I have...
...an innate fear of motorcycles.
I don't know , call me old-fashioned...
...but I get scared around motorcycles
I feel, like , out of control.
The biggest action sequence is a motorcycle sequence...
...which, when I read that, I knew I was in.
You just drive on the surface...
...of a building, perpendicular.
And then other, like, helicopters in the streets flying...
...chasing them, just so amazing.
She rides the motorcycle along one side of a building...
...along another side of a building. then rides diagonally up the building...
...then leaps into the air with a 1000-pound motorcycle...
...lands, like, a BMX jump on the top of a rooftop...
...then leaps off the rooftop, drives through the helicopter...
...that's pursuing her, shoots the guys in the helicopter...
...drives outside the other side of the helicopter, smashes into a building...
...goes through the wall of the office, jumps off the bike and walks away.
Needless to say, they have not yet perfected real antigravity devices.
So it's actually quite difficult to drive a motorcycle...
...at this point in time, up the side of a building.
You actually need to use visual effects to try and accomplish that.
It's a combination of practical photography...
...green-screen photography, visual-effects photography...
...plate shooting and just a lot of visual effects as well.
We're shooting a series of backgrounds...
...in the Pudong area of Shanghai.
It was selected because it has a series...
...of really ultramodern technology and architecture.
These buildings look like they're 50 years in the future...
-...and it looks like we're already there. -Quiet on the set!
Action!
By shooting those, we then proceed to shoot a series...
...of green-screen motorcycle foreground elements.
The motorcycle consists of both real stunt jumps...
...and also on a gimbal, so the thing's mechanically tilted...
...so that we could make it simulate the moves of real stunts...
...that would be either impossible or too dangerous to do.
And turn.
They're built this amazing rig.
It's completely on a hydraulic machine...
...and it turns every which way...
...and it goes up and it goes down.
But I can't fall off, and it can't go anywhere.
And Jennifer is doing all of the motorcycle sequences.
Good.
-Cut. -So, what we did...
we built a floor for the chase scene...
...but all the others that-- For the green one...
...we replaced that. We filmed, like, building texture...
...from almost 2000 buildings...
...yeah, took pictures, put it on...
...and composite with the live action.
We filmed it and then we created the world. Yeah.
-Cut. -And we have to merge...
...all them seamlessly together.
And it's just a place of this movie.
Very Ultraviolet.
-Set, cameras? -We are set.
The point of visual effects is how we can achieve the reality...
...and the surrealism of this movie.
Action.
Kurt has his own imaginations...
...and his own world about this movie.
He has every single frame, before filming, in his mind.
He craft out each single frame.
So we have to go up under the gun with the snorkel...
...we pull back suddenly. you pull the trigger...
...and then there will be a muzzle flash right here.
And then we can hide the cut...
...for a second part of the move, if necessary.
Before the actual movie starts...
...we've got animatics...
...we've got, like, the style of the movies that the effects...
What kind of effects you're looking for.
And then we say, "Okay, this is what he wants" ...
...and we can quickly tack to the thinking of Kurt.
So this is very important, it saves a lot of time.
So it's well prepared to go to filming.
Three, two, one, action.
When you see the sequence, your adrenalin will just go up.
It's so exciting.
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