(action music)
(gunshot)
(action music)
- We can say anything we want.
- And they will edit it out.
- Okay.
(laughter)
Get ready, David Leitch.
- This is too easy.
- [Woman] You're overthinking it.
- You're under thinking it.
- [Woman] That's not a word. - Yes, it is.
- [Woman] Really? - I think it is.
- [Woman] Did you Google it? - Doesn't matter.
- When Kelly first gave me the material.
I was a little daunted.
I mean, there's a lot of characters in it
and there's seven sociopaths on a train
and as fun and irreverent
and crazy as that is, the darkness of those characters
and the hollowness of those characters
can get really old quick.
And so what I try to do at least with all
of the stuff that we make, is like find ways
to make them relatable.
And ultimately you want to go on this crazy journey
with them and you can care and you can have feels.
We proposed it to every one of the actors
that we brought on board
in that you'll see these characters on the page
but we want to find access points
to their humanity, exploit it and develop.
- Woo, David Leitch!
That's about to be sick, man.
- It was a fantastic script and it had a lot
of brilliant dialogue, but it, what it lent us
what it gave us was this really beautiful platform
for us to really just
take it to a whole other level and really try
and elevate these characters and bring them off the page.
- Once we got on this train, it was all bets off.
I should apologize to David for half of the things
that came out of my mouth.
(laughter)
- That came out of our mouths.
- And for half of the things we said,
for half of the things we broke, he really let us play.
Like it was literally like somebody dropped us off
at Chuck E. Cheese and it was just a train covered in blood.
- We was able just to kind of bounce ideas off
of one another and ad lib and improvise.
I've never, ever had that before.
That's such a rare thing to have.
And it was frightening.
And I lent a lot on Brian because he brought the light
and joy and kind of gave me that feeling,
that he had my back.
- Why am I Lemon?
- Cause you're sour, no one likes lemons.
- That's bollocks, mate, lemon drizzle cake.
- I'm sorry, are you talking about lemons?
- I quite like lemons. I just had code names-
- For Aaron and I, like we're morons.
Like, we're just like, we just wanted to laugh.
Like we just wanted to play and laugh.
After a few hours you kind of, like, lose your mind.
So you're just like, you're just trying
to crack the other person up.
If you could get video village laughing
you were good to go.
You know, like there's no greater feeling than like
you know, saying something incredibly [Bleep] to Brad Pitt.
And then you come off the train
and just see everybody high fiving you, like yeah.
- You don't remember me.
- You look like every white homeless man I've ever seen.
- Really? You don't remember me?
(woman shushing)
(man laughs)
- I just really enjoyed on set
and just enjoyed the collaboration
with the actors and the stunt guys try to
create the best choreograph matching
for character, emotion, situation.
But some point, I was so nervous
because Brad
saying different dialogue for each take.
I was so scared.
(laughter)
- Part of it was that like the train car
is really contained.
Around the train are these eight LED walls
that go floor to ceiling in this giant stage.
And so that's also a bit of a cocoon.
So they had this really intimate,
like very few people on these trains.
- Yeah. You felt like we were shooting a little indie movie
inside of the train because of the small crew we had.
And then when you went outside
and behind the big LED walls, you'd be like,
oh yeah, no this is a big movie.
(man choking)
- Can we just take a timeout here, talk this out?
- I will ruin your life the way you ruined mine.
- Dude, I don't even know you!
- Ladybug's a pacifist.
So all of the action with all
of the other characters who interact with,
you know action-wise, with Ladybug
are sort of, have to be the pusher,
the protagonist, the active, you know
and he's always the sort of defender of it.
But he causes the most damage of all of them.
So it's like that challenge is so unique
and so fun and so fresh and really allowed,
I think, the other characters to have to do more
every time that they interacted with him
and then forced ingenuity
and creativity with regards to how it would all end.
- Brad and I had a fight sequence in a food cart.
So we're like, can we grab chopsticks?
Can I shove them up his nose?
Or maybe I get some wasabi and rub it in his eyes.
Like the way that we work with our dialogue, we can do that
with our characters and anything was just like up for grabs.
And it was like, let's try it.
(men fighting)
(cart clanging)
- There's also another layer
of who we became once we were in costume.
Like, it was one thing to do your fights, you know
in your hoodies and your sweats.
But once you were in your costume, then you were definitely
like rooted in who your character is.
And it informs how you move.
Fighting with suspenders on and a bulletproof vest,
it changes your reach, it changes your range.
It changes how gritty you are.
It changes all that stuff.
- Yeah. And it's quite amazing even just to kind
of go back to see, just to kind of add, connect the dots.
Like I needed to root my character in something.
And I felt like he probably grew up in East End and he went
to the Bethnal Green Boxing Club.
And I would wear clothes.
Like I would go wear West Ham socks
and clothes and everything.
Like, and I had like a hammer tattoo as well.
Right. That's where I knew this character like grew up.
I knew he needed to be rooted in something like that.
- I know who killed the kid.
- Yeah. Where is he then?
- He's on this train.
- Oh, that narrows it down then, don't it?
- The settings on this movie
and the heightened world that we were playing in.
It, it lent itself to so many different
kind of eras of music like the Sex Pistols
and The Clash and things like that.
It kind of informed the way I would play Tangerine
in so many aspects.
- I had a lot of music to play on set,
a lot that was like inspired by what was happening
in real time.
Dom was writing character sketches for our characters
the minute we cast.
- Yeah. I mean, it was such an awesome experience
cause, I mean my whole concept when I first met
with David and Kelly was,
I really wanted to come up with,
cause David's such a needle drop guy and that's
you know, a big part of his movies, you know
what's the perfect needle drop?
What if you're like flicking
through your friend's vinyl collection, right?
And you find this weird old seventies record
and you whack it on and it's super cool.
I wanted to create this thing that was,
you know, it sounded like an old record,
someone taking a sample, right?
And then put a bunch of cool stuff underneath it
and just played with production
and was just messing around with it.
I put like classical music with seventies rock
or trip hop with hip hop with, you know
all kinds of stuff and just, just kind of going crazy.
- Brian and I, we had a slow motion walk
or something like that coming through the car.
I think you played a little something in there.
- What was the rock song that you wrote for that?
- It was early on and before you'd even
(laughs)
before you'd even chosen-
- That's how it went, you see.
- That's exactly it.
- And they were doing those motions
while this movie was happening.
- I love the choice of the music when Tangerine jumped
into the train and then "Slow Ballers".
That was my favorite song when I was a kid.
It gave me a nostalgic, you know, so.
- Aw.
- The movie itself looks like a future Japan,
but for me some songs bring me back to the past, childhood.
So watching the movie itself was a great journey for me.
- Oh, that's awesome.
- That's so amazing.
(action music)
- Right on schedule.
- Each character gets their moment in the sun,
you know, and a great stunt sequence,
you know predominantly with Brad Pitt.
So it was kind of like, this is,
this couldn't get any better.
It was kind of a dream come true, really.
- It was a fun and easy, amazing collaboration.
- I'm telling you guys that when a hero walks down the aisle
with this cane, you instantly are just like,
that's legendary.
(laughter)
Like, that's legendary. That's legendary, man.
- Everyone on the screen right now
is incredibly talented in their own right.
And everyone jumped on board and had, and great ideas
which I love that stuff as a filmmaker. I love it.
(action music)
(toy squeaks)
(men fighting)
- Hold on!
(action music)