<\/p>\n
Two of Hollywood\u2019s leading stunt coordinators revealed the elements that make for a great stunt sequence during the inaugural Contenders stunt panel.<\/p>\n
\u201cThe script. The script. The script,\u201d emphasized Brian Machleit, who oversaw the stunt sequences in filmmaker Paul Thomas Anderson\u2019s One Battle After Another,<\/em> said during at Deadline\u2019s Contenders Film: Los Angeles event Saturday. \u201cFor me as an audience member, when I read the script for the first time, I first highlight all the action, then I\u2019ll go back and actually read it as if I\u2019m sitting watching the movie.<\/p>\n More from Deadline<\/strong><\/p>\n \u201cThen you have conversations with your director and you start picking apart his thinking and think about what\u2019s going to paint that picture \u2013how can we help the audience be vested into it?\u201d he continued. \u201cSo for me, it\u2019s fooling the audience that the actor did everything, or they did <\/em>do everything because we trained him the right.\u201d<\/p>\n Sinners <\/em>stunt coordinator Andy Gill explained that he likes to zero in on nuances that make the stunt sequence sing over spectacle. \u201cEverybody can go bigger, better, bad, bigger explosions, jump apart further, turn it over more times,\u201d he said. \u201cBut what I like is when you\u2019re seeing a sequence, either a fight sequence or a car sequence or anything where all these different things have to come together at the right time to make that sequence work.\u201d<\/p>\n RELATED: Tom Cruise Earns Guinness World Record For \u2018Mission: Impossible \u2014 The Final Reckoning\u2019 Stunt<\/a><\/strong><\/p>\n Gill, who also has staged several complex stunt sequences for the Fast and Furious <\/em>films, said that car work in particular requires an especially nuanced touch. \u201cA lot of times on Fast<\/em> we\u2019ll have 12 cars all crashing at different times, but all in the same shot. So if one thing goes wrong, then your shot\u2019s ruined.<\/p>\n \u201cSo you rehearse it, you do a lot of timing runs,\u201d Gill explained. \u201cYou start out with the little Matchbox cars, and work your way up to just what I call a walkthrough, which is just driving your cars at five miles an hour, so everybody knows where they have to be, at what time, camera knows where it has to be, the drone knows where it has to be, and you\u2019ll do a half-speed.<\/p>\n RELATED: The Movies That Have Made More Than $1 Billion At The Global Box Office<\/a><\/strong><\/p>\n \u201cAnd if the half-speed goes good, then what we usually do is what I call a three-quarter speed,\u201d he added. \u201cWe\u2019ll go through it but not do the crashes and the hits. Now the drone knows, the speed camera on the ground knows the speed; all the players have done it multiple times to shoot it. And you do this one big master shot of a lot of stuff happening. And when it works, it\u2019s a pretty incredible feeling.\u201d<\/p>\n Best of Deadline<\/strong><\/p>\n Sign up for Deadline’s Newsletter<\/a>. For the latest news, follow us on Facebook<\/a>, Twitter<\/a>, and Instagram<\/a>.<\/p>\n<\/div>\n \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n \u2018 Some details of this article were extracted from the following source www.yahoo.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Two of Hollywood\u2019s leading stunt coordinators revealed the elements that make for a great stunt sequence during the inaugural Contenders stunt panel. \u201cThe script. The script. The script,\u201d emphasized Brian Machleit, who oversaw the stunt sequences in filmmaker Paul Thomas Anderson\u2019s One Battle After Another, said during at Deadline\u2019s Contenders Film: Los Angeles event Saturday. 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