements, everything action seems to or it doesn't matter what happens in the best way possible. You have to get from here to here to be able to blow up. But I'm also written ones where like, what's happening kind of matters to the narrative. And and you invest yourself in that. But so many action scenes, you're seeing their writing and it's this bizarre thing where you have to write it on the page. You have to lay the whole thing out of the page in a really interesting way that

13:49makes the reader go, wow, that's a great action scene. While having the full and certain knowledge as does the reader, that that scene is going to get completely changed by the time the song said. And and I'm always like, why can't we unless it's unless there are particulars that really need to be across? Why can't you just write, you know, these two guys are going to fight. This one's going to get his head shot off at the end and somebody's going to fall off a cliff and just go to town like the emotional impact is what's important. And it just feels like one of the funniest things we have to do is writers is act like in the best way possible. Like I don't want to be the guy who designs the action sequence in, you know, action film. I'm not qualified to do that. I want to just I hate saying that to my writers like, I'm embarrassed. I'm like, hey, man, don't take this as any disrespect. But I don't read any of the action. I'm just seeing how are we getting in and how are we coming out? I said because a lot of it really and the only reason that's my truth in it, the only reason I don't read the action is much anymore is I go,

14:53because actions predicated on location. And until I find until I find a location worthy of the action to give us something unique and fresh, then we can write the action once I have the set, right? I go, we know what we I'm like with you. What's the emotional line underneath it? How do we come into the scene? How do we what do we want emotionally tell with the characters through it? But the actual physicality of it, I think needs to be pliable so we could go because like sometimes when you're reading these great scripts and you're like, how am I going to find a plane? What if it was on a train that would make it so much more interesting but I'm playing right? And now you're all stuck trying to find something and like rather than being like, how about we just we're not in a cafe, we're in the forest. Yeah, unless you're going to have the writers what do like a full location scout of the place you know you're shooting. Yeah, you know, because you're going to get there. You're going to be like, you know what, there's an amazing abandoned carnival down the road that we'd love to do

15:57something. And I'm like, I didn't see that coming. That sounds great. You know what, you know what, it was fun on this one, Josh, I was able to go, I scouted Err, like I'm telling producers, I got to get to Australia early and start scouting before everybody. I want to be there alone and I just want to spend a month looking at places that the wrap my head around the story. So then I was able to take pictures of the places I found, send them to the writers. Now they can see the location that we're going to shoot these scenes in and then riff with them about, all right, here's what I'm thinking, you know, because now it was so much fun with Tommy and Miles because then they're like, oh, I can see it now. Then it doesn't. And then they rewrote the screenplay before production came in and we can really make the continuity come through because they saw the set. Right. Yeah. Right. Yeah. I mean, it's just that's it's the only way to make sense, you know, and it is crazy because I know if you handed in a script that did it, you know, if I wrote an action script that

16:57was exactly the action script, you want to read for your next film. I wouldn't spend more than a couple minutes on each action sequence, just kind of, you know, hey, this one has to take place on a plane. Go nuts, Scott, you know, you guys, yeah, you'd be like, oh, I love this guy, but it would never get from me to you. You know what I mean by the time I get that one, they'd be like, you have to fix this, you have to fix that. And there's one of the areas and this is where I alienate everybody, but you know, brief tenure very early in my career in straight to videos, soft corp, you know, showtime, cinematics, kind of soft corp, fine with that. They're like sex goes here. Move on to the next which thank God, because he wants to write that for, you know, just how many people are doing it until they have a good time. Move on to the next scene. Yeah, I always love it though, and the writers write in the great moments, right? The moment, and the moments I'm not talking about

17:58the physical morso, maybe the one two punchliners, right? That are in there that kind of give us that connective tissue and fun conversation and dialogue that makes the action so much more spicy rather than just let's brawl for eight minutes. There's no dialogue. I don't need a page and a half of a car chase. I just need remember, Sally, when I told you I killed you last I lied. Like there you go. You do the rest. You get me there. Yeah, I agree. And it's just one of the weirdest things about this business that just it's this lie that we're all forced to live with. You know, it's like, yeah, because nobody nobody believes that that scene's going to make it through and it shouldn't make it through the way you wrote it. You know, and it's true. Yeah, yeah. But anyway, we've run that a time. That's it. We're over. Yeah, I did. So you knew the movie was going to be Australia, fairly early on. Was that no, actually, no, the movie had moved four times. So the writers

19:05had never wrote a produced screenplay. They were just wrote a terrific screenplay under the auspice of write something great, but don't care if it's producible. So when I read it, it was the whole film take place took place in LA at night in the rain. And I'm like, that's unexecutable. Like what? So I first, my first time I was talking about, yeah, I talked with Alan, I go, hey, how committed are you guys to this nighttime rain stuff? And he's like, that's the first thing we're changing. I'm like, okay, good. Because that sounds like misery. And then we all knew LA was LA was just not financially feasible at trying to close the 405. Like that's not happening. And then the one of us like, yeah, it's not happening. So we moved it to London. We're working the mechanics out in London. And then it was financially not viable. So then we, I was like, let's go somewhere much more exotic. And we pushed it to Spain. That was going to be

20:07really interesting. We did a really great draft for Spain. And when I'm in prep for Spain, the production manager there goes, okay, we can't close the streets. So you're not going to be able to get a permit for streets. And I was like, you know, this is a car movie, right? Like, we have, that's all we have to be is on streets. So my producer said, what about Australia? And I was like, I'll only go there knowing that they've drive on the left side of the road. I'm like, if we rewrite it for Australia, I don't want to be handcuffed with. I can't really look this direction and that because I can't see this. I'm not supposed to be there. I just want the freedom to be able to shoot the way I shoot and not be handcuffed. And so the writers and I, we spent a lot of time researching what's going on in Australia, currently with the threatened drug trade and all that. And then re-architected the screenplay to fit Australia. That's great. Yeah. And it works. It's a fun, it's a fun, useful location. And you became a world traveler. Yes, I did on one

21:13movie. Let's get into it. It was funny. I have, it goes right to what we're talking about. As I had emailed Scott and said, you know, be kind of fun to have you talk about like, you know, your 10, your 10 favorite scenes for your 10 favorite action scenes from action movie. Yes. And he came back with something a little more interesting that goes right to what we're talking about. Do you want to tell? I don't know if you know, I know what the films are with. List is Joe has no idea. So that's even better. Tell Joe what we're talking about today. Well, it was just like, you know, I remember when Josh asked me that. I was like, oh man, that's like, it's so the reason I probably am going to list the scenes that I think are much more interesting than the action itself is I believe two thing. I believe one important philosophy in filmmaking. If I shoot you an action sequence shot for shot verbatim of the exact same car chase, one of them is a character that you don't really care about. And one is something

22:14you're emotionally in love with and you're rooting for them. Audiences 10 out of 10 are going to say that action sequence is better than the other one. I care about even though they're identical. Right. And it's just when you when you get create scenes that are so powerful, the action's better. It's just better, right? Because you're rooting for them. And then yes, you saw the execute well, but you got out you can't you can't forget what's more important is the character and what's gotten us to that point. So he was asking about, so I said, I want to talk about the 70s and 80s of the movies that I grew up on that were very influential in me. And some of them were part of the movies that I was a part of and, and, or ones that my pops used to talk about are how neat them. That was my dad's best friend that I got to really talk to him a lot about, you know, the great two movies that I thought he made smoking the bandit and hooper. You know, that were two really fun movies. But I was like, so, so and Josh said, well, what scenes are you talking about? And I picked

23:20all these like non speaking most of them and non action oriented scenes. And I think it maybe might have surprised you, Josh, because I know you were looking for the big shoot them up, bang, bang scenes. Well, yeah, because there was you come from a stunt background as you mentioned. And it's always fun to get people who are sort of experts in a particular arena to talk about that. But, but yeah, that is an interesting thing. And honest to God in 2026, I think it's kind of really important to hit what you're talking about. Because we are now capable of, you know, if you can imagine it, you can put it on film. And that's, that's not the hard part. It's not the hard part. You know, but I've seen really low budget movies with, you know, at best competent action scenes, where I'm so invested in them. And I'm so knocked out by what I'm seeing. And it's all about context, all about context. Yeah, it is. You know, I think I think like, you know, if you wanted to use one,

24:23Josh, as an example, what we're talking about, like for me, want to like, there is such like be an ex-stunt man. There's so much truth behind the curtain to being a stunt man that I think majority of the people don't know about and Bert and Hal Need of the director and Hooper showed this really terrific scene. Because it all of us had all these sets and stunts going on on the movies that Bert's character plays. But there's this scene when Bert's alone. He's in his underwear. He's in this bedroom. He's got all his pain pills lined up on the back because he's so beat up from doing stunts all day. And he's an older guy. And he looks in the mirror. He turns sideways, sucks in his gut to see if he's still got it. And then he lets out his gut and realizes I'm just an old son of a bitch. Right? And and crawls back to bed. And it was this such a powerful

25:29endearing moment because you're like, this character is not the guy we see on set. This is the private side of a stunt man that's fallible, that's insecure with himself, that's hurt, that's struggling to just exist and trying to put on a persona that he's not. And I was like, then all the scenes after that, you were like, you just love Bert's character so much more because you're like, this dude's putting on an act when he's so beat up right now. Yeah. Yeah. And I'm like, then you have the biggest action set piece at the end with, you know, and buddy Joe Hooker and those falling. Yes, but all in all that. And you know, they're both just beat up dudes and you're like, it just made the context of the action sequence so much more riveting. Yeah. Yeah. 100% agreed. Yeah. We had buddy Joe's. I think we just said him on the show several years back. That's awesome. Came to him. I was working on a project with him. It was about stunt man actually that

26:33sadly never happened. But yeah, I remember being kind of, I'm sure they've been stuffed before that right Joe, but I was a kid with that movie came out. And it was one of those things. It wasn't even a revelation though because a revelation is like something you didn't know. It was more like, it was an acknowledgement of something that like you'd never seen before. You know, I remember that seeing going, oh, of course, you know, of course, these guys were too not even imagine the physical pain of doing that. Well, especially young ground. I've been lucky enough to grow with all those legends, right? You know, I mean, all the light, all the legends and 29 years old, I'm president of stunts and limited. And I'm looking at all the guys that I idolized in the group and they're all staring back at me this little punk 29 year old kid. And they're calling me president. And I'm like, oh my god, this is such a such a daunting task to try to live up to the expectation of the guys that I just revered so much. You know, Dick's Iker, my father and all those guys. And it's just like,

27:37I watched them hip replacements, knee replacements and just living on percussette and all the, you know, and just just, you know, having to go back to the set the next day, beat up and pound the ground again and come home and just be limping and get to the set and not let the director see their beat up, you know, because they don't want. And it was just this life that I was like, God, if anybody only knew what it was really like to be a stunt man, you know, and then you see Hooper and you're like, yes, that's actually the most authentic portrayal of what it's really like. Yeah, yeah, no, it had that that ring of truth to it. Well, the podcast is pretty dangerous, man. I got to tell him I'm doing knee replacement surgery next week. So I will not be coming again the next day and hiding my pain from Joe. So it's already off camera. That's right. But yeah, no, that's that's that's great stuff. Well, what else? Yeah, what's next? Oh, man, you know what I'm not even on my list, but you know

28:39it's another one that's exactly what I'm talking about is member, member wrestler. Oh, wrestlers like two hours of that. Right? I'm seeing the behind the scenes of the wrestler, you know what I mean? But I just like, well, that was another one that was great to see them, but it was like, yeah, they went on and on about it, but it was still a great movie. What was some other ones? Oh, you know, you know, which one you know what's I here's a funny story I'll give you. I asked how I'm smoking the bandit because I was like, I wanted to make a remake of smokey before he passed away. And how was like, Scotty, I'd love for you to do it. And I'm like, yeah, he's about the studio. The rights are so tied up with three different studios. And I'm like, oh boy, let's not do that. But he I said, how did you get how to break the fourth wall? So there's that scene where house in the trans am he's in the car chase. He pulls up behind a building, right? Yeah, Bert, sorry, he pulls up behind the building. And he's waiting for

29:41the cop to Jackie Gleesey character to drive by and he passes them and then he turns and looks straight into the camera, breaks the fourth wall and gives that Bert smile and laughs and takes off. And I said, how did you get Bert to do that? And he said, oh, he didn't want to do I told I pitched in the idea and house it all how you can't do that. You can't break the fourth wall. And he goes, well, you just do it for me once and then we'll then we'll do it your way, right? So the shot that's in the movie goes he races around the corner, slides up the camera, turns into the lens and gives me that stupid smile laugh and turn around and took off as a joke. And he goes, and I went print moving on. I was like, no way that's how you did it. And he's like, yes, that's how I got that shot. And I was like, wow, that's awesome. And it really defined that shot. If you think about it, it defined that movie because it was not making it wasn't

30:50making itself seriously, right? They were like telling the audience, we're having fun. You know what I mean? And let you go, you know what? This is fun. And they're having a blast together and it's a great, another cinematic moment that people don't really know the history behind it, but also don't really understand the impact of what it did. Yeah. And it's all like, nobody's watching that movie thinking, you know, you couldn't do that. There's a ton of movies you could not do that in. But no one's ever watching Smoking the Bandit not aware of the fact that they're watching a movie. You know, it's like, this is so much fun. I'm trying to use that to see. Oh my gosh, terrible. He's a friend. Is it the scene that he used? Our good friend Adam Rifkin made Birx, what should have been his last film? I think he did like two or three small ones after that, but the last movie star. And he's got some wonderful scenes where Birx today is dropped into a couple scenes. There's one for Smoking the Bandit. There's another one for Deliverant sort of talking to his older self. And I think they used that fourth

31:52wall moment in there. But wow. Yeah, such a charisma as an actor, just such charisma, man. Yeah. Yeah. Yeah. Yeah. Absolutely. All time great. Well, yeah, let's do another one. But do I mean, feed them to you or do you have to listen to fun of you? Or now I got the list like, you know, what was awesome about, you know, Spielberg is just a master at making you love his characters because they're fallible. And they're also, they're just not perfect, you know, and you know, the and Raiders of the Lost Ark, you know, when I just loved about Raiders, obviously, such a perfect movie. The opening action set piece when he goes into the the temple to get the bag off of the diamonds off of the bag like that. He's got his counterweight bag. And when you doesn't have the right weight and the whole thing sets off a dominoe of just destruction, it like, it's just this moment where Harrison Ford's character is just so

32:58likable because he just made a mistake, right? He's not perfect. And the fact that he constantly makes mistakes and pays the repercussion for him is so wonderful because it's just like, it makes him so human, right? And likable. And yeah, he's this guy is doing these fantastic operative right. Chases to get all these artifacts. But what's more interesting for me is he still gets his butt beat up. He still gets, you know, always things go in the wrong way. And, uh, and it just was a set piece. And then like the other one in Raiders that I just love the most because it's such a great scene probably because I am exactly like his character. Like when he falls into the pit of snakes. And it's just like one of those scenes where you're just like your skin crawls, but it also shows you like there's nothing better than showing a character afraid of something. Sure. And you know what I mean? Like you're the man, the manly man. He's a tough guy, but sure as hell,

33:59he's he scared of snakes, right? And it's fun because like my wife knows me and she's always like, like, I see there's a snake man. I'm out of there, bro. I'm running so fast. You know, I grew up in the desert rattlesnakes are not my friend. Yeah. Yeah. Exactly. Yeah. No, that's that's a great moment. And, um, uh, and also all that stuff like almost every scene that movie goes to character kind of what we're talking about it. And, um, uh, you know, what? Yeah. Oh, sorry. You know, it's another great. Yeah. You know, another great one. I like I say, I did expendables for under the under the thought in my head because I really just fly an eye at that time, wanted to work together. He really was a fan of my movie active Valor and we were trying to find something to work together. And when that job came up, you know, they were the other director kind of peeled out at four weeks to production. And they call me and said, Hey, can you come over and take this movie over? And I was like, when do you guys shoot? And they're going four weeks. And I'm like, Oh, my. And I was like, but I was like,

35:04I want to work with slide. Like I want to work with what I consider one of the greatest action heroes of all time and a storyteller in his own right. And why so in that, when I'm sitting, I just always pick stories slide. Tell me about this. Tell me about that, right? Tell me about Rocky, man. Tell me like, what we like, he's like, you know, he's such a great storyteller. And he was like, somebody actually guys are so worried about looking beat up. And all I cared about with Rocky was the underdog, getting the snot constantly knocked out of him, but having the strength to get back up. And it's the light. And it goes, and it's, it's a life lesson. You're going to get knocked down constantly in life, but you got to get back up. And I said, they're going slide. Dude, that's such an incredible metaphor. But like also like, it's why everybody loves that movie, you know, and it's like, because he's like in those, in those fights. And the first when everyone forgets, he didn't win. He loses. Yeah. It's like, you know, but he won because he went

36:09the distance, right? And then that's, and that was what was amazing. But for me, the more intimate scenes of Rocky, when he was alone in his apartment, is right in having to get up and get up and not wanting to train and cracking the eggs and like, trying to muscle the motivation is what I was like, I just, I just fell in love with that character because he was such a such an underdog, getting a chance in an extraordinary moment. And I think it's what made Rocky have the franchise that it was because we all, you left the theater going, I could be Rocky. You know, I'm this little skinny, rut kid, but I could be him too, you know, and it just gave you such inspiration. And I'm always been personally chasing that with all the characters in my movies, trying to find ordinary characters doing extraordinary things. Yeah. Yeah. No, exactly. That that movie's so good. And it is so funny. I think we've talked about a show before Joe, but there was

37:11not John Kerry. Was it Bob Kerry? Was that a, he's like late 80s Democrat running for president. Yeah, he played, yeah, he played the theme to Rocky at his rallies. I'm watching this interview and they're asking him like, why are you playing the theme to Rocky? And he's like, well, because, you know, my campaign's like Rocky and it's like, it's, you know, we came out of nowhere and we're going to be just like Rocky. And I'm sitting there and he's like, it's my favorite movie. And I'm watching it going, I know how my favorite movie ends. You know, great theme. What are my favorite movies? I'm from Philly, man. I ran out of that movie theater and started running laps around written house square. Like, you know, as a kid. But if I'm running for president, that is not the theme to my campaign. I'm sorry. What did you do? I didn't work. And it turned out to be quite accurate. Yeah. You know, the thing that the thing that I really did love about so much about that first movie was that non-clissé ending because he didn't win is what made the movie so special.

38:19Because normally Hollywood Hollywood's go, he's got a win, right? He's got, he asked a win. The audience is like, and I'm so stoked that fly stuck through his guns and did not let that happen. And it was something that me on runner, you know, as you guys have seen the movie, I was, there was, they had a cliche ending in the original script. And I was like, I love this material. I think it's fantastic. I said, but the, the nice bow at the ending just kind of doesn't make the movie special. And it feels very normal. And I'm like, I'd rather find a way that just is continually surprising the audience in new ways so that it feels fresh. And at the end, they leave the theater going, wow, I didn't expect that, right? It didn't follow the exact formula of a Hollywood movie. Well, I didn't. But I don't know. And Richard and the little girl die in the last scene was, was kind of, I did not see that coming. I did not see that coming. He's not talking

39:25about what you think he's talking about folks. Don't worry. Yeah. It's not a bummer. Yes, it's not. But it definitely not does it in the way you think it is. It's just some proud. Yeah. But yeah, no, with Rocky. And it was such an era where like they managed to make this kind of, you know, kind of ra ra feel good movie, but it still had that kind of nice 70s kind of knowledge, a bit of reality to it. And, and you know, how he manages to make this sort of like triumphant kind of classic Hollywood movie in the middle of the 70s in a way that stays completely true to that era. And, and you know, is amazing. I mean, that film is just one of the all-time greats. And all of it seems to tie in because I wanted to talk about Raiders too, one of my favorite scenes that, you know, was kind of if legend is correct, kind of made up on the day. The sort of, I sort of been seen. You're talking about with the, with the, with the, the guy with the, you know, the Cimitar. Uh, yeah. Yeah. So he shoots him. And he just was, I can't do this. Yeah.

40:27Yeah. There was supposed to be a big action scene. And he was too sick to do it. Yeah. And it's one of the greatest scenes ever because it does the thing that that's so many in the scene time when we do it, just have to the nth degree and what Rocky does with its ending is it just completely violates your Hollywood expectation. Yeah. Like can you imagine John Wayne just going, I fuck it. Boom. And blow it a guy away. It's not going to happen. But it's so at the same time, it's like, it's not like, and I love these films. I mean, no way. No, it's not like that cleanest with coldness that he brought that kind of like, you know, whatever it takes kind of thing. You're literally watching this movie about this sort of elevated action start at the same time. You're like, you see that scene? You're like, oh, that's what I would have done. He's totally relatable. You're like, oh, God. Yes. Yes. It is. And I think that's what made Harrison Ford so wonderful was. You know, he had that same qualities in terms of his characters that slide did, which is just these guys that, you know, were constantly getting beat to heck.

41:32And like he say, they weren't, they were strong, but they, you know, it was like you watch Harrison. He's always just bleeding because he's always getting knocked out and so like that. But then he gets back up and keeps fighting and just love those characters. I just, I think they're just so interesting to me. Yeah. Yeah. I was a thing too that Jackie Chan brought to that genre that was kind of his like, I'm never going to be Bruce Lee. What can I do? Oh, I can, I can show how much it hurts to do this stuff. Yes. You know, and it's amazing. I like simple ideas like that. You're like, yeah. And you are now going to be the biggest movie star of the world for the next 40 years because you show that it hurts to get hit in the face. When I was working with Jackie on Hidden Strike, I had this one move where they Corby Carter grabbed his scenery. He, uh, from the helicopter comes down the, uh, the, the line upside down and he gets to this bus and he's got to flip up into a 180 flip through the back window of this bus.

42:33And we're there. And I'm like, thinking myself, oh my gosh, just, and like, Jackie's I can do it. I'm like, Jackie, just let your stunt double do it. You know, this is too much. He goes, no, I'm doing it. I'm like, okay. So I'm filming take one, four, eight, 12, right? And we get to take 15. And I'm thinking, he's almost getting it. And he's like, and he is persistent. I will not stop until I get this, right? And he comes down, keeps into the window, lands, gets it sticks, it gets the gun right into the camera. And like everybody cheers. I'm like, oh my gosh, such amazing, right? He gets out of the bus. He walks past me, right? And it was, as a moment, I'll never forget. He walks past me, looks at me, waits, and then goes 65 and kept on walking, man. He's like, oh my god, he's 65 years old and still doing it, man. He's like such an amazing man,

43:35an amazing man. That's incredible. That's incredible. I love that. I love that. So we are next. Let's talk about lethal weapon. Wow, it's still a great, great. What a greatest. I just love how they spent the time. This is back to your and I original conversation, right? They spent the time in the beginning setting up rigs, right? His woman commits suicide. And then he's living in a beat up trailer on the beach. And he's distraught. No action. Just letting him live in this thing. Seeing him that he's just this destroyed temperament person that has nothing to live for anymore. He even shoots out the TV because they're having fun, right? And he now he shoots the TV. And then he finally walks out of the trailer. And you're just like, you just have so much sympathy for him, right? And you know, and you

44:38under the thing that I love about it is you understand him for the rest of the movie. You understand what motivates him. You understand why he's reckless. And he doesn't care if he dies. Like all those things that just make you really feel for him and meld is such a phenomenal job portraying that. But it really for me is the setup of that scene for Pell's all the great action moments that he had in the movie. Yeah, for sure. For sure. Right. Yeah. Yeah. Right. Remember that the other person's going to commit suicide and he and they put the airbag out and he's trying to they're trying to get him over the rail and he goes, oh, come on. I'll get over with you. We'll jump together. And you're thinking, what's he doing? And he jumps, right? And you're like, oh my gosh, you know, and and what just wild because you watch that scene. And if you see them jump, one thing that's super dangerous when you jump with two people is being handcuffed together because weight is a big problem with zero with gravity because the fall rate will change.

45:45And someone will be falling faster than the other until you get to terminal velocity. But that's not far enough to get that. So when you watch them, you can see they're actually not handcuffed. If you watch the the actual shot because it's way too dangerous. Yeah. Yeah. Oh, that I never thought of that. But of course, you know, it's another great one is, you know, it's funny. It die hard. Such a great movie. And of course, Rickman is so terrific. And it was a character that I talked about a ton with with Rodrigo Santoro who plays Damian in my movie. Because I was like, let's talk about why we love Rickman so much. Because he wasn't, he was scary, but he was also having fun. And you also like just kind of really understood him. And it wasn't it didn't feel cliche. And so we were and I think he's become, you know,

46:49that character was one of the, it's always the quintessential bad guy, right? Because he just such, he's so interesting. And it's and and respect to that, you know, then you got Bruce Willis' character and he's got all these great moments. But the one moment that I just loved was when he walks on the glass. Sure. Yeah. Because it's like it equals the playing field, but it also shows he's not invincible. Yeah. Right. And he gets totally cut up on his feet. And now he's got to spend all this time wrapping his feet and trying to like manage because I don't know if anyone's been unlucky enough like I have when you cut your feet and your fingers, your extremities, it's it's awful. There's it's it's crippling. You know, so the fact that now he's got to do all that and still have the action. It's like, I just love that that device that they put in the script. Because I felt like it really was a moment of gravity to a character that seen pretty Rambo at the time

47:50and and made him not that made him he was great for audience reaction to because this is you yeah. I mean, when the movie came out, people were going, oh, oh, oh, as soon as he did it, I mean, they got the whole theater when he rough. Oh, no, it's noises. His feet. Yes. Yes. Something about Alan Rickman's line delivery too. Some of the greatest what he's sort of like that moment we realized, yeah, he's he's just, oh, God, these guys are working with they're not as smart as me. Yeah. He delivers that there's this dripping contempt. Like you fucking idiot shoot the glass. And I love that. But I was one of like sort of because one of the things I love about die hard is that he's not he's this is also most fun to write these characters. And it's one of the things that's sort of reach her is an aberration because reach her works and reach her never has those moments, you know, he just always the man in charge. So about, you know, leach I was pulled that off and Alan plays that so well. But but the thing in diehard I remember again to what I spoke about earlier about the sort of transition over time

48:52where I felt like they sort of lost the plot a little bit was in the first film. He's sure he's a cop, but you know what he's not he's not ex special forces secret nature warrior blah blah blah. He's just a friggin cop, you know, and so which explains is just enough to explain why he can shoot a gun with that. It's it's it's all there for a reason. And then I remember the trailer for one of the later ones going on a good day, John McLean is the best there is. And you're like, no, that's not the appeal of die hard. You know, the guy who's like literally faced with like you can either die or you can grab this, you know, whatever the hell it is and jump off a building and hope you survive. And he's that guy. So I got to tell you a funny story because you just did it. So I am doing one of my first movies, which were docs called them to step into liquid. It's a surf doc I did in 2000. And I was like, we didn't you know, didn't have really any much budget. So I cut the trailer and I'm like, I got to do I got to do the voice from another world.

49:57So I'm doing all this crap, right? One of my best friends at the time, his name was Clay Colin, another motorcycle rider that we used to ride dirt bikes together, right? And he was a he was a pro jet skier. And I and I knew he would love stepping to liquid. So I said, hey, but I want to show you this trailer to see what you think about it, right? And he goes, oh, yes, I put on the trailer. And I'm like, hey, just please don't laugh. I go that that's me the voice. So he goes in. I from another world of come to all right, all this. And he he instantly turns and starts laughing. He goes, why aren't why aren't you just getting my dad? And I'm like, who's your dad? He's like Peter Colin, dude, what are you talking about? You know, my dad's Peter Colin. And I'm like, you that's your dad. And he's like, yeah, he does all the trailer voices from another world. And so I so I end I end it. So he calls his dad and says, hey, we do me a favor and do one of my friends. Scotties, oh, any of your stuff, buddies, I do that. And he was such. So Peter comes into that

51:02ADR room, right? He does the voice. And he goes, so Scott, what do you want me to do? And I was like, well, and I was like, Peter, I just, here's the copy. Just just do what you do. And he goes, okay. All right. So he does the voice and he's doing this whole thing, right? And I'm laughing going at the end of it. I just got like a child with grinning in my at the back of the turns and goes, what do you think? I'm like, perfect. What else are you going to do? And he's like, you want me to do it again? I'm like, hey, only if you want it. That was amazing. And I say, because like, yeah, it's such a shame. He just passed. He just passed two days ago. He was so terrific. Such a nice guy, too. He did all the, you know, he's the voice of transformers. You know, he's just, he's just such an amazing man. Oh, wow. Did I? Sorry. I heard you do the voice that reminded me of that of him. I do trailers even do that anymore. I'm trying to, because I know I miss it. Those, that was great. Wasn't that like great cinema back in the day when they do that. Yeah, it's so

52:05sad. It's so sad. You know, we're talking about maybe Joe was cut more trailers than any human watch. I've cut a lot of trash. You knew what I was, but they, yeah, I already Anderson and all those guys, but, but it's, it's changed now. And also they, they farm them out to companies. They don't have like individuals, Rayler editors who go out and do that stuff. Yeah. All right, let's talk about first blood if you want to talk about that. Because that's a great one, right? Sure. And the thing, the thing that I remember in that scene, because, you know, Slime played such a obviously disturbed strong character. The one that like, it's so memorable, because it's so defining of him was, you know, when he's being interrogated in the police station, and they strip him down and they hose him, treat him like a freaking animal, right? And it's like, it's just, it's like you get this sympathy. I think that's what I always loved about Slime. You wanted to create visuals that you just sympathized with his character. So you rooted,

53:11so you rooted for him. And here he got these police that are treating him like a dog, you know, and he served his country and did all this stuff. And they're giving him zero respect. And I just think it was such a wonderful piece of cinema because he had just fell in love with Rambo. You're just like, I love John Rambo, man, this guy's, you know, done what he did and were treating him like that, you know? And it's been a while, but isn't there like a, like one of the cops is a little bit like, guys, this might not be right or something about like, he's like notices that he's in pain, which humanizes them all of them by, by, humanizes the whole moment, right? It pays recognition to this is not right, guys, you know, by, and it just kind of validates the what you're feeling as an audience. Yeah. And then, and it all and that just by sort of everything that comes after. And it's always one of the things that just kind of blows my mind that no one can tell you exactly how many people Rambo kills in

54:16the second film, but he kills one guy in first blood, one guy. Yeah. And you know, people think it's just this like murder fest. It's like, nope, one guy. Hey, let's talk about you know, there's another one because I like Mama huge Tony Scott fan. Oh yeah. Right. So top gun. I, I bet you if you read the screenplay before you ever watch that movie, you would think this is the cheesiest screenplay ever. If you think about it, that's right. Iceman, I am dangerous. Think about that on the page. You're like, oh my gosh, really? But they pulled it off in such a great way. But what I loved about the movie so wonderfully is, see Tony clicked in on the humanity. So did Tom, right? On the moments that you really needed to show the the sincerity and the depth of the hero when goose dies and he turns in his wings. He doesn't say anything. He just

55:21walks in, puts his wings on the desk and walks out. And obviously, a Tom was terrific in the scene. You can see he's full of emotion. And it just and they had the great top gun theme music playing and just pulling on your hard strings. Right. But it was so like that whole sequence is the motivator for the entire third act. You know, and it's like without that, it would have just kind of, it would have been a little bit redundant. But now that we have this new emotional ticking time clock to try to get his character to come back. To me, it was like just, it's like that moment that it kind of built up to all of that, right? With the whole fun with goose and doing the migray and seeing playing the piano and all that. And then that whole moment when he asked to see or oh, it's just it's good cinema, right? It's just good cinema. Do I tell him Joe? Where do I tell him up? Oh, tell me. I think you expressed shock. When I've never seen top gun. Oh, that's right.

56:30This is not the first time he's been regaled in a story about top gun. And he sort of just Yeah, I didn't goose dies. Holy shit. I can't watch that. Why? No wonder you were looking at me. So blank, faced and bored. Like, oh, God, it's you know, to say, oh, shit. Like there's a million movies where it's fired. You go like, I haven't seen it in guest. Don't care. But yeah, you told me that I'm seeing top gun. And it's like, what are you doing? see that man? I'll get to it. I'll get to it. I'll get to it. I do. I looked over. I died. My wife saw the second one on airplane. And I saw a couple scenes of that a couple of years ago. She said it was so there's a good movie to watch on an airplane. But yeah. Yeah. Oh my god. Yes. Yeah. I want I think I want more that's kind of like a little bit interesting because it's not what I'm talking about. But it's a piece of action that I love so much because

57:31I thought that's how I would have shot it if I had the opportunity was return of the Jedi, the speeder bite chase through the forest. It was so visceral. And my father at the time, I was watching him shoot sequences. He would always say these things. So the that sequence is paramount to what he always tried to articulate to me. He said, Scott, things going past camera and through camera is what tells speed. And if you don't have those elements, speed is kind of flat. So you need stuff going by. So with the trees, if you were you watch the sequence, right, they made the trees tight. So they're going through the cameras quick. And the profiles, they always had trees in the foreground articulating all that speed. And if you take that and you watch a lot of my car chases, you're going to see that's something that I always took from my pops because it was something that he did on against all odds.

58:35When he shot that car sequence. And then when he went and did French connection, right, like all those sequences is what you wait, wait, wait, wait, wait, hold on, you're dead to the car chase in French connection. Yeah, he shot him. Yeah, he was a stuck. Yeah, I really see was a very wow. Holy cow. Holy cow. Yeah. So he's been he was really about how to immerse the audience in there in ways that was unique. And and I always just as a kid, I watched that and just went wow, he's he's right. That's really cool. I want to do that. So I get the opportunity. Yeah, I'm always trying to like do the things that, you know, my father taught me. It's funny that you you you kicked off the way you did because it may be a media that there's a scene I was thinking of like where I see a film. And they did it exactly the way I would have done it. As I'm watching it, like I want to see this and then it happens and just maybe love the film. That's an action scene. And it's in point break. And it's the moment where like Patrick's

59:35Wazey, you know, jumps out of the airplane. He's left Kiano Reeves in the plane without a parachute. He's like, I know you can taste the catch when he jumps out. And I'm sitting there and I'm like, I would just have him jump out of the fucking plane and catch him and be the ass. And the Kiano jumps out of the plane. This movie owns me. It owns me. You know, it's so great about that. It's funny too. I love point break. I don't I'm not going to throw this out there again because it sounds like I'm being a douchebag right now. So my father used my father did the car chase, not the car, the the foot chase in point break. Oh my god. Oh my god. Listen to this. This is cool because I remember I told you about the Pogo camera, the predecessor, the first before the steady cam. My father developed this camera called the Pogo camera where you put it on a Pogo stick. You put an IMO on the top. And because it was counterweighted, it became fluid. And that was the first action sequence that he shot with it was that foot chase in point break between the buildings

1:00:38and through the windows and all of that. And and I remember because I was a lot of my buddies were doubling Patrick and Glenn Wilder was the stunt coordinator and they would go down there having so much fun on that show. And watch that movie in the end. It's such a great movie. It's just such a great movie man. Yeah. Yeah. I'm impressed you saw that Josh. Oh no. I was playing the theater right next to Top Gun when he didn't go see. No, but I saw it in almost empty theater because people forget that movie bombed. And he got these terrible reviews. I know. And there's still people haven't seen it who like make fun of it because they look at how can you not I mean, you know, you know, what's on you cross the lawn. People got hurt. You're going down. There's so much to make fun of it in there. There's so much I've talked about this endlessly. I'm sure the show everything about it is wrong, which is why it's so good somehow. It like it all comes together. It's perfect. It casts the wrong actors in the wrong parts.

1:01:39You know, think about all the way. But to what you're saying, that's amazing. The story about your dad. I think about that scene when I'm trying to write an action scene and how stupid it is. Pervert example in that film, by the way, both. Like, you know, you write the scene in the plane where Patrick Swaisy jumps out and goes, yeah, you can taste it, but you're going to have to wait another day. You know, blah, blah. And you write that scene because that is a scene. That is drama that's character. Kiano jumps out of the airplane. But you can't write that foot chase. You know, it's like, yeah, then they chase each other and it's it's gnarly. And God tried to describe that thing. What do they run through manhand beach? You know, it's like they run. That's right. It doesn't seem like. And I'm sitting there. I'm like, yeah, that's kind of exciting. Holy shit. Is that one of the greatest chase scenes of all time? I don't know. My dad had a three. If you remember, the he goes into one house. And the lady's got a basket of laundry. And she throws up the laundry. It goes right through

1:02:42the camera and out the window. And he just created all those elements that keep going past us. You know, and it was it was awesome, man. Yeah. And you literally cannot. You cannot write that scene on the page in a way that communicates how great it is. Yeah. Though it's going to come back. We need something else here. They're just running around in all these shit. You're like, no, trust me. You get good people to do it. You know, yeah. That's right. Yeah. And you know, it made what made it so exciting is also because it was manhand beach because those corridors were so narrow. So narrow. It gave you that cluster phobic right nowhere to go. And the speed got more registered because it was so close to the camera. It was that the it was it's really an attest to me to again, location, location, location. Yeah. You got to find the location first. That's going to make a great set piece. Yeah. Yeah. I think I particularly liked it because I was looking at my head and beach at the fine.

1:03:43But yeah, but that's such a great example of like how how just an amazing action scene does not necessarily. And again, I also look at bad math and great action scenes that are incredibly creative. You know, I mean, the matrix is full of incredible action scenes that you couldn't conceive that would break your brand. But but yeah, that's just a foot chase. Yeah. Right? It's a good as good as anything you've seen as any James Bond stunt, you know, and it's yeah. Yeah. Yeah. Love that. Simple and designed. Yeah. Yeah. Yeah. But it's a joy. You said about the the the speeder bite chase because yeah, it is it's having things sort of with by and and and and coming at you to to get across the speed because yeah, your movie is I mean, it's aptly named. It's things move very fast in runner. Yeah. I mean, the scene where you've got on rich and I know and Wilson riding a bike together, not so fast, but but funny. It's very funny. Yeah. Yeah. Yeah. You know, what was

1:04:46funny about that scene was, uh, I don't know sometimes my my flaw is having, you know, having done stunts. I think things are really, I don't know, easy, simple, right? So like when, they get to the set, I just assume Alan knows how to write a bicycle and I assume that I assume that out at all and I'll have no problems jumping on the pegs and riding, right? Like it's just the stuff that we did when we were eight years old in the backyard. Uh, and they showed up and I it's I I have to ask my actors, we're trying not to be embarrassed. Uh, are you good with riding the bike? And he looks at me like, uh, yeah, dude, I'm good. I'm like, okay, good. You never know. I just got to ask, right? And then so Owen shows up. He's like, so how are we going to do this? You're going to tow us? And I was like, no, dude, I was, I'm really hoping you'd just ride on the back of the pegs and Alan's just going to, he's just going to ride. I want to shoot it practically and real so I can see the whole bike, not some tow rig.

1:05:49It always looks like a tow rig. There's no way around it. You try any tricky one and shake the camera. It still looks like a tow rig, right? So um, he got like, go ahead, just let's not put any pressure. What you guys go down there and just ride by yourselves and see if this is going to work. And then I kind of kind of let them do their thing. They go up down the bike path and Owen gets on and you know, because I go, no, mind you, this is, you're going to also have to have the bird cage and you're also going to have to have the frickin cooler and you got to get the phone out. There's a lot that has to happen, right? So I got to make sure you're comfortable. But in the end, they were great. You know, and Owen was a trooper because like kept coming to Owen going, I mean, Alan going, hey, this can't be like total Sunday park ride. And dude, you got to, you need pace, bro, you got to be pushing, man. And you know, thank God it's a strong guy because he was pushing both of them. So it was awesome. I'm actually, I'm very bummed in that story because I really did. I thought you were building up to telling us that Alan Richardson can't ride a bike.

1:06:52And I was so psyched to hear that. But they had to under crank the whole thing. Oh, god, Joe, remember the days when we did that a lot, right? The under crank. I remember every Roger Korman chase, we would just, just, we just change the frame. Go to 22 guys. You could get away with it. If you didn't, if you didn't change it too much, you could get away with it. But there was a certain, yeah, it all those East, eat my dust kind of movies. I mean, they would always turn them up a little too far and everybody goes, I'm like, hard to own, it's a car to own, it's not real. Yeah, yeah, the maximum I was for my dad was doing it was, you know, 21 when it was really slow, but it was usually 22 is when my dad would push it on the, on the under crank. Yeah, some fun stuff, man. Yeah, we such different tricks nowadays in the old film days. Yeah, well, different world. Sure is. You really pulled it off and it's, it's it's just a light. I can't wait for people to see it. Yeah. Thank you guys. Can't wait to see

1:07:55what's next. Are you, are you, are you, are you a latch under that own Richardson rocket or is he already like not returning your calls? You're going to be the guy who like turns a bit of the biggest thing in the world. I'm going to be like all my other stunt guys and say I'm retiring now after this. And then I'm done. I've made all my films. This is my, I've hit nine like Quentin and I'm out. It's your magnum opus. That's right. Yes, this is it. I'm done. No, you know what? God, I just, I love film. Man, I'll never stop. Honestly, it's just, it's such a, we are so lucky to be doing what we do and getting paid for. And we get to do it. Never. Yeah. Yes, right? Exactly. We all do go to four different countries to three years. Yes. When you're finally getting paid to do it, it's amazing. Yes. No, I do, I do, I do know. I mean, and I do not have one yet lined up. I am still on this press train. And I got about,

1:08:59you know, seven more days, the movie opens up and then I'm able to, I'm able to be free and start looking at what's next. Okay, welcome back when you get to know. Yeah. Very much looking forward to it. And yeah, folks, runner, I, I did just, it was so scratchy rich. It's so much fun. It was just an absolute delight. And I, is it me? There's something really almost creepy about the fact that Owen Wilson does not seem to have aged at the last 20 years or so. It's sort of like he hit a certain age where he's no longer like a youth, but he does not seem to have aged at all. I'm rich. It's that, it's that Owen Wilson mask that he wears. That's right. Yeah. Yeah. Actually, it's not Owen Wilson. It's Galgido. Next time I come on the show, Josh, next time I come on the show, you better have watched Top Gun, the original man. We got to talk about that when you see it. Wilson Wilson. So tough. He really is. He's like, you know, he gets it. He gets very stubborn.

1:10:02So adverse to it. Gosh. All right. Well, Scott, thank you so much for joining us. And we will be back with another episode of the movies and maybe, and just before we go, we want to remind you we've got a Patreon. If you want to find other ways to support the show beyond just listening to us and telling your friends about us, you can come help out there. It's patreon.com. The movies that made me, we have all kinds of cool benefits for our Patreon subscribers. And we really, really, really appreciate them. And we really, really, really appreciate you. Oh, and one other thing before we go, I am taking off in a couple of days to have some knee surgery. Yeah. Yeah. Not looking forward to it, but it'll be fine. And so the fun thing is there's a bit of a recovery to it. And I'm not going to be able to sit down for long period of time. So we're probably going to be off for a couple of weeks, but we will be back as soon as humanly possible with more of the movies that made me. And I assume that we will be as good as ever, but I will be better, stronger, faster.

1:11:07The movies that made me is the official podcast of trailers from hell, the best day on movie website there is. Our engineer is the composer Don Barrett, who also transmogrified, produced, and created our theme song. We're proud to be part of the SpectreVision Radio Network. Learn more at spectrevision.com. This is Josh Olsen for the movies that made me. It's the movies that made me. And if you want to do it in the style of your dad's, your friend's dad. Yes, let's do it with Peter Collins voice. Good. It's the movies that made me. I can't. I'm going to scratch my voice.

1:12:11Why are you right? That was fantastic. That was fantastic.