(GRUNTING)
WIGRAM: Guy tries to do something new with the action...
...give the audience something they haven't seen before, which is hard to do.
JENNINGS: Guy is visceral. He likes it in there, hard, aggressive.
WIGRAM: So many have copied him.
It's sometimes hard just to do action without feeling like you're copying yourself.
He constantly tries to change the way he does things...
...in order to make things different and feel fresh.
What I'm about to feed you, Solo, might taste a little bitter.
Where are we going with this?
I wanted a fight that actually looks like a fight.
It's messy, and I wanted a messy fight.
(GRUNTING)
- Ow! MAN: Yeah, that's good.
WIGRAM: The big challenge in these movies that involve action...
...is coming up with action that feels fresh.
And creatively that's probably the hardest challenge in many ways for us.
Guy's style is to be new, be different, be creative, think outside the box.
By the time I've cobbled it together, it should look significantly messy.
And unchoreographed. And I spent the first part of the day unchoreographing it.
I feel as though we need a straight-on one.
(GRUNTING)
I like that. I don't want them looking too cool.
Lovely.
(ENGINE REVVING)
Car chases have been done so many times.
We wanted to make something different. Something we hadn't seen before.
JENNINGS: We looked at the car chases...
...and we wanted to make both of them...
...different in their own way. MAN: Action!
TUOHY: If you look at the Berlin car chase...
...we have lllya driving a Trabant, and we have Gaby and Solo in a Wartburg.
We built both vehicles with a blind driver.
VIKANDER: So they put this man on top of the car I'm driving.
He was just in a tiny little cage. I hadn't seen that before.
TUOHY: This enabled us to drive the vehicles with controlled drivers...
...but with the artist inside.
VIKANDER: So I actually get to sit in the car, pretend that I'm driving.
TUOHY: One of the things that we did is a handbrake turn into a parking space.
Which had been done many times before.
But our artists were inside the cars.
Hold on.
(TIRES SCREECHING)
VIKANDER: I did it. Everyone came up to me after the first take.
"How are you? Are you scared?"
And then it kind of clicked in my head that you probably should be.
I just thought it was so much fun.
It was like being in the wildest ride.
We wanted to make these cars look like it was two ballerinas dancing within a car chase.
We wanted to keep both vehicles really close to one another.
And we wanted to drive around corners, and we wanted to do a 360-degree spin.
So we adapted one of the vehicles to be extremely light...
...and we basically made a rig where we could attach the two vehicles together.
When you see that, that is for real.
But then when you break that down, you wanna be with the artists.
So the other thing we did is in a green-screen environment.
We built a hydraulic turntable.
We got the two vehicles together, and independently we could maneuver the cars...
...backwards and forwards, so it looked like they were gaining on one another.
And also make them move independently, and at the same time rotate them 360.
- Yeah. TUOHY: And on the second time we do it...
...look over your shoulder.
Nicely done.
TUOHY: They drive down an alleyway, and we're driving too fast.
Put your foot down and drive a little faster.
We get wedged into the alleyway itself.
Part of our job was making that work in real time.
An alleyway set was built.
And we built a roller coaster rig which would allow the car to be suspended...
...and have the artists inside as well.
And we pulled it down this track into a breakaway section.
ARMIE: Every day was tough.
We had a lot of stunts, we had a lot of action.
You jump out of the window, it doesn't support you at all.
You're freefalling at the ground and it catches you at the very last second.
CAVILL: We're both physical people. So we enjoy to do it.
CALVANI: Armie's doing all of his stunts on his own. Armie is crazy that way.
I mean, like, he's just wild.
All in a day's work.
TUOHY: Guy wanted to land a truck on top of a boat.
What we did is we designed a rig...
...that would allow a lightweight truck to drive a distance.
We then engage into a rig that we've built...
...and this rig would allow it to land exactly on the spot.
Within the boat, we used pyrotechnic charges...
...that were holding part of the boat together as a seal.
And then when we blew the charges, that allowed the water to come in.
And then with an assisting cable, pulled the whole rig down under the water.
RITCHIE:
JENNINGS: We wanted the off-road vehicle, the Rock Crawler, as we call it...
...to be a strong, powerful, animalistic-type vehicle.
Guy really wanted to see it coming up extreme hills...
...and kicking up a lot of mud, and grabbing.
Five hundred and twenty-five brake horsepower, four-wheel drive...
...high or low ratio, gear ratio.
I think it's kind of the perfect-looking car.
KING: It flies.
We did manage to take it across water.
(INAUDIBLE DIALOGUE)
JENNINGS: Guy had seen these guys drive a car...
...at really high speeds towards a lake, and they don't sink in it.
They're going at such high speed, they literally aquaplane across the lake.
Special tires were added and the vehicle was pumped up.
MAN: Here we go.
Three, two, one! Action!
I think that's a movie first that you've never seen before.
I was like: ha-ha-ha-whoa.
JENNINGS: When you see that car going across that lake, that car is hovering across that lake.
When you do those big action scenes, they do take a lot of time.
MAN: Cut!
It's tough to do one scene for two weeks.
- So smack, it goes boom. - Yeah, so it's a semi... Yes.
Go over, go... Please. Go on, mate.
He comes in, stamps.
Stamps on him. Ungh!
- Picks him up here. - Yeah.
- Yeah. Yeah. - And then show his back.
Thank you! Wrap it up!
WIGRAM: We've come up with some things in this movie that the audience will go:
- "We haven't quite seen that before." - It's pure watchability to me.
- Aah! - That's brilliant.
RITCHIE: I like the film. I like the energy it radiates.
Let's finish this.
SOLO: Shall we?