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Speaker 1: Brought to you by the twenty twelve Toyota Camry.

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Speaker 2: It's ready.

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Speaker 1: Are you.

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Speaker 3: Welcome to Stuff you should know? From HowStuffWorks dot Com?

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Speaker 1: Hey, and welcome to the podcast. I'm Josh Clark, There's

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Speaker 1: Charles W. Chuck Bryant, and this is stuff you should know.

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Speaker 2: Well, Jerry had an itchy trigger finger today, you hear

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Speaker 2: in there.

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Speaker 1: Yeah, she's ready to go home.

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Speaker 2: Yeah, she's like, come on if you want to go.

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Speaker 1: You guys aren't my entire life.

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Speaker 2: I know we like to think we are, but that

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Speaker 2: is we're like zero point one percent of Jerry's life. Yeah,

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Speaker 2: she's giggling in there. She's quite the adventurer.

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Speaker 1: Uh. How you doing, man?

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Speaker 2: I'm great, man, I'm ready to jump from a tall

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Speaker 2: building or roll a brand new car.

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Speaker 1: Man. Sorry, that's what I was gonna ask you. So,

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Speaker 1: I guess you did the intro for us.

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Speaker 2: Go ahead, let's pretend like that didn't happen.

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Speaker 1: No, it's fine, okay, you were just doing what The

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Speaker 1: theme from The Fall Guy starring Lee Majors nineteen eighties

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Speaker 1: awesome TV show with probably the best truck ever featured

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Speaker 1: in a TV show.

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Speaker 2: That gmc man, The thing is sweet Yeah. You know,

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Speaker 2: dudes recreate that truck if you if you google it,

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Speaker 2: there's a lot of guys that have like made that

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Speaker 2: truck for themselves.

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Speaker 1: For a good reason too. It's a cool truck.

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Speaker 2: Yeah, And it's interesting that the fall Guy points out

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Speaker 2: a couple of The show itself points out a very

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Speaker 2: important things as far as stuntman go. One is that

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Speaker 2: he had to moonlight as a bounty hunter, and that's

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Speaker 2: kind of one of the things we'll learn is that

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Speaker 2: there's not a lot of work out there and to

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Speaker 2: go around, you know, like it's tough to make it

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Speaker 2: as a stunt man.

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Speaker 1: Yeah, you get punched.

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Speaker 2: And b He's if you look at the lyrics to

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Speaker 2: that theme song man, he is really salty about not

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Speaker 2: getting the glory and the girls, mainly the girls and

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Speaker 2: the glory.

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Speaker 1: He he uh. Well when he winds up in the hey,

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Speaker 1: it's only hey hey hey.

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Speaker 2: Uh So the song complains about not getting glory or when,

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Speaker 2: and that is one of the hallmarks though, of the

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Speaker 2: stunt person, is to remain anonymous.

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Speaker 1: And to be bitter about it.

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Speaker 2: I guess so very few stunt people you've ever heard of, Well, yeah.

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Speaker 1: They're the Academy of Arts and Sciences. They give out

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Speaker 1: the Academy Awards.

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Speaker 2: Motion Picture Arts and Sciences.

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Speaker 1: Yeah, they don't have a category for stunt people. Nope,

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Speaker 1: never have And the reason some people give is because

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Speaker 1: they like to maintain the anonymity and the illusion. Sure

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Speaker 1: that's provided by stunt people filling in as doubles for stars.

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Speaker 2: Yeah, but you can win a What Will See Award.

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Speaker 1: You can win an Emmy for Best Stunt Coordinator.

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Speaker 2: True, or the Stunt Award. They had their own Stunt Awards.

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Speaker 1: Oh yeah, the Taurus World Stunt Awards.

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Speaker 2: Yeah, you can win a Tory.

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Speaker 1: They took a hiatus. I saw that there was twenty

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Speaker 1: ten and then they're having stuff for twenty twelve. Couldn't find

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Speaker 1: anything about twenty eleven. Really, Yeah, so if you know

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Speaker 1: what happened to the Taurist World Stunt Awards for twenty eleven,

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Speaker 1: we are curious. Interesting, let us know.

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Speaker 2: So thanks for listening.

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Speaker 1: So anyway, well let's talk about the history of stunt people.

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Speaker 1: They pretty much have only been around as long as

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Speaker 1: you've had motion pictures, right, Yeah, there wasn't much of

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Speaker 1: a need for him before then. I mean maybe for

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Speaker 1: like a show or something like that like a wild

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Speaker 1: Bill Hickcock show, we call them stunt men, but really

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Speaker 1: you kind of want to differentiate because you can also say,

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Speaker 1: all right, so people who ride horses on standing up

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Speaker 1: on a horse's back, that's a stunt person. Yeah right.

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Speaker 1: A guy who like is in the X Games, those

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Speaker 1: extreme sports kids, sure that all the kids are into

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Speaker 1: these days, that's a stunt. These are by, you know,

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Speaker 1: technically stunt people. What we're talking about are movie stunt people, sure.

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Speaker 1: And the whole point to their craft isn't to like,

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Speaker 1: you know, do a five to eighty on a bike

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Speaker 1: unless somebody asks them to. What they want to do

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Speaker 1: is create what you would just take for granted, like, oh,

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Speaker 1: that guy just got clocked, right, No, he didn't actually

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Speaker 1: get clocked. That was a stunt man who knows what

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Speaker 1: he's doing, and that was a carefully choreographed scene that

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Speaker 1: just flew right past you. But it's still your brain

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Speaker 1: still just absorbed it as that man just got punched,

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Speaker 1: even though they didn't really happen.

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Speaker 2: That's right, And we will probably slip into the word

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Speaker 2: stuntman here and there instead of stunt people. Of course,

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Speaker 2: there were tons and tons of stunt women but we'll

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Speaker 2: say stunt person's or stunt man, and like, luckily there

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Speaker 2: are women now. In the back in the day, they

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Speaker 2: would dress men as women to do stunts many times. Yeah,

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Speaker 2: there's a lot of cross dressing back in the day,

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Speaker 2: there was until they decided, hey, women are people too,

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Speaker 2: and they can act and do stunts just like guys.

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Speaker 1: Caan, we could put them in danger just as much

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Speaker 1: as well, exactly, so, so there wasn't much call for

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Speaker 1: stunt people for movies before movies just by definition. Sure,

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Speaker 1: don't be ridiculous, but right out of the gate when

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Speaker 1: we started making movies, we started needing people to do stunts.

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Speaker 1: And the earliest people who were doing stunts were actually comedians,

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Speaker 1: slapstick comedians like Buster Keaton had a very famous.

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Speaker 2: Early stunt Steamboat Bill Junior. Is that what it was in, Yeah,

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Speaker 2: the very famous you've probably seen it in like you know,

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Speaker 2: Hollywood Legends of screen clips and things like that on AMC. Yeah,

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Speaker 2: it is the famous shot where the front facade of

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Speaker 2: a house falls down and on well would have been

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Speaker 2: on Buster Keaton, but he is saved because the attic

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Speaker 2: window or attic door was open, so it just falls

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Speaker 2: all around him, and there was some careful measuring in place,

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Speaker 2: because if he would have been off by a few inches,

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Speaker 2: he would have been dead.

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Speaker 1: Yeah, and that was a real thing, Like the earliest

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Speaker 1: stunts were nothing but the real thing. Like apparently, if

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Speaker 1: you had I don't know, somebody hanging from the construction

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Speaker 1: the skeleton of a steel skyscraper, yeah, you needed that shot.

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Speaker 1: That's what the guy did.

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Speaker 2: Yeah, and they ed the Grabster wrote this one, of course,

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Speaker 2: and Ed points out that back in the day before

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Speaker 2: they were like, you know, before they called them stunt men,

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Speaker 2: they were just like, let me go find someone crazy

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Speaker 2: enough to go do this exactly, and that guy, that

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Speaker 2: guy craft Service, looks crazy enough to do it, and

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Speaker 2: let's go see if he wants an extra twenty bucks.

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Speaker 1: Yeah, and he does. Yeah, because beck, you know, in

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Speaker 1: nineteen oh two, twenty bucks was a lot.

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Speaker 2: Sure.

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Speaker 1: So as the film industry grew and grew early in

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Speaker 1: the twentieth century, we went from just nothing but slapstick

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Speaker 1: comedies to things like westerns and action flicks, and all

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Speaker 1: of a sudden, those people who really can ride on

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Speaker 1: the back of a horse standing up became stunt people

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Speaker 1: as well. And as stunts became more and more complex.

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Speaker 1: The idea of having somebody whose job and specialty was

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Speaker 1: to just do the stunt and make it look like

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Speaker 1: the act to the star sure was doing it started

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Speaker 1: to really develop.

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Speaker 2: Yeah, and then flash forward even more the sixties and

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Speaker 2: seventies is when things really came to their own as

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Speaker 2: far as stunt technology developing. Things like squibs, which we

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Speaker 2: will talk about for gunshots and air rams.

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Speaker 1: Is that what they're called. Yeah, it's like a like

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Speaker 1: a hydratic lift. Yeah, it's pneumatic, just shoots you up

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Speaker 1: into the air like with a human cannonball.

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Speaker 2: Right.

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Speaker 1: But like so if somebody, if a grenade blows up

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Speaker 1: by somebody.

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Speaker 2: And you see the dude fly through the air and

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Speaker 2: he was on a ram, that's right. And then other

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Speaker 2: things like airbags and and you know, more technology with

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Speaker 2: cars with the roll cages, Like it just got more

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Speaker 2: and more complex, right, And now of course you have CGI,

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Speaker 2: which replaces a lot of stunts in many cases.

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Speaker 1: Not necessarily to a better effect. Like all I have

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Speaker 1: to say is Kingdom of the Crystal Skull. Yeah, where

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Speaker 1: it was like they suddenly cut the drawings of Harrison

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Speaker 1: Ford swinging on a lasso.

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Speaker 2: He's famous for doing his own stunt.

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Speaker 1: Snow he didn't do him in Kingdom of the Crystal Skull.

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Speaker 2: Well, it's because he's eighty nine years old. Then he

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Speaker 2: would die.

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Speaker 1: He was awesome in Bruno.

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Speaker 2: I didn't see that. Was he hairs borders in that?

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Speaker 1: Yeah? For about two seconds?

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Speaker 2: Did they do like gay jokes to him or something?

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Speaker 1: They didn't even get that far?

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Speaker 2: Okay, yeah, did he just shut it down?

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Speaker 1: Yeah? Always hilarious. But anyway, so stunts like the I

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Speaker 1: guess throughout this progression of the field of stunt people,

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Speaker 1: safety has gotten better and better, is what I think

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Speaker 1: we were just trying to say. To the point now

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Speaker 1: where they're not even used it's c GI. Yeah, but

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Speaker 1: there's there's always going to be room for stunt people.

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Speaker 1: Oh yeah, and the fact that it's gotten safer is

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Speaker 1: much better. But there's still there's an element of risk

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Speaker 1: to it no matter what it's Grabs points out. If

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Speaker 1: a stunt didn't present some sort of risk, there'd be

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Speaker 1: no need for stunt people at all, as actors would

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Speaker 1: do it. Yeah, but the actors can't always do it.

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Speaker 2: That's right, And when you want to call them a

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Speaker 2: stunt person is when they either have a specific skill

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Speaker 2: that they're really good at, like fake martial arts or

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Speaker 2: I mean real martial arts, but fake hitting and kicking,

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Speaker 2: or fake.

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Speaker 1: Marshal arts like chew kwong like stuff you just made up.

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Speaker 1: It's a lot of like just front kits in the air.

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Speaker 2: That's what you practice, qong sword fighting, stage combat, like

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Speaker 2: we've talked about stuff like that. They are trained to fall.

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Speaker 2: They are trained to you know, safely fall. I guess

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Speaker 2: I should point out. And it just basically it's a

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Speaker 2: safety factor on one hand, and it's a financial factor

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Speaker 2: on the other because you can't have your main actor

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Speaker 2: actress going down with a broken leg, yeah for four weeks,

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Speaker 2: so you put your stunt person in there and keep

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Speaker 2: your actor all license safe in their trailer.

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Speaker 1: Yeah.

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Speaker 2: Or you want to be shooting two things at once,

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Speaker 2: so you have your second unit out there shooting the

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Speaker 2: fast cars whizzing by in the car chase. Then you

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Speaker 2: have your first unit shooting the actor inside the car

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Speaker 2: driving a lot slower and acting like it's really fast.

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Speaker 1: But shouting and like moving the steering wheel back and

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Speaker 1: forth a lot. Yeah, maybe there's somebody rocking the car.

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Speaker 2: What's that called uh, poor man's process. Yeah is yeah,

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Speaker 2: so when you I guess we should say this. When

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Speaker 2: you're in a car, you either have a camera rig

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Speaker 2: on your car where it's the real car with cameras

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Speaker 2: attached to it. We've done that, or the cars on

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Speaker 2: a process trailer, which means a lot of these shots

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Speaker 2: you see with someone driving and you're like, they're not

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Speaker 2: even paying attention to the road.

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Speaker 1: Yeah, it's because the.

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Speaker 2: Car is sitting on a trailer being pulled by a.

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Speaker 1: Truck, right, Or it's got a little rock to it, a.

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Speaker 2: Little rock to it, or you do the poor man's

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Speaker 2: processes when the car is not going anywhere.

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Speaker 1: And you have PA's pushing on the outside.

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Speaker 2: Pushing on the outside, little tricks with lighting to make

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Speaker 2: it look like headlights going by.

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Speaker 1: We've done that.

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Speaker 2: It's really neat in the end to look get a

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Speaker 2: scene that's poor Man's process and think, wow, they're really

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Speaker 2: not even moving and it looks so good.

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Speaker 1: See if you can pick it out and the stuff

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Speaker 1: you should know TV series they can probably pick it up.

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Speaker 1: So yeah, it's financial. It makes sense. Also, one of

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Speaker 1: the other reasons people use stunt people is they come

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Speaker 1: with a set of skills that the average actor doesn't.

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Speaker 2: Have a particular set of skills.

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Speaker 1: Exactly that makes them very dangerous to you. And so

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Speaker 1: you can either hire a stuntman who looks like your

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Speaker 1: star to carry out like a combat scene.

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Speaker 2: Or sort of look like your star, or you can teach.

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Speaker 1: Your star, you know, spend all this extra money and

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Speaker 1: time to training the star to this skill in a

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Speaker 1: crash course. So it just most of the time it

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Speaker 1: makes sense to just hire a stunt person.

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Speaker 2: Yeah, And you know, chances are these days you're gonna

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Speaker 2: get a mix in a big action movie. You're gonna

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Speaker 2: get a mix of all three. You're gonna get some CGI,

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Speaker 2: you're gonna get some stunt people, and these days you're

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Speaker 2: gonna get real actors doing some of the real fake fighting.

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Speaker 1: Doesn't Tom Cruise do a lot of his own stunts?

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Speaker 2: Yeah, I gotta list to the vectors who prefer to do.

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Speaker 2: I don't mean to jump the gun, No, the Cruise

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Speaker 2: is famous for that.

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Speaker 1: I was reading this and I was like, I wonder

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Speaker 1: if I would do my own stunts. I would do some.

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Speaker 1: I would say, sure, I want to learn how to

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Speaker 1: sword fight. Teach me that's something I want to know,

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Speaker 1: and I'm certainly not going to shell out for it

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Speaker 1: myself ever, so let's go ahead and learn. Now that's

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Speaker 1: a good point.

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Speaker 2: I would do my own stunts.

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Speaker 1: It depends the heights. No way I would do that.

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Speaker 2: I would jump off. So California state law. And of

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Speaker 2: course they shoot movies all over the place now and

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Speaker 2: the union rules in Hollywood have really made it pretty

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Speaker 2: safe these days. But you're still going to find injuries

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Speaker 2: and your occasional death on set, which is really awful. Yeah.

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Speaker 1: Well, there always have been pretty much from the beginning,

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Speaker 1: deaths and injuries.

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Speaker 2: Howard Hughes.

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Speaker 1: Yeah, the movie Hell's Angels, which we must have talked

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Speaker 1: about in the Hell's Angels podcast. I'm sure we did,

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Speaker 1: because I think we talked about the origin of the name,

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Speaker 1: which was from there combat. It was, you know, that's

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Speaker 1: what they think the fighting hell. I think that was

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Speaker 1: one of the theories. But there were three, maybe four fatalities, yeah,

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Speaker 1: because they were doing like real dog fights with airplanes

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Speaker 1: and there are a lot of crashes. Yeah, so that

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Speaker 1: was a movie where people died.

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Speaker 2: Yes, very famously, The Twilight Zone, the movie Jennifer Jason

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Speaker 2: Lee's father Vic Morrow and two little Vietnamese kids died

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Speaker 2: when a helicopter crashed into the water where they were

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Speaker 2: crossing a river. That's on YouTube, by the way.

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Speaker 1: I know it's pretty awful.

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Speaker 2: It is, and I saw it recently because I was

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Speaker 2: just curious. I'd always wondered how it went down in

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Speaker 2: my head, because I've heard the story since the movie

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Speaker 2: came out, since I was a kid, and I always wondered, like,

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Speaker 2: exactly what was the logistics and how did that go down.

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Speaker 1: It's pretty bad to watch, it is, because it just

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Speaker 1: goes totally out of control.

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Speaker 2: It does, so I would not recommend that, but you

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Speaker 2: do have to enter your age, by the way to

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Speaker 2: watch that video. Yeah, and on set, the AD is

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Speaker 2: ultimately responsible the assistant director for everyone's safety. And in fact,

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Speaker 2: on our own little TV show, when we had fake

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Speaker 2: guns on set just as props. Yeah, like we didn't

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Speaker 2: even use them in the scene, but just to have

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Speaker 2: a fake gun on set, the AD has to announce

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Speaker 2: to the whole crew and show them the gun. Say

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Speaker 2: it's fake, it's not real. Look at the barrel. There's

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Speaker 2: no bullets, there's no nothing. It will not be fired.

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Speaker 2: We will not be shooting blanks or dummy cartridges, and

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Speaker 2: it's just you know, even on a stupid, little silly

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Speaker 2: show like ours, you got to be really careful with

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Speaker 2: that stuff.

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Speaker 1: Yeah, so chuck. Because of this incredibly high risk profession work,

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Speaker 1: the stunt people must be paid out the yin yang true. False.

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Speaker 2: Well, they make a good rate, but like we said earlier,

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Speaker 2: there's not a ton of work for the amount of

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Speaker 2: stunt people trying to get work. Oh okay, that was

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Speaker 2: when I used to work out in la as A Pa.

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Speaker 2: I would always try and talk to the stunt people

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Speaker 2: when I worked on jobs where they had stunt people,

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Speaker 2: because they're just really interesting. Yeah, and to say the least,

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Speaker 2: and they would usually bemoan the fact that there's not

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Speaker 2: a ton of work, and you know, they're all kind

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Speaker 2: of scrapping for the same piece of cheese. But that's

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Speaker 2: like everyone in the film business, sure, from crew to

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Speaker 2: the lead actor. You're you're all after that same piece

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Speaker 2: of cheese.

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Speaker 1: We've worked with some stunt people too.

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Speaker 2: Yeah, you'd be surprised when you need to call in

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Speaker 2: a stunt person. I worked on this one commercial where

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Speaker 2: the was just like bad traffic on the highway that

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Speaker 2: the shot was and cars had to just sort of

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Speaker 2: pull over to the side while another car came through.

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Speaker 2: All the cars that pulled over to the side of

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Speaker 2: the road had to have stunt drivers. I was like,

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Speaker 2: I could do that, but then I'd be taking bread

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Speaker 2: off the table at a stunt person.

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Speaker 1: Right, and the whole production was shut down.

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Speaker 2: That's true.

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Speaker 1: Okay, So the most stunt people, you say, because there's

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Speaker 1: just so little work for so many people. It's not

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Speaker 1: a high paying job. A lot of people do it

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Speaker 1: for the love of it.

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Speaker 2: Right, Yeah. I mean you can make money if you're

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Speaker 2: experienced and get tons of work, obviously, but right I'd

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Speaker 2: say those are the few and far between.

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Speaker 1: But you'd have to love it because the hours are

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Speaker 1: usually very, very long. Yeah, to do a stunt is

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Speaker 1: not You don't just walk up and get in the

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Speaker 1: car and drive it and all of a sudden it

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Speaker 1: flips and there's an explosion and you're hoping for the best.

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Speaker 1: Like when you see a stunt, these things are rehearsed

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Speaker 1: over and over again. Say for a car chase, they'll

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Speaker 1: go through the entire car chase, but they'll do it

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Speaker 1: at a low speed so that it's choreographed, rehearst and

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Speaker 1: everybody knows what's going to happen when that takes a

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Speaker 1: very long time. If you need to flip a car,

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Speaker 1: you need to do measurements. The pyrotechnics guys are probably involved.

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Speaker 1: There's a lot of standing around, there's a lot of practicing,

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Speaker 1: there's a lot of measuring, there's a lot of talking.

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Speaker 1: And then if say you're doing something like it in water,

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Speaker 1: you're probably standing in water the whole time. So you're

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Speaker 1: doing that for fourteen hours. Yeah, it sounds like some

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Speaker 1: you would have to love your work to do this.

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Speaker 2: Yeah, it's definitely not a glory job, especially factoring in

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Speaker 2: the anonymity factor.

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Speaker 1: Right, when you do all this and you do it

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Speaker 1: absolutely perfectly, no one notices.

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Speaker 2: That's the goal.

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Speaker 1: Yeah.

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Speaker 2: In fact, one of my biggest pet peeves is when

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Speaker 2: you do notice and you see that one shot of

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Speaker 2: the dude with a wig on, it's supposed to be

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Speaker 2: Clint Eastwood, right, Yeah, just disappointing.

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Speaker 1: So you're saying the second unit director handles this. The

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Speaker 1: second unit director is in charge of shooting stunts, but

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Speaker 1: the person who's in charge in like of the stunts themselves,

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Speaker 1: is the stunt coordinator. Yeah, and that person hires the

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Speaker 1: stunt people, plans the stunts, oversees the stunts, execution, does everything,

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Speaker 1: but actually sets up the camera and all that, or

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Speaker 1: handles the camera shooting it. Right.

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Speaker 2: Yeah, it's basically it's like a film crew is broken

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Speaker 2: up into many departments, and that's just sort of its

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Speaker 2: own little department headed by the coordinator. Gotcha, Like they'll

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Speaker 2: have a budget to work with and all that kind

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Speaker 2: of stuff, just like any other department.

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Speaker 1: So let's talk about how they do some stunts.

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Speaker 2: Okay, and actually the second unit director a lot of

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Speaker 2: times is a former stunt person or stunt coordinator.

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Speaker 1: Right, it makes sense.

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Speaker 2: It comes in handy. Sure, let's talk about stunts without fire.

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Speaker 1: How about punches?

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Speaker 2: How about them? Stage fighting man something we have not

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Speaker 2: learned yet.

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Speaker 1: That's pretty much a must if you want to become

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Speaker 1: a stunt man. That's less than one is, go take

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Speaker 1: stage fighting courses. Yep.

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Speaker 2: Learn how to sell a punch as the giver and

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Speaker 2: as the receiver without looking corny and hoki and fake

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Speaker 2: like pro wrestling.

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Speaker 1: Right, But it's very much similar to pro wrestling, especially

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Speaker 1: if you've ever seen somebody throw a punch in pro

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Speaker 1: wrestling and you can hear the skin slap. Yeah, that's

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Speaker 1: because that person was actually just punched. Yeah, the key

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Speaker 1: is they weren't punched very hard, certainly not as hard

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Speaker 1: as there the jerk of their head would would say.

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Speaker 2: Yeah, you've got camera angles and you've got sound effects,

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Speaker 2: and through the art of movie magic, it looks like

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Speaker 2: a good knockdown, drag out brawl.

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Speaker 1: Right, And if you've got it like a really good

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Speaker 1: stunt coordinator, there'll be like a punch that's sold and

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Speaker 1: the person who's being punched is on a ramp, so

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Speaker 1: they fly through the air.

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Speaker 2: Yeah, that's awesome, all right. Gunshots. We talked about squibs.

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Speaker 2: A squib is basically you're gonna have a chest metal

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Speaker 2: chest plate with a squib on the front of it,

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Speaker 2: right to protect your body. And it's it's it's basically

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Speaker 2: a little blood packet that's rigged electronically to explode when

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Speaker 2: it's supposed to.

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Speaker 1: And so the plate in between the squibbing and chest

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Speaker 1: protects you. Sure, and maybe you are in charge of you,

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Speaker 1: the stunt man are in charge that you have a

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Speaker 1: little button, Yeah, maybe to explode the charge or there's

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Speaker 1: somebody else doing it remotely and it's pretty awesome. Releases

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00:20:00,480 --> 00:20:04,720
Speaker 1: theater blood opens a hole in the shirt. Yeah, pretty awesome.

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Speaker 2: It is very awesome.

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Speaker 1: This I didn't realize though, how they make bullet holes

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Speaker 1: in like like a wall, like stuck a wall. Yeah,

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Speaker 1: I thought this was pretty ingenious. They drill the hole

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00:20:16,480 --> 00:20:19,320
Speaker 1: ahead of time and then they cover it up with

422
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Speaker 1: like putty or paper or something and paint with a

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Speaker 1: squib in there. Yeah, and they blow that squib out

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Speaker 1: and it makes a bullet hole.

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Speaker 2: It's pretty cool.

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Speaker 1: It's ingenious. It's simple, it seems like, but it's very ingenious.

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Speaker 2: Well, especially when you watch a movie. Ideally you're getting

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Speaker 2: lost in the movie, not paying attention, but if you

429
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Speaker 2: watch like a John woufilm or something, yeah, and you

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Speaker 2: see just like a wall get riddled with bullets. Just

431
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Speaker 2: think about all the time, Yeah, it took to set

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Speaker 2: up all those squibs.

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Speaker 1: And like what if the actor trips in the middle

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Speaker 1: of it, You're just like, we have.

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Speaker 2: To do it again, Yeah, which is no good. And

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Speaker 2: in fact, big stunts they go with many mini cameras

437
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Speaker 2: on stunts that you don't or can't recreate because of

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Speaker 2: either danger or money. Yeah, And like some of the

439
00:21:00,160 --> 00:21:03,200
Speaker 2: shots have, like, you know, a dozen more camera shooting

440
00:21:03,440 --> 00:21:04,080
Speaker 2: right time.

441
00:21:04,040 --> 00:21:06,360
Speaker 1: Which makes a lot of sense, of course, and Grabster

442
00:21:06,480 --> 00:21:09,439
Speaker 1: points out that another reason why you don't want to

443
00:21:09,440 --> 00:21:11,119
Speaker 1: do a big take like that more than once is

444
00:21:11,160 --> 00:21:13,560
Speaker 1: because every time you do, the danger for the stunt

445
00:21:13,600 --> 00:21:16,679
Speaker 1: person multiplies. Yeah, and I was like how, and then

446
00:21:16,720 --> 00:21:19,480
Speaker 1: I thought, oh, well doing it more right, and your

447
00:21:19,520 --> 00:21:22,760
Speaker 1: your chances of injury or increased the more you carry

448
00:21:22,800 --> 00:21:25,040
Speaker 1: out the more times you carry out a dangerous act.

449
00:21:25,160 --> 00:21:27,080
Speaker 1: So yeah, that's how it multiplies.

450
00:21:27,760 --> 00:21:30,360
Speaker 2: Getting back to squibs, these days, a lot of directors

451
00:21:30,400 --> 00:21:34,920
Speaker 2: are opting for CGI blood and uh and bullet wounds.

452
00:21:36,960 --> 00:21:39,879
Speaker 2: But supposedly Quentin Tarantino and this is out. By the

453
00:21:39,920 --> 00:21:40,760
Speaker 2: time this comes out.

454
00:21:40,880 --> 00:21:42,760
Speaker 1: Jango and Change, I can't wait to see it.

455
00:21:42,800 --> 00:21:48,800
Speaker 2: Supposedly he had one real squibs and the blood like

456
00:21:48,880 --> 00:21:51,320
Speaker 2: they're supposed to be the bloodiest, nastiest squibs that hollywould

457
00:21:51,320 --> 00:21:52,080
Speaker 2: have seen in years.

458
00:21:52,160 --> 00:21:52,600
Speaker 1: Is that right?

459
00:21:52,680 --> 00:21:54,119
Speaker 2: Yeah, it's supposed to be pretty awesome.

460
00:21:54,400 --> 00:21:58,040
Speaker 1: Huh. Yeah, have you seen a machete? Yeah that was

461
00:21:58,080 --> 00:22:01,320
Speaker 1: pretty bloody. Yeah that was though I agree it was,

462
00:22:01,359 --> 00:22:02,639
Speaker 1: but it was still pretty blank.

463
00:22:03,320 --> 00:22:06,480
Speaker 2: They also blanks if you were firing a gun on set.

464
00:22:06,520 --> 00:22:10,199
Speaker 2: It is probably a blank, you would hope. So it's

465
00:22:10,240 --> 00:22:12,800
Speaker 2: not the same as a dummy cartridge. No, a blank

466
00:22:12,840 --> 00:22:17,679
Speaker 2: actually fires gunpowder, has gunpowder and fires what's called a wad.

467
00:22:18,200 --> 00:22:22,840
Speaker 2: It's like paper or wood or plastic. But it does

468
00:22:22,880 --> 00:22:24,879
Speaker 2: not obviously have shot or a bullet.

469
00:22:25,040 --> 00:22:29,399
Speaker 1: No, but there's sometimes when the bullet explodes, bits of

470
00:22:29,440 --> 00:22:31,920
Speaker 1: metal can end up being shot out as well. Yeah,

471
00:22:32,000 --> 00:22:34,360
Speaker 1: that's how Brandon Lee died when they were filming The Crow.

472
00:22:34,840 --> 00:22:37,040
Speaker 2: Yeah. His was actually an accident. There was a bullet

473
00:22:37,119 --> 00:22:39,000
Speaker 2: lodged in the barrel that they didn't know about.

474
00:22:39,400 --> 00:22:42,000
Speaker 1: What I thought, Okay, well then I'm thinking of somebody

475
00:22:42,040 --> 00:22:43,920
Speaker 1: else who like was messing around with a gun.

476
00:22:44,040 --> 00:22:46,199
Speaker 2: That was man, I can't remember anything, put it to

477
00:22:46,240 --> 00:22:46,600
Speaker 2: his head.

478
00:22:46,680 --> 00:22:49,280
Speaker 1: Yeah, pulled the trigger and like the water, like the

479
00:22:49,359 --> 00:22:51,320
Speaker 1: gases or something killed them.

480
00:22:51,440 --> 00:22:54,320
Speaker 2: Yeah, that was I can't remember his name, but it

481
00:22:54,359 --> 00:22:56,040
Speaker 2: was on a TV show set and he like goofing

482
00:22:56,040 --> 00:22:58,119
Speaker 2: around put it to his head as a joke. So

483
00:22:58,160 --> 00:23:00,679
Speaker 2: you should never mess around with blanks. No, very dangerous.

484
00:23:00,680 --> 00:23:03,520
Speaker 2: Still No, but there was a bullet in the Yeah,

485
00:23:03,560 --> 00:23:05,479
Speaker 2: there was a bullet. They got the guns mixed up

486
00:23:05,480 --> 00:23:07,480
Speaker 2: and there was a real bullet slug lodged in the

487
00:23:07,520 --> 00:23:10,159
Speaker 2: barrel that they didn't know about, so it fired a blank,

488
00:23:10,480 --> 00:23:14,160
Speaker 2: but it ejected that other thing and Brandon Lee died.

489
00:23:14,280 --> 00:23:15,480
Speaker 1: Wow, I didn't know that.

490
00:23:15,560 --> 00:23:18,879
Speaker 2: Yeah, man, it was one of the biggest oops is

491
00:23:19,160 --> 00:23:20,320
Speaker 2: probably in Hollywood history.

492
00:23:20,800 --> 00:23:22,600
Speaker 1: Yeah, you know, I guess you could call it that.

493
00:23:22,960 --> 00:23:25,240
Speaker 2: And I think he they thought he was still acting

494
00:23:25,480 --> 00:23:28,320
Speaker 2: and continued to roll cameras for a bit afterwards. Oh gee,

495
00:23:28,400 --> 00:23:34,080
Speaker 2: even Yeah, very sad tragic. Are we to falling?

496
00:23:34,520 --> 00:23:36,520
Speaker 1: Yeah, which he'll do I won't do.

497
00:23:36,680 --> 00:23:38,640
Speaker 2: Yeah, I'll jump off of stuff. I've always done that.

498
00:23:38,680 --> 00:23:40,960
Speaker 1: Well, they use these huge, huge air bags right.

499
00:23:41,480 --> 00:23:43,199
Speaker 2: Well, back in the day they did, and if you

500
00:23:43,240 --> 00:23:46,159
Speaker 2: and if you're doing a fall today, they still will sometimes,

501
00:23:46,200 --> 00:23:49,640
Speaker 2: but generally these days they have like a bungee type contraption.

502
00:23:49,880 --> 00:23:53,960
Speaker 1: I would still demand an air bag. Yeah, they apparently

503
00:23:54,040 --> 00:23:58,320
Speaker 1: also for shorter falls, they'll take some cardboard boxes and

504
00:23:58,359 --> 00:24:00,679
Speaker 1: they'll cut the sharp corners off. Yeah, and then you

505
00:24:00,760 --> 00:24:02,919
Speaker 1: jump onto that. Did you do that when you were

506
00:24:02,920 --> 00:24:03,280
Speaker 1: a kid.

507
00:24:03,680 --> 00:24:05,680
Speaker 2: No, no, no, I always would jump into water.

508
00:24:06,119 --> 00:24:08,560
Speaker 1: I would jump like onto the ground off of like

509
00:24:08,560 --> 00:24:11,800
Speaker 1: the credenza or whatever. And now I'm like, I wouldn't

510
00:24:11,800 --> 00:24:13,639
Speaker 1: even do that. It's dangerous.

511
00:24:14,560 --> 00:24:16,960
Speaker 2: Falls used to be the thing, Like I'm sure you

512
00:24:17,000 --> 00:24:19,600
Speaker 2: remember as a kid, falls were a really big deal

513
00:24:19,640 --> 00:24:23,119
Speaker 2: for stuntmen and Dar Robinson, remember that guy. No, he

514
00:24:23,160 --> 00:24:26,119
Speaker 2: did the Sharki's Machine fall. Okay in Atlanta and the

515
00:24:26,160 --> 00:24:29,119
Speaker 2: Burt Reynolds movie. Nope, it's very famous fall out of

516
00:24:29,119 --> 00:24:30,240
Speaker 2: the Peachtree Plaza hotel.

517
00:24:30,280 --> 00:24:32,280
Speaker 1: I was up in Toledo at the time.

518
00:24:32,800 --> 00:24:35,240
Speaker 2: It was still it was released in Toledo in Toledo

519
00:24:35,760 --> 00:24:36,720
Speaker 2: Sharky's Machine one.

520
00:24:36,760 --> 00:24:39,639
Speaker 1: Yeah, uh off the off the Waist Hotel.

521
00:24:39,840 --> 00:24:42,800
Speaker 2: He went through a window of the Peachtree Plaza and

522
00:24:42,920 --> 00:24:45,320
Speaker 2: uh into onto an air bag. And it's just it

523
00:24:45,359 --> 00:24:47,679
Speaker 2: was one of the famous early falls, and or not

524
00:24:47,720 --> 00:24:49,320
Speaker 2: early falls, but one of the famous falls.

525
00:24:49,359 --> 00:24:50,520
Speaker 1: What Florida did he jump out of?

526
00:24:50,960 --> 00:24:52,000
Speaker 2: Oh man, I can't remember.

527
00:24:52,160 --> 00:24:52,880
Speaker 1: Was it pretty high?

528
00:24:52,960 --> 00:24:54,800
Speaker 2: Yeah? I mean it was over over like one hundred

529
00:24:54,800 --> 00:24:56,160
Speaker 2: and fifty feet in Oh wow.

530
00:24:56,240 --> 00:24:57,520
Speaker 1: Yeah, that's nuts.

531
00:24:57,560 --> 00:24:58,200
Speaker 2: That's pretty cool.

532
00:24:58,359 --> 00:25:01,600
Speaker 1: But see, so imagine planning that stunt. How many times

533
00:25:01,640 --> 00:25:05,560
Speaker 1: they measured everything to figure out where the air bags

534
00:25:05,600 --> 00:25:07,960
Speaker 1: needed to go, and then they probably supplemented it with

535
00:25:08,000 --> 00:25:10,720
Speaker 1: additional airbags and if they loved the guy at all

536
00:25:10,760 --> 00:25:11,400
Speaker 1: they did all this.

537
00:25:11,840 --> 00:25:14,280
Speaker 2: Yeah, stuntman. When you go to talk to one, if

538
00:25:14,280 --> 00:25:16,199
Speaker 2: you're on set, you'll be disappointed by the fact that

539
00:25:16,200 --> 00:25:18,560
Speaker 2: they aren't these crazy dudes like you want them to be.

540
00:25:19,000 --> 00:25:22,199
Speaker 2: They're actually really sensible because they want to work and

541
00:25:22,240 --> 00:25:25,320
Speaker 2: earn money, so they want to be really, really sure

542
00:25:25,359 --> 00:25:27,359
Speaker 2: that no one gets hurt. It's a little more boring

543
00:25:27,400 --> 00:25:29,320
Speaker 2: than you would think talking to them, sure, but they

544
00:25:29,359 --> 00:25:30,080
Speaker 2: are a little nuts.

545
00:25:30,280 --> 00:25:32,480
Speaker 1: Yeah, well you'd have to be at least a little

546
00:25:33,480 --> 00:25:35,919
Speaker 1: What else, chuck fire? How about fire?

547
00:25:36,480 --> 00:25:39,359
Speaker 2: I just saw Anchorman the other night, Remember when they

548
00:25:39,400 --> 00:25:42,479
Speaker 2: had the street brawl that got on fire just walks by.

549
00:25:43,560 --> 00:25:46,320
Speaker 1: Yeah, that's a pretty serious stunt, Like when you are

550
00:25:46,520 --> 00:25:49,480
Speaker 1: when you set yourself on fire. Yeah, and there's a

551
00:25:49,480 --> 00:25:53,040
Speaker 1: lot of safety precautions, but even still, it's you're on fire,

552
00:25:53,560 --> 00:25:54,560
Speaker 1: whether you like it or not.

553
00:25:55,359 --> 00:25:58,199
Speaker 2: Yeah. You're wearing all kinds of fire protective clothing and

554
00:25:58,240 --> 00:26:00,920
Speaker 2: fire retardant and then you're smeared with the flammable gel.

555
00:26:01,119 --> 00:26:03,800
Speaker 1: Yep. You have a hood on that protects you yeah

556
00:26:03,840 --> 00:26:07,080
Speaker 1: as well, and there's an oxygen tank in there, so

557
00:26:07,119 --> 00:26:11,120
Speaker 1: you're basically just completely wrapped in this outfit. Yeah, but yeah,

558
00:26:11,160 --> 00:26:15,000
Speaker 1: the flammable gels on and they liked you and then

559
00:26:15,000 --> 00:26:19,600
Speaker 1: film you and you're going, oh, it's always the wavy.

560
00:26:21,080 --> 00:26:22,080
Speaker 2: This kind of looks the same.

561
00:26:22,200 --> 00:26:25,400
Speaker 1: And then the people run over and put you out

562
00:26:25,440 --> 00:26:26,439
Speaker 1: with fire extinguisher.

563
00:26:26,520 --> 00:26:26,880
Speaker 2: That's right.

564
00:26:27,160 --> 00:26:29,840
Speaker 1: But they time it very closely as well. Oh, I'm sure,

565
00:26:29,880 --> 00:26:31,679
Speaker 1: because I think it's kind of like, well, if we

566
00:26:31,720 --> 00:26:34,840
Speaker 1: go twelve seconds, he actually will catch on fire, so

567
00:26:34,920 --> 00:26:36,480
Speaker 1: we can shoot for eleven.

568
00:26:36,520 --> 00:26:40,080
Speaker 2: Eleven point five. Right. Explosions are a big deal obviously

569
00:26:40,119 --> 00:26:45,000
Speaker 2: these days. There's so many explosions in movies. Sometimes they

570
00:26:45,080 --> 00:26:47,400
Speaker 2: cheat a little bit what's called a technique called force

571
00:26:47,440 --> 00:26:49,959
Speaker 2: perspective to make it look like the actor is closer

572
00:26:49,960 --> 00:26:53,600
Speaker 2: to the explosion. And if there's an explosion, you're probably

573
00:26:53,640 --> 00:26:56,480
Speaker 2: also going to be propelled with the air ram that

574
00:26:56,520 --> 00:27:01,040
Speaker 2: we're talking about. It's almost called a Hollywood trope at

575
00:27:01,040 --> 00:27:03,280
Speaker 2: this point. The explosion in the dudes flying like twenty

576
00:27:03,320 --> 00:27:03,880
Speaker 2: feet in the hear.

577
00:27:03,840 --> 00:27:07,240
Speaker 1: Oh yeah, yeah, yeah, that was big in a commando.

578
00:27:07,680 --> 00:27:09,800
Speaker 1: Oh yes, there are a lot of air rams used

579
00:27:09,800 --> 00:27:10,840
Speaker 1: in Commanda.

580
00:27:10,840 --> 00:27:12,119
Speaker 2: Many more than I can count.

581
00:27:13,080 --> 00:27:14,320
Speaker 1: That was such a good movie.

582
00:27:15,200 --> 00:27:17,120
Speaker 2: Car chases and crashes.

583
00:27:17,160 --> 00:27:19,520
Speaker 1: Yeah, they use rams as well. They may be attached

584
00:27:19,520 --> 00:27:21,760
Speaker 1: to the car. So if a car needs to flip,

585
00:27:22,560 --> 00:27:26,399
Speaker 1: you see people like going up on a ramp or whatever. Yeah,

586
00:27:26,440 --> 00:27:28,200
Speaker 1: and I'd probably use that if you're just trying to

587
00:27:28,200 --> 00:27:30,119
Speaker 1: stay on two wheels. But if you're trying to flip,

588
00:27:30,240 --> 00:27:33,359
Speaker 1: there's usually a ram that pushes the car, pushes it

589
00:27:33,400 --> 00:27:36,440
Speaker 1: off the ground and it flips, or if you haven't

590
00:27:36,480 --> 00:27:40,000
Speaker 1: coming out of the rear, it'll make it jump really high.

591
00:27:40,040 --> 00:27:43,360
Speaker 2: Oh true. Like in Hooper, I don't know.

592
00:27:43,359 --> 00:27:44,879
Speaker 1: All these movies you're talking about.

593
00:27:45,000 --> 00:27:47,679
Speaker 2: Oh dude. Hooper was the stuntman movie with Burt Reynolds.

594
00:27:47,720 --> 00:27:48,399
Speaker 1: I didn't see it.

595
00:27:48,640 --> 00:27:52,960
Speaker 2: Oh my god, how neat am very famous stuntman turned director.

596
00:27:52,560 --> 00:27:54,640
Speaker 1: Directed, founder of The Cannonball Run.

597
00:27:55,040 --> 00:27:57,280
Speaker 2: Well yeah, and director of the movie The Cannonball Run

598
00:27:57,400 --> 00:28:00,520
Speaker 2: and Smoking the Bandit and Hooper. Hooper was about an

599
00:28:00,560 --> 00:28:03,919
Speaker 2: aging stuntman Burt Reynolds, who was challenged by the up

600
00:28:03,960 --> 00:28:08,080
Speaker 2: and comer Jan Michael Vincent. And of course there's the

601
00:28:08,119 --> 00:28:11,240
Speaker 2: love relationship with Sally Field choosing that too. And it

602
00:28:11,320 --> 00:28:13,440
Speaker 2: was good. It was like the best. It's sort of

603
00:28:13,440 --> 00:28:16,080
Speaker 2: the best stunt movie ever because it was about stunts, huh.

604
00:28:16,119 --> 00:28:17,600
Speaker 2: And he had a rocket car and that one that

605
00:28:17,640 --> 00:28:20,440
Speaker 2: was a big rocket car jump. It was the big climax.

606
00:28:20,840 --> 00:28:21,879
Speaker 1: I did not see Hooper?

607
00:28:22,119 --> 00:28:23,080
Speaker 2: Did you need to see Hooper?

608
00:28:23,160 --> 00:28:25,240
Speaker 1: What was I watching back then?

609
00:28:26,080 --> 00:28:29,760
Speaker 2: What were you? You're probably watching TV and stuff, I guess, Yeah, Hey,

610
00:28:29,760 --> 00:28:35,199
Speaker 2: it was a little before your time. And like I

611
00:28:35,200 --> 00:28:38,360
Speaker 2: said earlier, stunt drivers, it's not all like a lot

612
00:28:38,400 --> 00:28:41,120
Speaker 2: of this stuff you're gonna see on TV's stunt driving,

613
00:28:41,160 --> 00:28:43,120
Speaker 2: even though you might not think it's necessary.

614
00:28:43,360 --> 00:28:45,040
Speaker 1: Yeah, apparently it does just pull off of a.

615
00:28:45,280 --> 00:28:49,760
Speaker 2: Sometime sometimes not. How do you become a stuntman Josh.

616
00:28:49,880 --> 00:28:54,320
Speaker 1: Uh, Well, apparently, as far as Grabanowski says, you basically

617
00:28:54,360 --> 00:28:57,000
Speaker 1: have to start off as an extra on the set.

618
00:28:57,520 --> 00:28:58,560
Speaker 2: That's not necessarily true.

619
00:28:58,640 --> 00:29:01,000
Speaker 1: Okay, if you want, and if you want to go

620
00:29:01,160 --> 00:29:05,360
Speaker 1: from the absolutely from zero to stuntman in the slowest

621
00:29:05,360 --> 00:29:08,120
Speaker 1: way possible, then you would start out as an extra

622
00:29:08,160 --> 00:29:10,120
Speaker 1: on the set. You have to be a screen act

623
00:29:10,200 --> 00:29:11,680
Speaker 1: you have to be a member of the Screen Actors

624
00:29:11,680 --> 00:29:15,280
Speaker 1: Guild in most cases. Yeah, and when you're hanging around

625
00:29:15,280 --> 00:29:17,840
Speaker 1: the set, you identify who the second unit director or

626
00:29:17,880 --> 00:29:20,720
Speaker 1: stunt coordinator is and you hand them your headshot.

627
00:29:22,560 --> 00:29:25,280
Speaker 2: This ad painted a path to becoming a stunt person

628
00:29:25,400 --> 00:29:28,000
Speaker 2: that we've kind of laughed at. It is not the

629
00:29:28,080 --> 00:29:31,760
Speaker 2: only path, but one thing is for sure. To become

630
00:29:31,760 --> 00:29:34,440
Speaker 2: a stunt person, you need to get to know someone

631
00:29:34,520 --> 00:29:38,880
Speaker 2: else in that department. And that's really with every film department.

632
00:29:39,160 --> 00:29:40,560
Speaker 2: If you want to be in a wardrobe, you should

633
00:29:41,040 --> 00:29:42,600
Speaker 2: get a job as a BA and start hanging out

634
00:29:42,600 --> 00:29:44,720
Speaker 2: with the wardrobe people. If you want to be in makeup,

635
00:29:44,760 --> 00:29:46,720
Speaker 2: start hanging out with the makeup people. And that's just

636
00:29:46,720 --> 00:29:48,840
Speaker 2: how it works in Hollywood. There's no degree. You can

637
00:29:48,880 --> 00:29:51,360
Speaker 2: get a film degree, but come on, let's wasted money.

638
00:29:52,120 --> 00:29:53,880
Speaker 2: Just go to work on the set. You get to

639
00:29:53,920 --> 00:29:56,720
Speaker 2: know the people in the department and then start bugging

640
00:29:56,720 --> 00:29:58,600
Speaker 2: them a little bit when they're not busy. Stunt coordinators

641
00:29:58,600 --> 00:30:01,200
Speaker 2: are a little testy. There's a lot on the line,

642
00:30:01,200 --> 00:30:04,640
Speaker 2: you know. Sure, so you know, if you're a new

643
00:30:04,680 --> 00:30:06,680
Speaker 2: pa on set, don't run over to the stunt coordinator

644
00:30:06,720 --> 00:30:10,120
Speaker 2: start bugging them right away. Pick and choose your time

645
00:30:10,400 --> 00:30:12,239
Speaker 2: and then give them your headshot and then give him

646
00:30:12,280 --> 00:30:12,920
Speaker 2: your headshot.

647
00:30:12,960 --> 00:30:16,440
Speaker 1: But yeah, what you're saying is that it's apprentice based.

648
00:30:16,720 --> 00:30:17,040
Speaker 2: It is.

649
00:30:17,160 --> 00:30:18,640
Speaker 1: Basically there are schools.

650
00:30:20,440 --> 00:30:24,000
Speaker 2: One recommended driving school, the Rick Seaman Stunt Driving School.

651
00:30:24,760 --> 00:30:28,200
Speaker 2: There's also the International Stunt School that sounds pretty serious,

652
00:30:28,320 --> 00:30:29,440
Speaker 2: and this is where you can learn to do some

653
00:30:29,480 --> 00:30:31,040
Speaker 2: of the stuff. But it's not like you exit with

654
00:30:31,040 --> 00:30:33,960
Speaker 2: a degree and then show up and say, now i'd

655
00:30:33,960 --> 00:30:34,880
Speaker 2: like to do stunt work.

656
00:30:34,920 --> 00:30:36,560
Speaker 1: Right, all the rest of you are fired. I have

657
00:30:36,600 --> 00:30:39,080
Speaker 1: a degree from the International Stunt School.

658
00:30:40,360 --> 00:30:43,440
Speaker 2: And Grabster points out that you should have a large

659
00:30:43,640 --> 00:30:45,680
Speaker 2: area of specialty rather than one thing.

660
00:30:45,800 --> 00:30:47,000
Speaker 1: I thought that's a very good point.

661
00:30:47,160 --> 00:30:49,600
Speaker 2: Yeah, but that's not necessarily true. I've talked to some

662
00:30:49,640 --> 00:30:53,040
Speaker 2: stunt dudes that say, eventually you would like to have

663
00:30:53,080 --> 00:30:55,120
Speaker 2: a wide range of skills, but a good way to

664
00:30:55,160 --> 00:30:57,640
Speaker 2: get in is to have one really specific skill that

665
00:30:57,680 --> 00:31:00,959
Speaker 2: you're great at. And you might get back call like

666
00:31:01,000 --> 00:31:05,160
Speaker 2: this guy's good with wirework or water work and or

667
00:31:05,200 --> 00:31:08,400
Speaker 2: he's a hell of a driver, or a really good

668
00:31:08,400 --> 00:31:11,880
Speaker 2: motorcycle guy, yeah, or a great skier if you're doing

669
00:31:12,000 --> 00:31:14,000
Speaker 2: like what was that for your eyes only?

670
00:31:15,000 --> 00:31:15,320
Speaker 1: Yeah?

671
00:31:15,440 --> 00:31:16,960
Speaker 2: Is that the one that heard ski Chase?

672
00:31:17,160 --> 00:31:18,160
Speaker 1: Never say never again?

673
00:31:19,120 --> 00:31:20,640
Speaker 2: I know it's definitely Roger Moore.

674
00:31:20,880 --> 00:31:23,120
Speaker 1: Okay, I think it's for your eyes only, all right.

675
00:31:22,960 --> 00:31:24,560
Speaker 2: But it helps to have these skills, Like a lot

676
00:31:24,600 --> 00:31:29,720
Speaker 2: of stunt people are former motorcycle motocross racers or car

677
00:31:30,240 --> 00:31:36,360
Speaker 2: enthusiasts or you know, how to stand stand forest back riding. Yeah,

678
00:31:36,400 --> 00:31:38,280
Speaker 2: so a lot of them had these skills just anyway,

679
00:31:38,320 --> 00:31:40,600
Speaker 2: and they're like, hey, I can I've been driving dirt

680
00:31:40,640 --> 00:31:42,760
Speaker 2: track for twenty years as we'll make some money.

681
00:31:42,920 --> 00:31:43,840
Speaker 1: Yeah, film me.

682
00:31:45,280 --> 00:31:47,800
Speaker 2: There's books out there, are they? So you want to

683
00:31:47,800 --> 00:31:49,440
Speaker 2: be a Stuntman? By Mark Aspitt.

684
00:31:49,680 --> 00:31:52,040
Speaker 1: Oh, that's a great name for a book like that.

685
00:31:52,040 --> 00:31:56,000
Speaker 2: The Full Burn by Kevin Conley, Fight Choreography, The Art

686
00:31:56,000 --> 00:31:59,479
Speaker 2: of Nonverbal Dialogue by John Kring, and then Hall Needham's

687
00:31:59,480 --> 00:32:03,680
Speaker 2: biography stunt Man with a.

688
00:32:03,640 --> 00:32:08,240
Speaker 1: Exclamation had to be had to be you got? You

689
00:32:08,280 --> 00:32:10,479
Speaker 1: said you have a list of actors that do their

690
00:32:10,480 --> 00:32:11,520
Speaker 1: own stunts.

691
00:32:12,000 --> 00:32:15,200
Speaker 2: Yeah. I think most people know this, people like Jason Statham,

692
00:32:15,520 --> 00:32:16,840
Speaker 2: famous for doing his own stunts.

693
00:32:16,920 --> 00:32:19,840
Speaker 1: Huh. I see Zoe Bells on there. I thought she

694
00:32:19,960 --> 00:32:20,800
Speaker 1: was a stunt person.

695
00:32:20,960 --> 00:32:23,479
Speaker 2: Well she is, and she was in Death Proof though

696
00:32:23,520 --> 00:32:26,240
Speaker 2: as an actor, right, And they were like, I guess

697
00:32:26,240 --> 00:32:29,120
Speaker 2: they include her now because she did that awesome hanging

698
00:32:29,160 --> 00:32:29,880
Speaker 2: onto the hood scene.

699
00:32:29,960 --> 00:32:32,800
Speaker 1: I was watching that earlier and it is just not

700
00:32:32,960 --> 00:32:35,840
Speaker 1: it's pretty cool. It's like she's when she's hanging on

701
00:32:35,920 --> 00:32:38,440
Speaker 1: it looks like by belts or whatever. Yeah, and then

702
00:32:38,520 --> 00:32:42,160
Speaker 1: she's she's kind of sliding still across the hood.

703
00:32:42,360 --> 00:32:42,800
Speaker 2: Yeah.

704
00:32:42,840 --> 00:32:45,000
Speaker 1: All it would take is like half an inch, and

705
00:32:45,000 --> 00:32:47,600
Speaker 1: then all of a sudden she's gone too far and

706
00:32:47,640 --> 00:32:48,960
Speaker 1: she's off the side of the car.

707
00:32:49,200 --> 00:32:51,160
Speaker 2: Yeah, that was it. She's one of the best in

708
00:32:51,200 --> 00:32:52,080
Speaker 2: the business apparently.

709
00:32:52,160 --> 00:32:53,000
Speaker 1: Man, that's scary.

710
00:32:54,280 --> 00:32:56,840
Speaker 2: Burt Reynolds used to do a lot of his stunts.

711
00:32:56,840 --> 00:32:59,920
Speaker 2: In fact, he got injured pretty bad. That led to

712
00:33:00,080 --> 00:33:02,520
Speaker 2: some bad health problems on set. Oh yeah, though not

713
00:33:02,600 --> 00:33:06,200
Speaker 2: City Heat. The Clint Eastwood movie Burt Lancaster.

714
00:33:06,240 --> 00:33:08,640
Speaker 1: He used to do his own stunts. He's a tough guy, yeah,

715
00:33:08,960 --> 00:33:09,800
Speaker 1: the movie Tough Guys.

716
00:33:10,440 --> 00:33:12,480
Speaker 2: Yes, in that Yeah. Yeah, I don't think we mentioned

717
00:33:12,640 --> 00:33:14,440
Speaker 2: been hurt either. That's one of the famous stunts ever,

718
00:33:14,520 --> 00:33:15,800
Speaker 2: The Chariot Race.

719
00:33:15,840 --> 00:33:16,880
Speaker 1: Yeah, you want to tell him about it?

720
00:33:18,080 --> 00:33:18,920
Speaker 2: Go ahead, what do you got.

721
00:33:19,040 --> 00:33:22,800
Speaker 1: Oh, well, there's a stuntman named Joe Cannutt and he

722
00:33:22,920 --> 00:33:25,680
Speaker 1: was doubling for Charlton Heston and during the Chariot Race,

723
00:33:26,040 --> 00:33:31,640
Speaker 1: this big, long, intense race. Yeah, he falls off the

724
00:33:31,720 --> 00:33:35,440
Speaker 1: chariot and is about to be run over. But in

725
00:33:35,520 --> 00:33:39,360
Speaker 1: true stuntman fashion, grabs it. It's being dragged. Yeah, pulls

726
00:33:39,440 --> 00:33:41,800
Speaker 1: himself back up and continues on.

727
00:33:42,840 --> 00:33:44,000
Speaker 2: And I think that made it on screen.

728
00:33:44,280 --> 00:33:46,680
Speaker 1: Yeah, it's in the movie. But that was a real thing,

729
00:33:46,760 --> 00:33:49,760
Speaker 1: Like it wasn't a planned stunt, Like the guy saved

730
00:33:49,760 --> 00:33:50,400
Speaker 1: his own life.

731
00:33:51,000 --> 00:33:54,520
Speaker 2: That's awesome, Dad, Harrison Ford, you mentioned as far as

732
00:33:54,560 --> 00:33:57,360
Speaker 2: the ladies go, Angelina and Jolee and Cameron Diaz are

733
00:33:57,360 --> 00:34:00,800
Speaker 2: the right known for doing stunts. Arnie arts in Niaga

734
00:34:02,440 --> 00:34:06,000
Speaker 2: and Jackie Chan very famous for doing his own stunts.

735
00:34:06,360 --> 00:34:08,200
Speaker 2: And it makes a difference, man, when you can tell

736
00:34:09,239 --> 00:34:11,600
Speaker 2: it's Tom Cruise on the side of that mountain.

737
00:34:11,800 --> 00:34:14,040
Speaker 1: Man, that was scary. Is that really him?

738
00:34:14,280 --> 00:34:17,040
Speaker 2: Yeah, Emily worked on that shoot on there, just that

739
00:34:17,080 --> 00:34:20,879
Speaker 2: segment in Moab, the rock climbing segment, and that's when

740
00:34:20,960 --> 00:34:23,280
Speaker 2: famously Tom Cruise was like four hours late and flies

741
00:34:23,280 --> 00:34:26,160
Speaker 2: in on a helicopter and like the whole crew was

742
00:34:26,160 --> 00:34:27,279
Speaker 2: waiting around all day for him.

743
00:34:27,600 --> 00:34:29,719
Speaker 1: I hadn't heard that, and then yeah.

744
00:34:29,560 --> 00:34:32,920
Speaker 2: I mean famous in my family. Yeah, and now I

745
00:34:32,920 --> 00:34:34,880
Speaker 2: guess famous to the podcast community.

746
00:34:34,600 --> 00:34:37,120
Speaker 1: Yea Cruise is not punctual.

747
00:34:37,440 --> 00:34:38,319
Speaker 2: Well he wasn't that day.

748
00:34:39,719 --> 00:34:40,919
Speaker 1: Wow stunts.

749
00:34:41,280 --> 00:34:44,839
Speaker 2: Have you seen Haywire the Soderberg movie. Uh uh, it's

750
00:34:44,840 --> 00:34:50,920
Speaker 2: about uh assassin. Assassin's basically it's an action movie, Soderberg's

751
00:34:50,960 --> 00:34:53,920
Speaker 2: take on an action movie. But Gina Karana was a

752
00:34:53,960 --> 00:34:58,480
Speaker 2: former mixed martial artist and she she's awesome and does

753
00:34:58,560 --> 00:35:00,960
Speaker 2: her own stunts. What's her name, Gina Carano.

754
00:35:01,120 --> 00:35:02,200
Speaker 1: I don't believe I know her.

755
00:35:02,320 --> 00:35:04,000
Speaker 2: She plays the lead. I'm she I think that was

756
00:35:04,000 --> 00:35:06,399
Speaker 2: her first like legit movie. Oh gotcha known for mixed

757
00:35:06,440 --> 00:35:09,200
Speaker 2: martial arts. But yeah, she does her own stunts.

758
00:35:09,320 --> 00:35:13,680
Speaker 1: She's b a hey wy hey, I'll check it out.

759
00:35:13,880 --> 00:35:14,880
Speaker 2: I got nothing else.

760
00:35:14,760 --> 00:35:15,319
Speaker 1: I don't either.

761
00:35:15,400 --> 00:35:16,200
Speaker 2: Pretty straightforward.

762
00:35:16,960 --> 00:35:19,000
Speaker 1: If you want to learn more about stunts, you can

763
00:35:19,040 --> 00:35:23,319
Speaker 1: type stunts into the house stuff works search bar. And

764
00:35:23,400 --> 00:35:26,040
Speaker 1: I said search bar, which means it's time for listener.

765
00:35:26,120 --> 00:35:31,919
Speaker 2: May Josh, I'm gonna call this things we I guess

766
00:35:31,960 --> 00:35:35,719
Speaker 2: say a lot. Oh no yeah, like no, no, no,

767
00:35:35,719 --> 00:35:36,279
Speaker 2: that's not in there.

768
00:35:36,320 --> 00:35:36,680
Speaker 1: Okay.

769
00:35:36,719 --> 00:35:38,359
Speaker 2: Everyone says like, though I know.

770
00:35:38,400 --> 00:35:41,000
Speaker 1: But I've people have pointed out here they're like, you

771
00:35:41,000 --> 00:35:43,200
Speaker 1: guys say like a lot. And I've started to notice

772
00:35:43,239 --> 00:35:46,600
Speaker 1: And when I say it when I hear the podcast,

773
00:35:46,640 --> 00:35:48,759
Speaker 1: I don't hear when I'm saying it. Only later on

774
00:35:48,800 --> 00:35:50,279
Speaker 1: when I can't do anything about it.

775
00:35:50,480 --> 00:35:53,400
Speaker 2: Don't don't beat yourself up. Everybody says that, like there

776
00:35:53,400 --> 00:35:57,480
Speaker 2: are articles written in the New Yorker about the use

777
00:35:57,560 --> 00:36:00,000
Speaker 2: of the word like in the twenty first century. Okay,

778
00:36:00,440 --> 00:36:04,360
Speaker 2: so you're part of that crowd. No, you're not millennial.

779
00:36:04,960 --> 00:36:07,760
Speaker 1: I'm not. I'm an aged person.

780
00:36:09,200 --> 00:36:12,120
Speaker 2: Sorry, he's wrong with me today, Guys, Before I start,

781
00:36:12,719 --> 00:36:14,360
Speaker 2: I feel like I should get out my adoration of

782
00:36:14,360 --> 00:36:17,320
Speaker 2: the podcast. Always listen as I'm walking my dog, Chloe

783
00:36:17,800 --> 00:36:21,640
Speaker 2: keeps me entertained for hours. I love that you guys

784
00:36:21,640 --> 00:36:24,200
Speaker 2: are still going strong, and I'm very thankful. I have

785
00:36:24,239 --> 00:36:27,120
Speaker 2: comprised a list, however, of words and phrases used most

786
00:36:27,120 --> 00:36:30,759
Speaker 2: often in the show, besides obvious ones like Chuck or

787
00:36:30,800 --> 00:36:33,680
Speaker 2: Josh or search bark. Let's hear them in no particular order.

788
00:36:34,040 --> 00:36:35,360
Speaker 2: A boy to being a bout a boom.

789
00:36:35,400 --> 00:36:37,640
Speaker 1: Sure he left off the bon Jovi.

790
00:36:39,120 --> 00:36:42,279
Speaker 2: Oh, she we'll talk about this later, or we'll get to.

791
00:36:42,280 --> 00:36:44,280
Speaker 1: That, and then a lot of times we don't.

792
00:36:44,480 --> 00:36:45,799
Speaker 2: Yeah. I feel like I say that a lot.

793
00:36:45,920 --> 00:36:48,560
Speaker 1: I think it's hilarious when we say that we're going

794
00:36:48,600 --> 00:36:51,000
Speaker 1: to talk about something later and then we forget.

795
00:36:50,680 --> 00:36:53,239
Speaker 2: To yeah, or I say all the time. I think

796
00:36:53,280 --> 00:36:54,880
Speaker 2: we should point out and she didn't put them in here,

797
00:36:54,880 --> 00:36:56,239
Speaker 2: but I'll go ahead and throw my own on there.

798
00:36:56,360 --> 00:37:03,919
Speaker 2: Oh yeah, I'm making air quotes. Yeah, I E E G. Yeah,

799
00:37:04,000 --> 00:37:07,600
Speaker 2: that's one of yours. That's a good band name, and

800
00:37:07,680 --> 00:37:13,799
Speaker 2: that's usually me. Sure, that's not just a sweat. You

801
00:37:13,800 --> 00:37:15,560
Speaker 2: just don't go out sweat a lot because of me.

802
00:37:16,640 --> 00:37:18,719
Speaker 2: That's a stand up guy. I don't remember her saying

803
00:37:18,760 --> 00:37:21,160
Speaker 2: that a lot. Do you say that a lot? All right,

804
00:37:21,160 --> 00:37:23,520
Speaker 2: I'm gonna take at you with that one, Katherine on

805
00:37:23,600 --> 00:37:24,160
Speaker 2: the up and up.

806
00:37:25,680 --> 00:37:28,359
Speaker 1: I don't know that's c a of course we say

807
00:37:28,400 --> 00:37:29,160
Speaker 1: that a lot, definitely.

808
00:37:29,200 --> 00:37:30,560
Speaker 2: People always ask it what it means.

809
00:37:30,640 --> 00:37:31,279
Speaker 1: We never tell.

810
00:37:31,400 --> 00:37:35,880
Speaker 2: They never tell. And then have you seen the movie? Ironically?

811
00:37:36,040 --> 00:37:36,680
Speaker 1: That's about right.

812
00:37:36,920 --> 00:37:39,319
Speaker 2: Yeah, And those are ten things that we say a lot.

813
00:37:39,360 --> 00:37:41,560
Speaker 2: And that is she says she thinks these are great

814
00:37:42,000 --> 00:37:45,280
Speaker 2: comforts her and she smiles, and that is Catherine Phillips.

815
00:37:45,160 --> 00:37:48,520
Speaker 1: Thanks a lot, Katherine. That's pretty cool. Somebody's out there

816
00:37:48,560 --> 00:37:51,399
Speaker 1: like writing lists of things we say.

817
00:37:52,640 --> 00:37:55,279
Speaker 2: It's nicer to hear people say like I take comfort that.

818
00:37:55,320 --> 00:37:56,840
Speaker 2: And except for the emails when we get.

819
00:37:56,719 --> 00:38:00,840
Speaker 1: Like you guys always say this and it's John Travolta

820
00:38:00,960 --> 00:38:06,960
Speaker 1: taking against the task. If you want to take the task,

821
00:38:07,000 --> 00:38:10,040
Speaker 1: whether John Travolta or anybody else, or you just want

822
00:38:10,080 --> 00:38:12,120
Speaker 1: to say, hey, here's a list of things I noticed

823
00:38:12,160 --> 00:38:19,640
Speaker 1: because the podcast or whatever. You can join us on Twitter. Actually, first,

824
00:38:19,719 --> 00:38:22,480
Speaker 1: before we sign off, let's remind everybody that we're going

825
00:38:22,520 --> 00:38:25,719
Speaker 1: to be on the TV again the TV. Yeah, Saturday

826
00:38:25,800 --> 00:38:28,799
Speaker 1: night on Science Channel at ten pm would be the

827
00:38:28,960 --> 00:38:31,200
Speaker 1: premiere of another Stuff you Should Know episode.

828
00:38:31,280 --> 00:38:32,680
Speaker 2: You can watch us each and every week.

829
00:38:32,800 --> 00:38:35,160
Speaker 1: Yeah, TV show Stuff you Don't You Should Know TV

830
00:38:35,239 --> 00:38:36,320
Speaker 1: show ten pm.

831
00:38:36,320 --> 00:38:38,960
Speaker 2: Or get it on iTunes the following day. Yeah, on Sunday.

832
00:38:39,400 --> 00:38:41,239
Speaker 2: That's right, Chuck, Just go to iTunes and type of

833
00:38:41,239 --> 00:38:41,920
Speaker 2: Stuff you Should Know?

834
00:38:41,920 --> 00:38:43,799
Speaker 1: And two it comes off all right. So now we'll

835
00:38:43,840 --> 00:38:46,000
Speaker 1: sign off, right, yep. You can get in touch with

836
00:38:46,000 --> 00:38:48,960
Speaker 1: this on Twitter at SYSK podcast. You can join us

837
00:38:49,000 --> 00:38:51,239
Speaker 1: on Facebook dot com slash Stuff you Should Know, and

838
00:38:51,360 --> 00:38:53,200
Speaker 1: you can send us a good old fashioned email too.

839
00:38:53,440 --> 00:39:00,920
Speaker 1: Stuff Podcast at Discovery dot com.

840
00:39:01,080 --> 00:39:03,640
Speaker 3: For more on this and thousands of other topics, visit

841
00:39:03,640 --> 00:39:12,520
Speaker 3: HowStuffWorks dot com.

842
00:39:12,560 --> 00:39:15,240
Speaker 1: Brought to you by the twenty twelve Toyota Camry.

843
00:39:15,480 --> 00:39:16,719
Speaker 2: It's ready, are you