Netflix’s Extraction Watch Party w/ Chris Hemsworth, The Russos & Sam Hargrave

published on July 2, 2020






















































































































but and welcome to watch from home

theater our little live streaming corner

of the internet where we still get to

watch movies together even though we are

part I'm Clint gage and tonight we're

watching Netflix is extraction and we've

got some very special guests with us

including producer and star of

extraction Chris Hemsworth will be

joining us a little bit later but before

we get to that let's get some business

out of the way first we will be playing

a handful of the clips right here in the

stream we got several cool scenes that

we'll be able to share here during the

show but we don't have the whole movie

so if you want to sync up with us take a

second to get your Netflix is all queued

up right to the black screen just before

the Netflix logo comes up because that's

where we will be starting the movie here

in a minute if you don't have a Netflix

account but still want to get synched up

with us you can hustle over to Netflix

and start a free trial there are links

in the description where whatever you

happen to be watching this link to the

description to help you out with that so

while you guys take care of all that get

yourself synched up I want to let me

introduce a first two guests tonight

director Sam Hargrave and screenwriter

producer Joe Russo guys thank you so

much for being here

thanks for having me so how the house

has everything going have you been

enjoying the release of the movie so far

well I mean it's you know first off

thank you to all the people who are

watching it we really appreciate the

then you know very positive so we it

makes you proud as a filmmaker and I'm

just I'm just happy people are enjoying

it and we can provide some entertainment

during these

yeah same I mean this is something that

you know Sam and I haven't worked on for

well over two years now and you know

it's a labor of love

and homage to action films of old and

we're glad that people are responding to

it yeah yeah now Joe this is an idea

that you and your brother have had for

for a long time and you developed the

graphic novel version of it as well what

was it about the story that that had to

continue to push for it for for a long

time well I I loved a sort of edge of

your seat

forget to eat your popcorn

action-thriller and you know I feel like

that's a it's an endangered species

right now in Hollywood these sort of sub

100 movies um you know they don't exist

theatrically really anymore and I think

thank God for Netflix that you know

there's a home and there's a way to

access millions of people to tell your

stories to and they were you know and

and they're incredibly creatively

supportive financially supportive and

you know so this was a an idea we came

up with about you know well over a

decade ago I think it was after I had

seen a I've read a book about a

kidnapping in South America and and it

was so harrowing and the level of detail

was so specific stuck in my head for

months and then I climbed down to this

notion of the character with emotional

trauma who was tasked with extracting a

kidnapped victim and then started

building the story around it and then

was something that we just played around

with for years initially as a vehicle

for us to direct coming off a community

but then we went into Marvel and um you

know it's been a good eight years there

and it's where we met Sam and and

fostered an amazing creative

relationship now here we are cool and

and Sam want to talk real quick about

about your sort of goals for this film

again I mean in terms of the action

movies genre like big picture you know

in this being your first future film

what was the most exciting part of this

process for your most intriguing part

well like joe said that it it's kind of

an homage to the action films of old

like that I grew up watching in the 80s

and 90s that they don't really this is

not really a space form nowadays so when

I read the script the gyro is a

page-turner it had heart it had you know

a template for incredible action and I

thought those are all things that I look

for in a project that I want to direct

so it seemed like a perfect fit and then

on top of that to get to what you know

Joanne Anthony who mentors of mine and

close friends and Chris was you know

it's kind of hard to stay note is such a

wonderful opportunity because we spend

so much time on a film set like Joe said

it'll be two years you know or it is it

has been two years of working on this

film so you want to surround yourself

with people that you you know and trust

and respect and have a good relationship

with and I feel like you know that that

relationship exists between me and you

know the Russo brothers and hims over so

it's it was a dream come true for me

just a lot of

oh and chose there's one more question

before we before we get going

is that a Lord of the Rings pinball

machine behind you it is

this is my room my theater where I have

a Lord of the Rings pinball machine and

then I have a time machine you know

3,000 games I think in it like my prized

possession being a you know a dragon's


um and Space Ace and game mode on it so

yeah yeah what do you got behind you

there I got this is a centipede issue I

got a yes that's the only game that it's

got but it still works it's the the 1982

cabinet I think with uh had to scrape a

little graffiti off the side from where

I picked up but yeah I'm got two small

kids so I'm spending most of my

quarantine stuck in a corner the garage

working from home but and then Sam

Krishna is that a I have to ask you

about your background there a little bit

too is that a SAG Award over your

shoulder there is you know that this

right here we outstanding action before

homers by a stunt ensemble for in the

game not that scan of the fitting seeing

as the director of endgame is right

there we put that in the more prominent

nice just a little

let's cool all right well I tell you

what let's just get into this movie if

you if you guys are at home or not cute

not to it already over on Netflix here's

your last chance so spin a second to get

set up over there also want to remind

everybody wherever you're watching this

stream make sure that you leave comments

or questions that you have for Joe and

Sam also for Chris when he is going to

be joining us here in a few minutes if

you're on Twitter use the hashtag wfh

theater and we'll try to get to as many

of those questions as we can as we go

through the film but I think that's

probably enough for me so let's get into

this movie if we're ready let's uh

everybody get ready to click play in

three two one play

traditionally on the show my first

question is what's your favorite studio


good question depends on whether they

were watching 20th century logo it's too

much too much emotional baggage with

that logo for it not to be my favorite

yeah I mean I I love that one and I mean

the MGM like the classic the lion like

always I don't know just invoke some

something epic is coming you got a Bond

movie yours that was always classic what

about yours I one of my first jobs

removed it's la I spent a lot of time

working on the Fox lasso I it's the it's

the Fox 20th Century Fox fanfare for me

feels like home that that snare is

Pavlovian yeah yeah so we talked about

it you quickly bet the the setting of

this this movie in in Dhaka it's it's

such a an unfamiliar kind of place I

think yeah yeah IMAX Matt was Jose I

think one yes they one of the brilliant

things about the script was you know

this story taking place in the part of

the world that most western audiences

have no clue existed so to bring that to

life was yeah it was originally the it

was based on a graphic novel that we had

written and so when we came up with the

idea we we converted into a graphic

novel a decade ago called Co dot and it

was originally set in Ciudad del Este

and there are some other projects

circling that his location so started

feeling less interesting too and and you

know we'd spent a lot of time on the

road promoting the Marvel films spent

some time in India absolutely and felt

like it was just I just was you know

they're promoting the movie and going I

just don't see this on in western films

that much and it's a it's a shame so we

came up with the idea to relocate it to

to Bangladesh in India now opening the

the movie on this bridge scene was it is

it always that way like in the scripts

do we did the the movie always open on

Tyler on the bridge

we we restructured it in editorial there

was a it was originally scripted to open

on the scene the extraction scene in the

in the room or they're holding ovie and

then it would went backwards in time and

then he caught back up to that moment

and we thought it would be better to

open on a seminal moment for hims worth

psychological moment for him and to add

more tension about whether he's actually

going to survive the moving up I love

these little quiet kind of slice of the

teenage life have been yets that that

happened here yeah this was important to

the story to just show the you know the

little cloud you know in real fast real

quick so to show the the quieter side of

the character and the you know the the

juxtaposition the life he's living you

know trying to be a normal teenage kid

but living and having a father who's you

know doing the nefarious things that he

did he's very isolated and so we tried

to tell that in the you know the

environment here at the house and just

like how cold and calculated it all

would and we'll talk I will talk plenty

about saju moving forward but this is a

character that I found really

fascinating in the movie we like

complicated characters I mean these you

know I you know look fantasy and

infinity of war um you know every every

villain thinks they're the hero of their

own story every every hero is a villain

and someone else's story so um it's not

it's you know it's not that one of the

things is most interesting to us to

explore is complicated motives in

character and this is a guy who

generally you know beyond the fact that

he is a hitman for a drug dealer care

it's family and has his own sort of

desires in life and things that things

that he loves and cares for and he's put

in a terrible situation and then he may

folds to to do what he believes is right

in the situation and it's gonna cost him

his life

Sam do you want to talk a little bit

about your relationship with Tom Siegel

yeah I mean that the the beauty I mean

part of the thing to me is so much fun

about this movie is the look it mean to

me incredible advantage of the space

that we were in the way he used the

light and lenses to you know this world

as a character and and that we talked a

lot about the differentiation between

the worlds and how the word the world of

Obi and you know I Mir was a little bit

more smooth so you'll see more you know

dolly shots or locked up where things

were a little more as we get to Dhaka

soon as things kind of like set off the

world becomes a little more unstable for

everybody involved so we went to a

handheld feel but you know the idea was

always to make it look and feel like you

were they say documentary-style per se

but it was you wanted to be able to

taste you know the the sweat and like

feel the grit in in the end you know tom

is I mean in the last 15 to 20 years one

of the best cinematographers on the

planet they get to work with a guy like

that I mean I was learning stuff every

day from I won't be forever grateful

that he was you know leading the way

yeah and I'm seeing a lot of you

actually holding they haven't camera in

your hands throughout the production to

like what what was that like working

with a guy like Tom Siegel and then well

so it running running camera for it's

it's tough because that guy he's an

amazing camera operative himself he

started in documentaries like he was in

in wartime and like conflicts in South

America and

all over the world so he's been in hot

spots so it would you know he he really

wanted to do a lot of those things and

it you know in his heyday no problem he

would have done what I did you know

times 10 but it would he was very

gracious to allow me you know that the

young hungry a crazy director to jump in

there and and try to my hand at

capturing some of these these things in

a way that had talked to him about and

wanted to try my hand at just to capture

the action and and in the spirit of what

I had in my mind he was very gracious to

allow me here we already have a bunch of

questions already coming in and the one

we're getting the most of which is just

you know I'm sure you've gotten before

but uh be 127 is user and IGN YouTube

Kyle Steves is watching as well handful

of people have this question from free

Sam but what did you think of your first

directing experience I mean you're kind

of touching on being able to work with

with Tom there has been being a

highlight of it but what what did you

think your first directing experience

and what have you learned directing this

movie and just making the transition

into being a director be 127 also I

should point out mentions much love to

you guys and thank you for everything

you've done at Marvel

pass that along from be 127 who's

watching on YouTube as well great our

pleasure bringing the Marvel Universe

alive or at least the small part that I

hadn't but as a director meaning it's

funny that I think the first the most

surprising thing enjoy a similar have

had a similar experience or not but for

me that the biggest shift was the sheer

volume of questions that I would be

asked throughout a day and it was just

it was almost mind-blowing just the

amount of you know us you you understand

there's a lot of departments there's a

lot of people that need to know what's

going on but just when it happens all at

once you know you're like wow this is a

lot and you have to you're like a

switchboard operator you have you're in

the middle of a dramatic scene and as

soon as you break you got it like

someone says hey how many holes do you

want on the side which side of this red

card for a seen two weeks from now and

you got a unplug from that dramatic

thing I'm special a technical brain and

and help out to to you know help you

make a movie at any time if I would get

frustrated or like odd too many

questions you're like well you don't

have to answer him but it's your movie

you know if you don't I can't do my that

was that was one thing that was very

kind of and I think just to reiterate

the importance the many of surrounding

yourself with people who are you know

better and smarter than you because if

you're the smartest most talented person

in the room you're in the wrong room and

I was very fortunate to be in a room

with a lot of super talented you know

smart people and I learned something

every day from someone whether it was

Joe or Tom or you know Chris the guy was

very for an amazing crew and cast so

here's the thing I always give new

directors is yeah be decisive you just

have to you you just have to make a

decision and you will you will answer

thousands of and you know I always say

make a decision and then if you find out

later it's the wrong decision then you

have to adapt and pivot and figure it

out and turn it into the right decision

but make the decision so one of the

things about this the sequences so we're

right now we're meeting Tyler Tyler

Drake right here under one and one of

the things that struck me about this

sort of touched on Saji earlier is we

get a lot of detail about Assad's

backstory before we get any about

Tyler's and Tyler's introduction is

mostly mood and tone and not a lot of

details you talk about about playing it

that way with sort of the movies more

antagonist getting a more detailed set


Jeff you wanna yeah I mean yeah sure the

you know that was intentional is just to

you know have a more mysterious lead he

clearly is haunted by something it

doesn't take much you know there's a

language that the audience understands

very um you know they've seen thousands

of action and and so we felt like you

know the real estate was required for us

to take sod you on a journey that was a

believable journey for you and that

requires screen time to do that so we're

slightly inverting the amount of time

you would spend on a hero versus a

villain because he's gonna go from an

antagonist to a protagonist and he needs

a setup and story to do that Tyler

doesn't need that same amount of sad he

is he's damaged he's a he's an extractor

and he's offered a gig it's a fairly you

know and it's Chris Hemsworth so you

know you get and then you know you get a

mileage out of Chris is a charm and

charisma on screen you don't have to do

a ton of work on his you know making you

fall in love with the character you're

gonna fall in love with Chris so but it

was intentionally structured that way to

them to have a more satisfying art

photography in this one

it's also great even just down to the

wardrobe here look how out of out of

place Nick is in this I mean she stands

stands way out in it's Tyler's world

yeah I mean the idea here was that this

it's almost that rake like you know a

damaged man who's kind of retreating of

his past and he gone off and she's kind

of representing the world he used to be

a part of and it's out of place with

where he is right now when we meet him

he's not in that place that's not

something he wants the video so she

represents that you know the old world

and the stark contrast of how she's

dressed and her demeanor and she comes

in another shiny helicopter you know

there's money there's intriguing all the

stuff that who's that world but he's he

has left that behind

you know before because of his past and

now she's she's enticing him back into

it but know you're kind of knowing where

he comes from and his is damaged so she

appeals to that here we got a pretty

pretty detailed question here from

Melanie Macklin who's watching on iTunes

YouTube channel were there any

significance to the tattoos that that

Tyler wears yeah actually the nope you

see we were trying to go for a very

different look for Chris he wanted to

play a character unlike anything he'd

ever done before and so part of that was

to and also to he's such a handsome guy

it's unavoidably he's Deb devilishly

though how do you how do we kind of

change the people's perspective of him

slightly so we're gonna you know more no

hard line haircut put some tattoos on

him but the you know that the three on

the neck or the three you know arrow

tips or spirit we're just kind of kind

of his approach to life and his mission

he's always kind of he's the tip of the

spear he's piercing the situation and

going for

the interesting and I'm trying to think

of how much we see him but we do it a

couple times is on his forearms he's got

some tattoos that are actually which

represent IM to his you know tyler Rick

from from Hemsworth sector real-life but

that his kid you know those are

significant because those came from his

his son and in this so we tried to

feature those at different times and you

know those are details that no we never

referenced it's just a visual reference

that for us to get layers for the you

know at times like this you can

reference it and and go back and people

will hopefully this is a great scene

this is sort of some of the action movie

shorthand that you're kind of talking

about earlier Erica here's the

exposition we need it for like 30

seconds and we're up chut they did it's

great you want to be efficient you want

to move the audience through it you know

this is a throwback film and it so it

does borrow from language that that

you're familiar with and so you know

where the novelty it comes in in the

movie I think is in the you know the

characters that that circle around Tyler


as you mentioned oh the Nick less let

you know these are less traditional

character representations in these kinds

of films and and I think what what you

know where where the the you know the

novelty comes from in execution

yeah one of this actually was one of my

favorite that we shot on and you know

that gave away too much but the beauty

of set that's one of you know I've had

people from the region of India

Bangladesh say like how wonderfully real

it looks but that is we shot that in a

back alleyway of old Chinatown in

Thailand and so ding because that was

something additional we wanted to bring

to the story it was we added on so we we

didn't have the access to the same

locations before so we was had to make

do but the art department like art phil

ivey our production designer and then

nathan like our art director absolutely

crushed that scene like it was those

kinds of things in movies I love or you

you walk in a door in Dhaka Bangladesh

can you exit now your and everybody

knows the difference no that kind of

stuff I I love about about the intent is

to be a muscular action film it is a it

is about a simple premise right there's

emotional trauma to the lead which is

some curvature that makes him

interesting as the movie progresses you

know the setting is unique and and you

know as I said the supporting characters

have you know especially spydra as a

non-traditional arc and you know if you

were to dissect the movie Nick actually

does execute the sort of most critical

moments in the film killing sniper

bringing down the chopper assassinating

Amira Seif at the end of the movie so

there are some non-traditional moments

that he can play with what the the point

of the movie the exercise was a muscular

simple drive to the film that it would

allow for some you know virtuoso action

work and which Sam deliver down in


yeah I will say one of the things that

really struck me about the movie is how

much it covers like it does a lot

there's a handful of characters that

have really like thorough arts I mean

not a very long one time it's just a

fish didn't see a storytelling

you know really is trying to be very

thoughtful and compressed um what I like

I said what I love is not you know

forgetting eat your popcorn I like those

edgy or see ticking clock what you know

Ronan is a another favorite of mine with

with De Niro Frankenheimer you know just

a really tightly tight compressed time

frame with you know without knowing too

much about the characters you go back

and look at Ronan

I believe that that's a Mamet script and

it is exceedingly efficient in terms of

the character there's not a ton that you

know about De Niro in that movie and

it's the exercise of watching him as a

likeable charismatic lead try to survive

the plot it's the same exercise where

we're we're indulging hair so this is

this is a one of the first enormous

fight scene in this movie where I'm just

talking about walking in how do you even

approach just walking one guy walking

into a room and needs to take out

everybody like I mean this is a you know

just I mean how do you even start to

approach that just like that doesn't get

guys that one guy needs to take out yeah

well I mean truthfully we started off

Joe Joe's script and the action

description in on the page was

incredibly you know character driven and

efficient in telling a story and all we

tried to do you know was a story and and

can find inventive creative ways to do

you that part of the challenge which is

with all this you know how do you make

something like this believable and the

beauty of it is with you're doing fights

with multiple attackers is you've got

someone as big and strong and you know

aggressive as chris hemsworth and so you

buy that he could make it

this group but we wanted to push him and

just keep it constant like the pressure

was always on where he didn't get the

chance to breathe so as soon as he gets

to a win somebody else is right on top

of them and you're just really forcing

him to think and you know and also for

us as action designers try to sneak in

you know little details like this one

coming up here and boom how's your neck

that's actually you know little things

like that because we we wanted to do

that do a stunt guy but you'd only get

one take and I like my guys so we did

that with a with a dump yeah it was that

was a dummy that guy that got flipped

over on top of his head yeah and then

here comes the murder by rake which is

you know we are ultimately we honor the

people who brought us to development

community about everything we do we knew

this exercise was a throwback the name

is a throwback I mean a lot of what we

do my brother and I you'll notice we

talked about films from our child and

things were really resonant with us

we're just film junkies who loved movies

and this was you know trying to

recapture the feeling I had when I was

12 watching or 14 watching a movie like

this Rambo John Rambo Tyler Drake right

like we're being self-aware and

tongue-in-cheek at the same time as

we're trying to commit to the exercise

as realistically as possible make the

characters function in a way that seems

like psychologically real there's a

hyper adrenalized story we know that

we're aware of it and but we want to

have fun with it you know we want it we

want it we want to really commit to the

exercise at the same time let you know

that we're we're self aware of its its

its roots and and it's a it's it's how

it functions as an homage well so after

the vesting seeing him just just take

everybody out like that here's a

question that we've seen a couple of

times coming already here's for one of

them is gar Drago who's watching on

IGN's YouTube how different was it to

work with Chris on something like this

with such heavy context and obviously

the violence is his way ends up versus

something like the MCU

jeeter's uh for a direct or Oh

standpoint I mean I know Chris we talked

about it and he was wanting to do

something that was more grounded more

real and you know that had an r-rating

to allow him to you know do some things

that he hadn't gotten to do in the Thor

universe you know he or in the Marvel


as Thor am easy super talented guy and

I've worked with him you know those

movies any but we for me because it's

such a you know he's he's a god in those

and I think that you know Joe and ants

did a good job ting him as much as

possible but he's still in a God to give

him to make him human in this and it

were he you know he feels pain but also

gets to dish out some pain it was a

really fun challenge and I wanted to

push him physically cuz I knew he had it

in him and he delivered I've been

talking about like reading this stone

the page talk about an introduction to a

villain like he does it doesn't get a

whole lot more villainous and cold in

this action right here which we got a

little cameo from our favorite little

chipmunk yes that was your on the set

all day and you know he just wouldn't

take no for an answer is his agents were

just honest non-stop anyway we were in

between other boxes of that right and he

just he did he got he got bumped up to a

day but this does yeah I mean just chalk

and a kid off a roof is some of the

gnarliest stuff I've seen in a movie

it's it's intense and it's meant to be

intense and it's meant to it'll you know

illustrate you know I think there's an

epidemic of sociopaths you in the world

right now it's part of the issue is

struggling with as a society and that's

sociopathic ones it runs the ranks from

criminality through to technology

through to politics and you know this is

this characters appeared sociopaths and

you know it's interesting is that you

know character like rake or sod you

exists in the same world with the


they have violent tendencies they're

trained to kill people but ultimately

see that that neither of them end up

being um you know completely sociopathic

like a mere does and that's that's what

the story is sort of in a world of gray

to to to darkness there are a few

characters who can hopefully rise above

their individuals who can rise above the

a very dark world to do something noble

well I think we actually have getting a

thumbs-up from the TV I think we

actually have crisps if we're ready to

bring him in just segwaying straight for

me no more talking about the sociopaths

in the movies it's the spring think

respond if we have we're working on it

but I do like this while we're waiting

on handsets they come in I do really

like this scene it's got some these

these group of kids have some real City

of God vibes to to which feels like one

of the other movies that it's got some

DNA in here yeah without question it's

one of my favorite films the City of God

and I think it's interesting too to

track the you know ascendancy of a

criminal how does how does a boy you

know what kind of boy was a mirror

before he became who he is

and and watching how these these boys

are than scarred and and you know put in

a position where they have no choice but

to become killers and criminals this

scene actually this was I'm sorry grant

no no no there's the one we're here for

this was yeah this is our first day of

shooting I remember this yeah being

being that you know for me like a very

important scene because it's the first

time you see these two start but it was

very very

important but you know said to do that

early early on in the schedule was was

daunting you know I I was again

fortunate to have two really great

actors who brought and said it's so much

without saying a word in these moments

you know that really starts the

development with keeping these two

characters it's gonna lead you on they

make you care for throughout the rest of

the film and this is this is kind of

where it starts this is super important

scene and and daunting to do early yeah

well it's really understated too like I

I really enjoy how you know we keep

talking a lot about efficiency and

everything but it's there's no no

nonsense no waste at anything in this

interaction here which i think is really

telling for Vegas character – yeah it's

important – I mean you want to see you

know the kid and what he's going through

some time which you also were tracking

this with Rick you want to see how at

this moment is he's all business thing

you know the kid is just kind of the

package that they talk about later he

needs to be delivered he's you know he's

an object that must be taken from X –

you know – y and he's gonna do that and

you know whatever gets in his way he's

gonna take it out so it's very important

to the arc of Tyler story to establish

his you know your viewpoint of the and

you know to set that up so it you see

has changed later on and I just love

this location I mean there's like it's

such a visually like that vector is

visually stunning and these things in

buildings that we found that were just

beautiful and said something about you

know that interaction in that world that

we really loved Tom

and here again I comment again on there

at the wardrobe for those for Nick and

for the only the other guy there like is

something so like fun and could store

about it that's just so different from

everybody else in the movie yeah yeah

the psychology behind that is that look

they're they're like hey gents right

there these they're very wealthy arms

dealers slash reps for mercenaries and

they're stylish they do quite well for

themselves and and you know they you

know they dress themselves in a way to

like I said you know I love elevate

themselves above the sort of messy

careers that they've chosen and Sam we

we missed talking about on your first

appearance first couple appearances

actually but this is this is you here

you re snipe it it yeah that's me coming

in to help the team get accomplish the

goal and then it it's gonna maybe

that'll be my thing we Joe and I laughed

about is like like Hitchcock you know

you put yourself and your movies it come

first act of all my movies just let them

like can you're done just think a

creative way that I go myself

it gets worse and worse than every movie

you're the drummer from spinal tap like

figuring how to work choking on monolith

and you're into movies hey you know

never underestimate the creative minds

Gio Russo and Anthony Rizzo I go right

now I mean that that's shot all the way

to me is only just stands out is Tom

Siegel the brilliance of his you know

back like we were always chasing

backlight just hammered into me and for

good reason because it really does make

this movie beautiful you know who shift

our schedule around based on light you

know we would have art is the plan but

then we've like you know what it's

better if we did this that's like so far

everything's amazing show will go on

you know we'll get the light what yo

Chris what are you doing how are we I'm

good man

really yeah we're right in the middle

they say thanks for joining us man

snake yeah you got here just in time

we're a few minutes out from the the

water I'm excited to see it it was

intense to shoot and it's intense to

watch yeah it really is there's just a

couple of questions about it before we

get into it like when it's actually

happening we can we can talk about it

but how did you first start to build

this scene like what was you know was it

always wanting to be just was it plan

from the very beginning well Sam and Joe

we can inspect to that with in more

detail where I was introduced to it I

probably a couple of months before we

started shooting Sam said he wanted to

attempt this 12-minute Awana and I

thought oh yeah cool that sounds like


and then didn't realize it was gonna be

as intense and physically challenging as

it was and we just had weeks and with

with rehearsals and then as we're

shooting each day we'd be rehearsing the

next sequence and the next day you know

what was coming up so it was kind of

yeah everything we was sort of

overlapping and intense but you know

adds to the energy of the point of what

you see yeah it wasn't planned that way

you know it was um it was one of those

things where it was I mean again the

right like when I read that scene

I couldn't stop like turning the page I

was I'm but it was one of those things

just for me it came down to like a way

how do you know this kind of action

scene in a way that might be a little

different than movie you know that genre

that's come before and I'm not totally

different Warner's had been done before

you know in some entire movies done that

way but I want as from a creative

standpoint take grab the audience and

say you're coming with us we are we're

going into debt we're get

Dokka we're taking this skate and we're

going so that the camera then becomes a

character and you get to experience this

stuff in real time you get to be

surprised but surprised when Hemsworth

surprised you get you only know what as

he knows it and it so that and you see

that the relationship between Tyler and

Obi grow during this product and so that

that was the kind of creative impetus

and then the technical side you could

you know there's a there's always I

thought yeah directors have sort of you

know unique sort of wordings of could

have they want to shoot things and make

them different and I remembered Sam

saying you know making that the camera

character when I hear you know okay

whatever and then when I saw him

strapped to the front of the car and

diving off the building with the stock

cars and falling down the stairs with us

and so and I thought wow it really he

wasn't he wasn't lying he wasn't

exaggerating and this is where it starts

that's where you start your clocks click

and the store is where it starts and

then we're off to the and having in

partisan right no no no go ahead a

scripted just as a protracted action

sequence you know I again what I love

from 70s thrillers like think about the

you know the car chase from French

Connection you're immersed in pure

action for a protracted period of time

and it doesn't let you go the bank heist

from the heat any of the car chases from

Ronin so this was originally just

scripted as a long action sequence the

SAMS the idea and Sam thought for the

notion of a one-er because he felt like

he said it would be more immersive and

he you know he committed months of his

time to conceiving this and executing it

and it's exceedingly difficult and you

know he put himself in harm's way in a

way that the very few directors would to

capture these shots on his own yeah I

love all these videos you just strapped

to the hood of a car pointed cameras

yeah I'll point it out when it happens

and what's with crazy about this it

looks like and this is just like going

through this gate this shot coming up

Chris Hemsworth and you know Rudy in the

seat we're smashing through this is it

on agreeance

they're in the vehicle you know in the

duct the street as these cars or they're

narrowly tooktook sin and police cars

it's all them in the car like do you

know not this is not so that's part of

the thing that's to me was also fun is

the realism that I want was it was part

of the another part of this so here's

one where I'm you know on on the back of

a camera business thing here this is

actually one of my favorite little bits

because we've got the car kungfu just

the intricate choreography well I was

you know my lens was three three feet

away from some of that here didn't shot

is worth trapped to the hood of the car

because the camera vehicle that we were

using before was not able to drift these

corners and get this kind of state this

close it didn't have enough power and

you know it was the wheelbase and it

allowed me to get this shot where when

the car stopped they just released I

could slide right off the hood and then

kind of you know dive into the back of

the car so depending on the necessity of

the shot we use different tools and

sometimes I had to strap myself in the

hood of a cop so Chris we're talking

about driving through gates and and

being right there like can you talk

about the difference between that it

like is it more fun more weirdly

satisfying to do stuff like that instead

of instead of like the bigger green

screen cg stuff oh yeah you completely

immersed in the moment and you're not

only you know as the character but you

as the performer you know you're not

having to act afraid nervous elevated

heart rate in and out of breath because

you truly are and it was intense at the

end of every tyke was like oh okay the

wheel survived you know it um I mean as

we're driving through the streets there

this stunt performers you know

iving out of the way as we get within a

foot or two of them and that cut that

that was the most nerve-wracking stuff

just just that that sort of you know the

timing you know that everyone had to be

in exactly the right place at the right


but it's certainly why more enjoyable

you know the hardest stuff I find is

green-screen you know sound stage just

numbing lights kind of no energy not no

environment to react off and just sort

of interact with and when you're you

mean your decade at Marvel my entire

career every time I work with Joe Russo

it's just really boring what it takes in

is like you better have a good script

you better have a good director to help

you kind of get you but I have good

actors yeah

and you know you get there and you might

Avengers the little small film that you

put together Joe but we'll just clip out

the first part of that talking about how

long you train for this stuff this fight

coming up here like oh yeah I'm gonna

take you guys too I mean we didn't have

as much time as we would have liked in

in rehearsal but the moment I got there

and then it's probably what three or

four weeks of rehearsals Sam prior to

that particular moment and it was you

know we would shoot all day long which

felt like a training session in itself

was just you're sweating running

fighting jumping in between setups we'd

be rehearsing scenes we'd get it home

then and we'd have maybe 30 40 minutes

of gym work and then we'd go and do more

rehearsal and um yeah it's the most

rehearsal odd of ever had and but I go

say yeah I I felt my body I felt in in

better condition than I've ever been in

and less banged up during this this

shoot and I was even on something Road

did far far less you know um training or

far less kind of stunts and I think it's

just because you you're in the moment

you know and it's it's three months of

non-stop but you're kind of you're

running on adrenalin and you don't have

time to think about what hurts and you

know what's breaking down and I don't

know I certainly prefer to work that way

after the experience just that I hit the

running in and done stop you know and

there's a we're getting a handful of

similar questions actually from some

people are watching about your

involvement in this movie from the from

the beginning

Yvonne oppa for what lead was she

sorry if I'm mispronouncing those names

but questions about what attracted you

to this movie in the first place and why

leave with Jean has an interesting one

about action heroes what action heroes

that are kind of throwbacks if any did

you take inspiration from for this

character yeah um it look it was the

unique blend of you know this incredible

action film and what's am and i wanted

to do with it how we wanted to shoot it

with the emotional component and this

character you know Joe had written just

such an incredible script that you know

felt like an arthouse action film which

was a pretty unique combination and I

didn't really want to do this to another

action film I you know it was pretty

heavy on my my history of what I'd done

and yet this felt very very different

now there was a character that had a

heartbreaking journey and a backstory

and something that you know that

emotional component was throughout the

whole film and everyone sort of each

character was you know had their morals

kind of questioned and compromised and

had to make decisions that ultimately

really transforms where they were headed

in life and and you know a lot of the

time it's just action with the saying of

action whereas this continually informed

the narrative and where the characters

were emotionally and B as far as films

that I drew from I didn't I think more

in a sort of unconscious level we know I

mean I grew up you know Rambo films like

that that I loved and a lot of the

action films of sort of that you know

the 80s and 90s but it wasn't anything I

specifically kind of went and watched

and went our dishes this is what I want

to do it it was I guess you could pull a

million different films that without me

realizing I probably stolen ideas from

but we're getting back into the sequence

here we've here comes this this knife

fight with Sasha

and right just a second ago Sam I assume

that was you two jumped off the roof

holding a camera did yeah those guys

were going up I was gonna follow them

you know part of it was great

you'd get yourself in these situations

and you're like oh this the Shoeless

balcony was like how are you gonna get

down we're like well obviously we got to

jump like we get they gotta fall and I

gotta follow him

otherwise it won't it won't feel real it

won't feel so tried to keep it like we

talked about from before you know as a

character now that this this know was

kind of inspired by our you know our

daily interaction with the environment

we'd be scouting or just going you know

walking to and from our hotels like tuk

tuks motorbikes just passing right by

yeah there's an interest this is crazy

flow this this you know I never saw a

single traffic accident while I was

there but the flow of traffic is just

amazing and so we tried to say what what

if we threw you know a knife fight in

the middle of all that how would that

look and so you know that that's that's

yeah I do love that the life of the

street is just kind of still happening

around them right up until the car gets

you yeah yeah you just um you were so

lucky with sort of where we shot and

even the sequence just a few minutes ago

where we're running up the stairs then

you see outside you see the buildings

there's you know hundreds of people

looking over there of the buildings and

so on you watching a shoot now in real

life they would have also been looking

over going there was a car crashing

gunshots and what's going on yet that

would local people just there and and so

we kind of a lot of what you see is the

business and reality of what was going

on you know beyond what we could control

and again yeah I you know you couldn't

you couldn't choreograph that kind of

crowd you know real crowd reaction to

that scale I thinking we got lucky I

dunno I didn't pay back in the van no no

it's a good where you absolutely

directed like we need to watch that it's

such a that's such a good at in

we're yeah it's payback you know there's

like like Joseph that's like we with the

rake there's a there's a bit of as you

know I see here is there is a bit of

tongue in cheek like awareness so it's

like you know tit for tat like if you

hit me with a car I'm gonna hit you with

a like there's just a bit you know a bit

of that back and forth going on which we

had yeah it was still going on here yeah

we good

and because the you know we're still in

the water we're but it's also that's not

again not not face replacement that's

Chris Hemsworth and Rudy that they're in

the car they're doing this stuff which

is part I love by the sequences how in

the action the performers are like we

there was not

we weren't faking it you know they're in

all these environments like there's the

next shot Rudy's hanging his head

outside of the speeding van like that's

the guy it's not not Elisabet he's

hanging his head out of the car that's

part of what really excited me about

that sequence and I think makes it

unique is go back to those movies that

you know just we're just doing it and

then you get out you go oh can I ask a

question yeah I'll just jawohl Sam like

to shoot like this right

I mean when it works it's like you get

that kind of sequence right is it is the

reason a big move to the green screen

for a lot of think traditionally in a

sequence like that would have been just

logistically because of how complicated

it is to do or is it is it is it I don't

know cheaper to shoot on a green screen

to give Sam some props here I mean that

is incredibly complicated and it's very

complicated to map that out and to map

that out over over geography that

extends for 12 minutes of time it's it

takes months and it takes a level of

experience in a know-how that very few

people actually have yeah Sam is one of

those people and you know I don't know

that I could have conceived that shot I

don't I don't think I couldn't

only Sam could so as I said it was

scripted as a more traditional sequence

with Sam's idea to conceive it as the

Warner and he put the time of thought

the energy into it and worked with his

team diligently for months to to craft

that it's very complicated to pull off

but when done it's very very thrilling

as you see like you are Sam said you

become part of it you become the hero

yeah and you you you it you're feeling

it on a visceral level in a way that you

that you can't when you're not in the

water if you were editing that it I

don't know they receive that same effect

that breathlessness that you get

watching right well I like the placement

of it too just right smack in the middle

of the movie and the movie itself is

more or less non-stop so yeah again that

was always on 10th right exactly

went less pressure cooker we like

characters who are contradictions and

and what is so fast and any while Tyler

is is that he is physically brave

exceedingly physically brave but he's an

emotional coward and he's done something

of true of emotional cowardice in his

past and that he needs repentance for

that and and I think that you know by

taking a character with that which is

that simple

you know fulcrum in his life that that

you know that intersection of of you

know tragedy and bravery and then

putting him into a the situation on a

ticking clock it's gonna force him to

come to terms with it in a way that he

wouldn't if he were not in this

situation he has to make split-second

decisions and that goes down back to

instinct and he improved to himself that

he can overcome that emotional power

over this this is a great scene you guys

have you and Rudy have here can you

sorry there's there's a question that I

saw somebody leave and I can apologize

that whoever left it

because I lost it no but they were

wondering about if you gave any any

advice that you gave to Rudy who's

fairly new to acting while you were

working with him

yeah with Sam and I worked with him a

lot and look because he was so willing

to learn and wanted to grow as an actor

and and and you know soak up as much as

he could and that was just that you know

we're so fortunate you don't get a lot

of time actors come in with their idea

of what they're gonna do and that's it

yet we just about sort of simplifying

choices you know and letting the sort of

the actions speak louder than the words

and when we did speak it was sort of

straightforward and direct and we

weren't so dressing it up too much and

and so yeah we it was a lot of the work

was just about just keep it simple just

say the dialogue that the writing so

beautiful and and and and and simple in

the best way so direct and short and

sweet we didn't need to sort of you know

decorate it too much and and he was

fantastic he no I wasn't he sham he was

willing to learn and and and you know

soak up whatever he could yeah he was he

was a sponge I mean like to see his

growth as an actor and as that you know

the person over the course of this shoot

was really you know I got actually

turned a lot of the props around on you

Chris for coming in you know on Sunday I

remember Sunday's multiple Sundays

coming in days off but to sit with Rudy

and and I and I around the table we just

read through scenes it's just just like

Chris said stripping away all any

preconceived notions and just living in

the moment and letting you know letting

the words speak and let that be what's

that you know the impact of this is the

beauty the beauty of it the writing is

it's like you don't have to do much to

it like the situation is putting a lot

of the weight on so you just you just

say I'm truthfully in that moment and

then it you know that I think a lot of

these things land it really strongly so

I hats off to the kid heated offense and

it gets

one of the biggest laps of the movie

truly like we've seen it like when his

that line about your phone you're gonna

live in the street your phone it's loud

like that and gets a lot of great

reactions and we would have watched it

with people and people have commented on

yeah yeah there there are a handful of

spots in here that are that are really

well placed jokes was it and in the

context of a much heavier film obviously

was it a anyway a challenge to not

include a few more moments to lighten it

up a little bit you know I think there

were more moments we just wanted to

pepper in as many as we and many as we

could to have the option to sort of you

know light in certain moments and so on

and a lot of the time we just take it

too far it was of the same with the sort

of Australian isms if you want to call

them that which I know a lot of people

say oh it was really interesting to hear

in Australian accent you know mate and

and you know yeah whatever you know we

do and we sort of fluff around on

sentences and but there were times when

you do that and it would feel like

Crocodile Dundee and it become a bit of

a cliche you know experience so we we

did attempt to sort of throw it in there

but it was an editing sort of balance I

think in the end of sort of how much to

have in and how much Olivia oh yeah a

little bit more of a random question for

a crystal you could add for its username

is he fast I think sorry again what are

your thoughts on cosplay I've done a few

Thor cosplays but I'm wondering if I

should make myself a Tyler rate costume

and what are the must-haves

it's Tyler rate cosplay uh well I mean

Reich for starters and it's the military

gob and it's Ania and get yourself a

Reich haircut long on top short on sides

and hacking what our weapons

plenty of blood and blood just limp

around the place drawn to look so I get

I might


it's interesting what you're talking

about earlier about humor is that you

know I think the most complicated aspect

of directing is tone and it's something

very few people ever talk about or talk

about enough this tone is everything in

a film it's how you calibrate tone that

can determine its success and

translating it to an audience or its

channel you're translating your audience

and you know we wear of a mindset my

brother and I and it's something that

you know the the Sam has participated in

with us at Marvel which is collect

everything take it all into the Edit

room with you we have a clearer idea of

what it is that we want but that doesn't

mean that you won't change your mind it

doesn't mean that you know I can't tell

you the amount of times that I've shot a

scene left the scene in when we

absolutely crushed that scene and then I

get in the Edit room and I go god we

fucked that scene up and you're back

really shooting it and so you know you

don't you know you don't know and what

ultimately is little tweaks you're gonna

need for calibration and I think that

the best directors know how to capture

enough footage to allow themselves to

calibrate and that's what Chris is

saying you collect those jokes but then

as we started to work on the film and

Sam you know Sam started work on the

film he discovered what he wanted the

tone to be and it works for men ously

well for what the movie is you mentioned

that's that's part of the strategy with

the Marvel movie something that you

picked up with the Marvel movies there's

been a handful of people have asked this

as well Kyle Steves is one on IGN

YouTube how is working is there anything

else than working on the Marvel films

that influenced the storytelling

approach on on this movie is that for

sure I'll take it well I mean I had

something for the best mentors and the

Misses I mean they met you know they

show and answer direct Avengers in game

was the highest-grossing movie of all

time so they're doing so to come up

under those guys you know and the

emphasis on storytelling

character-driven and some things that I

take to heart was you know the best idea

always wins so that you know wherever

that comes from

it doesn't have to be me like I'm an

always have the best idea you know it

may not be Joe that was like the kind of

the humility of that position is like

they're open to ideas from other sources

so long as it serves the movie and

serves the character so the best idea

wins and like you said just a lot makes

making sure to basically cover your

behind and don't have such a

preconceived notion of a scene where you

don't allow room for change so just

cover it let let actors try stuff I go

with Chris tonight we do it take that I

liked in the moment I thought that was

right and I say hey do something like

clay right now to try try something

different because ami and we had a lot

of fun with that and it you know and

there are moments that came out of that

in the movie they were right you know I

was wrong at that then you know whoever

had a better idea that ultimately made

it into the film and you have to be open

to that and humble to other ideas it

might best serve the scene with this

this is a gang of kids I I really like

the can you talk about the different

approach at this fight scene were just

like raike trying to be non-lethal


it was a many discussions about this

saying about today you know there's the

really inappropriate wrong version of it

and then there's a sort of a version

where you go okay he's getting him out

of harm's way and he's not killing them

and he's trying to also save the kid and

so you can justify sort of you know that

what what takes place but um I remember

just being really nervous you ting the

scene because it's one thing to be

working with stunt actors and be

throwing big punches and occasionally

you clip each other and you you know I

thought you move on with it this cuz I

you know you accidentally don't want to

hit you know someone who's not of the

same size or not a stunt actor and kind

of ready for it and so I was just very

nervous about kind of making sure I was

missing and I had my timing right and my

distance and so on and but um those kids

were just hilarious – a nice em like I

don't think any of them spot

accomplished and there was a translator

and it'll just be I don't know they're

having a great time throwing punches at

me and stabbing me it was that was a

wild nightmare but also one of the

challenges you know

working with miners is they can only

shoot for like six hours at a time so

you know we you're trying to get this

big action sequence when they're like

you know up gotta go gotta get up for

school in the morning I mean like we

still have half our day left so a lot of

it the challenge was you know picking

which moments to shoot with with Chris

and the kids and then which stuff we

could get with just Chris like when they

were home sleeping and which stuff we

had to focus on him just them if you

know Chris came in a little later so

that the logistics was tough but man

they they brought such a positive energy

to set every day they were so thrilled

to be there it was that same was was so

it was amazing to shoot man and walking

the fine line like Chris said you know

your fight you know you're beating up

kids that can that's tough so we what

but you know it's always kind of written

to be I think walk that line and you

know with with like what you know Joe

said covering your butt and getting it

getting a bunch of different coverage

and footage you could you could develop

it and really walk that line and you

know it tells a lot about the character

too though which he's not punching these

kids in the face it's like the

difference between that for he just open

hand slap which is not only you know

less lethal for the kid but it's set so

it's humiliating so it said it drives

this you know Farhad character's story

forward which ultimately comes back in

the end of the movie so it's a very

importance and how do you play that

action is keep losing like another glass

some up most important things it was

great most important things and smarter

thing crucial here's another question

for for Chris for you and you and Sam I

think it's coming from more cowbell

who's on discord I've had a couple of

colleagues called this game Call of Duty

meets John wick how are films like this

you think influenced by first-person

shooter games like Call of Duty and if

you are fans of those or any video game

influences that that you had I'd never

to play video games so note since all

those healthy kids hood he wasn't

for me but you know Sam you could speak

to sort of how you shot it I guess

whether that was an influence but yeah I

mean I think the last video game I

played was um so I don't I'm not I'm not

really like a gamer but I'm aware of

that how you know important and integral

that is so like culture nowadays and

kids and a lot of people are doing it

and I've so I did want the immersive

aspect of gaming to be to be part of the

feeling like that's something about a

guys watch people play games which is

amazing but because the American lose

yourself and part of the reason I didn't

or don't is because I will get obsessed

with it and you know you start playing

the game and next thing you know two

days have gone by and I'm still sitting

there in my body so that feeling though

for the water was important to beat that

imput then to have you know that kind of

action nod to so many who have come

before of the John wick style was you

know so mixing those two together I

think that's thanks very much for that

comparator something appreciate it's

great plus we how duck hunt influenced

extraction that's right truth is I base

my character on on a duck so I'm glad

you picked up on so here this year we we

get to meet David Harbor which I love

David Harbor

going back to Quantum of Solace where

he's got I don't know that anybody does

like sleazy charm that you don't quite

know what to do with better than David

Harbor yeah what was it was like for

these couple of scenes oh so good this

was about halfway through 3/4 away

through that shoot and you know you

surely fall into a rhythm and everyone

knows everyone on the crew and you

especially with a film like this you're

right in each other's pockets and and

and then somebody else comes in and a

new participant and everything's like

whoa you know it changes and

and everyone sort of it feels like a

disruption in a really good way and

that's what David did I found all of a

sudden we sort of were forced to sort of

I don't know operate differently and

adapt and and and this was the narrative

of the story at this point in the film

there's a real shift in what's going on

and but you're not always lucky that the

two don't sort of you know collide like

that in the best way but he he just had

such an intensity intensity to the

character and had at what he does in

science at a backstory that he built in

himself which in Reverse was going

through and hearing it was like oh wow

okay yeah and it just kind of feels you

know your imagination and the sort of

the your gut with different ideas and

different sort of angles and different

opinions you might have on that

character prior um but he he's intense

in the best way he he so much to work


I don't know if he ever did the same

saying take twice but everyone was just

as good as the next it was always

something it was always a new experience

he was so in the moment and so committed

to the character and it really you know

it brought cool stuff out of Chris and

it was the way they worked off each

other was really exciting and it did it

was a a palpable energy when he was on

set that worked so well for this the she

scenes and for his character it was it

it was like a you know a shot in the arm

for the movie was amazing yeah you can

see he just said you know when you see

an actor

I just want stand you know get it right

pour everything into it not mr beat you

know leave no stone unturned and and

that was kind of that there's an edge to

that you know where this is sort of a AG

absolute sort of obsessive sort of

approach to things and you know wonder

what if we tried this with others and

then I don't have a whole scene just has

like a very unsettling sort of feeling

and and and I found that just uh no

we're very fortunate again in that

situation to have him add that sort of

approach because then he see it on the


here we're in this scene real quick

we're checking back in with with far-out

which I think his this kid's journey in

this movie is one of the most

interesting I think but one of the one

of the questions is that we're seeing a

bunch CK milhorn who's watching on IG in

YouTube has asked this but talking about

working with part of just a big ensemble

cast like this that that your paths

don't cross bike that much with some of

these characters so what was it like

like seeing this movie come together

Chris and in terms of like seeing your

part of it and then yeah everybody else

is layered on top um I was just

fantastic I obviously wasn't I mean I

was there for some of the days that that

I wasn't in those scenes but this was

shot I think prior to me arriving wasn't

it Sam

a little it's moments and and you really

on the page and you have one version in

your mind of what you think it's gonna

be and then you see these incredible

performances just bringing it all to

life and you go oh wow this is even

deeper and richer in emotion and nuance

and then I just saved for the first read

you know and again we'd we'd there's not

a single cast member I think that didn't

bring it and elevate the story to a

place that we couldn't have done on

their own yeah so I'm so thankful for

all of these guys are fantastic it is

truly an amazing cast and I Sam did an

incredible job cast in the movie and I

think another another fantastic aspect

of shooting it in India was getting to

be able to take advantage of really

talented film based there including cast

and crew and and giving a western

audiences an opportunity to see some of

the the best talent that the Indian

often another scene where we we we

talked about this earlier about sort of

teasing out the details of rakes

backstory not giving them much upfront

you talked about like the this scene in

terms of like finally giving puddings

detail to your backstory in this scene

here of Maria which by the way Rudi like

this Ovie's character being so probing

here I thought was really interesting

too yeah it was it was um

he wouldn't know I couldn't have talked

about it unless of pressed in that way

you know and so it was fantastic

providing it was one that you know again

this scene I remember in the first read

getting teary-eyed and just it just

hitting me so directly and you know that

very be it not often does that happen

it was interesting we you know we shot

this for about three months and I saw my

family maybe three times during that

whole time for the space of two or three

days like it was you know it was the

first time I hadn't brought them on the

road which mean listicle II it was just

too hard and so I was certainly missing

them and I able to sort of use that and

manipulate that I guess and it ended up

being a really heavy couple of days and

I think of the end of this sequence oh I

walked off the set and then Sam was

there and he was sort of hit teary-eyed

and I was at its teary-eyed and we're

both just like oh man I'm exhausted and

yeah it was like yeah I was trying get

another angle and Sam you know we we got

as much coverage as we needed but what

do you want to sort of hang around there

too long it was it was it was heavy on

it Sam yeah that was a very heavy

experience but I mean kudos Chris

because you you went places that I you

know affected me like watching it I

couldn't help I was I was caught you

come back and I'd be crying each take

and it's somehow you know because it's

an emotional it's a very difficult thing

to be in attics and be that raw in in

the moment is a very difficult thing and

to do that repeat is unbelievably

difficult so you know what you did in

that scene it's super powerful it's it's

the it's the heart of the movie in

exposed if you will so I think the you

know get it being getting that

performance getting a having that moment

so much heart and connection between

those two characters I think that that

is makes the movie what it is because

without that it does

and have the same the same yeah those

were heavy and into it yeah and you talk

about being exhausted at the end of this

scene and and obviously the whole rest

of the movie being is physically taxing

as it was here's a question from

somebody's falling along and discord

mouses with Z how did you control your

mental state during the film it must

have been mentally exhausting so like I

mean just holding up did you did you do

anything and specifically any part of

your routine so it kind of helped

yourself pace yourself a little bit um

look you know other than this Shane

where as I said was emotionally pretty

taxing and a pretty heavy scenario I'm

the it was so physically exhausting the

movie but we're all in it together and

felt like we were really achieving

something pretty unique and special and

it just had that feeling it had that

buzz every time we'd complete sections

of the one ER or these big action scenes

of this insane choreography we'd go home

I go well to take that box and so

emotionally I was actually having a

really good time it was it was one of

the most enjoyable shoots and I think

just because once we got on the train we

did not stop you didn't have time to

think about anything else I'd certainly

in sort of limp to bed each night and

kind of collapse and pass out and be be

pretty empty and exhausted but you know

the emotionally it was about sort of

went on camera just keeping it at just

keeping it simple you know carrying the

weight of this saying remembering what

his the past was you know making sure

each scene even in an action saying

we're still come we still embody that

that feeling but I don't know I did

really I just loved that whole

experience so I didn't feel emotionally

taxed really it was a lot of fun way

more fun than a boring Joe Russo way

more fun than did you boring Giarrusso

yeah much

Oh No stale stale craft services god Roy

yeah to touch on that scene I mean the

whole movie is about the scene that

scene it's the you know it doesn't work

without that performance from Chris and

and from Rudy

it's the disciplined exercise of the

film it is very efficient from a

storytelling standpoint and it's about

one severe revelation and it is a tragic

revelation to think about I've got four

kids too and it's ultimately when we I

knew how to write the script was one I

understood what rakes backstory wasn't

on that's just so hard to think about

it's so hard to think about recovering

from making a decision like that in your

own life and I understand the decision

but I also I don't know how someone

would recover from it and and that seems

super complicated to drop into the

middle of you know a hiker adrenalized

action film

yeah and for as much as we talked about

how much this the pace of this movie and

how much it moves and and that

incredible wondering if it for a scene

where two characters are literally

sitting still to be one of the most

moving scenes in the film this is really

something I remembered actually kind of

thinking that when we're shooting going

wow this is such a different such a

change of pace and how a little stuck up

and and but the the quiet still moments

really amplify the action you know that

they they have meaning they have purpose

they it's right when you hear exhaust

and you can't take any more we take a

little a little bit you know and and I

think it's uh yeah it's a testament to

the writing again and the directing it's

ghosted incredible job doesn't work

without the performance when speaking of

I think this scene to bury you and

harbor is incredible because it's a as

you said earlier harbor is you know

charismatic alia Morel and you know it's

one of those scenes that breaks your

heart because you want to love this

character when he shows up and it just

disappoints you and then the worst way

possible and you mention his backstory

earlier about you hadn't really kind of

surprise you a little bit but he's like

I'm hearing him talk about his wife you

know what actually reminded me of is

Benny the cab driver from Total Recall

is like I've got five kids to feed

well yeah I don't I don't believe he's

got a wife still like he keep the way

that he keeps throwing out the wife so I

think he's such an unreliable guy here

but wasn't was his was that part of his

work is back sorry there there's so much

that Harbor put into that like you know

Joe and I talked about like what this

character kind of who he is where he

comes from Harbor brought a whole new

level to it insanely detailed and you're

just about raising Lea like oh okay well

this this you know I'm not gonna reveal

but that's that's for him you know that

whatever helps him get to that moment it

was it was very specific and it was

powerful and it was you know it's you

know it translates and I like this this

moment like in this scene is one of my

favorite that you know you because it

ended in again it took to talk to the

efficient storytelling in the writing

that one line of like you saved my life

was telling us he thinks he's doing the

right thing he is the hero in this scene

in his own mind and it's unfortunately

not and then you know this the it's not

heroic to us because we're following

them that's what makes characters so

interesting is that the grayer is the

name that they are pretty and that he he

is to him he's saving is one of his good

friend and what are you saying like that

you know is he's like he's not

necessarily wrong about back it it's so

you know more it you know disappointing

Lily immoral that you're like dude I

can't get on board with for that but his

performance here is hardly because what

is it was like losing a fight in the

middle of this movie I didn't lose as I

was longing in him into a false sense of

confidence there it I I had a broken arm

I guess had been shot in the armor to

sling on this it's a few reasons why I

may have you know been losing as you say

insinuating yeah it's good

again like you know showing these guys

having vulnerabilities and and and and

the fact that that they're not

unstoppable and at any point you know

they're vulnerable to the same injuries

that anyone else gonna have and and

having to track those injuries to was

I'm so glad we did Sam like just you

know not wanting you

one fight scene and then the next thing

be walking on Lilly you see through the

film the limp gets more exaggerated you

know it's harder to lift that right arm

after being shot and so we had to kind

of beach scene you okay so which

injuries happened there's the knife

wound here the gunshot here this and and

and it's great it just adds a sort of um

I don't know he limping over the finish

talking about hockey he get to the end

of the film and tracking that continuity

I think he's really important well

that's quite people I think are

responding to the character is his

humanity and that he can be wounded and

he can be killed and and there's real

stakes there and you know that that is

it you know a very specific level of

performance tracking that very few

people do um and and you did a great job

with it and and you know conveying a

human character both emotionally but

physically as well we talked about um in

dark Mahad I'm sorry yeah just in die

hard where Bruce Willis has no shoes on

you know that idea of like I become he's

that running across the glass or

something in the whole way through you

know so that was the inspiration I guess

you know just sort of to show how

effective you know the character feeling

pain can be on an audience's experience

here just not much dialogue but a pretty

lengthy end to this scene it's such a

just the performances did you guys get

there to destroy it you guys are sort of

getting to the end of your arcs there

with just a couple of words yeah Rudy

was fantastic that would being like not

realizing and then halfway through the

tight guy holy shit he's uh he's uh you

know he's rise at the bar here and just

into it like in like ten times just who

cry like that on cue right on the line

the tears often yeah it's pretty pretty

amazing here we're getting backed out

into doc I hear and

there's been a handful of questions

about the location we talked a little

bit about how how cool it was to shoot

in that place but ramón lópez was

watching oh no James calm wants to know

what was the most challenging part about

shooting in a location that isn't

familiar like Dokken well I mean one of

the more challenging parts with a

directing a movie like this work you

know English isn't you know there's

three languages spoken in the film is

English Bengali and Hindi and I only

speak one of them and that not very well

sometimes so to direct and you know

large numbers of Mack Brown who you know

through a translator it was just like a

level of top you know patience that it

takes to kind of just communicate what

you need everyone's very willing and

able to execute the vision it's just

some distance how do you how you

communicate but yeah I think Chris has

mentioned before and I have to mention

again positive and you know enthusiastic

and wonderful all the you know the local

people were not only those on camera but

those the communities that we would you

know end up shooting him

we're so and I think that positive

energy helped carry at least me and my

in all the stuff we were dealing with

he'll help carry you through a day you

know just because there was so much

energy yeah

here's a question that's come up for Joe

talking about the going back to

community specifically the paintball

episode a community where we're focused

fun at that big action like this

parodying so what's it like to now be

making that type of movie that you were

parroting way back in community I mean

it's you know like I said I love these

movies growing up so there's I have a

real emotional connection to them I love

watching them and and like I said we had

we have a very thoughtful facing sense

of humor where constant

making fun of ourselves while we're

while we're trying to execute with

commitment so but I find that compelling

and in community was just literally a

study in genre for for the three seasons

that we worked on that show we're

constantly making fun of genre while

we're also trying to commit to it and in

a level that would be satisfactory to

watch and you go oh these people are

shot really cool and actions really

interesting but entire thing is a spoof

of of action at the same time so we

there are elements of that that we bring

to a movie like this where we will make

fun of our spells and then commit when

we need to commit and I find that that

just gives you a more rounded experience

of a story because you can smile at it

and then you can feel emotional and then

you can feel adrenalized and and it runs

the gamut and I always say that look

it's C you know I buy a ticket to a

movie theater I get six emotions I'm

getting a lot more for my money than if

I get two so the more complex and rich

you can make the experience for the

viewer that ultimately the more

satisfying the experience so here we're

sort of starting to head towards the

finish here and this last what 27

minutes of the movie is more than me it

feels more or less like another another

one er I mean obviously it's not the the

energy of this movie is built and built

and built to this to this spot and it's

just another sprint to the finish yeah I

mean this was always you know Joe would

always reference the this you know

freeway shootout in intensity and you

know reality and and kind of the you

know the investment in character just

the rawness of this final act and so we

we tried to you know do our version of

that and but you know not lose sight of

the characters that Chris talked about

of like what they're going through

emotionally and physically so it doesn't

just become I mean it is a barrage of

bullets there's a lot of gunshots going

off but we want to make sure it's

cracked the physicality and the


journey of the care that's a testament

to the writing and also to the

performance because these Chris was on

top of it and all these were just

fantastic and fully committed in a very

difficult environment like on that big

boom 12 hours a day in 42 degrees

Celsius heat it was not an easy thing to

do but they showed up every day and you

know did some we got showed up every day

and then and then towards the end it's

always it's don't stop talking what's

interesting about this this this third

act is is that you know this is a this

is a collaborative effort on the part of

several individuals to get him out

you know it's non-traditional in that

regard where there's just not the you

know this is a one-man show here and in

fact it's a Jew who breaches the bridge

first and it's it's you know it's Nick

who ultimately takes receipt of them and

like I said that's um you know has a

couple of critical moments in the third

act to turn turn the movie as well as

being the one to finish off the villain

and I think that's again a level of

reality that we're trying to play into

is that you know this is not something

he could have rate could have

accomplished all by himself and and you

know I think it makes the other

characters compelling and rich and

unique and unexpected in the way that

they're used in mr axe

yeah I mean that's that's one sort of

deers are from Western no go ahead

there's that you know Western homage to

that that moment before the quick-draw

and then the quick-draw of sod you and

then you just it's like one of our cuz

he and I spoke a lot about Sergio Leone

movies and westerns and we had to get

that in there for me and read

I love the full gamut inspirations for

this week's movie then we talked about

it's about die hard and Pete and Sergio

Leone a City of God we talked about this

it's a really broad spectrum of movies

that you guys pulling something well

we're all movie geeks I think you know

it's a little bit of what the language

is as a filmmaker is that you know you

can embrace and talk about I went to

film school you know it's and the only

reason I'm here is because of the people

mentored me and took a vested interest

and helping me advance my career people

like Steven Soderbergh so I just view

now this is like our ability to share

with other people other people want to

be filmmakers and this is how we did it

we were inspired by and everything is

you know is a great quote goes you know

it's great jazz or some farro they steal

everything's stolen in some regard and

you're and you're just trying to put

your own spin on it and bring your own

emotions to it and your own commitment

to it so um you know films are a big

part of our language all of us would

talk about them on set on the Marvel

films we'll talk about it with all we're

working on other projects together and

it's just to wait it you know to create

a common language amongst all of us to

understand what it is we're trying to

accomplish I do love the quick little

shot as the helicopters approaching here

I'm sure if we miss it or not I think

it's coming up but there's a great shot

of Nick with a rocket launcher in the


that's just like Chekhov's rocket

launcher like you just know she's gonna

do something cool with that yeah I think

it's coming up but I'm usually on this

thing but yeah but I mean in terms of

building this this type of extended

action sequence positions 20-some odd

minutes long like I mean do you how much

do you think about planning stuff and

paying off later that's very important I

mean from the you know from the page

like that's something that it's coming

up I think your shots coming up

the early what happened yeah and now

she's gonna actually pull it out and do

something with it's super important to

set stuff say it off like the the

helicopter early on in the movie and

like rakes the use of his gun and his

forward momentum like his fighting style

changes as the movie goes and then

trying to stay true to these these

characters but then show new sides of

them you know new tricks up their

sleeves or new level you know pain

they're willing to endure or ideas they

because now this is the first time you

see these guys work together so that's

that's a twist to say you now you're do

not just not just want something guy

you know the whole time so you're saying

the first time there's complications so

a lot of the you know conceived early on

in the script phases and we just tried

to you know honor that and be true cap

written here cut stick I love that show

OB haven't seen that that in that four

is something kind of learn from you know

Russo brothers and other you know

inspirations of you know that that

explosion is one thing just seeing it as

and explode from you know a bunch of

different angles but telling it like

going inside the bus and telling that

from the point of view of you know and

then seeing it from Nick's point of view

and a character's action happens I think

is very very important to tell did you

lose me again just a little bit in the

middle yeah we should we just know that

one of I thought was gonna be so

ridiculous and and it was actually the

hardest thing to do was the where I

picked that guy up and swing his legs

into knock it off I mean I I was I

actually happen fortunately the other

stunt guy was quite small

so I could pick him up pick him up and

swing him and we shot that although we

did that 10 or 12 time to me Sam Sam

knock again again again and it was that

was the hardest work out of the hashes

but I love the shot every time I see a

guy's head fly off the side it's like

that's pretty good internet below well

it's great and also come in one of the

things I want to ask you about that shot

is is did you come up with that early on

and did you save it for the end of the

movie like there was those sort of

iconic kills like that in a film like

this do you pace yourself do you do you

do you plan where they're gonna go it's

very important to space your you know

your crazy kills throughout you've got a

rake kill early you know you gotta have

something great it's in the middle and

then this was we were just trying to

find creative ways to take and to use

you know dummy that's another dummy shot

you know you're not gonna do that to one

of your buddies so what are creative

ways we could use these things to make

it feel real and make people go up so

that that was definitely something we

were trying to do and planned and spaced

out so that you don't get all of it up

front I just love how it's this one that

I'd never seen before and so like say I

like the I should get just saving that

one for the end of the movie I love that

a shot of him getting shot on the ground

and crawling backwards and getting shot

it's such a such a painful real sort of

camera right there on the ground with

him – yeah he's a bull saju they won't

give up I mean he knows that his

family's lives are at stake if you can't

get Toby to cross that bridge and that's

such tragedy it was character yeah he

won't quit there was a look a bit early

as him for he launches onto the sequence

we looks at up at the sky and almost

looks like he has a half smile and then

he goes into battle kicks like it it was

that a bit of discussion between the two

you of

this is him sort of acknowledging this

is probably my last stand on my last run

for sure that was and if you watch him

before he kind of does any action

throughout he has a similar like moment

of build up like he if you go back and

watch it to get like before he attacks

you with a knife he has a little bit of

a nod he like he always has this we

talked about it as kind of an almost

Native American idea of like today is a

good day to die and he before I do this

like this this might be it and we're

gonna we're gonna go into it I wonder if

we did that was very much something he

and I talked about and I loved that

moment but while he's on that's that's

cool cuz I didn't know if it was just by

chance or whatever but i every time i've

stayed over what is that look it's

beautiful and it makes you kind of I

don't know there's a it's a

vulnerability turd that he has an

acceptance that we haven't seen

throughout the film yeah especially

because the other thing that I was

struck me about his character too was

like there's a lot of terminator in him

like even staying overnight in a dirty

hotel room looking in the mirror trying

to fix his eye like and yes like the way

that you filmed him sort of limping away

from from things like I he struck me as

The Terminator

quite a bit and then to pepper in all

that you're talking about like this or

the spiritual side of him this is really

pretty interesting well for the first

half the film he actually has the

highest emotional stakes right he he

truly is doing this to save the lives of

his wife and his son rake on the other

hand is in this for money and only over

the course of the movie does he gain a

connection to ovie that that has a

direct sort of corollary to his past and

only as the movie unfolds as it become

an opportunity for redemption for him so

it's sort of like the two characters are

crossing me inside you as the movie


here we catch up to where we where we

start and then like one of I do really

like this scene too because look there's

a second here even though it was the

first thing we saw in the movie rate

getting shot like I'm sitting here

thinking Nick's got a chance to stop him

before he shoots before he shoots rate

like there was there's still there was

still some really excellent tension

built up in this that is again just

simple exercise of it right is that we

show you at the beginning of the film

that he's hit by a sniper in in a

potentially fatal shot so the whole

movie you're watching to see if Rick is

gonna thrive the film or not that

creates tension as you're watching the

film cuz you know where it's going or so

you think

okay I do want to ask you guys about the

ending when when we get there Dave it

this scene in you know next yeah

Rick's confession scene to me was the

other big scene of the movie the big

money to really pull up the heartstrings

is this it for at this moment at least

for all intents and purposes as you see

it it's goodbye they don't know if

they'll see again necessarily so that

relationship that you get thread that

you've kind of woven throughout this is

that this is the payoff of it again both

Chris you and and Rudy really brought it

to the sequence and it it was effective

to me watching it again that was I was

just a mess behind monitor crying all

the time and getting excited and

strapping myself to the but the cars it

was a really roller coaster of emotions

for me Lord strapped to the hood of a

speeding car you were crying in video

exactly this is up and down up and down

Rudy the Rudy was just you know crawling

in the st on cue and the emotion he

brought as Sam said was a

another day I was like oh man this kids

not gonna slip bad I love that shot

besides a last stand kind of shot Heisey

background and setting come on Tom

Siegel whoo yeah there's a couple of

times and he'd be waiting for a light to

move sort of six inches left or right or

whatever it not be like ah who cares

mine own even and then you say like oh

wow listen master pinky shot it and and

we all look so much cooler with that

light having set just over here you know

it's small details where you're

surrounded by the best people and let

them do their thing you know score no I

mean for emotional a residence I don't

know I think and the pen to pay off

that's something a little detail that I

don't know how many people notice it or

care but the you know the music goal

themes for each character that kind of

were started early and then you know

throughout kind of grow and develop and

then this for the the ring and Oh coming

together mm-hmm

this is henry jackman host a frequent

collaborator and then his incredible

score it's hard a lot of people don't

appreciate what a score can do for a

film you know I always say that like

when you finally get that finished score

and it ties the thing together that like

the value of the film increases by 50

percent you know it's it's incredible

what music can do to create a true line

and in a list of emotion

another great moment here work getting

me right in the peels and great that the

kid is in focus for the this is the

first time that cooking that he's in

focus right yeah it's an old Leonie

trick as well from once upon a time in

the last entire film is about an image

out of focus from this past that then

finally comes into focus but also the

story of fraud is really compelling at

the end here that that just one of the

boys does him in out of sheer spite

you know and that the cycle of a mere

will never be broken that you know even

though a mural get killed in a bathroom


someone's gonna step up to take his

place and then some will take their

place and someone take their place mmm

me as no he has no motive to kill rake

other than he was embarrassed by him

yeah right like he's in a way taking it

upon himself to make sure that that sort

of cycle keeps going

Columbus impulsive PNR through the sin

section which was seated at the

beginning yeah which was an idea of

Sandman always know the good parts when

we're doing these shows and everybody

just sort of quietly watches yeah kid

quiet yeah I have affected emotion good

job so here we are sneaking up on the

end of this movie and and obviously

there's some it's the very last shot of

the movie that's what you're waiting for

like I was I was only supposed to be

here for the one hour I just couldn't

take my eyes off sticking around

I just might yet watching myself on

cameras this is a UH this be about watch

watching yourselves on camera the

question for salmon and Chris that came

up a few times in the comments what's it

like watching yourself die on camera

weird it's a weird thing I'm gonna say

like I remembered um I like rush when

you know he dies at the many years later

and every time that the final image of

the movie comes up I meant hope he'd

always got like emotional and but I

think that because it was a real guy not

that I knew the guy but something was

sort of heartbreaking about um

I know it's just sort of it's tricky

what yourself in general I find is it

can be a little abrasive if you know but

but when it's done right and there's

music and all sorts of thing you kind of

you know it's a little easier to sort of

get lost in it but um I feel like in my

you know my background I've died so many

times that I am pretty


– your self you know I have I tell you I

tell you what I gained during those

three days of being on camera I gained a

newfound respect for for people like Ben

Affleck or anyone who themselves I mean

put in the lead of a Pepa tune up to me

is insane I was just three days I was

like you know supporting guy and that

was the hardest thing I so there it is

that the last shot that I've just been

chomping at the bit to talk about this

whole time I mean the bigger question is

is Tyler Reich dead did you walk over so

whatever so what do you look at my

contract think you know I think look

what we like what we love about that

ending is you interpret any way you want

to which is really you know for us it

represents hope for the boy that he's

gonna have the future you know that that

that is the ghost of rake that is

looking over them and you know it's

really what it means to him at the end

of the movie more so than what it means

to the audience and and there's nothing

nothing wrong with ambiguous endings in

fact they could be quite entertaining

and and and incite a lot of conversation

which I always think is you know the

value of a public medium like filmmaking

right is that you know everyone can can

argue about it and discuss it at nauseam

but unless there's a you know a prequel

or a sequel it won't it won't be you and

what the question won't be answered

was an immediate follow-up question is

there going to be a prequel or sequel do

we know yet and we don't know we don't

know you guys react to us texted me

Joe's taking anyone yeah I said I love

the you know you the ambiguity there and

the way you could interpret it however

you like and I really like what you said

there Joe about the sort of where that

represents that the boys gonna be okay

whether that's sort of it you know the

ghost of rake watching over here more

something that represents kind of

someone still watching him and taking

care of him them I like that version


that's actually him or not we don't know

you know

there's a good question for you Sam

Dillon mcloon who's watched you're an

IGN if there is dis equal this is

hypothetically what would you want to do

to be more good you want to go more or

the route of doubling down on the action

or something more akin to like first

blood was which is sort of more of a

slow burn kind of character set

you know it's all hypothetical cuz it

you know we got it there's so many ways

so many storylines in this world that

Joe you know built with the with the

script there's so many ways it could go

if there were if anything were to happen

it's it's really up to you know finding

the best story for that for whoever this

you know whoever that next and and

what's the best thing for the movie and

the universe that's kind of is growing

out of this you know again the script

that you wrote in the kind of the movie

that so I have I am I am open I would

just I think there's so many fun

possibilities I'm ready just whatever

the next challenge brings I will I'll be


alright and looking back on this whole

movie here's another question for for

all you guys this actually comes from a

user named Marvel addict watching on IG

in YouTube

what was your favorite scene in the film

which in the finished product not

necessarily what's what was your

favorite scene to shoot but what was

what it Wanda being your favorite scene

I like the I mean the emotional things

we talked about I love the an sort of

importance of those but I was really

pleased with that very the opening scene

in the building that where I first meet

Obi and you know we had that fight

sequence that we took a week or so to

shoot that we went back and reshoot

things for Sam was like now we need you

know bigger moves and stronger finish

and so on and so we just kind of kept

shooting kept shooting and I was really

happy with that that that turned out

yeah for me it was probably the kind of

the the second

I guess the harbor scene with with Chris

and they were like that moment where

Rudy tragic kind of get you know caught

up in that world and that actually takes

I think that something about that scene

you know from the moment as that

drinking and says you know you know what

he's worth like that that shift totally

for the character and I really like the

way that scene played and how we what we

do with camera early on is very static

and then when that moment happens we

change to handheld and then the

performance is from harbor and Chris and

Rudy that was just a really powerful

moment in the movie for me and in the


and Joe for you since this is an idea to

live with for so long is there anything

from the movie that particularly stood

out is something that sort of lasted

from their original idea I mean III I

love that bedroom scene between Rey

Kenobi I think it's real it's really

like I said the whole film was built

around that scene and it's rare that you

get a movie that's just about you know

about one critical moment and that's and

that that you know the performances are

exceptional in it and it's beautifully

understated and Sam shot and directed

beautifully and and then you know it I

teared up the first time I watched it

broke my heart thinking about a

character who would had that kind of

trauma in this past and then in the

middle of all this you know praise the

action so um that really that to me is I

think the heart of the film right well I

really appreciate you guys coming over

we'll end it on a super easy one here

since you know extraction obviously

playing on Netflix right now what else

you guys watching on Netflix Ozark

a resounding Ozark Ozark and outside

I've been watching the outside it's both

Jason Bateman I think directed lumber

yeah good question and I just yeah I

just I've been watching a lot of kind of

classic movie we will watch the matrix

recently still just really watch the The

Last Samurai

so you know the wit Killa and cruise I

just you know just remind myself of like

gonna go back to all the movies I love

rewatch the Rambo trilogy there's only

really three Rambo movies that we need

to worry about but it you just re

watching Classic Movies so I'm going

into that I finally got around to

watching what turned out to be the most

harrowing rocky series I've ever seen I

think which was don't fuck with cats

know if you've seen it yet but yeah

about that

it's a tough watch

alright mark guys market own

documentaries pretty fantastic

well there's our Bibles you know yeah

documentaries is incredible

I'm full disclosure wearing a Houston

Rockets t-shirt right now the part of

that documentary where they don't talk

about Michael Jordan was just ducking

the rock in 94 95 that's that's the real

the real friend

but guys thank you so much for for

joining us tonight I really appreciate

it Chris thanks for staying longer than

just the one and Joe and Sam thanks for

being a little time guys really

appreciate it and thanks for everybody

watching at home we'll see you next time

on wash mom theater






















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