- We're in the car, someone's driving it.
Someone's on top of the car.
There's other cars and motorbikes, ATVs, and so on
flying around and smashing into each other.
It's a nerve-wracking experience.
- We spent months perfecting this
and kind of putting all the pieces together
and building this sequence shot by shot, piece by piece,
moment by moment.
- Today I'm gonna be taking you through a scene
in "Extraction 2" shot by shot, so buckle up.
(machine gun firing) (dramatic music)
In order for all of this to work, this 22-minute sequence,
it's not obviously one take.
There's a lot of wipes.
You know, the trained eye might be able to pick
where these handoffs are happening.
I can't, most of the time.
Sam's gonna articulate all this a lot better than I am.
- You just have to find like, what lines up the most,
what's the least amount of work for them to roto
or it's just finding that right moment
where you catch, you know, catch gold.
And so it was just me handing it off to myself
in another shot.
So now I'm in the car,
and this is like a contortionist ballet.
I'm all over the place.
I'm falling down, banging my head.
I jammed my finger up,
but it lends to the chaos of the sequence.
Now I'm moving backwards shimmying
so I can get a closeup of Chris
and then start to push the camera out of the car.
- And see the camera's been handed out the window there
- So I'm reaching inside.
I pull it out, I have to grab it.
So now I'm operating with my arms crossed.
But I kept the car in frame for the crash
- And there was a guy in that car.
This guy's built from something pretty special.
(dramatic music) (car crashing)
(machine gun fire)
(car crashing)
- The original intention was for the car to hit the pipes
and then flip over.
But for what, you know, for whatever reason
the driver hit the button a little too early
and landed on top of the pipes
and they scattered in a much more exciting visual display.
So we went in and talked with visual effects.
Can we put something in there?
And so we added the K-rail to the shot
to cause it to flip like that
and then land on the pipes and, you know,
it came out pretty cool in the final product.
(dramatic music) (explosion) (gun firing)
Those are real practical effects.
Our special effects team was great.
They did real explosions there,
and so we wanted to get as close as possible,
and it gets hot when you get that close.
(engine revving) (explosions)
- [Woman] These men are killers.
- Yeah, so am I.
Yeah, we actually came back and shot this
a few different times just to add in
a little more interaction,
a little more dialogue between the characters
because you need to keep giving it context.
And no matter how cool and exciting the action can be,
you've got to keep bringing it back to
or grounding it with who's the character you're watching?
What's his relationship to this?
What are the stakes here beyond what you are seeing?
You've got real riders there.
And see ya.
Goodbye. (motorcycle crashing)
Boom. (dramatic music) (explosion)
- [Radio operator] Keep on the last two bikes.
- You have these two motorbikes on tracks
being towed behind that vehicle,
and then someone actually drive into those bikes.
- Now there's a moment if you look really closely
where the, not a lot of people
ride the motorcycle like that,
and it gets a little shaky, but we had two bikes
and two dummies on them.
I just love throwing in things like that.
It's a throwback to me from, you know, Jim Henson
to the westerns of the 50s and 60s
where dummies are falling off of cliffs.
It's just such a old school way
of doing something like this.
- Driveway team we're two blocks out, get ready for...
(explosion) (car crashing) (woman screaming)
- I really wanted to see Chris Hemsworth
as the car flips over.
Way to execute that was, you know,
with blue screen to keep it safe for Chris.
And then when that explosion happens,
and the car starts to tip, we had a hydraulic lift
on the car so it starts to tip on the blue screen.
And then during that motion,
we stitch to practical location,
practical stunt driver actually flipping the car over.
- I was standing on the side of the set watching this,
and he got out, shook it off, thumbs up, and on we went.
(woman screaming)
- The girl is hit
We gotta move.
(gun firing) (explosion)
- A real fire bomb going off
and a real car flipping with our actors.
- [Chris] Both those actors had to move at the right time
in order for them not to get squashed themselves.
- Adam Bessa and Golshifteh Farahani are right there near,
you know, 10 feet from that explosion.
- I think we must have done about 20 takes through here.
And I'm carrying the little girl.
- Chris is like, I don't wanna run anymore.
I'm like, I'm running with you, man.
I'm right there with you.
- This was the most painful sequence, funny enough,
out of all the things I've done.
It's just running with her.
- And then I knew at the end of this, Chris was like,
just get me on that train. (dramatic music)
Because the train was so complicated and so intricate,
we rehearsed for three weeks on location
with all the, everyone, three weeks of rehearsal,
and then we rolled right into the first day of shooting.
So we started with the train sequence actually
- We shot a lot of this in the studio, little pieces.
And then were actually on a real train now
on a separate location, separate day.
- So this was shot many weeks, maybe months later.
The continuity has to be so spot on.
Like his hair has to be the same,
the costume has to be the same, the blood,
all this stuff has to be cause it's from one,
an instant in the movie, but a month apart in time.
It's mind blowing movie magic. (gun fire)
This is all practical.
We're moving it, you know, 30, 40 miles an hour
down the track.
We've got a chopper who's chasing us.
We've got big guns.
- And I'm getting cues just off camera saying, okay now.
So I walk back out here,
roll up the door, and there's the helicopter waiting
and then we have squibs on the deck there.
So all those things were exploding,
they're little timed charges
- But he's firing blanks.
You got a real helicopter.
You know, these missiles are digitally added,
but we did have special effects doing some explosions
at the back to, you know, to mimic that.
- Now it becomes a CG takeover into the explosion.
We couldn't afford to crash 53 helicopters into the ground.
- This is where it gets really wild.
- You know, your train here, moving at speed,
real helicopter landing on a train
and none of those guys are harnessed in.
- There's five stunt performers
and para rescues hopping off of this helicopter.
- If one of them falls off the edge at this point,
they're dead.
You know, this is a pretty risky sequence.
- This moment I'm close enough
to reach out and touch these guys.
Part of the reason that I put myself in those spots
is because I've been in some tough spots before
in my career with stunts,
and there's kind of an innate body awareness
that you really only get having been
in those kind of situations.
You know, we got just an incredible shot
- [Chris] And this is all part
of the elaborate orchestration
that Sam Hargraves put together.
It's pretty cool.
- Thank you for going through this sequence with me,
shot by shot.
- Now check out "Extraction 2" only on Netflix.