- Explodes glass explodes, glass explode, glass explode
and then the guy's not there.
[gun shots]
And it was just like everyone just like
kind of paused and was like, what, what?
And then after about like a comedic five, second delay
he just kind of came in, shooting his gun and like fell
and everyone was like, ah, dude
Hi, I'm Charlie Heaton.
And this is my GQ action replay
of stranger things season four.
- What do you think Byres?
Call it a weeder.
You get it, man, like a feeder weeder.
- Clever.
- Hey, where are you going, man?
Look, I'm just trying to turn that frown upside down man.
Here we're seeing Jonathan kind of moping around
in his wood workshop and he's kind of, you know, upset
about the distance that's going on between him and Nancy.
And then we have Eduardo who's new who plays Argyle.
Who's Jonathan's new
best bud.
- You're a good boy.
Okay. You've been a good boy, man.
And I think it's way past who you give that right
hand of yours a vacation and get you some well
deserve hanky panky.
- Getting to work with Eduardo was
was a nice breath of kind of fresh air.
It brought a levity I think,
like there was so much more, more
more comedy happening, you know, he he's great.
He's just off the wall.
He wants to try things he wants to like do things
that aren't in the script.
You know, usually we're pretty tight with the script
but he just throw out these amazing one liners.
He's just trying to have fun
just trying to crack me up the whole time
which felt like was a lot of our relationship on set.
Part of me expected her to be on that plane or something.
Just like, Hey surprise.
Here I am.
- Shit!
- Okay. So this was one
of my favorite scenes to shoot all season.
First off you notice we're playing golf.
So they, they took us to have golfing lessons
at this country club, the specific rules to this
which I had no idea about.
So costume like gave us these like very
yuppy golfy golfing outfits to go
turn up to this country club in.
Eduardo was just not
not happy about looking like a country club folk, but yeah
but it was, it's actually super difficult,
just hitting it was so hard.
Like there's so much technique.
You can spend like minutes trying to set
up this perfect swing and then you go
for the swing and the ball doesn't go anywhere.
So yeah, we, we had a lot of practice trying to
hit these balls, which were ridiculously hard.
- Yes.
- That shots definitely CGI.
There's no way Eduardo hit that.
So with this scene
I remember we spent the whole morning shooting it
but it's in the desert and we got there, we rehearsed
and then it just started pouring down rain all day.
So we're all sat underneath these tents
for hours while it's just dark and it's raining.
And then one of the things about this location
there was an airfield nearby.
So it was constant planes coming over
and they were supposed to divert the traffic for that day
but it didn't happen.
And there was more planes than usual.
Trying to keep up this energy
and then you're in the middle of a scene
and all of a sudden the plane comes in.
It's like stop.
And you're kind of having to hold where you are.
You just wanna do the scene, you know, especially
when you're trying to hold a certain amount of energy
but the plane would be, the planes were so frustrating
that by the end, I think we were both just so amped up.
We were both so like pissed off
and frustrated that it kind of like helped
with this dynamic that you see in the scene.
- I, I can't leave my mom and my brother to, to, to
to chase a dream that isn't mine.
- You're dead, man
You are so dead.
- What was I supposed to do?
- Not lie.
- Not lie?
- Yeah.
- Not lie.
- Yeah.
- So I, I just, I just tell her the truth.
- Yes.
- What's great about the scene is you've got kind
of this truth coming out of Jonathan and, and, and a lot
of vulnerability, a lot of fear about his, his
his family life and kind of his relationship and
and maybe what he's scared about in his relationship.
And he's trying to have this big, like, you know
he's trying to open up and have this deep conversation
and Argyle's just like so frustrated that he
can't hit these balls that he's, you know, he's not
really kind of trying to be there.
And his answer is, well, alright, well just
just get stoned, like clearly that's the answer?
And he's like, oh yeah.
Okay. I should, I should just get stoned
- Palm tree, the light.
That's what you gotta do.
- Palm tree the light?
- Go, go, go.
Ándale, ándale, ándale.
- Really?
Arriba, arriba!
Go, go
Backpack the back of the van, go!
- Yeah. So me, me kind of going to run and, and, and jump
through the window.
Kind of just, just happened
in the original they,
they just wanted me to go around the van,
open the door
and, and then we, we were just kind of, me
and Eduardo were just building each other up so much.
It was just like, ah, as all this tension.
So I just decided to run and jump through the window.
And then we just kept doing that.
Every, every take
- That future prom queen is gonna be fine.
I mean, it was just like rubber wheels.
- Plastic.
- Oh
- Not like hard plastic, just, just a soft kind dude
- Totally.
But you ever wonder why the wheels aren't wood, man?
- So this scene, again, we got to play around with this.
They give us a lot
of freedom to just kind of, kind of riff off each other
- Or metal?
like so people don't get hurt when they get smacked
- Smacked. I love the way he says smacked, smacked
- Man, hey at least it wasn't an ice skate
- That nose you would've been sliced clean off.
- Ah, ah
- That could have been so much worse.
- So much worse.
- I feel like they're being so annoying.
- I mean the grand scheme of things
just a little blip.
- That's a funny word, man.
- Blip
- Blip, blip, blip, blip, blip, blip, blip.
blip, blip, blip, blip, blip, blip, blip
- Even the blip thing.
Like, you know, the kids in the back
they were supposed to be super sad and
and depressed or frustrated about as just being goofballs
in the front and you know, they kept cracking up.
So I think, I think that was kind of a nice tell
that sometimes you don't know if it's funny
I remember being a bit frustrated.
Like, is this, is this funny?
Is this, is this actually gonna play funny?
And then they were like cracking it
which kind of helped, you know, it's like, oh, okay.
Maybe it is funny.
I think we spent about a week all in all
throughout our, our period, just in, in this van
in this like L E D kind of screen
obviously filmed in a studio, not, not in a real car.
What's cool about this is they're able to get way
more shots just cause they can like pull
off the door and the car and the car's not really moving.
Yeah. And there's some guys at the back of the car
just rocking it to give it that motion.
- Hello there
[gun shot]
- What the hell was that?
Stay here.
[gun shots continuing]
- What's going on
We gotta go.
- So yeah, this was a pretty tricky shot to film.
It's all one steady cam shot.
So as you see the camera's just always just kind
of moving around and capturing us.
It was really cool that they, they kind of shot it
like this rather than breaking it in pieces.
It just, it makes it feel, you know, for an actor
at least it makes it feel so much more real.
[gun shots]
- Follow me
It was really intense.
Like they had water round loads
which are like blank bullets, but they they're loud.
And inside this house, you can see it.
There's like so much gunfire going off.
So a lot
of the reactions that you see, I mean, Noah is incredible.
I mean, the faces that he has in, in this whole sequence
I I think was him genuinely being terrified
safely terrified
Noah's reaction here.
I mean all
of the reactions, but Noah's, reaction's brilliant.
- Stay there
[guns fired]
Get down
- Okay. So I've got a story about this bit.
So this sequence where you see Irish shooting, this
this goon who's coming through the door is like
there's like three breakable glass pieces.
And then the guy kind of runs
through the door and he is meant to like hit and fall.
And obviously this is closer to the end of the sequence.
So everybody's kind of stressed about getting it perfect.
It's taking a lot of energy
and we get to this point, Ira comes round the door
the explodes glass explodes, glass explode, glass explode.
And then the guy's not there.
And it was just
like everyone just like kind of paused and was like, what?
And then after about like a comedic five second delay
he just kind of came in, shooting his gun up and like fell.
And everyone was like, ah dude.
- So Ira got to train with the stunt team to kind of work
on all the reloads and all the gunfire.
Cause obviously he's doing all the heavy load
and he was incredible.
It's just, yeah, such a, such a pro
- I shoot, you run.
- I love that line.
I shoot, you run.
It was all about how much breakable glass they had.
So I think they had like seven
or eight takes that they could do it in.
Every reset was like 30 to 45 minutes
which was super long reset.
And then also Albuquerque weather is you're
getting lightning storms all the time.
So anytime there's a lightning storm
the set has to shut down.
You know that pressure of like being super pushed
for time wanting to get it in a one shot.
You know, all the stunt team had practiced and
and rehearsed, you know, we were all there.
And then we were having, you know
issues with all of it coming together, cause
camera, all the stunt team have to come in perfectly.
And then what we do is like
we do a take we'd be like, is that it?
And then we'd all run upstairs
to the monitors with Sean and crowd
around the monitors and we'd be like, ah, it was close.
But like this bit's a little bit off.
And you know, there was talk about, well
do we like try and cut cheat cut.
And like
maybe we can like cut when the camera like swivels.
But I think we were all so determined.
We were all like, no, no, go again.
Like we can get this in one for sure.
And I think maybe around the fifth, fifth take or something
we all had this take and we get there at the end
get to the end and we're like, we think that's it.
We all ran upstairs
and we watched it and everyone was just like, ah
the whole crew were like screaming.
It was like, it
it felt really good to get, get, to get this shot.
And I'm, I'm glad we got it in one take.
Cause I think it just adds to the chaos of it all.
Well, working
with the Duffer brothers is what's great is they, they
they know exactly how they want it and they, they
they really do care so much.
They care about every shot.
So sometimes, you know, as an actor, it's
it's frustrating when you are
when you're doing so many takes, but you
but you always trust them and you always know it's
cause it's gonna make the show what it is
and they've done it again.
And, and also as writers, they write the most, you know
they write the most brilliant dialogue, brilliant story.
So yeah.
They're amazing.
Thanks for watching my action replay of
Stranger Things season four.
Enjoy.