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Hey, everyone.
This is Justin Lin.
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This is the commentary track for F9.
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And as you can see here,
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I think for people
that are aficionados of logos,
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this is one of the older Universal logos.
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It was a very conscious choice.
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I went back and looked at
all the motion logos...
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And by the way, this is...
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Growing up as a kid,
the Universal one was my favorite.
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And the choice of going with an older logo
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was because I wanted it to sync up with
this quote-unquote the flashback to start.
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I wanted the point of view to start
with the past timeline.
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I felt like, you know,
when we were prepping this,
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we kept talking about these
as the flashbacks,
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and it definitely is.
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But I was really hoping
that for the viewing experience,
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because you're being thrust into this
time and place.
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I wanted this to be
the starting point for the film.
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We shot this in
Irwindale, California.
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It's really interesting
because even on films
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with huge budgets like this one,
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still you never have enough money.
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You know,
we shot most of the film in the UK,
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and so to get back to LA.
and shoot was definitely
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something that we had to keep
fighting for, budgetarily.
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It was something that
I felt was important
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that we get to shoot
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for me growing up, having shot in LA,
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just the sunlight,
and just a feel of it.
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And this is where it all started
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and it was very important to get back
and shoot in Southern California.
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Bell's driving safe.
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Corbin's got a sponsor in the stands,
so he's pushing it.
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Talking about me?
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You got a real problem with car 23.
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- Linder.
- About to whip your ass, Toretto!
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The Jack,
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the young Dom,
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Vinnie Bennett and Finn Cole.
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J.D. Pardo. They were amazing,
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I think a lot of times
shooting these sequences,
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it's so hard and that was
one of the big challenges of this film.
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Obviously, Vin Diesel is Dominic Toretto.
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And to be able to find someone,
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that can, in many ways, embody Dom Toretto
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but at the same time
bring something that is original,
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that is new to the character,
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I just thought Vinnie did an amazing job.
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It's one of those things
where I got so excited
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when, you know,
one day I woke up, and I...
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I realize there's more
for us to explore, you know,
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the mythology of
Dom and his family.
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But at the same time,
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I remember I felt like
there was something that was lacking.
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And, you know, I felt like
the exploration wasn't enough
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and it took another,
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I think, couple of weeks
just really brainstorming
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that the big idea came,
which is to explore this theme of family,
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but in more of a bloodline way.
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And it was about 12 hour
of just excitement.
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And I was so, kind of, inspired
that this would be the new chapter.
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But then after those 12 hours,
I wake up and I'm...
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Then it was just total fear because...
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It's like, well...
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First of all, can we pull this off?
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And then if we can,
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part of pulling it off
is that we need to find an amazing cast
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to be able to
really do these sequences justice.
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And so, it became this global, kind of,
search for the actors.
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And I have to say,
I felt like our casting team,
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everybody was just amazing.
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I mean, we looked everywhere,
and Vinnie is from New Zealand,
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and it's amazing
to basically go all around the world
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and to be able to find
our young Dom in New Zealand.
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The other thing that really was scary
was, of course, Jakob.
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It was an exciting idea,
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but then, you know, I didn't know
if we would be able to find anybody
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to be able to pull that off.
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You know, the missing Toretto.
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The Toretto that has existed
this whole time,
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but in eight movies,
no one's ever mentioned it.
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It wasn't until I met John Cena,
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and within the first 30 seconds,
I was able to breathe, you know.
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And so, this whole process
actually felt very organic.
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I think sometimes, you know,
you're doing sequels,
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you're bringing back
a lot of the same cast
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and it's great because
you get to grow together,
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you know, you're not alone.
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But then when some big idea comes along
and you're bringing new elements,
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that is also the most challenging thing,
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but also the most exciting aspect
of that journey.
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And for some reason,
I think being away for a couple of movies
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and then coming back,
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it felt really organic.
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It felt like we were building a film
from ground up again on all levels.
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You know, I think the idea
of exploring the mythology
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and introducing new brother,
you know, when it came to me,
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Vin was the first person I called.
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And I drove to his house,
we talked about it,
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and I could tell we both were very excited
for this new chapter,
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and at the same time,
this was going to be the first film of
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you know, our final chapter in the saga.
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The final chapter saga is something
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we've been talking about
for about 10 years.
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So it was an amazing,
kind of, earned moment
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where we were able to sit
and just talk like we've always done,
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but really have a sense of tone
and also our purpose.
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Yo, yo!
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We come in peace. We come in peace!
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It's me!
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I have to give Universal and Vin
so much credit.
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Because when I left after Fast 6,
I really thought that was it.
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And I was going to move on
and do other things.
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But, you know,
everybody was always so open,
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and they always kind of checked in
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to see if there's anything brewing
and talking Fast.
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So even though it was gone,
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I never felt like
I was fully away, you know.
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And even when I was
shooting Star Trek Beyond,
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I remember Vin calling me
and I was in the cutting room,
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and we started talking about Dom
for a couple hours.
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I remember thinking,
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"Hey, Vin, I'm out.
I'm not doing this anymore."
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But I think Vin is always,
kind of, a couple steps ahead of me
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and I think he knew at some point
we were going to reconnect and so...
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Again, it was all
the seeds that were planted.
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It felt very organic,
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and I didn't want to come back
unless it was something new.
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It was something that, for us,
to be able to explore.
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I think this idea of
being able to go back
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and explore the mythology
and the past so these characters
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and this franchise can keep moving forward
was very exciting to me.
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Why just us?
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He caught Cipher.
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But there was a midair attack,
and she was extracted.
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It seems his plane crashed somewhere here,
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over the northwest region of Montequinto
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If Mr. Nobody survived...
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You know, when I came back,
it was really interesting
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when I first met with Nathalie
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because Ramsey is a character
that showed up in Fast 7.
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But is a character that
we've been talking about since Fast 5.
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And so it was really surreal
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to be talking to her about a character
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that we were talking about years ago.
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And then when I left, you know,
the character came to life
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and then I was meeting back up with her
developed already.
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So, it definitely...
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There are moments like that
that was really odd,
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but interesting, you know.
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Cipher and Queenie are two
other characters that preceded me.
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And it was a lot of fun
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to be able to work
with Charlize and Helen
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to keep evolving it
in this new chapter.
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I'll always be in your heart.
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Hey, little guy.
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I have a gift for you.
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Your father gave this to me.
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And now I'm gonna give it to you.
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It's very special.
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Take care of it.
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And here you see Little Brian
and it is amazing, you know, that...
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I think doing these big action movies,
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people talk about the stunts
and everything.
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And to me,
those are exciting to design, to shoot
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but usually when we're shooting
those sequences,
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it's been, you know,
eight to fourteen months of prep,
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hundreds of meetings with every department
to have it come to life.
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This isn't who we are.
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And I'll tell you, I think the scariest
thing for me making this movie
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was actually the scenes with Little Brian.
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Because showing up
with this three-year old
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and trying to hopefully
create an environment
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where he can
feel present,
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feel Dominic Toretto as his father,
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Letty as his mother...
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You know, that to me
was the most challenging thing.
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And I think just even getting him
to go to sleep there,
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I remember saying...
I think that was probably take 21.
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And of course,
it's not the kid's fault,
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but it's just sitting there with the boom,
and we have our dolly going in.
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He was amazing.
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It was actually twin brothers.
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And they were so great
and Vin was amazing with them.
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You know, I think being a father,
he knew that,
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you know, he needed to make sure
he spent some time with them.
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So for the first week,
while we're shooting this,
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you know, Vin wasn't in his trailer,
he was just hanging out with the boys.
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So here we're dealing with the cross
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that basically connects Jakob
to Han to Dom.
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It's kind of an intersection
of so many of our different threads.
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And one day I hope
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we're going to have the real estate
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to fully explore that chapter
in the Fast Saga.
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And here, we're about to enter
our first huge action sequence,
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which is this fictional place,
Montequinto.
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It's supposed to take place
in Central America,
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but when I went on
our global scouting tour,
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we stopped at Phuket in Thailand.
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And when I saw the geography
and all those, you know...
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I don't know.
Actually, I still... I asked people
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what those things are called
and nobody could give me an answer.
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You know, the buttes,
that are coming out of the water,
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so it was just amazing.
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00:11:43,704 --> 00:11:46,332
And I think
part of doing these Fast movies sometimes
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is to explore the world
and hopefully be able to integrate that
207
00:11:50,044 --> 00:11:53,047
and bring it
to share with the audience.
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00:11:53,506 --> 00:11:55,299
So I think, having...
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You know, going on that scout
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00:11:57,718 --> 00:12:01,180
and loving the visuals
of Phuket, Thailand,
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00:12:01,263 --> 00:12:06,143
I felt like it was kind of our perfect
place to shoot our fictional Montequinto.
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00:12:06,227 --> 00:12:09,563
What was also amazing for me,
was on the scout,
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00:12:09,647 --> 00:12:13,526
I didn't realize the kind of
rich cinematic history of Thailand.
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00:12:13,609 --> 00:12:18,447
Until recently
they were producing their own films
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00:12:18,531 --> 00:12:20,407
at a rate that I think
was like hundreds a year.
216
00:12:20,407 --> 00:12:23,410
to fully explore that chapter
in the Fast Saga.
217
00:12:27,039 --> 00:12:31,961
And here, we're about to enter
our first huge action sequence,
218
00:12:32,044 --> 00:12:34,839
which is this fictional place,
Montequinto.
219
00:12:34,922 --> 00:12:38,050
It's supposed to take place
in Central America,
220
00:12:38,134 --> 00:12:42,221
but when I went on
our global scouting tour,
221
00:12:42,304 --> 00:12:44,682
we stopped at Phuket in Thailand.
222
00:12:44,765 --> 00:12:49,395
And when I saw the geography
and all those, you know...
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00:12:49,478 --> 00:12:52,231
I don't know.
Actually, I still... I asked people
224
00:12:52,314 --> 00:12:55,609
what those things are called
and nobody could give me an answer.
225
00:12:55,693 --> 00:12:57,903
You know, the buttes,
that are coming out of the water,
226
00:12:57,987 --> 00:13:00,322
so it was just amazing.
227
00:13:00,406 --> 00:13:03,033
And I think
part of doing these Fast movies sometimes
228
00:13:03,117 --> 00:13:06,662
is to explore the world
and hopefully be able to integrate that
229
00:13:06,745 --> 00:13:09,748
and bring it
to share with the audience.
230
00:13:10,207 --> 00:13:12,001
So I think, having...
231
00:13:12,543 --> 00:13:14,336
You know, going on that scout
232
00:13:14,420 --> 00:13:17,882
and loving the visuals
of Phuket, Thailand,
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00:13:17,965 --> 00:13:22,845
I felt like it was kind of our perfect
place to shoot our fictional Montequinto.
234
00:13:22,928 --> 00:13:26,265
What was also amazing for me,
was on the scout,
235
00:13:26,348 --> 00:13:30,227
I didn't realize the kind of
rich cinematic history of Thailand.
236
00:13:30,311 --> 00:13:35,149
Until recently
they were producing their own films
237
00:13:35,232 --> 00:13:37,610
at a rate that I think
was like hundreds a year.
238
00:13:37,693 --> 00:13:38,694
It was amazing.
239
00:13:39,028 --> 00:13:43,699
So to be able to kind of hook up
with the crew in Thailand,
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00:13:43,782 --> 00:13:47,286
and be part of that rich
cinematic history, it really meant a lot.
241
00:13:47,369 --> 00:13:50,122
And I think you could feel it
when we were shooting in Thailand
242
00:13:50,206 --> 00:13:54,460
because they really were an amazing crew.
243
00:13:54,543 --> 00:13:57,713
And that's one of the perks of
shooting these films
244
00:13:57,796 --> 00:14:00,341
is to be able
to go into different cultures
245
00:14:00,424 --> 00:14:02,301
and hopefully not be just tourists,
246
00:14:02,384 --> 00:14:05,804
but to be able to truly kind of work
with them and getting to know
247
00:14:05,888 --> 00:14:09,225
how they work
and having that shared experience.
248
00:14:27,660 --> 00:14:30,788
The source of the SOS signal
is coming from inside this thing.
249
00:14:34,750 --> 00:14:36,043
Somebody wanted in.
250
00:14:36,794 --> 00:14:39,505
Plane must have gone down
before they could cut through.
251
00:14:39,588 --> 00:14:42,007
Or it was sent down on purpose
to stop 'em.
252
00:14:42,132 --> 00:14:43,550
Yeah, well, their mistake
was trying to cut into it.
253
00:14:43,634 --> 00:14:47,346
And here we're about to introduce
our McGuffin for the film,
254
00:14:47,429 --> 00:14:53,018
and this is probably, I would say,
for the Fast franchise, I think that...
255
00:14:53,185 --> 00:14:55,896
In Fast 6 is when
we started kind of introducing
256
00:14:55,980 --> 00:14:58,565
these kind of world-ending devices.
257
00:14:59,066 --> 00:15:03,153
I was torn, I was going back and forth on
if we were going to do this or not.
258
00:15:03,237 --> 00:15:05,489
And ultimately...
259
00:15:06,240 --> 00:15:11,453
I think that was one of the challenges
coming back to do Fast 9.
260
00:15:11,537 --> 00:15:13,914
I don't think we make
these films in a vacuum.
261
00:15:14,331 --> 00:15:18,544
And I think there are a lot of things
about coming back
262
00:15:19,253 --> 00:15:21,171
that I had to respect.
263
00:15:21,255 --> 00:15:24,049
And part of it is,
since I've been gone,
264
00:15:24,633 --> 00:15:27,136
it's kind of gone
a lot more kind of sci-fi.
265
00:15:28,012 --> 00:15:31,181
And I felt like, ultimately,
if I just kind of ignored that,
266
00:15:31,265 --> 00:15:34,768
it just wouldn't be respectful
to the films that I wasn't part of.
267
00:15:34,852 --> 00:15:38,314
So it was a long process
in the writing phase.
268
00:15:38,856 --> 00:15:43,110
When I first came back, I didn't want to
have a world-ending device.
269
00:15:43,193 --> 00:15:44,695
But when we were working on it,
270
00:15:44,778 --> 00:15:49,575
it felt like it was almost
such a rebuke to the other films.
271
00:15:49,658 --> 00:15:50,743
I didn't want that.
272
00:15:50,826 --> 00:15:56,665
I wanted the spirit of this film
to always embrace the chapters prior
273
00:15:56,749 --> 00:15:59,293
and whether it's to correct
something that's wrong,
274
00:15:59,376 --> 00:16:03,255
or to build on something,
I never wanted to be reactionary,
275
00:16:03,339 --> 00:16:04,590
because I think sometimes,
276
00:16:04,673 --> 00:16:08,260
I think having made movies,
TV shows and stuff,
277
00:16:08,927 --> 00:16:11,889
I see a lot of instances
where filmmakers
278
00:16:11,972 --> 00:16:15,351
become very, kind of, reactive
and they take it personally.
279
00:16:16,185 --> 00:16:19,104
And I think the films and the shows
sometimes suffer for it.
280
00:16:19,188 --> 00:16:23,859
And I felt like it was important
to try to be positive.
281
00:16:24,401 --> 00:16:27,112
And, yes, I think one of the
big reasons to come back
282
00:16:27,196 --> 00:16:30,783
and to correct is, we'll talk about later,
which is the justice for Han.
283
00:16:31,367 --> 00:16:32,701
But at the same time,
284
00:16:32,785 --> 00:16:36,288
I wanted to always stay positive
to everything.
285
00:16:36,372 --> 00:16:38,665
And that led to the whole Aries device.
286
00:16:38,749 --> 00:16:40,542
So anyway,
it was a long way to explain it.
287
00:16:40,626 --> 00:16:44,922
But it was months and months of my life
in our writing process
288
00:16:45,005 --> 00:16:47,424
of deciding if we were
going to do it or not.
289
00:16:47,508 --> 00:16:49,510
Ultimately, I feel like we needed it.
290
00:16:49,593 --> 00:16:53,764
It's a bit of a culmination of something
that we kind of started on 6.
291
00:16:53,889 --> 00:16:55,849
And it kind of had continued.
292
00:16:56,016 --> 00:16:58,852
But I think
this is probably it for our franchise,
293
00:16:58,936 --> 00:17:01,939
and as we're going to the final chapter,
294
00:17:02,022 --> 00:17:05,651
we're going to be exploring our characters
through other elements.
295
00:17:19,248 --> 00:17:20,707
Roman, where the hell are you?
296
00:17:27,506 --> 00:17:30,175
Who's compensating now, Tej?
297
00:17:51,697 --> 00:17:54,616
Here, we're about to go in
to the landmine sequence
298
00:17:54,700 --> 00:17:56,326
and I have to say,
I think the one thing
299
00:17:56,410 --> 00:17:57,995
that really surprised me,
300
00:17:58,078 --> 00:18:01,915
when we first went into the scouting
for Thailand
301
00:18:02,416 --> 00:18:08,547
was how much of the jungle of Thailand
has kind of disappeared.
302
00:18:08,630 --> 00:18:13,010
This is only a small stretch
of private land that we were able to find
303
00:18:13,093 --> 00:18:14,470
that we could shoot in.
304
00:18:14,845 --> 00:18:18,223
Most of the land
has become palm plantations.
305
00:18:18,307 --> 00:18:22,060
I think they're just trying to produce
palm oil for the world.
306
00:18:22,978 --> 00:18:24,146
You know, I think growing up
307
00:18:24,229 --> 00:18:25,981
and even just kind of
reading about Thailand,
308
00:18:26,064 --> 00:18:29,401
I was really excited to kind of
explore the jungle aspect.
309
00:18:29,693 --> 00:18:34,781
And, at least in southern Thailand,
a lot of that has been... is gone.
310
00:18:34,865 --> 00:18:35,991
Like even here...
311
00:18:36,074 --> 00:18:38,368
This is actually...
You could see the small palms
312
00:18:38,452 --> 00:18:41,955
being planted and grown
and they're everywhere.
313
00:19:02,559 --> 00:19:04,686
What was great about the sequence,
314
00:19:04,770 --> 00:19:09,358
I really wanted to kind of start with the
feel of just kind of this tactile action.
315
00:19:09,441 --> 00:19:11,235
You know, something that's practical.
316
00:19:11,610 --> 00:19:13,320
What better than to, like,
317
00:19:13,570 --> 00:19:16,031
start blowing stuff up
and the landmine sequence?
318
00:19:16,615 --> 00:19:18,575
It is a very conscious effort
319
00:19:19,201 --> 00:19:23,038
to kind of rebuild,
I think the tone of this franchise.
320
00:19:23,455 --> 00:19:25,249
And again, I feel like...
321
00:19:25,999 --> 00:19:27,626
Just as a movie fan,
322
00:19:27,876 --> 00:19:31,838
CG now is part of
so much of these tent-poles,
323
00:19:32,297 --> 00:19:35,300
and I'm not saying that
we don't do that ourselves.
324
00:19:35,384 --> 00:19:37,052
I mean, I like to think that
325
00:19:37,135 --> 00:19:40,556
we can create a have our cake
and eat it too scenario.
326
00:19:40,847 --> 00:19:42,891
It was just that,
I think as a filmmaker,
327
00:19:43,600 --> 00:19:47,813
there's something really exhilarating
and visceral about practical effects,
328
00:19:47,896 --> 00:19:51,316
and, to me, that's always important.
329
00:19:51,400 --> 00:19:54,278
And especially for the Fast franchise
330
00:19:54,695 --> 00:19:56,154
and especially on this one,
331
00:19:56,280 --> 00:19:58,365
I wanted to make sure
that no matter what,
332
00:19:58,448 --> 00:20:01,785
even the most
outlandish action beats,
333
00:20:01,868 --> 00:20:04,830
we always make sure that
we shoot it practically first.
334
00:20:13,422 --> 00:20:14,506
Roman, you good?
335
00:20:18,343 --> 00:20:20,470
My ass is en fuego!
336
00:20:22,848 --> 00:20:24,641
Like, even this shot right here,
337
00:20:25,142 --> 00:20:28,770
actually, that truck
going over and blowing up,
338
00:20:28,854 --> 00:20:30,147
we shot practically.
339
00:20:30,230 --> 00:20:31,982
And it became reference for us.
340
00:20:33,775 --> 00:20:36,737
And here with Roman hanging upside down,
341
00:20:36,820 --> 00:20:41,199
we had to build this contraption
with the truck on vertical rails.
342
00:20:41,575 --> 00:20:46,538
And it's a small beat,
but it took us three days, which is a lot
343
00:20:46,622 --> 00:20:48,749
to be able to even accomplish this.
344
00:20:49,791 --> 00:20:50,959
But ultimately,
345
00:20:52,336 --> 00:20:54,171
I think you could feel the difference,
346
00:20:54,254 --> 00:20:57,591
because we shot it
practically, you know...
347
00:20:58,425 --> 00:21:00,594
The rocks and everything, we had to build
348
00:21:00,677 --> 00:21:04,848
so that it could be safer
Tyrese to be hanging from that truck.
349
00:21:20,280 --> 00:21:24,201
This is kind of the beat, too,
of this "invincible" thread
350
00:21:24,284 --> 00:21:26,703
that we were exploring.
351
00:21:26,787 --> 00:21:33,085
I think maybe being away from Fast,
I was really kind of drawn
352
00:21:33,168 --> 00:21:37,964
and excited for this
existential thread for Roman,
353
00:21:38,048 --> 00:21:39,758
and Tej and Ramsey.
354
00:21:40,175 --> 00:21:41,843
It is something that I think
355
00:21:42,678 --> 00:21:46,431
a lot of times
with these big action tent-poles,
356
00:21:46,515 --> 00:21:49,976
you know, that the characters,
they obviously escape death.
357
00:21:50,060 --> 00:21:53,021
And I felt like it was time
for us to at least,
358
00:21:53,105 --> 00:21:56,817
hopefully, acknowledge it
and explore it in a fun way.
359
00:22:00,195 --> 00:22:02,197
Wait, okay, I think
I found us another way out.
360
00:22:02,280 --> 00:22:05,242
Two miles to what looks like
a bridge across the border.
361
00:22:05,325 --> 00:22:07,828
Good. The sooner
we get out of here, the better.
362
00:22:09,538 --> 00:22:12,499
This shot here was a really
complicated shot. We shot...
363
00:22:12,582 --> 00:22:14,584
We actually had I think it was
364
00:22:14,668 --> 00:22:18,964
almost like three continents worth of work
just to get that shot in.
365
00:22:19,047 --> 00:22:20,590
Shooting that practically,
366
00:22:20,674 --> 00:22:24,386
and then being able to
basically matte that
367
00:22:24,469 --> 00:22:27,514
and then have Michelle do it
and we shot that in London.
368
00:22:27,931 --> 00:22:31,476
It's amazing how filmmaking
has become so global.
369
00:22:40,527 --> 00:22:44,865
And this jump too, it was something
that basically was shot in Thailand.
370
00:22:44,948 --> 00:22:47,367
We shot again in London, practically.
371
00:22:47,451 --> 00:22:50,704
And then, putting Michelle on wires.
372
00:22:51,121 --> 00:22:52,330
The device.
373
00:22:55,000 --> 00:22:57,002
So here is the big, kind of,
374
00:22:57,085 --> 00:22:59,671
first time where the brothers
see each other.
375
00:23:03,175 --> 00:23:08,555
Getting that Mustang
to drift in was definitely a challenge.
376
00:23:08,638 --> 00:23:09,931
And those doors...
377
00:23:10,348 --> 00:23:13,727
I realized the doors didn't quite match,
378
00:23:13,810 --> 00:23:17,230
so we actually had to bend it 90 degrees.
379
00:23:17,647 --> 00:23:20,484
You don't notice it,
but a lot of times,
380
00:23:20,567 --> 00:23:22,110
the shots that I wanted to have,
381
00:23:22,194 --> 00:23:24,988
the cars don't quite
have the right angles.
382
00:23:25,071 --> 00:23:28,158
But again, I feel I have the
support of this amazing crew,
383
00:23:28,241 --> 00:23:30,118
and we always figure it out.
384
00:23:30,577 --> 00:23:34,414
And sometimes,
it's just a 50 degree shift in something
385
00:23:34,498 --> 00:23:36,166
that's been kind of built in.
386
00:23:46,218 --> 00:23:50,055
So we're about to head into this,
kind of, crazy sequence
387
00:23:50,138 --> 00:23:53,225
that's evolved from
something that was very practical
388
00:23:53,934 --> 00:23:57,187
to something that's going to be
a bit more outlandish.
389
00:23:57,771 --> 00:23:59,731
And hopefully we've earned this.
390
00:24:01,233 --> 00:24:04,194
This is something that
we actually scouted
391
00:24:04,945 --> 00:24:07,072
on so many of these aerial scouts,
392
00:24:07,155 --> 00:24:10,450
trying to find the right two,
I guess, buttes or islands,
393
00:24:10,826 --> 00:24:12,077
so we can shoot this.
394
00:24:12,577 --> 00:24:14,746
Peter Chiang, our VFX supervisor,
395
00:24:15,914 --> 00:24:19,167
he was on it so much,
and I really was very adamant
396
00:24:19,251 --> 00:24:22,504
on making sure that
we found the right practical ones.
397
00:24:23,171 --> 00:24:26,383
I remember we circled around it so much
that Peter actually had to get off
398
00:24:26,466 --> 00:24:28,677
because he was nauseous
and he was throwing up
399
00:24:28,760 --> 00:24:29,886
on one of these buttes.
400
00:24:45,235 --> 00:24:46,611
And here we have the helicopter,
401
00:24:46,695 --> 00:24:50,365
the brother, Mustang,
against Dodge Charger.
402
00:24:52,617 --> 00:24:56,162
You know, it's something that, I think,
people who love cars,
403
00:24:56,288 --> 00:24:58,915
they notice that it's Mustang vs Charger.
404
00:24:58,999 --> 00:25:03,670
And we had a lot of fun
in the writing process, developing it.
405
00:25:03,753 --> 00:25:05,714
I think in the flashbacks, later on,
406
00:25:05,839 --> 00:25:08,717
you'll see that Jakob's
also driving a Mustang.
407
00:25:09,175 --> 00:25:14,055
And it's something that we actually wrote
way more than we needed to.
408
00:25:14,514 --> 00:25:17,976
And I hope, one day we're going
to be able to explore that,
409
00:25:18,059 --> 00:25:20,812
whether in feature
or maybe in other mediums,
410
00:25:21,229 --> 00:25:23,440
because it is really amazing,
411
00:25:23,523 --> 00:25:28,862
sometimes doing these films,
to have the environment to just explore.
412
00:25:28,945 --> 00:25:30,989
And on this one, for some reason,
413
00:25:31,072 --> 00:25:35,619
our script was really long
compared to the other ones.
414
00:25:36,286 --> 00:25:40,415
At one point, we were approaching
almost 200 pages, which is insane.
415
00:25:40,498 --> 00:25:44,002
But it was just fun to be writing
and just to be free.
416
00:25:44,085 --> 00:25:46,671
And ultimately we were able
to kind of bring it down.
417
00:25:52,510 --> 00:25:53,762
Where's the bridge?
418
00:25:58,516 --> 00:25:59,809
No. No, no.
419
00:25:59,893 --> 00:26:00,936
Dom.
420
00:26:03,688 --> 00:26:08,026
I think a lot of people ask,
you know, "This must be all CG."
421
00:26:08,401 --> 00:26:09,736
It actually is a combination.
422
00:26:09,819 --> 00:26:12,197
We actually...
Every beat that you see here,
423
00:26:12,364 --> 00:26:15,200
was accounted for,
like the launch of the car.
424
00:26:15,909 --> 00:26:19,412
Even the swing, you know,
we had a crane.
425
00:26:19,579 --> 00:26:21,456
It was in the UK, actually,
to swing it.
426
00:26:21,998 --> 00:26:26,127
It kind of acted as reference
for us in making sure
427
00:26:26,211 --> 00:26:29,547
that everything we did,
it was kind of accounted for
428
00:26:29,631 --> 00:26:32,092
so we can have the proper conversations.
429
00:26:36,096 --> 00:26:37,555
Well, that was new.
430
00:26:38,056 --> 00:26:41,267
you know, love the franchise that
we never short change any of the thing.
431
00:26:41,351 --> 00:26:42,560
So, it was a lot of fun.
432
00:26:42,644 --> 00:26:46,106
It was like multiple meetings
about his broken nose,
433
00:26:46,648 --> 00:26:48,650
and how much we were going to do it.
434
00:26:49,192 --> 00:26:50,443
Brother?
435
00:26:51,653 --> 00:26:53,196
You got a brother?
436
00:26:53,405 --> 00:26:56,783
Who also happens to be
some kind of super spy
437
00:26:56,783 --> 00:26:59,077
and I love how they always have visuals
to sell all their products.
438
00:27:00,578 --> 00:27:02,247
But this thing is a mess.
439
00:27:03,081 --> 00:27:04,666
The headlines out there?
440
00:27:04,791 --> 00:27:06,501
Secret spy plane crashes in a...
441
00:27:06,584 --> 00:27:09,004
It was such a treat
to be able to bring Shea back,
442
00:27:09,087 --> 00:27:14,342
and we had a lot of fun with
Stasiak's nose, and we went through...
443
00:27:14,426 --> 00:27:17,178
We tracked it from Fast 4,
when he gets slammed
444
00:27:17,262 --> 00:27:20,682
by Brian O'Conner and again in Fast 6.
445
00:27:20,765 --> 00:27:25,103
And so, Shea showed up on the day
and we just kept fudging it.
446
00:27:25,186 --> 00:27:27,313
And it was a really fun nod
447
00:27:27,397 --> 00:27:30,191
to his relationship
and the connection to Brian O'Conner.
448
00:27:30,316 --> 00:27:33,445
And that's something
that we were very conscious of.
449
00:27:33,528 --> 00:27:37,991
You know, the spirit of Brian,
the character is still, obviously alive
450
00:27:38,116 --> 00:27:39,909
and thriving in this universe.
451
00:27:39,993 --> 00:27:44,748
But, you know, I felt like
trying to make sure that,
452
00:27:44,831 --> 00:27:47,917
you know, we always kind of
honor thing that's happened.
453
00:27:48,001 --> 00:27:52,547
And so that we can kind of embrace it
for the narrative, for people that really,
454
00:27:52,630 --> 00:27:57,969
you know, love the franchise that
we never short change any of the thing.
455
00:27:58,053 --> 00:27:59,262
So, it was a lot of fun.
456
00:27:59,345 --> 00:28:02,807
It was like multiple meetings
about his broken nose,
457
00:28:03,349 --> 00:28:05,351
and how much we were going to do it.
458
00:28:05,894 --> 00:28:07,145
Brother?
459
00:28:08,354 --> 00:28:09,898
You got a brother?
460
00:28:10,106 --> 00:28:13,735
Who also happens to be
some kind of super spy
461
00:28:13,818 --> 00:28:15,695
with his own private army,
462
00:28:15,779 --> 00:28:16,821
who drives literally...
463
00:28:16,905 --> 00:28:20,700
This is a really interesting moment
between Dom and Letty, you know,
464
00:28:20,784 --> 00:28:24,287
and it is one of those things
that I felt like, you know,
465
00:28:24,370 --> 00:28:27,582
working with Michelle and Vin on it,
466
00:28:27,749 --> 00:28:31,628
it was such a great process, you know,
because, as you can see,
467
00:28:31,711 --> 00:28:34,339
there's not a lot of real estate
for anything.
468
00:28:34,464 --> 00:28:38,468
So, to be able to get everybody
in those moments to track it,
469
00:28:38,551 --> 00:28:43,306
and to feel it without us
really shining a crazy spotlight on it.
470
00:28:43,389 --> 00:28:46,267
And that's always the biggest
challenge for these films
471
00:28:46,351 --> 00:28:48,978
because, you know,
especially Fast 9,
472
00:28:49,062 --> 00:28:51,606
I feel like there's three movies
jammed into one, right?
473
00:28:51,689 --> 00:28:54,859
You have the brother-thread,
you have the main-thread.
474
00:28:54,943 --> 00:28:58,571
And then he had the Han-thread.
And the biggest challenge
475
00:28:58,655 --> 00:29:01,491
of making this film
really was real estate.
476
00:29:01,574 --> 00:29:04,911
And, you know, I have to say,
one of the reasons
477
00:29:04,994 --> 00:29:08,414
why I ultimately felt like I was,
you know, done with the franchise
478
00:29:08,498 --> 00:29:13,419
was that we've never been able to have
479
00:29:13,503 --> 00:29:15,672
a full draft of the script
when we start shooting,
480
00:29:15,755 --> 00:29:17,757
and that's part of the process
481
00:29:17,841 --> 00:29:20,385
that we've had developed,
and I'm not complaining.
482
00:29:20,468 --> 00:29:21,719
It's just... It's okay.
483
00:29:21,803 --> 00:29:23,763
It's just the way
we always end up doing it.
484
00:29:23,847 --> 00:29:27,600
And so, I felt like I wanted to make sure
that for the first time,
485
00:29:27,684 --> 00:29:31,938
we had a script, fully done,
and we were able to on this one.
486
00:29:32,021 --> 00:29:34,607
And the funny thing is that we ended up,
487
00:29:34,691 --> 00:29:38,278
kind of, overshooting it
and it was much longer.
488
00:29:38,820 --> 00:29:40,738
But I think you can feel that,
489
00:29:40,822 --> 00:29:45,618
you know, this film had a lot more,
490
00:29:45,702 --> 00:29:47,871
but it was always about condensing
and making sure
491
00:29:47,954 --> 00:29:50,039
that we didn't take any beat for granted.
492
00:29:51,332 --> 00:29:52,542
What is that?
493
00:29:52,625 --> 00:29:54,711
Get out of here. Go.
494
00:29:55,962 --> 00:29:57,881
So a man can't pay his last respects?
495
00:29:57,964 --> 00:29:59,257
That's what that is?
496
00:29:59,340 --> 00:30:00,800
No.
497
00:30:00,884 --> 00:30:03,136
No, not you.
You're the one that killed him.
498
00:30:03,219 --> 00:30:04,512
No, racing killed him.
499
00:30:04,971 --> 00:30:08,057
Look, he knew that I was gonna
pit him into the wall. He knew that.
500
00:30:08,141 --> 00:30:09,267
Now, I don't know
if he dropped gear.
501
00:30:09,350 --> 00:30:11,603
Here's Jim Parrack playing Linder.
502
00:30:11,686 --> 00:30:14,063
It was great to work with him again.
503
00:30:14,147 --> 00:30:17,942
His first job as an actor was actually
on Annapolis, and we worked on together.
504
00:30:18,026 --> 00:30:21,321
So it's always great to be able to
meet back up with actors
505
00:30:21,404 --> 00:30:22,906
or crew through the years.
506
00:30:22,989 --> 00:30:26,451
And he's kind of a perfect Linder,
he was great.
507
00:30:29,454 --> 00:30:30,663
Leave.
508
00:30:31,414 --> 00:30:36,127
This obviously, is one of the most pivotal
moments in the Fast lore.
509
00:30:38,171 --> 00:30:41,841
And I know that in the first Fast film,
510
00:30:41,925 --> 00:30:45,386
in the garage with Dom and Brian,
511
00:30:45,470 --> 00:30:48,306
Dom was talking about
how he took that wrench,
512
00:30:48,389 --> 00:30:53,478
and he just kept beating Linder
until his arms went numb.
513
00:30:53,561 --> 00:30:57,857
And it was a struggle, because it was
great in that moment when he said it.
514
00:30:57,941 --> 00:30:59,901
And here, when we were working on it,
515
00:31:00,026 --> 00:31:02,987
we actually did
all these tests and...
516
00:31:03,655 --> 00:31:06,866
With that hit with that wrench,
if you just did it more than,
517
00:31:07,742 --> 00:31:12,455
you know, a couple of times,
the skull is going to crack, you know?
518
00:31:12,538 --> 00:31:18,044
And so, I wanted to make sure that we
honor what Dom was sharing with Brian.
519
00:31:18,127 --> 00:31:21,005
But at the same time, I think
in that moment, it was important
520
00:31:21,089 --> 00:31:23,383
that we were capturing it
through Jakob's point of view.
521
00:31:24,092 --> 00:31:28,137
But, that was also one of the things
that we had so many discussions on.
522
00:31:28,221 --> 00:31:33,226
And ultimately I felt like...
You know, sometimes in life,
523
00:31:33,309 --> 00:31:36,020
we're all a little bit...
Get stuck into the moment,
524
00:31:36,104 --> 00:31:41,442
and we're not the most reliable narrators,
even though there's no intent to deceive.
525
00:31:42,110 --> 00:31:44,195
We're the protagonist in our own stories.
526
00:31:44,279 --> 00:31:47,240
And I think in Dom's mind
that's what happened.
527
00:31:47,323 --> 00:31:50,702
But I think one of the ways
that we were able to, kind of,
528
00:31:50,785 --> 00:31:54,455
hopefully, honor that moment,
but at the same time make it feel
529
00:31:54,539 --> 00:31:59,627
like it's not out of this world
where he's beating Linder, you know,
530
00:31:59,794 --> 00:32:03,006
countless times with the wrench
was to go to Jakob's point of view,
531
00:32:03,089 --> 00:32:05,758
which is what we needed in that moment
for this film.
532
00:32:06,134 --> 00:32:08,219
- She say anything?
- Nope. Nada.
533
00:32:09,095 --> 00:32:11,639
You know, I look at her
and I feel creeped out.
534
00:32:11,764 --> 00:32:13,975
And sort of turned on at the same time.
535
00:32:14,642 --> 00:32:16,019
Is that weird?
536
00:32:19,314 --> 00:32:21,024
Nice operation.
537
00:32:21,482 --> 00:32:23,901
You snatched me off
Mr. Nobody's plane midair
538
00:32:23,985 --> 00:32:26,029
without a scratch, and you took him down.
539
00:32:26,237 --> 00:32:28,406
And here we have our scene
with Cipher.
540
00:32:29,115 --> 00:32:33,703
Again, it was such an honor and treat
to be able to work with Charlize.
541
00:32:33,995 --> 00:32:34,996
And this is a character
542
00:32:35,079 --> 00:32:40,084
that obviously was in 8,
and she was so gracious and open.
543
00:32:40,168 --> 00:32:43,713
I remember sitting down with her
and talking about the character,
544
00:32:44,589 --> 00:32:48,259
and I think she was excited
to keep kind of evolving it.
545
00:32:48,343 --> 00:32:53,723
So I remember asking her,
you know, "Is there anything in 8
546
00:32:53,806 --> 00:32:56,559
"that you built
that I need to be aware of?"
547
00:32:58,353 --> 00:33:01,647
And she was like, "No, "
you know? It's the basic...
548
00:33:01,731 --> 00:33:03,441
"Let's go back and rebuild this."
549
00:33:03,524 --> 00:33:06,778
And I had such a great time
with her just talking.
550
00:33:06,861 --> 00:33:12,450
And she is so specific
about every beat, you know,
551
00:33:12,533 --> 00:33:15,078
and I love that, you know, in this scene,
552
00:33:15,161 --> 00:33:18,331
even though she is this
character that's stuck,
553
00:33:18,414 --> 00:33:23,628
has been captured, stuck in the box,
and I wanted to also really make sure that
554
00:33:24,295 --> 00:33:28,007
it's not one of these diabolical scenes
where she's already gotten a way out.
555
00:33:28,508 --> 00:33:31,302
I wanted the experience for the audience
556
00:33:31,677 --> 00:33:37,642
in real time with Cipher, is to see
how she could figure her way out.
557
00:33:39,519 --> 00:33:41,312
I need you to find out which one.
558
00:33:41,604 --> 00:33:43,064
So, here she does
559
00:33:43,147 --> 00:33:47,110
an amazing job of just, kind of,
scoping out all the players, right?
560
00:33:47,193 --> 00:33:49,195
There's Jakob.
There's Otto and there's Sue.
561
00:33:49,862 --> 00:33:53,950
And even though it's probably not clear,
it's not scripted,
562
00:33:54,033 --> 00:34:00,540
this idea of her constantly testing
and trying to figure out
563
00:34:01,040 --> 00:34:03,167
what is her... How is she
going to get out,
564
00:34:03,334 --> 00:34:04,335
starts here.
565
00:34:04,627 --> 00:34:09,382
And I just had such a great time
working with her on the day,
566
00:34:09,465 --> 00:34:13,344
but also in the cutting room
because I can see her,
567
00:34:13,428 --> 00:34:17,640
and that's something that we planned,
you know, basically calculating, like,
568
00:34:18,307 --> 00:34:21,853
let's test Jakob out. Let's go through,
let's push those buttons.
569
00:34:21,936 --> 00:34:25,273
But the... Little bit of the curve ball
570
00:34:25,356 --> 00:34:28,401
is actually she finds
a weak point in Otto.
571
00:34:29,986 --> 00:34:34,449
And I think if you watch this film
multiple times,
572
00:34:34,532 --> 00:34:35,825
you'll really get a sense.
573
00:34:35,908 --> 00:34:38,828
And if you really watch her,
she's been, you know,
574
00:34:38,911 --> 00:34:40,621
you can see her wheels turning.
575
00:34:41,038 --> 00:34:44,417
And that's...
I think, that's the fun of this character
576
00:34:44,500 --> 00:34:49,255
and I think this is also a new element
for us in this franchise.
577
00:34:54,093 --> 00:34:57,805
Finding the two halves
of Project Aries is the easy part.
578
00:34:58,139 --> 00:35:00,057
Add in your brother Dom to the mix?
579
00:35:00,725 --> 00:35:02,268
You don't have a chance.
580
00:35:03,352 --> 00:35:04,854
Plans are in motion.
581
00:35:08,399 --> 00:35:12,612
There's a line in there,
where she basically is pointing out
582
00:35:13,446 --> 00:35:16,324
about Jakob's jawline, the Nordic strain,
583
00:35:16,407 --> 00:35:19,702
and it was important
that we put it in there.
584
00:35:19,785 --> 00:35:21,370
I know that a lot of people are saying,
585
00:35:21,454 --> 00:35:24,999
well, how could John Cena
be Vin Diesel's brother?
586
00:35:25,416 --> 00:35:27,752
You know?
And that's something that we talked about
587
00:35:27,835 --> 00:35:29,629
because John was by far...
588
00:35:29,712 --> 00:35:33,257
I mean, again,
I felt just so lucky to have him join us.
589
00:35:33,925 --> 00:35:38,054
But at the same time, I think there's a
complicated kind of history for Toretto's.
590
00:35:38,137 --> 00:35:40,515
And that's something that that one line
591
00:35:40,598 --> 00:35:42,266
is giving you a little bit of glimpse
592
00:35:42,767 --> 00:35:44,268
How we somehow
593
00:35:45,019 --> 00:35:47,230
- always survive?
- Yeah.
594
00:35:47,355 --> 00:35:48,606
- So far, so good, I guess.
- It's just luck.
595
00:35:50,358 --> 00:35:52,151
No, no, no, see, y'all not listening.
596
00:35:52,235 --> 00:35:53,778
Think about this.
597
00:35:53,903 --> 00:35:58,366
We've now been on insane missions
around the world,
598
00:35:58,449 --> 00:36:02,203
doing what most would say
is damn near impossible.
599
00:36:02,536 --> 00:36:05,665
And I ain't got one single scar
to show for it?
600
00:36:05,748 --> 00:36:07,625
I mean, look at my jacket.
601
00:36:09,085 --> 00:36:13,381
Those are bullet holes
from 14 dudes trying to take my head
602
00:36:13,464 --> 00:36:14,924
clean off its shoulders.
603
00:36:15,007 --> 00:36:18,052
We've taken out cars, trains, tanks.
604
00:36:18,135 --> 00:36:20,680
I'm not gonna even mention the submarine.
605
00:36:20,763 --> 00:36:22,390
And yet we're still here.
606
00:36:23,057 --> 00:36:24,267
Exactly.
607
00:36:24,767 --> 00:36:26,394
Ramsey, what happens
when you test a theory
608
00:36:26,477 --> 00:36:29,188
over and over again
only to come to the same result?
609
00:36:29,313 --> 00:36:32,275
A hypothesis becomes fact.
But you're not actually suggesting that...
610
00:36:32,358 --> 00:36:36,237
I don't know, but when the improbable
happens again and again,
611
00:36:36,320 --> 00:36:37,363
that's more than luck.
612
00:36:38,948 --> 00:36:40,574
Maybe we're not so normal.
613
00:36:41,200 --> 00:36:42,493
That's what I'm saying.
614
00:36:42,576 --> 00:36:44,120
We are not normal.
615
00:36:44,954 --> 00:36:48,124
Okay, just to clarify,
616
00:36:48,207 --> 00:36:51,210
are you two maybe suggesting
that we're, what,
617
00:36:51,752 --> 00:36:52,962
invincible?
618
00:36:54,297 --> 00:36:56,382
- Maybe.
- Maybe.
619
00:36:58,968 --> 00:37:00,303
Or maybe
620
00:37:00,845 --> 00:37:02,263
you're just a dumbass.
621
00:37:06,350 --> 00:37:08,936
Take your dumbass jacket with you, man.
622
00:37:17,236 --> 00:37:19,196
Pretty impressive driving out there.
623
00:37:21,198 --> 00:37:22,616
You miss the old life.
624
00:37:25,328 --> 00:37:26,329
Do you?
625
00:37:28,789 --> 00:37:34,462
Ultimately, it was an interesting scene
because I like to edit as we go.
626
00:37:34,545 --> 00:37:38,799
And I knew that the scene
with Dom and Letty at the farm
627
00:37:38,883 --> 00:37:41,052
was probably not going to be it.
628
00:37:41,135 --> 00:37:44,138
And I remember going to Jordana
and saying,
629
00:37:44,263 --> 00:37:46,223
"This is going to be the scene."
630
00:37:46,682 --> 00:37:48,351
And I think for her,
631
00:37:48,684 --> 00:37:51,937
she did such a great job
of, kind of, taking that note
632
00:37:51,937 --> 00:37:53,731
No, no, no, see, y'all not listening.
633
00:37:53,814 --> 00:37:55,358
Think about this.
634
00:37:55,483 --> 00:37:59,945
We've now been on insane missions
around the world,
635
00:38:00,029 --> 00:38:03,783
doing what most would say
is damn near impossible.
636
00:38:04,116 --> 00:38:07,244
And I ain't got one single scar
to show for it?
637
00:38:07,328 --> 00:38:09,205
I mean, look at my jacket.
638
00:38:10,664 --> 00:38:14,960
Those are bullet holes
from 14 dudes trying to take my head
639
00:38:15,044 --> 00:38:16,504
clean off its shoulders.
640
00:38:16,587 --> 00:38:19,632
We've taken out cars, trains, tanks.
641
00:38:19,715 --> 00:38:22,259
I'm not gonna even mention the submarine.
642
00:38:22,343 --> 00:38:23,969
And yet we're still here.
643
00:38:24,637 --> 00:38:25,846
Exactly.
644
00:38:26,347 --> 00:38:27,973
Ramsey, what happens
when you test a theory
645
00:38:28,057 --> 00:38:30,768
over and over again
only to come to the same result?
646
00:38:30,893 --> 00:38:33,854
A hypothesis becomes fact.
But you're not actually suggesting that...
647
00:38:33,938 --> 00:38:37,817
I don't know, but when the improbable
happens again and again,
648
00:38:37,900 --> 00:38:38,943
that's more than luck.
649
00:38:40,528 --> 00:38:42,154
Maybe we're not so normal.
650
00:38:42,780 --> 00:38:44,073
That's what I'm saying.
651
00:38:44,156 --> 00:38:45,699
We are not normal.
652
00:38:46,534 --> 00:38:49,703
Okay, just to clarify,
653
00:38:49,787 --> 00:38:52,790
are you two maybe suggesting
that we're, what,
654
00:38:53,332 --> 00:38:54,542
invincible?
655
00:38:55,876 --> 00:38:57,962
- Maybe.
- Maybe.
656
00:39:00,548 --> 00:39:01,882
Or maybe
657
00:39:02,425 --> 00:39:03,843
you're just a dumbass.
658
00:39:07,930 --> 00:39:10,516
Take your dumbass jacket with you, man.
659
00:39:18,816 --> 00:39:20,776
Pretty impressive driving out there.
660
00:39:22,778 --> 00:39:24,196
You miss the old life.
661
00:39:26,907 --> 00:39:27,908
Do you?
662
00:39:30,369 --> 00:39:36,041
Ultimately, it was an interesting scene
because I like to edit as we go.
663
00:39:36,125 --> 00:39:40,379
And I knew that the scene
with Dom and Letty at the farm
664
00:39:40,463 --> 00:39:42,631
was probably not going to be it.
665
00:39:42,715 --> 00:39:45,718
And I remember going to Jordana
and saying,
666
00:39:45,843 --> 00:39:47,803
"This is going to be the scene."
667
00:39:48,262 --> 00:39:49,930
And I think for her,
668
00:39:50,264 --> 00:39:53,434
she did such a great job
of, kind of, taking that note
669
00:39:54,518 --> 00:39:56,604
and in a way, take charge of the scene.
670
00:39:56,687 --> 00:40:00,566
You know, I think people
are so used to Dom being the patriarch
671
00:40:00,649 --> 00:40:04,570
and being the decision maker.
Here, you have Mia and Letty
672
00:40:04,653 --> 00:40:08,240
saying, "No. We're part of this family,
and we have a say."
673
00:40:08,324 --> 00:40:10,826
And I think it was a very powerful scene.
674
00:40:10,910 --> 00:40:13,704
And also it was done
not in a confrontational way.
675
00:40:13,787 --> 00:40:16,040
You know, it was done
in a very empowered way,
676
00:40:16,123 --> 00:40:22,379
and I had a lot of meetings with Jordana
and Michelle about the tone of that.
677
00:40:22,463 --> 00:40:25,132
And so it was amazing on the day
when they showed up,
678
00:40:25,257 --> 00:40:28,427
because the last thing I wanted
was to make it feel
679
00:40:30,095 --> 00:40:32,389
It became these kind of intersection,
emotionally, for all our characters.
680
00:40:33,140 --> 00:40:35,100
I got this the day Han died.
681
00:40:35,893 --> 00:40:37,019
Mexico.
682
00:40:37,311 --> 00:40:38,854
And here's the postcard again.
683
00:40:38,938 --> 00:40:42,525
And I'll give you
a little bit more intel on that.
684
00:40:42,608 --> 00:40:45,819
You know, this goes all the way back
when I first met Vin.
685
00:40:46,362 --> 00:40:50,115
You know, this is for Tokyo Drift
for his final scene and I didn't know him.
686
00:40:50,199 --> 00:40:53,619
I had heard that there's no way
he was coming back to the franchise,
687
00:40:53,702 --> 00:40:55,996
and I was lucky enough
to get a meeting with him.
688
00:40:56,080 --> 00:40:59,291
And were at his house by his pool,
and we were talking.
689
00:40:59,416 --> 00:41:01,710
And I think we...
At one point we just connected
690
00:41:01,794 --> 00:41:05,172
on the mythology
and the family of Dom.
691
00:41:05,256 --> 00:41:11,720
And I was talking to him
about how, in my mind, Dom had met Han
692
00:41:11,804 --> 00:41:18,018
in either in Mexico or Central America,
and I had kind of mapped out,
693
00:41:18,102 --> 00:41:20,396
you know, the connection between them
694
00:41:20,479 --> 00:41:24,942
that Han in a way was on the run
and Dom was on the run.
695
00:41:25,025 --> 00:41:29,154
You know, I had mentioned this town
in Mexico, Guanajuato,
696
00:41:29,238 --> 00:41:36,120
and that conversation in 2005
led all the way to the postcard.
697
00:41:36,203 --> 00:41:40,916
And if you notice on the postcard
the cross on that church is the same cross
698
00:41:41,000 --> 00:41:43,294
that Dom and Jakob, they're wearing.
699
00:41:43,377 --> 00:41:46,255
So it's the Toretto Cross,
so there's a lot of meaning to that.
700
00:41:46,338 --> 00:41:50,217
And there's a whole back story to that
that we've been talking about for years,
701
00:41:50,301 --> 00:41:53,971
and this is the first time
that's being shared.
702
00:41:54,054 --> 00:41:57,057
It's done as a connective tissue beat,
703
00:41:57,182 --> 00:42:01,353
but I can tell you there's a potential
down the road for us
704
00:42:01,437 --> 00:42:05,107
to fully explain and explore
that thread of the mythology.
705
00:42:13,449 --> 00:42:20,414
Here, we're in the "Young Dom" sequence,
and, to me, it was so much fun,
706
00:42:20,539 --> 00:42:24,418
kind of, finding the right music
of the era, you know?
707
00:42:25,628 --> 00:42:31,258
And, you know, a lot of times
when I run into fans and they talk,
708
00:42:31,342 --> 00:42:32,509
it's amazing, you know?
709
00:42:32,593 --> 00:42:35,929
You could see when certain fans'
engagement was on Fast 1.
710
00:42:36,013 --> 00:42:39,683
There's actually a section of the fan base
that started, kind of,
711
00:42:39,767 --> 00:42:41,769
loving Fast on Tokyo Drift.
712
00:42:42,478 --> 00:42:46,065
And obviously now, you know,
that's been 15 years,
713
00:42:46,148 --> 00:42:50,152
and people would use words
like, "That's a classic, " you know?
714
00:42:50,235 --> 00:42:53,572
And I thought, "Wow, God,
you know, it has been a while."
715
00:42:53,656 --> 00:42:56,950
But in many ways, you know, of the time...
716
00:42:57,034 --> 00:43:01,705
The music choices is a challenge
because it's not like
717
00:43:01,789 --> 00:43:07,711
we go and pick the "best of"
from the music sound library.
718
00:43:07,795 --> 00:43:08,921
We're actually creating
music of the moment.
719
00:43:08,921 --> 00:43:12,966
We have, you know, coverage,
and it takes us like a day-and-a-half,
720
00:43:13,050 --> 00:43:15,052
I think two days just to shoot the scene.
721
00:43:15,552 --> 00:43:19,640
You know, I can tell
that on the day when we're shooting,
722
00:43:19,723 --> 00:43:23,644
when the Han image came up,
everybody knew that the scene
723
00:43:23,727 --> 00:43:26,063
was much more
than just an exposition scene.
724
00:43:29,566 --> 00:43:33,028
You could see it right here
with the close-up dolly in on Vin.
725
00:43:34,321 --> 00:43:36,073
That's exactly what I said.
726
00:43:36,156 --> 00:43:39,827
So you're saying Han's death
is connected to all of this?
727
00:43:39,952 --> 00:43:41,995
He has to have something to do with it.
728
00:43:42,204 --> 00:43:45,707
Again, I think these scenes
that usually are, kind of,
729
00:43:45,791 --> 00:43:48,210
there for functional plot reasons.
730
00:43:48,627 --> 00:43:52,673
It became these kind of intersection,
emotionally, for all our characters.
731
00:43:53,424 --> 00:43:55,384
I got this the day Han died.
732
00:43:56,176 --> 00:43:57,302
Mexico.
733
00:43:57,594 --> 00:43:59,138
And here's the postcard again.
734
00:43:59,221 --> 00:44:02,808
And I'll give you
a little bit more intel on that.
735
00:44:02,891 --> 00:44:06,103
You know, this goes all the way back
when I first met Vin.
736
00:44:06,645 --> 00:44:10,399
You know, this is for Tokyo Drift
for his final scene and I didn't know him.
737
00:44:10,482 --> 00:44:13,902
I had heard that there's no way
he was coming back to the franchise,
738
00:44:13,986 --> 00:44:16,280
and I was lucky enough
to get a meeting with him.
739
00:44:16,363 --> 00:44:19,575
And were at his house by his pool,
and we were talking.
740
00:44:19,700 --> 00:44:21,994
And I think we...
At one point we just connected
741
00:44:22,077 --> 00:44:25,456
on the mythology
and the family of Dom.
742
00:44:25,539 --> 00:44:32,004
And I was talking to him
about how, in my mind, Dom had met Han
743
00:44:32,087 --> 00:44:38,302
in either in Mexico or Central America,
and I had kind of mapped out,
744
00:44:38,385 --> 00:44:40,679
you know, the connection between them
745
00:44:40,762 --> 00:44:45,225
that Han in a way was on the run
and Dom was on the run.
746
00:44:45,309 --> 00:44:49,438
You know, I had mentioned this town
in Mexico, Guanajuato,
747
00:44:49,521 --> 00:44:56,403
and that conversation in 2005
led all the way to the postcard.
748
00:44:56,487 --> 00:45:01,200
And if you notice on the postcard
the cross on that church is the same cross
749
00:45:01,283 --> 00:45:03,577
that Dom and Jakob, they're wearing.
750
00:45:03,660 --> 00:45:06,538
So it's the Toretto Cross,
so there's a lot of meaning to that.
751
00:45:06,622 --> 00:45:10,501
And there's a whole back story to that
that we've been talking about for years,
752
00:45:10,584 --> 00:45:14,254
and this is the first time
that's being shared.
753
00:45:14,338 --> 00:45:17,341
It's done as a connective tissue beat,
754
00:45:17,466 --> 00:45:21,637
but I can tell you there's a potential
down the road for us
755
00:45:21,720 --> 00:45:25,390
to fully explain and explore
that thread of the mythology.
756
00:45:25,641 --> 00:45:28,519
You know, that's the basis
and the essence of this race.
757
00:45:28,602 --> 00:45:31,647
And on top of that, we built,
kind of this layered...
758
00:45:31,730 --> 00:45:33,357
This family secret.
759
00:45:33,440 --> 00:45:39,738
And ultimately, it's this poor kid
being crushed by the pressure of...
760
00:45:39,821 --> 00:45:43,367
You know, the secret that he's promised
his dad that he was going to keep.
761
00:45:43,867 --> 00:45:46,620
But on top of that is having this brother
762
00:45:46,703 --> 00:45:50,123
that is the spotlight of the family,
and I just thought...
763
00:45:50,207 --> 00:45:51,750
Finn was able to, like,
764
00:45:51,833 --> 00:45:55,087
really hone into that and capture that
and on the day,
765
00:45:55,420 --> 00:45:58,340
to really deliver that
in such an amazing way
766
00:45:58,423 --> 00:46:01,843
in the most uncomfortable
and awkward of, you know, set ups.
767
00:46:17,401 --> 00:46:18,443
Too soon.
768
00:46:23,865 --> 00:46:25,492
It was also great to be able to shoot.
769
00:46:25,576 --> 00:46:28,370
This is on the Fourth Street Bridge.
770
00:46:28,495 --> 00:46:31,623
I was bummed because having shot in LA,
771
00:46:31,790 --> 00:46:35,002
the Sixth Street Bridge was,
you know, is my favorite.
772
00:46:35,127 --> 00:46:37,713
You know, we shot Tokyo Drift
underneath that bridge.
773
00:46:38,088 --> 00:46:41,091
It actually got taken down. And, so...
774
00:46:42,050 --> 00:46:43,468
You know, it's sad to see
775
00:46:43,552 --> 00:46:46,597
all these kind of iconic LA structures,
776
00:46:46,763 --> 00:46:49,725
you know, I think just with time,
they're going to get replaced.
777
00:46:49,808 --> 00:46:55,022
So it was great to be able to at least
capture the Fourth Street Bridge on film.
778
00:47:04,406 --> 00:47:06,241
Here's Dom going back,
779
00:47:06,575 --> 00:47:09,911
and it's funny
because I think the fans will joke
780
00:47:10,120 --> 00:47:13,373
about crossover franchises, you know?
781
00:47:13,457 --> 00:47:16,918
And they're like "Can Fast cross
with Back to the Future?"
782
00:47:17,002 --> 00:47:18,045
I don't know why.
783
00:47:18,879 --> 00:47:22,215
It's always fun when they have
all these suggestions for us.
784
00:47:22,549 --> 00:47:27,179
In many ways, I feel like, yeah,
we've kind of done the time travel thing.
785
00:47:27,262 --> 00:47:29,389
You know, like it's been
part of our franchise.
786
00:47:29,473 --> 00:47:32,476
It started in Fast 4, and it continues.
787
00:47:32,559 --> 00:47:35,937
And here we, structurally,
are actually time traveling.
788
00:47:36,021 --> 00:47:38,190
We have two different timelines.
789
00:47:40,275 --> 00:47:41,693
Can't help you, man.
790
00:47:42,986 --> 00:47:47,199
This is one of those days,
you know, as a filmmaker, where...
791
00:47:47,282 --> 00:47:50,786
I love Michael Rooker.
I was such a big fan.
792
00:47:50,869 --> 00:47:52,204
We casted him,
793
00:47:52,996 --> 00:47:55,374
and then I remember showing up on set,
794
00:47:55,832 --> 00:47:59,086
and it was just like...
I felt like a 12-year-old.
795
00:47:59,711 --> 00:48:03,465
And the first time I saw him was
in this film, Mississippi Burning,
796
00:48:04,049 --> 00:48:09,346
and he played this KKK member,
and it scared the shit out of me
797
00:48:09,429 --> 00:48:11,598
as a kid, you know.
798
00:48:11,682 --> 00:48:15,644
And I knew that it was Michael Rooker,
and he's a great actor,
799
00:48:16,353 --> 00:48:17,688
and when I showed up on set,
800
00:48:18,355 --> 00:48:19,940
I was so scared.
801
00:48:20,315 --> 00:48:22,859
It was like this crazy, just...
802
00:48:22,943 --> 00:48:26,613
Like something in me was back
803
00:48:27,072 --> 00:48:29,741
and I was in Mississippi,
and he was that character.
804
00:48:30,575 --> 00:48:32,494
But luckily, it only lasted like a minute
805
00:48:32,577 --> 00:48:35,956
because he's also just
the most gracious, nicest person.
806
00:48:36,039 --> 00:48:37,666
He came in and just gave me this big hug,
807
00:48:37,749 --> 00:48:39,459
and I was like, "Okay, great.
This is great."
808
00:48:39,543 --> 00:48:42,963
And we had a great day,
kind of just shooting the scene.
809
00:48:43,463 --> 00:48:45,674
And I think a lot of times with Vin,
810
00:48:46,174 --> 00:48:50,721
we have this great process of, you know,
making sure that scenes like this,
811
00:48:51,221 --> 00:48:52,514
we have ample time.
812
00:48:52,597 --> 00:48:55,100
And so, we had a day set aside
for the scene,
813
00:48:55,183 --> 00:48:58,520
and we just started, you know,
with what was scripted,
814
00:48:58,603 --> 00:49:00,981
and then we just started
exploring moments.
815
00:49:01,106 --> 00:49:05,193
And this was tough, I have to say,
because Dom is there
816
00:49:05,277 --> 00:49:09,072
really for plot purposes to try to get
his next piece of information.
817
00:49:09,197 --> 00:49:15,454
But, you know, I think there's
a lot of kind of hurt and guilt,
818
00:49:15,579 --> 00:49:18,665
and also frustration, I think,
between these characters.
819
00:49:19,541 --> 00:49:22,294
And Vin was bringing a lot more
of this reverential sense of his past
820
00:49:23,670 --> 00:49:25,589
that we kept calibrating.
821
00:49:25,672 --> 00:49:28,425
And ultimately, I think
we were able to kind of find it.
822
00:49:28,508 --> 00:49:31,344
But it was definitely one
of those discovery scenes
823
00:49:31,428 --> 00:49:33,930
where we just had
two amazing actors on set
824
00:49:34,598 --> 00:49:37,476
and we just went at it.
And it was exhausting.
825
00:49:37,559 --> 00:49:40,061
I would say that scene, the Buddy scene,
826
00:49:40,145 --> 00:49:43,565
to me, is probably
the most exhausting scene,
827
00:49:43,690 --> 00:49:45,942
for me, physically, just going through
828
00:49:46,026 --> 00:49:49,279
the whole exploration
of emotion between them.
829
00:49:58,246 --> 00:49:59,706
Arigato.
830
00:50:02,584 --> 00:50:04,586
This place is a dead end.
831
00:50:04,836 --> 00:50:06,588
Do you think Jakob could be
onto the Han connection?
832
00:50:06,671 --> 00:50:09,049
This is one of my favorite scenes
in the film.
833
00:50:09,132 --> 00:50:10,884
If he has all the information
we do...
834
00:50:11,384 --> 00:50:15,555
It took a long time,
in the kind of the writing of it,
835
00:50:15,639 --> 00:50:20,769
and I had some really deep
and amazing conversation
836
00:50:20,852 --> 00:50:23,563
with Michelle and Jordana on it, you know.
837
00:50:24,231 --> 00:50:28,693
It's interesting because I think there's
a lot of articles about, you know, the...
838
00:50:29,528 --> 00:50:31,947
Yeah, I think Michelle was
very adamant and very vocal
839
00:50:32,030 --> 00:50:36,243
about the treatment
of the female characters in the franchise.
840
00:50:36,743 --> 00:50:40,997
And this is again one of those things
that was really weird for me,
841
00:50:41,081 --> 00:50:44,793
because when I was kind of
part of the Fast franchise,
842
00:50:45,502 --> 00:50:50,257
I've always felt like, you know,
Letty, Mia, Gisele, you know, Elena,
843
00:50:50,340 --> 00:50:52,884
a lot of our female characters were so...
844
00:50:53,426 --> 00:50:56,304
I had such a great time,
kind of crafting it with the actors
845
00:50:56,388 --> 00:50:58,431
and, kind of, building the characters.
846
00:50:58,849 --> 00:51:02,853
But I think, for whatever reason,
since I was gone,
847
00:51:02,936 --> 00:51:04,855
I actually, to this day,
I don't know what happened,
848
00:51:04,938 --> 00:51:06,356
but when I came back, there was...
849
00:51:07,065 --> 00:51:09,067
She was really upset.
850
00:51:09,359 --> 00:51:12,195
And totally justified, you know.
851
00:51:12,279 --> 00:51:15,198
And for me, you know,
I've had conversations with people
852
00:51:15,282 --> 00:51:16,867
that have seen the film going,
853
00:51:16,950 --> 00:51:19,286
"It must have been
a really tough conversation
854
00:51:19,369 --> 00:51:21,872
"with, like Michelle
and all the female cast."
855
00:51:21,872 --> 00:51:25,208
It's always fun when they have
all these suggestions for us.
856
00:51:25,542 --> 00:51:30,171
In many ways, I feel like, yeah,
we've kind of done the time travel thing.
857
00:51:30,255 --> 00:51:32,382
You know, like it's been
part of our franchise.
858
00:51:32,465 --> 00:51:35,468
It started in Fast 4, and it continues.
859
00:51:35,552 --> 00:51:38,930
And here we, structurally,
are actually time traveling.
860
00:51:39,014 --> 00:51:41,182
We have two different timelines.
861
00:51:43,268 --> 00:51:44,686
Can't help you, man.
862
00:51:45,979 --> 00:51:50,191
This is one of those days,
you know, as a filmmaker, where...
863
00:51:50,275 --> 00:51:53,778
I love Michael Rooker.
I was such a big fan.
864
00:51:53,862 --> 00:51:55,196
We casted him,
865
00:51:55,989 --> 00:51:58,366
and then I remember showing up on set,
866
00:51:58,825 --> 00:52:02,078
and it was just like...
I felt like a 12-year-old.
867
00:52:02,704 --> 00:52:06,458
And the first time I saw him was
in this film, Mississippi Burning,
868
00:52:07,042 --> 00:52:12,339
and he played this KKK member,
and it scared the shit out of me
869
00:52:12,422 --> 00:52:14,591
as a kid, you know.
870
00:52:14,674 --> 00:52:18,637
And I knew that it was Michael Rooker,
and he's a great actor,
871
00:52:19,346 --> 00:52:20,680
and when I showed up on set,
872
00:52:21,348 --> 00:52:22,933
I was so scared.
873
00:52:23,308 --> 00:52:25,852
It was like this crazy, just...
874
00:52:25,936 --> 00:52:29,606
Like something in me was back
875
00:52:30,065 --> 00:52:32,734
and I was in Mississippi,
and he was that character.
876
00:52:33,568 --> 00:52:35,487
But luckily, it only lasted like a minute
877
00:52:35,570 --> 00:52:38,949
because he's also just
the most gracious, nicest person.
878
00:52:39,032 --> 00:52:40,659
He came in and just gave me this big hug,
879
00:52:40,742 --> 00:52:42,452
and I was like, "Okay, great.
This is great."
880
00:52:42,535 --> 00:52:45,956
And we had a great day,
kind of just shooting the scene.
881
00:52:46,456 --> 00:52:48,667
And I think a lot of times with Vin,
882
00:52:49,167 --> 00:52:53,713
we have this great process of, you know,
making sure that scenes like this,
883
00:52:54,214 --> 00:52:55,507
we have ample time.
884
00:52:55,590 --> 00:52:58,093
And so, we had a day set aside
for the scene,
885
00:52:58,176 --> 00:53:01,513
and we just started, you know,
with what was scripted,
886
00:53:01,596 --> 00:53:03,974
and then we just started
exploring moments.
887
00:53:04,099 --> 00:53:08,186
And this was tough, I have to say,
because Dom is there
888
00:53:08,269 --> 00:53:12,065
really for plot purposes to try to get
his next piece of information.
889
00:53:12,190 --> 00:53:18,446
But, you know, I think there's
a lot of kind of hurt and guilt,
890
00:53:18,571 --> 00:53:21,658
and also frustration, I think,
between these characters.
891
00:53:22,534 --> 00:53:25,286
And Vin was bringing a lot more
of this reverential sense of his past
892
00:53:25,537 --> 00:53:26,913
Here's this moment between
893
00:53:28,164 --> 00:53:30,917
Roman, Tej, and the boys I love.
894
00:53:31,000 --> 00:53:33,503
I have to say, as a kid, I always love it
895
00:53:33,586 --> 00:53:37,924
when characters
from the same, like, universe
896
00:53:38,425 --> 00:53:41,928
that somehow maybe are in different shows,
when they meet back up.
897
00:53:42,178 --> 00:53:44,431
And it really...
898
00:53:44,514 --> 00:53:46,433
It's not one of those things,
even in writing,
899
00:53:46,516 --> 00:53:48,017
that I was that conscious of.
900
00:53:48,101 --> 00:53:49,894
But on the day,
901
00:53:49,978 --> 00:53:52,647
seeing these characters meeting
for the first time was great.
902
00:53:57,235 --> 00:53:59,988
And then here's the reveal of the Fiero.
903
00:54:00,363 --> 00:54:03,366
The Fiero is this kind of...
904
00:54:04,451 --> 00:54:07,787
I guess it was a sports car.
It was big when I was in junior high.
905
00:54:08,913 --> 00:54:12,709
And I had this history teacher,
Miss Grant.
906
00:54:13,710 --> 00:54:17,464
She would pull up every morning
in her red Fiero.
907
00:54:17,547 --> 00:54:21,843
And, you know, I have to admit,
I had a crush on Miss Grant.
908
00:54:21,926 --> 00:54:23,178
I think a lot of boys did.
909
00:54:23,261 --> 00:54:26,014
And that Fiero made her look so cool.
910
00:54:26,347 --> 00:54:29,934
And so, when we were thinking
about finding a vehicle for this,
911
00:54:30,518 --> 00:54:32,771
I have to say,
I give Miss Grant a lot of credit.
912
00:54:32,896 --> 00:54:36,691
It wasn't actually her that
inspired this moment.
913
00:54:36,775 --> 00:54:40,487
It was just... I remember talking
to my friends about Miss Grant.
914
00:54:40,653 --> 00:54:42,363
This is probably like
a couple of years before,
915
00:54:42,447 --> 00:54:46,451
and the red Fiero was
the thing that we all talked about.
916
00:54:46,910 --> 00:54:50,622
And then when I was talking
to the NASA rocket scientists
917
00:54:50,705 --> 00:54:55,126
about how can we get to,
you know, not necessarily space
918
00:54:55,210 --> 00:54:56,669
but the outer atmosphere,
919
00:54:56,961 --> 00:54:59,923
they talked about,
obviously weight and fuel.
920
00:55:00,215 --> 00:55:03,051
And the more we talked about it,
the more it was evident
921
00:55:03,134 --> 00:55:06,054
that we needed something light
as our starting off point.
922
00:55:06,137 --> 00:55:10,725
And it was that moment of
"Oh, Miss Grant's red Fiero could be
923
00:55:10,809 --> 00:55:13,770
"the car that takes us into space."
924
00:55:13,937 --> 00:55:16,606
So, it's one of those fun moments
925
00:55:16,773 --> 00:55:19,984
of just kind of reconnecting
with my childhood friends,
926
00:55:20,068 --> 00:55:22,946
and just happy accident in trying
to kind of figure out
927
00:55:23,154 --> 00:55:29,702
how to get, you know,
to this kind of crazy idea in Fast
928
00:55:29,786 --> 00:55:32,455
but hopefully do it
in a way that is kind of
929
00:55:32,539 --> 00:55:36,626
at least grounded in science
as our starting off point.
930
00:55:43,716 --> 00:55:45,134
Who's Dominic Toretto?
931
00:56:04,654 --> 00:56:08,533
Here, this is a really fun sequence
with Queenie that's coming up.
932
00:56:08,950 --> 00:56:11,077
And I would kind of point to this scene
933
00:56:11,160 --> 00:56:15,915
as kind of the growth
and evolution of our franchise.
934
00:56:16,082 --> 00:56:19,836
I think that a lot of times
when we shoot these scenes,
935
00:56:20,461 --> 00:56:22,630
you're showing up on the day
and you're trying to find the scene
936
00:56:22,714 --> 00:56:27,510
and what Helen did, that was amazing,
was that, you know, we rehearsed it,
937
00:56:27,886 --> 00:56:30,972
and she was so on point
938
00:56:31,431 --> 00:56:34,642
that it really kind of allowed
the camera work
939
00:56:35,685 --> 00:56:39,606
to complement everything that's happening
between the characters, you know.
940
00:56:39,689 --> 00:56:43,985
And I think as we are
growing as a franchise,
941
00:56:44,068 --> 00:56:50,617
one of the things I love doing is to
not edit, is to create these moments
942
00:56:50,700 --> 00:56:53,536
where our characters are
just living in that moment
943
00:56:53,620 --> 00:56:55,246
and the camera is there with them.
944
00:56:55,955 --> 00:56:57,540
When are they gonna learn
945
00:56:58,082 --> 00:56:59,918
some birds can't be caged?
946
00:57:00,001 --> 00:57:01,961
Are you looking for one of me sons?
947
00:57:03,296 --> 00:57:04,631
Not tonight.
948
00:57:05,840 --> 00:57:07,717
This was a great night in London
949
00:57:07,800 --> 00:57:11,763
where, you know, when she showed up,
she really set the tone,
950
00:57:12,597 --> 00:57:15,975
and Vin was amazing, and at that moment,
during the rehearsal,
951
00:57:16,059 --> 00:57:18,811
I knew that I was able to, like,
952
00:57:18,895 --> 00:57:20,605
really challenge everybody
953
00:57:20,688 --> 00:57:23,691
so that we can capture
everything in camera
954
00:57:23,775 --> 00:57:28,029
and not have to sometimes find
some of the beats in the editing.
955
00:57:35,828 --> 00:57:38,581
This is the Queenie...
We call this the Queenie Chase
956
00:57:38,665 --> 00:57:40,416
that we're shooting throughout London.
957
00:57:40,875 --> 00:57:43,586
And it still blows me away
that they allowed us
958
00:57:43,670 --> 00:57:46,255
to be so close to Buckingham Palace.
959
00:57:46,631 --> 00:57:49,676
It just shows the kind
of earned relationship
960
00:57:49,759 --> 00:57:52,011
we have with the government, I think,
961
00:57:52,095 --> 00:57:55,390
because I can guarantee you,
when we were shooting there in Fast 6,
962
00:57:55,473 --> 00:57:58,685
I wasn't being brought that close
to Buckingham Palace.
963
00:57:58,768 --> 00:58:02,981
But I think having this as being
our second time shooting in the UK,
964
00:58:03,523 --> 00:58:06,526
we definitely had much...
And I wouldn't say better,
965
00:58:06,651 --> 00:58:10,071
but I think we've kind of earned
our way into locations
966
00:58:10,154 --> 00:58:13,825
that I think weren't available to us
the first time around.
967
00:58:13,908 --> 00:58:15,702
...he was into
something big up in Edinburgh.
968
00:58:20,707 --> 00:58:22,208
Local seller, huh?
969
00:58:23,042 --> 00:58:25,670
She wouldn't happen to be
wearing a stolen necklace, would she?
970
00:58:25,795 --> 00:58:27,922
He paid well. What was I supposed to do?
971
00:58:28,006 --> 00:58:31,718
This is also another kind of great day
for us on production,
972
00:58:31,801 --> 00:58:37,181
just to be able to get in there
and work with Helen and Vin.
973
00:58:38,808 --> 00:58:40,518
Oh, bloody hell, he's not
your cousin...
974
00:58:40,601 --> 00:58:45,189
And obviously the scene is, you know,
for it to happen in this chase,
975
00:58:46,024 --> 00:58:49,736
but really, it is her connecting with Dom.
976
00:58:50,028 --> 00:58:54,323
She's kind of the mastermind in many ways,
977
00:58:54,407 --> 00:59:01,080
and she's always kind of also testing Dom
and a lot of the characters.
978
00:59:01,164 --> 00:59:04,375
And so to be able do that
in the middle of a chase,
979
00:59:04,459 --> 00:59:05,793
it was a lot of fun.
980
00:59:05,877 --> 00:59:07,503
It was a lot of fun
because Helen showed up
981
00:59:07,587 --> 00:59:08,171
and she wanted to really understand
driving the Noble.
982
00:59:08,171 --> 00:59:12,341
It took a long time,
in the kind of the writing of it,
983
00:59:12,425 --> 00:59:17,555
and I had some really deep
and amazing conversation
984
00:59:17,638 --> 00:59:20,349
with Michelle and Jordana on it, you know.
985
00:59:21,017 --> 00:59:25,480
It's interesting because I think there's
a lot of articles about, you know, the...
986
00:59:26,314 --> 00:59:28,733
Yeah, I think Michelle was
very adamant and very vocal
987
00:59:28,816 --> 00:59:33,029
about the treatment
of the female characters in the franchise.
988
00:59:33,529 --> 00:59:37,784
And this is again one of those things
that was really weird for me,
989
00:59:37,867 --> 00:59:41,579
because when I was kind of
part of the Fast franchise,
990
00:59:42,288 --> 00:59:47,043
I've always felt like, you know,
Letty, Mia, Gisele, you know, Elena,
991
00:59:47,126 --> 00:59:49,670
a lot of our female characters were so...
992
00:59:50,213 --> 00:59:53,091
I had such a great time,
kind of crafting it with the actors
993
00:59:53,174 --> 00:59:55,218
and, kind of, building the characters.
994
00:59:55,635 --> 00:59:59,639
But I think, for whatever reason,
since I was gone,
995
00:59:59,722 --> 01:00:01,641
I actually, to this day,
I don't know what happened,
996
01:00:01,724 --> 01:00:03,142
but when I came back, there was...
997
01:00:03,851 --> 01:00:05,853
She was really upset.
998
01:00:06,145 --> 01:00:08,981
And totally justified, you know.
999
01:00:09,065 --> 01:00:11,984
And for me, you know,
I've had conversations with people
1000
01:00:12,068 --> 01:00:13,653
that have seen the film going,
1001
01:00:13,736 --> 01:00:16,072
"It must have been
a really tough conversation
1002
01:00:16,155 --> 01:00:18,324
"with, like Michelle
and all the female cast."
1003
01:00:18,950 --> 01:00:23,162
And I was like, "No, we never really had
those conversations." You know?
1004
01:00:23,246 --> 01:00:26,582
I always felt like
I love these characters.
1005
01:00:27,250 --> 01:00:31,379
And to be totally honest, I felt like
they were really underserved, you know?
1006
01:00:31,462 --> 01:00:33,631
And so, it really was just one
of those things that
1007
01:00:33,714 --> 01:00:35,883
it was very organic,
you know, to come back.
1008
01:00:36,342 --> 01:00:39,387
I love these characters,
and I want to make sure that, you know,
1009
01:00:39,470 --> 01:00:45,101
all our characters are being
really, kind of, loved and supported.
1010
01:00:45,643 --> 01:00:47,603
And so it became very natural.
1011
01:00:47,770 --> 01:00:50,690
So, you know, this scene though,
1012
01:00:50,773 --> 01:00:52,567
in a big action movie
where you have two characters
1013
01:00:52,817 --> 01:00:53,359
We actually have this backstory for Sue.
1014
01:00:53,442 --> 01:00:56,445
He was "The boy named Sue, "
the Johnny Cash song.
1015
01:00:56,529 --> 01:00:59,949
We had this whole thing,
and we even shot it, and it was awesome.
1016
01:01:00,366 --> 01:01:03,411
But ultimately, it just got to be
too long.
1017
01:01:03,494 --> 01:01:07,915
And it was one of the heartbreaks for me
1018
01:01:07,999 --> 01:01:10,793
because I love it when in movies,
1019
01:01:10,877 --> 01:01:13,880
when you have these characters
that are kind of...
1020
01:01:14,630 --> 01:01:18,634
They're there as, quote-unquote, muscle
or whatever purpose,
1021
01:01:18,759 --> 01:01:20,887
and you realize there's a whole history,
1022
01:01:20,970 --> 01:01:23,681
and there was a whole back story
to these characters,
1023
01:01:23,764 --> 01:01:27,476
and we definitely had a lot of fun
with both Otto and Sue.
1024
01:01:27,560 --> 01:01:31,564
And the Sue thread
ultimately kind of got cut down,
1025
01:01:31,647 --> 01:01:35,234
and it was kind of...
I had it for a long time,
1026
01:01:35,860 --> 01:01:37,069
but it was the right choice,
1027
01:01:37,195 --> 01:01:40,448
but I just had so much fun
with Martyn on that.
1028
01:01:42,783 --> 01:01:43,826
He's long gone.
1029
01:01:43,951 --> 01:01:47,246
And this is, you know, obviously
the first real face-to-face meeting
1030
01:01:47,371 --> 01:01:49,916
between Dom and Jakob.
1031
01:01:50,416 --> 01:01:51,959
That's your mistake.
1032
01:01:52,376 --> 01:01:56,631
I think, in this scene,
we actually had a lot more to it.
1033
01:01:57,215 --> 01:01:59,884
And in the earlier drafts,
1034
01:02:00,343 --> 01:02:02,470
I actually was playing with the flashbacks
1035
01:02:03,221 --> 01:02:07,141
where it explained a lot more
of where Jakob was
1036
01:02:07,808 --> 01:02:10,686
during even the events
of the first Fast and the Furious.
1037
01:02:11,270 --> 01:02:13,231
And we had this amazing shot
1038
01:02:13,314 --> 01:02:16,234
where I took footage
from the first Fast and the Furious
1039
01:02:16,317 --> 01:02:20,655
that handed off into a young Jakob
who was in the crowd
1040
01:02:20,738 --> 01:02:22,657
when Dom was racing Brian.
1041
01:02:23,324 --> 01:02:27,370
And it was an expensive, extensive shot
1042
01:02:27,620 --> 01:02:30,164
that took us months and months to prepare.
1043
01:02:30,498 --> 01:02:33,834
And Peter Chiang, our VFX supervisor,
did an amazing job,
1044
01:02:33,918 --> 01:02:36,504
and as we were working on that shot,
1045
01:02:37,004 --> 01:02:38,923
it was so good
that it really took me out of the movie,
1046
01:02:38,923 --> 01:02:42,301
and Vin was amazing, and at that moment,
during the rehearsal,
1047
01:02:42,385 --> 01:02:45,137
I knew that I was able to, like,
1048
01:02:45,221 --> 01:02:46,931
really challenge everybody
1049
01:02:47,014 --> 01:02:50,017
so that we can capture
everything in camera
1050
01:02:50,101 --> 01:02:54,355
and not have to sometimes find
some of the beats in the editing.
1051
01:03:02,154 --> 01:03:04,907
This is the Queenie...
We call this the Queenie Chase
1052
01:03:04,991 --> 01:03:06,742
that we're shooting throughout London.
1053
01:03:07,201 --> 01:03:09,912
And it still blows me away
that they allowed us
1054
01:03:09,996 --> 01:03:12,581
to be so close to Buckingham Palace.
1055
01:03:12,957 --> 01:03:16,002
It just shows the kind
of earned relationship
1056
01:03:16,085 --> 01:03:18,337
we have with the government, I think,
1057
01:03:18,421 --> 01:03:21,716
because I can guarantee you,
when we were shooting there in Fast 6,
1058
01:03:21,799 --> 01:03:25,011
I wasn't being brought that close
to Buckingham Palace.
1059
01:03:25,094 --> 01:03:29,306
But I think having this as being
our second time shooting in the UK,
1060
01:03:29,849 --> 01:03:32,852
we definitely had much...
And I wouldn't say better,
1061
01:03:32,977 --> 01:03:36,397
but I think we've kind of earned
our way into locations
1062
01:03:36,480 --> 01:03:40,151
that I think weren't available to us
the first time around.
1063
01:03:40,234 --> 01:03:42,028
...he was into
something big up in Edinburgh.
1064
01:03:47,033 --> 01:03:48,534
Local seller, huh?
1065
01:03:49,368 --> 01:03:51,996
She wouldn't happen to be
wearing a stolen necklace, would she?
1066
01:03:52,121 --> 01:03:54,248
He paid well. What was I supposed to do?
1067
01:03:54,331 --> 01:03:58,044
This is also another kind of great day
for us on production,
1068
01:03:58,127 --> 01:04:03,507
just to be able to get in there
and work with Helen and Vin.
1069
01:04:05,134 --> 01:04:06,844
Oh, bloody hell, he's not
your cousin...
1070
01:04:06,927 --> 01:04:11,515
And obviously the scene is, you know,
for it to happen in this chase,
1071
01:04:12,349 --> 01:04:16,062
but really, it is her connecting with Dom.
1072
01:04:16,353 --> 01:04:20,649
She's kind of the mastermind in many ways,
1073
01:04:20,733 --> 01:04:27,406
and she's always kind of also testing Dom
and a lot of the characters.
1074
01:04:27,490 --> 01:04:30,701
And so to be able do that
in the middle of a chase,
1075
01:04:30,785 --> 01:04:32,119
it was a lot of fun.
1076
01:04:32,203 --> 01:04:33,829
It was a lot of fun
because Helen showed up
1077
01:04:33,913 --> 01:04:37,708
and she wanted to really understand
driving the Noble.
1078
01:04:38,042 --> 01:04:41,128
And she was able...
1079
01:04:41,212 --> 01:04:43,589
I mean, she learned it so fast,
1080
01:04:44,173 --> 01:04:46,008
and she never kind of lost continuity,
1081
01:04:46,092 --> 01:04:48,511
so she was able to, like, really mimic
1082
01:04:48,594 --> 01:04:52,515
the driving through London
as she was delivering the scene.
1083
01:04:52,723 --> 01:04:54,517
It was unbelievable, you know?
1084
01:04:54,600 --> 01:04:56,602
And actually it was interesting
1085
01:04:56,685 --> 01:04:59,730
because, you know,
growing up as a Laker fan,
1086
01:04:59,939 --> 01:05:02,316
I was always kind of fascinated
by the colors.
1087
01:05:02,399 --> 01:05:05,069
And growing up, it was called Forum Blue,
1088
01:05:05,152 --> 01:05:08,739
which is this kind of dark blue,
purple and gold.
1089
01:05:09,115 --> 01:05:13,077
And I remember learning that
that was kind of the royal colors.
1090
01:05:13,244 --> 01:05:14,829
Those are the Queen's colors.
1091
01:05:14,912 --> 01:05:16,872
And, so I thought,
"Oh, we get to finally get
1092
01:05:17,123 --> 01:05:20,376
to explain his absence
and how he's alive.
1093
01:05:20,918 --> 01:05:23,462
This is something that we worked on a lot.
1094
01:05:23,546 --> 01:05:26,841
And I have to say, it kind of felt poetic.
1095
01:05:28,092 --> 01:05:29,844
This whole "Justice for Han"...
1096
01:05:30,553 --> 01:05:32,513
Because when I left,
1097
01:05:32,596 --> 01:05:36,058
I didn't engage on any of the other films,
1098
01:05:36,433 --> 01:05:40,980
it was during the screening
of my indie movie Better Luck Tomorrow,
1099
01:05:41,063 --> 01:05:44,650
at the Egyptian, where, I think,
the fans during the Q&A, brought up
1100
01:05:44,733 --> 01:05:47,778
this idea, or this movement
of "Justice for Han."
1101
01:05:48,571 --> 01:05:50,739
And when I heard it,
I was totally baffled.
1102
01:05:50,823 --> 01:05:53,033
To this day, I have no idea why
1103
01:05:53,909 --> 01:05:57,454
the whole Shaw showing up
at the barbecue at the end of 8
1104
01:05:57,538 --> 01:06:00,833
was handled that way.
I mean, you know, when I left,
1105
01:06:01,333 --> 01:06:03,294
Shaw had killed Han,
1106
01:06:03,836 --> 01:06:07,047
and he was the antagonist
to Dom and the family.
1107
01:06:07,423 --> 01:06:09,550
And, you know, I don't mind
1108
01:06:09,633 --> 01:06:13,971
when characters can maybe show up
and they can change sides.
1109
01:06:14,054 --> 01:06:16,807
I think it's part of Fast universe.
1110
01:06:16,974 --> 01:06:18,475
But I just never...
You know, when I came back,
1111
01:06:18,559 --> 01:06:23,480
there was after the discovering
this whole "Justice for Han" movement,
1112
01:06:24,023 --> 01:06:26,025
I even sat and talked to the studio,
1113
01:06:26,108 --> 01:06:29,236
and I said, "What happened?"
And nobody could give me an answer.
1114
01:06:29,320 --> 01:06:30,779
You know? And, so...
1115
01:06:31,322 --> 01:06:35,367
I think it ultimately was great
because to be able to come back,
1116
01:06:35,451 --> 01:06:38,037
I felt like it was something
that needed to be addressed.
1117
01:06:38,120 --> 01:06:41,624
And, you know, I think
part of the gift of it is that,
1118
01:06:41,707 --> 01:06:43,751
if they actually did handle it correctly,
1119
01:06:43,834 --> 01:06:45,878
then Han would
probably stay dead, you know?
1120
01:06:45,961 --> 01:06:48,839
And, so I think, you know,
for whatever reason,
1121
01:06:48,923 --> 01:06:54,345
the way it was handled, you know,
really, for me, needed some answers.
1122
01:06:54,428 --> 01:06:57,598
And because of that,
I was able to come back
1123
01:06:57,765 --> 01:07:01,769
and be part of the solution
in answering that.
1124
01:07:01,852 --> 01:07:05,397
And by answering that, you know,
I was able to bring Han back.
1125
01:07:05,481 --> 01:07:09,276
So it actually ends up being a win-win.
1126
01:07:28,087 --> 01:07:29,380
You okay?
1127
01:07:29,463 --> 01:07:33,467
This moment here...
You know, in Tokyo with Han,
1128
01:07:33,550 --> 01:07:34,635
it was just a great moment.
1129
01:07:34,760 --> 01:07:38,180
It was again, one of those things
where, in writing it, developing it,
1130
01:07:38,264 --> 01:07:40,015
I knew what we were doing.
1131
01:07:40,140 --> 01:07:43,310
But it wasn't until we were shooting
and you see it through the lens,
1132
01:07:43,394 --> 01:07:45,771
and you see Han's face,
1133
01:07:45,854 --> 01:07:48,899
that, like, I got chills, you know.
1134
01:07:48,983 --> 01:07:54,738
And it was something that, you know,
as we get into more of the film,
1135
01:07:54,822 --> 01:07:58,951
I'll try to share a little bit more
of the reasons and the process
1136
01:07:59,034 --> 01:08:00,160
of bringing him back.
1137
01:08:19,179 --> 01:08:22,057
We're hitting this Edinburgh sequence,
1138
01:08:22,141 --> 01:08:25,561
and this actually is an amazing location.
1139
01:08:27,563 --> 01:08:30,816
And it was actually a pivotal,
not just on a logistical level,
1140
01:08:31,483 --> 01:08:33,402
but creatively,
1141
01:08:33,485 --> 01:08:37,239
you know, we take this train
from London to Edinburgh,
1142
01:08:37,323 --> 01:08:42,411
and it ended up being a defining moment
in the development of the film.
1143
01:08:47,291 --> 01:08:49,960
And I think ultimately it was
the right call, and it's better here
1144
01:08:50,044 --> 01:08:53,881
because it's kind of referenced to
as opposed to kind of shown.
1145
01:08:54,298 --> 01:08:58,135
And again, I hope that there's going
to be other opportunities for us
1146
01:08:58,218 --> 01:09:00,471
to really kind of explore that chapter.
1147
01:09:00,554 --> 01:09:03,557
And I think we'll be able to do it
in a much better way
1148
01:09:03,640 --> 01:09:07,478
than to be able to cram it
into, you know, this film.
1149
01:09:08,479 --> 01:09:11,023
And here I thought my dad
was a pain in the ass.
1150
01:09:12,483 --> 01:09:14,985
But your family is a train wreck.
1151
01:09:15,944 --> 01:09:18,781
Well, now that your brother's
finally out of the game,
1152
01:09:18,864 --> 01:09:20,574
it's time we go to Edinburgh.
1153
01:09:20,908 --> 01:09:24,370
Get the second piece,
maybe do a little sightseeing, huh?
1154
01:09:25,454 --> 01:09:27,623
Otto, with his father issues,
1155
01:09:27,873 --> 01:09:32,002
I had so much fun with Thue,
kind of working on his relationship.
1156
01:09:32,086 --> 01:09:34,755
And we had numerous conversations,
1157
01:09:34,838 --> 01:09:36,757
so that when we were doing this scene,
1158
01:09:36,840 --> 01:09:39,676
you really get
his relationship with his father.
1159
01:09:40,135 --> 01:09:43,972
And he was so much fun
to work with and build Otto.
1160
01:09:44,056 --> 01:09:47,393
Because I think very easily
he could just be a stock character.
1161
01:09:47,476 --> 01:09:49,311
But I think if you watch
the film, you can see that
1162
01:09:49,395 --> 01:09:53,607
he's a fully developed character
and it's something that I enjoy.
1163
01:10:00,280 --> 01:10:02,199
So, here is Cardi's scene.
1164
01:10:02,282 --> 01:10:07,371
And this is really a big Easter egg
for the fans.
1165
01:10:07,454 --> 01:10:12,251
You know, I think the fans that
maybe had not followed the Fast Saga,
1166
01:10:12,334 --> 01:10:16,213
they'll know her as someone
that's working with Queenie,
1167
01:10:16,296 --> 01:10:20,426
that was probably in a white dress,
that was planted in there to help Dom out,
1168
01:10:20,759 --> 01:10:22,886
but she's actually the sister of Cara.
1169
01:10:22,970 --> 01:10:28,892
Cara is Han's significant other
in Fast 4.
1170
01:10:28,976 --> 01:10:33,105
And they used to, in D.R., they would
steal gas for the people.
1171
01:10:33,188 --> 01:10:36,483
So there was a whole connection there
that I talked to Vin about.
1172
01:10:36,900 --> 01:10:41,280
And, so now Cardi has
been introduced in our franchise
1173
01:10:41,363 --> 01:10:44,825
as a character
that's basically been around
1174
01:10:44,908 --> 01:10:47,661
since, you know, Fast 4.
1175
01:10:48,078 --> 01:10:50,914
So, you know, I'm hoping
that there will be an opportunity
1176
01:10:50,998 --> 01:10:53,250
for us to explore that character more.
1177
01:11:08,807 --> 01:11:13,020
So here, we're introducing
this, kind of, new element to Han
1178
01:11:13,103 --> 01:11:16,982
to explain his absence
and how he's alive.
1179
01:11:17,524 --> 01:11:20,068
This is something that we worked on a lot.
1180
01:11:20,152 --> 01:11:23,447
And I have to say, it kind of felt poetic.
1181
01:11:24,698 --> 01:11:26,450
This whole "Justice for Han"...
1182
01:11:27,159 --> 01:11:29,119
Because when I left,
1183
01:11:29,203 --> 01:11:32,664
I didn't engage on any of the other films,
1184
01:11:33,040 --> 01:11:37,586
it was during the screening
of my indie movie Better Luck Tomorrow,
1185
01:11:37,669 --> 01:11:41,256
at the Egyptian, where, I think,
the fans during the Q&A, brought up
1186
01:11:41,340 --> 01:11:44,384
this idea, or this movement
of "Justice for Han."
1187
01:11:45,177 --> 01:11:47,346
And when I heard it,
I was totally baffled.
1188
01:11:47,429 --> 01:11:49,640
To this day, I have no idea why
1189
01:11:50,516 --> 01:11:54,061
the whole Shaw showing up
at the barbecue at the end of 8
1190
01:11:54,144 --> 01:11:57,439
was handled that way.
I mean, you know, when I left,
1191
01:11:57,940 --> 01:11:59,900
Shaw had killed Han,
1192
01:12:00,442 --> 01:12:03,654
and he was the antagonist
to Dom and the family.
1193
01:12:04,029 --> 01:12:06,156
And, you know, I don't mind
1194
01:12:06,240 --> 01:12:10,577
when characters can maybe show up
and they can change sides.
1195
01:12:10,661 --> 01:12:13,413
I think it's part of Fast universe.
1196
01:12:13,580 --> 01:12:15,082
But I just never...
You know, when I came back,
1197
01:12:15,165 --> 01:12:20,087
there was after the discovering
this whole "Justice for Han" movement,
1198
01:12:20,629 --> 01:12:22,631
I even sat and talked to the studio,
1199
01:12:22,714 --> 01:12:25,842
and I said, "What happened?"
And nobody could give me an answer.
1200
01:12:25,926 --> 01:12:27,386
You know? And, so...
1201
01:12:27,928 --> 01:12:31,974
I think it ultimately was great
because to be able to come back,
1202
01:12:32,057 --> 01:12:34,643
I felt like it was something
that needed to be addressed.
1203
01:12:34,726 --> 01:12:38,230
And, you know, I think
part of the gift of it is that,
1204
01:12:38,313 --> 01:12:40,357
if they actually did handle it correctly,
1205
01:12:40,440 --> 01:12:42,484
then Han would
probably stay dead, you know?
1206
01:12:42,568 --> 01:12:45,445
And, so I think, you know,
for whatever reason,
1207
01:12:45,529 --> 01:12:50,951
the way it was handled, you know,
really, for me, needed some answers.
1208
01:12:51,034 --> 01:12:54,204
And because of that,
I was able to come back
1209
01:12:54,371 --> 01:12:58,375
and be part of the solution
in answering that.
1210
01:12:58,458 --> 01:13:02,004
And by answering that, you know,
I was able to bring Han back.
1211
01:13:02,087 --> 01:13:05,882
So it actually ends up being a win-win.
1212
01:13:24,693 --> 01:13:25,986
You okay?
1213
01:13:26,069 --> 01:13:30,073
This moment here...
You know, in Tokyo with Han,
1214
01:13:30,157 --> 01:13:31,241
it was just a great moment.
1215
01:13:31,366 --> 01:13:34,786
It was again, one of those things
where, in writing it, developing it,
1216
01:13:34,870 --> 01:13:36,622
I knew what we were doing.
1217
01:13:36,747 --> 01:13:39,916
But it wasn't until we were shooting
and you see it through the lens,
1218
01:13:40,000 --> 01:13:42,377
and you see Han's face,
1219
01:13:42,461 --> 01:13:45,505
that, like, I got chills, you know.
1220
01:13:45,589 --> 01:13:51,345
And it was something that, you know,
as we get into more of the film,
1221
01:13:51,428 --> 01:13:55,557
I'll try to share a little bit more
of the reasons and the process
1222
01:13:55,641 --> 01:13:56,767
of bringing him back.
1223
01:14:15,786 --> 01:14:18,664
We're hitting this Edinburgh sequence,
1224
01:14:18,747 --> 01:14:22,167
and this actually is an amazing location.
1225
01:14:24,169 --> 01:14:27,422
And it was actually a pivotal,
not just on a logistical level,
1226
01:14:28,090 --> 01:14:30,008
but creatively,
1227
01:14:30,092 --> 01:14:33,845
you know, we take this train
from London to Edinburgh,
1228
01:14:33,929 --> 01:14:39,017
and it ended up being a defining moment
in the development of the film.
1229
01:14:43,814 --> 01:14:46,233
When I first came back,
1230
01:14:46,566 --> 01:14:50,862
I actually wasn't planning on bringing
Han back alive.
1231
01:14:50,946 --> 01:14:54,032
We were gonna address Justice for Han,
but he was going to stay dead.
1232
01:14:54,116 --> 01:14:58,286
So a lot of this stuff was going to be
handled in the flashbacks.
1233
01:15:00,247 --> 01:15:04,626
But it was actually in the train ride
to Edinburgh that Jeff Kirschenbaum,
1234
01:15:04,710 --> 01:15:06,211
who is an executive that...
1235
01:15:06,294 --> 01:15:09,715
When I started Tokyo Drift,
he was executive on it,
1236
01:15:09,798 --> 01:15:13,677
and we kind of grew up together
making the Fast movies.
1237
01:15:13,802 --> 01:15:16,263
And then we both left the franchise.
1238
01:15:16,638 --> 01:15:21,393
And so when I came back, I felt it was
important to have him be a part of this.
1239
01:15:21,476 --> 01:15:26,189
So he became a producer on this film,
and he's a big part...
1240
01:15:26,273 --> 01:15:29,276
He's one of the architects.
1241
01:15:29,735 --> 01:15:33,530
I consider him a partner
on the building of this franchise.
1242
01:15:34,281 --> 01:15:39,745
And it was on that train ride
that we started talking about Han.
1243
01:15:40,454 --> 01:15:42,581
And, I think, one of the things
that is great about Kirsch
1244
01:15:42,664 --> 01:15:47,252
is that his enthusiasm
for this franchise has no boundaries.
1245
01:15:47,836 --> 01:15:51,214
And I would say 99 out of 100 times,
1246
01:15:51,923 --> 01:15:54,217
he would say the most outrageous things,
1247
01:15:54,301 --> 01:15:58,054
and he would get crapped on
and laughed at by me, mostly by me.
1248
01:15:58,680 --> 01:16:01,516
And I love crapping on
and laughing at Kirsch.
1249
01:16:02,225 --> 01:16:05,604
But one out of 100,
this guy will say something
1250
01:16:05,687 --> 01:16:09,316
that maybe doesn't even make sense
in the beginning,
1251
01:16:10,025 --> 01:16:13,361
but ultimately becomes a brilliant idea,
1252
01:16:13,445 --> 01:16:19,534
which is this idea of Justice for Han
is not just justice for Han.
1253
01:16:19,618 --> 01:16:21,369
Let's bring him back for real.
1254
01:16:21,661 --> 01:16:23,830
And I have to admit, I get it.
1255
01:16:23,914 --> 01:16:27,667
I don't get up in the morning and say,
1256
01:16:27,751 --> 01:16:29,878
"Hey, let's just bring
dead characters back."
1257
01:16:29,961 --> 01:16:32,464
I don't want to do that, as a rule.
1258
01:16:32,798 --> 01:16:37,302
And I think even when on this train ride
when Kirsch brought up the idea,
1259
01:16:38,136 --> 01:16:40,514
I thought it was nuts.
1260
01:16:40,764 --> 01:16:42,265
But for some reason,
1261
01:16:42,349 --> 01:16:44,643
I think in the second or third hour
of the train ride,
1262
01:16:45,435 --> 01:16:47,020
it started settling in.
1263
01:16:47,854 --> 01:16:52,192
And then we started discussing
about what we were working on
1264
01:16:52,275 --> 01:16:57,280
with the back story of Han,
and how he could actually be alive.
1265
01:16:57,364 --> 01:17:00,116
And it actually made more sense.
1266
01:17:00,200 --> 01:17:02,661
But it was a very organic way for me.
1267
01:17:02,744 --> 01:17:09,000
That morning, I did not wake up thinking
that Han was going to be alive to...
1268
01:17:09,084 --> 01:17:13,255
This train ride,
by the time we landed in Edinburgh,
1269
01:17:13,338 --> 01:17:15,882
that, "Oh, my God. Han is alive."
1270
01:17:16,091 --> 01:17:19,219
So it was a...
It was an amazing ride,
1271
01:17:19,302 --> 01:17:22,305
and it was very inspired.
1272
01:17:23,265 --> 01:17:24,641
It just kind of shows...
1273
01:17:24,724 --> 01:17:27,185
It reminds me of the spirit
of Fast & Furious,
1274
01:17:28,228 --> 01:17:33,275
is to never
fully just reject things because...
1275
01:17:33,775 --> 01:17:34,776
Just because.
1276
01:17:34,860 --> 01:17:38,989
And it's never to condescend on anything.
1277
01:17:39,114 --> 01:17:42,868
And the fact that I have
this amazing group of people,
1278
01:17:42,951 --> 01:17:46,371
where we can say
the most ridiculous things,
1279
01:17:46,454 --> 01:17:50,542
but feel there's enough support where...
1280
01:17:50,667 --> 01:17:53,253
We can laugh at each other,
we can crap on each other,
1281
01:17:53,336 --> 01:17:56,423
but to be able to take it seriously
at some point,
1282
01:17:56,506 --> 01:17:57,507
it's really rare.
1283
01:17:57,757 --> 01:17:59,843
I could say that in Hollywood,
1284
01:17:59,968 --> 01:18:03,638
where you'd think
that creativity is embraced,
1285
01:18:04,347 --> 01:18:08,184
it's actually very much something
that you have to fight for.
1286
01:18:08,268 --> 01:18:11,313
A lot of times, there's so many agendas
when it comes to budgets,
1287
01:18:11,396 --> 01:18:13,315
and there's all these things.
1288
01:18:13,398 --> 01:18:16,943
And a lot of times when you make
these big tent-pole sequels,
1289
01:18:17,027 --> 01:18:21,031
the tendency sometimes with success
is that, "Well, we know what works,
1290
01:18:21,197 --> 01:18:22,616
"so let's keep doing the same thing."
1291
01:18:23,366 --> 01:18:25,911
And so to be able
to be a part of this process
1292
01:18:25,994 --> 01:18:30,123
where we're saying,
"No, we were successful in the last film
1293
01:18:30,206 --> 01:18:31,458
"because of A,
1294
01:18:31,583 --> 01:18:35,086
"but I think it's potentially yielding
something that we've earned.
1295
01:18:35,211 --> 01:18:36,630
"Let's try something brand new."
1296
01:18:37,255 --> 01:18:40,091
It sounds kind of logical, but is also...
1297
01:18:40,175 --> 01:18:42,636
I think in the business sense,
it's the scariest thing
1298
01:18:42,719 --> 01:18:47,432
to always be exploring
and trying new things.
1299
01:18:47,807 --> 01:18:50,560
And I think that's what I love
about doing these films.
1300
01:18:50,977 --> 01:18:53,355
And that is what I love
about being with Universal
1301
01:18:53,438 --> 01:18:56,024
and the group of people
that I work with in that,
1302
01:18:57,651 --> 01:19:00,445
we're never trying to do the same thing.
1303
01:19:00,528 --> 01:19:04,741
If we were, I wouldn't be making
the fifth movie in this franchise.
1304
01:19:04,824 --> 01:19:08,453
I feel like every one that I've done
have been completely different,
1305
01:19:08,536 --> 01:19:11,206
thematically, and also
in what we're trying to explore.
1306
01:19:11,915 --> 01:19:17,545
And I think that, for me, on this one,
is to embrace what we've evolved to,
1307
01:19:17,629 --> 01:19:22,592
over-the-top action
and just even taking ideas.
1308
01:19:23,218 --> 01:19:25,679
And it's almost become science fiction,
1309
01:19:26,012 --> 01:19:30,600
but at the same time being able to explore
and go back to what started it all.
1310
01:19:31,059 --> 01:19:33,561
I feel like that balance
was such a new thing for us,
1311
01:19:34,312 --> 01:19:39,150
that if we're able to earn
the emotional connection,
1312
01:19:39,234 --> 01:19:42,070
the emotional exploration
on a very real level,
1313
01:19:42,654 --> 01:19:44,948
then it allows us, gave us license
1314
01:19:45,031 --> 01:19:49,786
to then push the ridiculousness
of the tone of the action.
1315
01:19:49,869 --> 01:19:52,080
But I felt like
if we weren't able to do that,
1316
01:19:52,163 --> 01:19:54,499
then we wouldn't be able
to really evolve our action.
1317
01:20:45,633 --> 01:20:46,634
Shit.
1318
01:20:50,221 --> 01:20:51,222
Hey!
1319
01:20:51,306 --> 01:20:53,016
And here you have...
I'm just going to point out,
1320
01:20:53,099 --> 01:20:55,560
that's my son and all the kids.
1321
01:20:55,643 --> 01:21:00,857
I think Jordana's son,
J. J. Perry, Samantha Vincent.
1322
01:21:02,067 --> 01:21:04,152
It's become a tradition for us
1323
01:21:04,527 --> 01:21:08,698
to have these kids in the middle
of these big action set pieces.
1324
01:21:08,990 --> 01:21:10,742
My gut is that it's going to keep growing
1325
01:21:10,825 --> 01:21:13,578
just because when we started,
there were no kids,
1326
01:21:13,828 --> 01:21:15,705
and I think Fast 5 was the first time
1327
01:21:15,789 --> 01:21:19,375
where my son was
a year-and-a-half old,
1328
01:21:19,459 --> 01:21:21,086
and I was doing the vault scene,
1329
01:21:21,169 --> 01:21:24,255
and I wanted to inject
a little bit of humanity in there,
1330
01:21:24,339 --> 01:21:27,801
and I thought,
"Yeah. What about a young kid?"
1331
01:21:27,884 --> 01:21:29,719
And I thought,
"Yeah, I have one of those, "
1332
01:21:29,803 --> 01:21:32,347
and then that's when we started,
and then it just kept...
1333
01:21:32,430 --> 01:21:34,933
For me, it's always good
1334
01:21:35,016 --> 01:21:39,437
to connect with humanity
in the middle of these set pieces,
1335
01:21:39,521 --> 01:21:41,231
so it's become a tradition for us.
1336
01:21:50,115 --> 01:21:51,449
Oh, no!
1337
01:21:54,035 --> 01:21:56,079
The Ramsey driving scene,
1338
01:21:56,162 --> 01:21:59,999
it was one of those great
character threads that I loved.
1339
01:22:00,500 --> 01:22:04,963
I think, to me, I remember
talking about this character.
1340
01:22:05,046 --> 01:22:06,214
She wasn't named Ramsey,
1341
01:22:06,297 --> 01:22:09,676
but we were talking about this
computer hacker character
1342
01:22:09,759 --> 01:22:11,219
all the way back to Fast 5.
1343
01:22:11,594 --> 01:22:13,513
And then, when I showed up, she was...
1344
01:22:13,596 --> 01:22:17,016
Nathalie had taken over,
and they birthed the character.
1345
01:22:17,225 --> 01:22:19,602
But it was interesting to me,
meeting with her.
1346
01:22:19,686 --> 01:22:22,188
It was very clear
that there's so much to her
1347
01:22:22,272 --> 01:22:23,398
that hasn't been explored.
1348
01:22:23,481 --> 01:22:27,652
So it was just a great opportunity
to be able to introduce something new.
1349
01:22:27,735 --> 01:22:32,782
The fact that I always love meeting,
not savants, but even geniuses,
1350
01:22:33,116 --> 01:22:35,660
and seeing that they are human beings.
1351
01:22:35,743 --> 01:22:37,620
She could hack
everything in the world,
1352
01:22:37,704 --> 01:22:40,540
but the price of that is that
she's never driven a car,
1353
01:22:40,623 --> 01:22:43,126
and that was very exciting for me,
to be able to explore that.
1354
01:22:43,209 --> 01:22:44,961
And I think it's unlocked something
1355
01:22:45,044 --> 01:22:48,298
that now I feel like I have
a better sense of Ramsey,
1356
01:22:48,381 --> 01:22:51,342
and there's going to be a lot more
that we get to explore.
1357
01:23:01,853 --> 01:23:03,730
Otto, sending you new pickup location.
1358
01:23:11,696 --> 01:23:13,448
I've got it. I'm headed to you now.
1359
01:23:13,907 --> 01:23:15,950
And here you can see the brother fight.
1360
01:23:16,034 --> 01:23:19,537
This is something
that I wanted to be in close quarters,
1361
01:23:19,621 --> 01:23:22,832
and it was something
that I felt like tonally,
1362
01:23:22,916 --> 01:23:26,669
it needed to capture anybody
that's ever had siblings,
1363
01:23:26,753 --> 01:23:29,255
where you can fight strangers,
1364
01:23:29,339 --> 01:23:32,675
but something about blood,
where it always feels
1365
01:23:32,759 --> 01:23:34,302
one hundred times more intense.
1366
01:23:34,928 --> 01:23:37,138
And that evolved to them
1367
01:23:37,222 --> 01:23:41,476
going through walls
and windows and everything.
1368
01:23:41,976 --> 01:23:45,396
And this is really
more of just an exercise
1369
01:23:45,480 --> 01:23:50,860
of trying to articulate for anybody
that doesn't have siblings.
1370
01:23:51,527 --> 01:23:56,115
If we were able to manifest that
into an action sequence in a fight,
1371
01:23:56,241 --> 01:23:58,701
what that would be
and the scale of that.
1372
01:23:58,785 --> 01:24:01,746
It really was not even
the physical objects and things
1373
01:24:01,829 --> 01:24:03,331
that we were designing,
1374
01:24:03,414 --> 01:24:05,875
it was more of the feel for it.
1375
01:24:05,959 --> 01:24:08,503
So it was a great exercise of doing that,
1376
01:24:08,586 --> 01:24:11,130
and giving it its own tone
1377
01:24:11,214 --> 01:24:13,925
that's different
than the rest of the sequences.
1378
01:24:35,238 --> 01:24:39,742
This is integrating
the craziest thing that we're introducing,
1379
01:24:39,826 --> 01:24:40,910
which, you know...
1380
01:24:40,994 --> 01:24:44,080
I know people talk about going to space.
1381
01:24:44,455 --> 01:24:48,501
I actually think that after talking
to NASA scientists and everything,
1382
01:24:48,584 --> 01:24:53,089
I actually felt like there's much more
sound science in going to space.
1383
01:24:53,423 --> 01:24:58,011
This whole magnet tech, actually,
didn't start off as me going,
1384
01:24:58,094 --> 01:25:00,346
"Hey, let's go and explore magnets."
It actually...
1385
01:25:00,430 --> 01:25:04,517
We were doing this scout,
and I was actually in Hamburg, Germany,
1386
01:25:04,892 --> 01:25:07,645
and I was interested
in particle accelerators,
1387
01:25:08,229 --> 01:25:11,941
and I remember going underground
and walking it with these scientists,
1388
01:25:12,066 --> 01:25:15,570
and they were talking to me
about particle accelerators
1389
01:25:16,070 --> 01:25:18,573
and the magnet tech that it took.
1390
01:25:18,656 --> 01:25:21,909
And, actually, that's what
inspired this whole thing.
1391
01:25:22,368 --> 01:25:26,122
And so I started asking questions
about magnets.
1392
01:25:26,205 --> 01:25:28,833
And I think we ended up
in some restaurant,
1393
01:25:28,916 --> 01:25:31,627
having our lunch with pints of beer.
1394
01:25:32,128 --> 01:25:37,592
It evolved into
from particle acceleration into magnets.
1395
01:25:38,051 --> 01:25:40,970
And so that actually was the origin
of this whole thing.
1396
01:25:41,054 --> 01:25:44,140
And I start asking about
the magnet techs and everything.
1397
01:25:44,515 --> 01:25:48,186
And I think, with everything,
it was always started off in reality,
1398
01:25:48,269 --> 01:25:52,357
and then I think the questions I had
was more of just
1399
01:25:52,440 --> 01:25:57,445
aspiration of that technology,
and it just set me off.
1400
01:25:57,653 --> 01:26:02,742
And I think that was the origin
of what we were going to do in this film.
1401
01:26:03,368 --> 01:26:06,537
And it became,
I wouldn't say like fiction.
1402
01:26:06,621 --> 01:26:08,706
It was still based on something.
1403
01:26:08,790 --> 01:26:12,752
I think a lot of it was in theory,
and then creatively,
1404
01:26:12,835 --> 01:26:15,171
I just took license to it,
and we just evolved it.
1405
01:26:15,254 --> 01:26:18,383
So, at the end of the day,
I actually think that it's interesting
1406
01:26:18,466 --> 01:26:22,011
because it was based on
something that was science.
1407
01:26:22,136 --> 01:26:25,181
And then we just, through questioning,
it evolved into something
1408
01:26:25,264 --> 01:26:27,892
that maybe one day
science will catch up to.
1409
01:26:27,975 --> 01:26:30,311
I don't know.
But it was something we're playing with.
1410
01:26:30,812 --> 01:26:32,313
We're the good guys.
1411
01:26:32,397 --> 01:26:34,607
Me? I'm Luke freaking Skywalker.
1412
01:26:34,899 --> 01:26:36,401
Are you sure about that?
1413
01:26:37,235 --> 01:26:39,445
I mean, I get the daddy issues, but...
1414
01:26:41,489 --> 01:26:43,074
Look at what you've built.
1415
01:26:44,867 --> 01:26:46,536
Really? Luke?
1416
01:26:47,912 --> 01:26:49,205
You're right.
1417
01:26:49,789 --> 01:26:51,582
No, I'm more of a Han Solo.
1418
01:26:52,708 --> 01:26:53,918
No.
1419
01:26:54,419 --> 01:26:57,630
And here, this scene
between Cipher and Otto,
1420
01:26:57,922 --> 01:27:00,967
it is one of those...
Again, it is one those really scary
1421
01:27:01,759 --> 01:27:05,096
things to concede,
because if you see the earlier scene,
1422
01:27:05,179 --> 01:27:08,474
she started clocking Otto
as her ticket way out.
1423
01:27:08,558 --> 01:27:10,643
And here, we needed a scene
1424
01:27:10,726 --> 01:27:14,730
where she was going to be able
to pull him in,
1425
01:27:15,940 --> 01:27:20,445
but not only destroy
his being, his philosophy,
1426
01:27:20,945 --> 01:27:23,656
but knowing that he's going to come back
and open up that door.
1427
01:27:24,365 --> 01:27:27,702
And we had to do that
in that one quick scene.
1428
01:27:28,077 --> 01:27:31,164
But I... On the day,
working with both actors,
1429
01:27:31,247 --> 01:27:33,541
I just felt like without them,
1430
01:27:33,624 --> 01:27:36,127
there's no way
we're able to have a chance.
1431
01:27:36,210 --> 01:27:40,006
So, it's again
one of those gymnastics
1432
01:27:40,089 --> 01:27:44,635
of trying to make sure that maybe
you don't get it in the first bounce,
1433
01:27:44,760 --> 01:27:49,307
but when the twist and reveal happened,
it will all make sense.
1434
01:27:49,390 --> 01:27:54,520
And I felt like Charlize and Thue
just did an amazing job in that scene.
1435
01:27:57,648 --> 01:27:58,733
Man.
1436
01:27:58,816 --> 01:28:02,153
There is literally zero industrial
or weapons-grade electromagnets
1437
01:28:02,236 --> 01:28:04,071
I can find that are this powerful.
1438
01:28:04,155 --> 01:28:05,740
Look at the pull strength level here.
1439
01:28:05,823 --> 01:28:07,325
- It's crazy.
- Yeah.
1440
01:28:08,534 --> 01:28:09,744
Wait, watch this.
1441
01:28:12,121 --> 01:28:14,624
So, just going back to the magnet tech,
1442
01:28:15,791 --> 01:28:19,921
we have actually spent way more time
in a lot of the tech,
1443
01:28:20,254 --> 01:28:24,550
that was based on science,
and it just evolved into our world.
1444
01:28:25,009 --> 01:28:27,720
And I know I spent way too much time.
1445
01:28:27,803 --> 01:28:29,138
I think even in shooting it,
1446
01:28:29,222 --> 01:28:32,016
there was a lot more logic
into the magnets.
1447
01:28:32,391 --> 01:28:36,145
Ultimately, they're still there
if you freeze frame it,
1448
01:28:36,729 --> 01:28:38,564
but it's actually in the edit,
1449
01:28:38,940 --> 01:28:41,984
I decided not to really spend
too much time on it.
1450
01:28:42,109 --> 01:28:45,780
But it's there and we...
Actually, in the construction of it,
1451
01:28:46,280 --> 01:28:49,033
there's actually a logic
to everything that was happening.
1452
01:28:51,786 --> 01:28:53,162
'Sup, man?
1453
01:28:58,167 --> 01:28:59,293
Nice to meet you.
1454
01:29:04,632 --> 01:29:09,095
And so this is another one of those scenes
that in writing it, you're like,
1455
01:29:09,178 --> 01:29:12,098
"Yeah, at some point, if Han's alive,
he's going to meet the family."
1456
01:29:12,723 --> 01:29:17,520
And it wasn't until this moment,
where Dom embraces Han,
1457
01:29:17,770 --> 01:29:18,938
you have all these soldiers with guns,
1458
01:29:19,021 --> 01:29:21,732
and you're trying to earn
this moment of intimacy
1459
01:29:21,816 --> 01:29:23,901
between two characters.
1460
01:29:30,366 --> 01:29:31,450
Jakob.
1461
01:29:32,910 --> 01:29:34,036
I'm sorry, Mia.
1462
01:29:36,956 --> 01:29:40,459
And this was really the second scene
we shot with John,
1463
01:29:40,543 --> 01:29:42,211
and it was interesting.
1464
01:29:42,295 --> 01:29:44,839
I could tell, in the morning,
1465
01:29:45,172 --> 01:29:48,134
Vin really wanted
to get into the meat of it.
1466
01:29:48,676 --> 01:29:52,305
And usually, when you shoot these scenes,
you shoot the wides,
1467
01:29:52,388 --> 01:29:53,764
and you go in.
1468
01:29:54,432 --> 01:29:56,434
And I was going on set,
1469
01:29:56,517 --> 01:29:59,604
and Vin came up to me and he said,
"What do you think?"
1470
01:30:00,771 --> 01:30:02,356
As soon as he said,
"What do you think?"
1471
01:30:02,440 --> 01:30:06,444
I knew what he was saying,
and I went to the crew, and I said,
1472
01:30:06,569 --> 01:30:10,114
"We're not going to cover it
the way we usually cover this.
1473
01:30:10,781 --> 01:30:14,243
"I want to get to the intimate moment
between these two brothers."
1474
01:30:14,535 --> 01:30:17,872
So we actually shot this
not in a conventional way.
1475
01:30:18,164 --> 01:30:22,752
It was done actually on this fluid master
between Jakob and Dom.
1476
01:30:23,461 --> 01:30:26,881
And then we just kept working on it
until we felt we got it.
1477
01:30:27,298 --> 01:30:30,092
And once we had it,
then I was able to go back
1478
01:30:30,092 --> 01:30:31,677
...I didn't know what to do.
1479
01:30:33,220 --> 01:30:34,430
I was aimless.
1480
01:30:36,098 --> 01:30:37,767
- Lost.
- Absolutely.
1481
01:30:37,850 --> 01:30:40,186
But can you get to the part where
1482
01:30:40,269 --> 01:30:42,938
the car exploded and you're still alive?
1483
01:30:43,022 --> 01:30:44,857
- Like, I'm trying to...
- Roman, can you...
1484
01:30:44,940 --> 01:30:46,734
Can you just be quiet for one minute?
1485
01:30:47,109 --> 01:30:48,611
We made plans.
1486
01:30:50,196 --> 01:30:51,322
We had dreams.
1487
01:30:51,947 --> 01:30:54,116
So what's our next adventure after this?
1488
01:30:55,910 --> 01:31:01,540
Here we're seeing the flashback
to the connection between Gisele and Han.
1489
01:31:01,916 --> 01:31:03,751
This is on Fast 6.
1490
01:31:03,834 --> 01:31:07,046
And we were always very conscious
1491
01:31:07,421 --> 01:31:09,882
that Gisele and Han,
1492
01:31:09,965 --> 01:31:12,426
every time we had
a chance with them on screen
1493
01:31:12,802 --> 01:31:15,721
was going to get closer to Tokyo.
1494
01:31:15,805 --> 01:31:17,515
And so it was really fulfilling
1495
01:31:17,598 --> 01:31:20,267
to be able to actually come back
and revisit that moment.
1496
01:31:20,893 --> 01:31:25,147
Because when we shot Fast 6,
we definitely planted it there,
1497
01:31:25,398 --> 01:31:27,733
and it was going to launch Han into Tokyo.
1498
01:31:28,067 --> 01:31:30,069
But to be able to bring that back
1499
01:31:30,194 --> 01:31:34,365
into the Justice for Han,
it felt very appropriate.
1500
01:31:35,825 --> 01:31:37,910
You can lose an asset at any time.
1501
01:31:39,703 --> 01:31:42,373
Bullet, knife, wire.
1502
01:31:43,165 --> 01:31:45,418
But I never thought I'd lose her...
1503
01:31:45,918 --> 01:31:51,841
And Kurt here, the connection
between Mr. Nobody and Han through Gisele,
1504
01:31:52,133 --> 01:31:54,927
it was also another thread
that I hope one day
1505
01:31:55,010 --> 01:32:00,391
we'll be able to explore,
because it was so much fun
1506
01:32:00,474 --> 01:32:01,475
working on this thread.
1507
01:32:02,101 --> 01:32:04,728
Because when Gisele
was introduced to the fans,
1508
01:32:04,812 --> 01:32:09,442
it was actually Fast 4, with Braga,
and they were doing the tunnel runs.
1509
01:32:09,984 --> 01:32:14,280
And I've always felt like her connection
was actually through Mr. Nobody
1510
01:32:14,738 --> 01:32:16,657
when he was still with the CIA.
1511
01:32:16,740 --> 01:32:19,535
And so, I remember thinking that.
1512
01:32:19,660 --> 01:32:23,372
And again, Mr. Nobody was a character
that we had talked about before I left.
1513
01:32:23,747 --> 01:32:25,458
And then, Kurt Russell showed up.
1514
01:32:26,250 --> 01:32:29,753
And I remember meeting Kurt
when I wasn't doing the Fast.
1515
01:32:29,837 --> 01:32:31,422
We were actually
looking at another project.
1516
01:32:31,755 --> 01:32:36,010
And he ended up talking about Mr. Nobody
and his philosophy and his history.
1517
01:32:36,385 --> 01:32:37,845
And I was like, "This is so great."
1518
01:32:37,928 --> 01:32:41,182
And then, when I saw the films,
it wasn't in there at all.
1519
01:32:41,474 --> 01:32:44,477
And so it was great to be able
to come back and connect with Kurt again,
1520
01:32:44,560 --> 01:32:48,355
and then actually bring that to life
and know that there's a lot more to it.
1521
01:32:49,607 --> 01:32:51,817
I was so excited to go
1522
01:32:52,151 --> 01:32:55,529
I forgot my raincoat, so I went back in.
1523
01:33:02,286 --> 01:33:04,330
At first, I didn't see it.
1524
01:33:06,290 --> 01:33:08,167
By the time I looked out the window...
1525
01:33:08,250 --> 01:33:11,837
Elle is another really exciting character.
1526
01:33:11,921 --> 01:33:15,216
Anna was... We did a global search,
1527
01:33:15,799 --> 01:33:20,888
and when I saw the audition from Anna,
I knew that that was our Elle.
1528
01:33:21,222 --> 01:33:26,143
It's funny because doing these auditions,
there are always NDAs,
1529
01:33:26,227 --> 01:33:28,229
and we'll always take the names out,
1530
01:33:28,604 --> 01:33:31,398
because we don't want to have
any spoilers out in the world.
1531
01:33:31,774 --> 01:33:37,238
And Elle actually was
the code name for the character.
1532
01:33:37,696 --> 01:33:43,285
But when I saw the audition with Anna,
the way she said Elle was so...
1533
01:33:43,702 --> 01:33:46,121
Something about it felt so right
1534
01:33:46,205 --> 01:33:49,375
that I actually changed
the character's name and made it Elle.
1535
01:33:49,458 --> 01:33:51,752
So it was actually
supposed to be the letter "L",
1536
01:33:52,294 --> 01:33:55,589
but I just really loved the way
she delivered the character's name.
1537
01:33:55,714 --> 01:33:59,218
And so we ended up
changing her name to Elle.
1538
01:33:59,802 --> 01:34:03,514
He knew I'd always be a target,
so he taught me how to survive.
1539
01:34:06,350 --> 01:34:08,102
We became a family.
1540
01:34:10,604 --> 01:34:13,566
Again, this is something
in the whole Justice for Han.
1541
01:34:13,941 --> 01:34:16,777
There was a lot more worked out
1542
01:34:17,278 --> 01:34:21,991
that I hope, one day, we'll be able
to bring it to life for the fans.
1543
01:34:22,074 --> 01:34:24,952
So I'm really excited for right now.
1544
01:34:25,035 --> 01:34:27,454
I don't want to say anything.
1545
01:34:27,538 --> 01:34:30,958
I feel like
whatever is out there in Fast 9
1546
01:34:31,041 --> 01:34:34,420
is there for the fans
to talk about and to explore.
1547
01:34:34,962 --> 01:34:40,926
And I think when it's appropriate,
we'll be able to bring that story to life.
1548
01:34:41,218 --> 01:34:45,055
But I am excited for people
to see what...
1549
01:34:45,139 --> 01:34:48,267
Which dots they connect,
and what is the back story
1550
01:34:48,350 --> 01:34:50,394
that they can come up with and to share.
1551
01:34:52,605 --> 01:34:55,357
But you got killed in a car crash, Han.
1552
01:34:57,151 --> 01:34:59,695
Mr. Nobody had a way
of making things look real.
1553
01:35:07,745 --> 01:35:12,750
This is also one of those moments
where I was telling Kurt and Sung...
1554
01:35:12,833 --> 01:35:19,006
We ended up finding the perfect location,
and it took a while to light,
1555
01:35:19,632 --> 01:35:20,883
but there was not
going to be any coverage.
1556
01:35:20,966 --> 01:35:24,261
It was just going to be this moment
that it was going to be
1557
01:35:24,345 --> 01:35:27,139
Mr. Nobody and Han sharing that screen,
1558
01:35:27,222 --> 01:35:31,602
and it had to say everything
about the absence of Han in that world.
1559
01:35:31,727 --> 01:35:33,520
- What's happening?
- It's some kind of hidden subroutine
1560
01:35:33,604 --> 01:35:34,647
the system follows.
1561
01:35:38,609 --> 01:35:40,653
So coming up here, this scene,
1562
01:35:40,736 --> 01:35:44,615
this is one of those scenes
that I would say
1563
01:35:44,698 --> 01:35:47,785
making these movies or making anything,
1564
01:35:48,202 --> 01:35:50,788
it's the toughest thing to shoot,
1565
01:35:50,871 --> 01:35:51,997
because you have...
1566
01:35:52,414 --> 01:35:56,752
First of all, you have the whole cast,
you have all these moving parts,
1567
01:35:56,835 --> 01:35:59,630
you have all these soldiers with guns,
1568
01:35:59,713 --> 01:36:02,424
and you're trying to earn
this moment of intimacy
1569
01:36:02,508 --> 01:36:04,593
between two characters.
1570
01:36:11,058 --> 01:36:12,142
Jakob.
1571
01:36:13,602 --> 01:36:14,728
I'm sorry, Mia.
1572
01:36:17,648 --> 01:36:21,151
And this was really the second scene
we shot with John,
1573
01:36:21,235 --> 01:36:22,903
and it was interesting.
1574
01:36:22,986 --> 01:36:25,531
I could tell, in the morning,
1575
01:36:25,864 --> 01:36:28,826
Vin really wanted
to get into the meat of it.
1576
01:36:29,368 --> 01:36:32,996
And usually, when you shoot these scenes,
you shoot the wides,
1577
01:36:33,080 --> 01:36:34,456
and you go in.
1578
01:36:35,124 --> 01:36:37,126
And I was going on set,
1579
01:36:37,209 --> 01:36:40,295
and Vin came up to me and he said,
"What do you think?"
1580
01:36:41,463 --> 01:36:43,048
As soon as he said,
"What do you think?"
1581
01:36:43,132 --> 01:36:47,136
I knew what he was saying,
and I went to the crew, and I said,
1582
01:36:47,261 --> 01:36:50,806
"We're not going to cover it
the way we usually cover this.
1583
01:36:51,473 --> 01:36:54,935
"I want to get to the intimate moment
between these two brothers."
1584
01:36:55,227 --> 01:36:58,564
So we actually shot this
not in a conventional way.
1585
01:36:58,856 --> 01:37:03,444
It was done actually on this fluid master
between Jakob and Dom.
1586
01:37:04,153 --> 01:37:07,573
And then we just kept working on it
until we felt we got it.
1587
01:37:07,990 --> 01:37:10,284
And once we had it,
then I was able to go back
1588
01:37:10,367 --> 01:37:12,494
and do the coverage
and shoot the wide shot.
1589
01:37:12,578 --> 01:37:16,790
And it was...
It was the right way to approach this,
1590
01:37:16,874 --> 01:37:20,461
especially with John Cena,
this being his second scene.
1591
01:37:20,544 --> 01:37:22,087
Good thing about Dad dying...
1592
01:37:23,380 --> 01:37:25,758
...was he didn't have to watch
what you became.
1593
01:37:26,675 --> 01:37:29,094
You never deserved the Toretto name.
1594
01:37:31,638 --> 01:37:33,682
This is part of the fluid master here.
1595
01:37:33,766 --> 01:37:36,769
It was the first shot that I did
for the whole scene,
1596
01:37:36,852 --> 01:37:38,979
and he was amazing.
1597
01:37:39,229 --> 01:37:40,814
He was fearless.
1598
01:37:40,898 --> 01:37:45,694
And part of it was
he was going to reveal this big secret
1599
01:37:45,778 --> 01:37:48,280
that he's been holding
all these years
1600
01:37:48,363 --> 01:37:52,701
that was going to fundamentally change
everyone's point of view.
1601
01:37:52,785 --> 01:37:55,496
Dom, and Mia, and Letty,
everybody that was there.
1602
01:37:55,871 --> 01:38:00,542
And so, John, I could see him
on that day, he just used it.
1603
01:38:00,626 --> 01:38:06,381
He used even the awkwardness of going in
1604
01:38:06,465 --> 01:38:07,883
and shooting that close up first,
1605
01:38:07,966 --> 01:38:10,719
a shared close up
with Vin and the whole cast
1606
01:38:10,803 --> 01:38:12,846
with all these ex...
1607
01:38:12,971 --> 01:38:15,140
Everybody.
1608
01:38:15,224 --> 01:38:18,227
And to be able to fully engage
1609
01:38:18,435 --> 01:38:21,772
and not let any of the artificial elements
get to him.
1610
01:38:22,689 --> 01:38:27,402
That was an amazing...
It's not even a performance,
1611
01:38:27,486 --> 01:38:31,657
but it's an amazing feat
for John and also Vin,
1612
01:38:31,740 --> 01:38:33,742
and it really set the tone for the scene.
1613
01:38:34,451 --> 01:38:38,872
And it's just an example
of there's no right or wrong way
1614
01:38:38,956 --> 01:38:41,166
to make films,
1615
01:38:41,250 --> 01:38:43,752
and sometimes you just
have to go with your gut.
1616
01:38:44,294 --> 01:38:49,091
And, in this case,
it really made a huge difference.
1617
01:39:08,026 --> 01:39:13,615
It's funny, I think, a lot of times,
how you get characters out of binds,
1618
01:39:13,699 --> 01:39:17,578
and when you watch the movie,
it's like, "It's two seconds right here."
1619
01:39:17,661 --> 01:39:19,872
It's like, "Tej doing this knob."
1620
01:39:20,497 --> 01:39:23,417
But to be able to do that,
hopefully on multiple levels...
1621
01:39:23,500 --> 01:39:26,461
I mean, this thing took...
It took eight months
1622
01:39:26,587 --> 01:39:29,965
of writing ourselves
into a corner of saying,
1623
01:39:30,048 --> 01:39:34,386
"Okay. Well, now Jakob's got Elle,
and he's leaving,
1624
01:39:34,469 --> 01:39:36,555
"and now he's leaving
all the soldiers there
1625
01:39:36,638 --> 01:39:39,808
"to probably kill Dom and the family.
How do they get out?"
1626
01:39:40,517 --> 01:39:42,686
And so it's like,
in the writing process,
1627
01:39:42,769 --> 01:39:43,896
it's always great because you're like,
1628
01:39:43,979 --> 01:39:46,523
"Great. We basically...
1629
01:39:46,607 --> 01:39:48,942
"We give Jakob a true win.
1630
01:39:50,235 --> 01:39:54,531
"And now how are we going to be able
get Dom and the family out?"
1631
01:39:54,615 --> 01:39:57,910
And so, to be able to figure out
that magnet, I mean, it was...
1632
01:39:57,993 --> 01:40:01,121
It's funny, every time I watch it,
I start heating up
1633
01:40:01,204 --> 01:40:04,917
because I get drawn into the struggle
1634
01:40:05,000 --> 01:40:07,002
and the challenge
of how to get these characters out.
1635
01:40:07,085 --> 01:40:09,880
And it's just a great...
Like, once you get it,
1636
01:40:09,963 --> 01:40:14,885
it feels like you're able to solve
all the world's problems, you know.
1637
01:40:14,968 --> 01:40:16,678
But then, when people are
watching the movie,
1638
01:40:16,803 --> 01:40:19,348
it's like, it's two seconds,
boom, they're gone.
1639
01:40:32,152 --> 01:40:37,991
Here this is another sequence that,
for us is kind of a first time,
1640
01:40:38,075 --> 01:40:42,371
which is actually seeing
Dom be really defeated.
1641
01:40:42,454 --> 01:40:46,458
And obviously he's doing this
to try to save Letty and the family.
1642
01:40:46,541 --> 01:40:48,919
But it's always kind of gratifying
1643
01:40:49,002 --> 01:40:55,425
to find new beats for us
to explore, you know, and...
1644
01:40:55,509 --> 01:40:59,096
And I think we actually
never had anything like this
1645
01:40:59,179 --> 01:41:03,642
where, yes, it's a big fight scene
with Dom and all these guys,
1646
01:41:03,725 --> 01:41:06,603
but for him to really be doing it
1647
01:41:06,687 --> 01:41:10,315
to try to save his family,
1648
01:41:10,399 --> 01:41:14,987
even if it's ultimately about
giving up his own life,
1649
01:41:15,070 --> 01:41:16,113
it was great.
1650
01:41:29,334 --> 01:41:31,253
No!
1651
01:41:33,463 --> 01:41:36,466
And I thought, again,
if you watch it closely,
1652
01:41:36,550 --> 01:41:42,514
there's shades of Dom in this film
that we had never experienced.
1653
01:41:43,056 --> 01:41:48,812
And this sequence coming up, to me,
is another example of that, you know.
1654
01:41:48,895 --> 01:41:53,817
I think Vin really just brought it
and he was able to go places
1655
01:41:53,900 --> 01:41:57,654
that I think that even
if we tried in the other films,
1656
01:41:57,738 --> 01:42:00,282
it wouldn't have been right.
It had to be earned.
1657
01:42:00,991 --> 01:42:02,409
See, cars like this are immortal.
1658
01:42:02,492 --> 01:42:05,328
Here, you see, Vincent,
this is actually Vin's son.
1659
01:42:05,412 --> 01:42:08,540
And it was one of those
amazing moments
1660
01:42:08,623 --> 01:42:13,336
where I knew we were going to have
a young Dom Toretto,
1661
01:42:13,420 --> 01:42:17,174
and they actually started scouting for it.
1662
01:42:17,799 --> 01:42:20,177
And I'm looking through all the auditions
1663
01:42:20,260 --> 01:42:23,847
and at one point, you know,
it dawned on me that,
1664
01:42:23,930 --> 01:42:29,519
"Well, why don't we just
try Vin's son, " you know.
1665
01:42:29,603 --> 01:42:34,066
And it just became this perfect fit
and Vincent did such an amazing job.
1666
01:42:38,445 --> 01:42:42,407
And here again, this is a Dominic Toretto
that, you know, for me...
1667
01:42:42,491 --> 01:42:45,660
I have never gone to that place with Vin.
1668
01:42:45,744 --> 01:42:50,123
And I know for sure that
Vin's been always keeping that.
1669
01:42:50,207 --> 01:42:52,959
And this was one of those
earned moments for us,
1670
01:42:53,043 --> 01:42:55,921
and it was such a great time on set
1671
01:42:56,004 --> 01:42:59,007
to be able to earn that
and earn that together.
1672
01:43:02,594 --> 01:43:04,721
No. You know I'm good for it.
1673
01:43:04,805 --> 01:43:07,641
It's crazy. You see that door with Jack.
1674
01:43:07,724 --> 01:43:13,522
You know, we shot this on a sound stage,
but as soon as I walked on that little set
1675
01:43:13,605 --> 01:43:16,525
and I saw that door,
I was in the Toretto house,
1676
01:43:16,650 --> 01:43:21,988
I feel like, even as a viewer,
a fan of this franchise,
1677
01:43:22,072 --> 01:43:24,407
sometimes it's like these little cues
1678
01:43:24,491 --> 01:43:27,410
that really just brings out
all these feelings.
1679
01:43:27,494 --> 01:43:31,748
Seeing that door brought me back to
me being in film school
1680
01:43:31,832 --> 01:43:33,625
and watching
the first Fast & Furious film
1681
01:43:33,708 --> 01:43:35,961
at the AMC Santa Monica, you know.
1682
01:43:36,044 --> 01:43:38,755
And then shooting that in that house
1683
01:43:38,839 --> 01:43:41,341
on Fast 4 with Brian and Mia.
1684
01:43:49,099 --> 01:43:50,267
I'm telling you, I got intermittent miss.
1685
01:43:50,392 --> 01:43:52,018
- Last two laps.
- On it!
1686
01:43:52,102 --> 01:43:53,645
Get those plug wires!
1687
01:43:55,438 --> 01:43:57,274
Jakob! Now.
1688
01:43:57,357 --> 01:43:59,734
And here,
this is the moment of connection.
1689
01:43:59,818 --> 01:44:03,864
And I just thought, you know J.D. and Finn
1690
01:44:03,947 --> 01:44:07,951
and Vin, even though we shot it
in different environments,
1691
01:44:08,034 --> 01:44:10,537
it was such a great connection.
1692
01:44:10,620 --> 01:44:16,668
And a lot of it was this moment of,
for Jakob, of deciding
1693
01:44:16,751 --> 01:44:19,296
and that pressure of not knowing
what's right or wrong,
1694
01:44:19,379 --> 01:44:24,384
but ultimately doing it
and keeping his word to his dad.
1695
01:44:24,467 --> 01:44:26,803
And for Vin and Dom
to be able to process that...
1696
01:44:26,887 --> 01:44:29,848
Again, it's unchartered territory,
and I'm so kind of proud
1697
01:44:29,931 --> 01:44:34,186
that we're able to earn that
in this new chapter.
1698
01:44:41,943 --> 01:44:44,070
No!
1699
01:44:49,826 --> 01:44:54,247
It's interesting, you know, this sequence
was actually really a challenge
1700
01:44:54,331 --> 01:44:56,541
to put together,
1701
01:44:56,625 --> 01:45:00,045
because a lot of times you watch films
1702
01:45:00,128 --> 01:45:02,797
and there's underwater sequences
and it's great,
1703
01:45:02,881 --> 01:45:05,592
but it's really hard to capture that.
1704
01:45:05,675 --> 01:45:09,971
And so, we had to find this tank
and Michelle was just fearless.
1705
01:45:10,055 --> 01:45:14,267
She jumped in and it was great
and then Vin had to come,
1706
01:45:14,351 --> 01:45:17,437
and we had to shoot
all the underwater sequences,
1707
01:45:17,520 --> 01:45:20,190
and it was mind-bending and...
1708
01:45:20,273 --> 01:45:24,736
I was trying to change
the axis and everything.
1709
01:45:24,819 --> 01:45:26,488
But ultimately, it was great,
1710
01:45:26,571 --> 01:45:30,200
even though it was only, like,
maybe less than 10 seconds,
1711
01:45:30,325 --> 01:45:31,451
I felt like we did it right.
1712
01:45:31,534 --> 01:45:33,912
And both Vin and Michelle's
commitment to it
1713
01:45:33,995 --> 01:45:36,039
really just helped those moments.
1714
01:45:37,040 --> 01:45:38,500
Do you hear me?
1715
01:45:41,294 --> 01:45:42,921
Is this who we are?
1716
01:45:47,926 --> 01:45:49,344
Yeah.
1717
01:45:49,427 --> 01:45:53,848
And this is, in a way, an earned moment
between Letty and Dom.
1718
01:45:53,932 --> 01:45:57,060
We really only had various moments
1719
01:45:57,143 --> 01:45:58,520
in throughout the movie for them
1720
01:45:58,603 --> 01:46:01,564
to kind of get to work out
everything they've gone through.
1721
01:46:01,648 --> 01:46:05,777
But what I love is that it wasn't
about them working it through together,
1722
01:46:05,860 --> 01:46:10,448
it needed Letty
to go on this journey with Mia,
1723
01:46:10,532 --> 01:46:15,620
and then Dom to go through this journey
with Jakob for them to reconnect,
1724
01:46:15,704 --> 01:46:18,164
and to have to not only share that moment,
1725
01:46:18,248 --> 01:46:22,168
but to have a sense of...
1726
01:46:22,252 --> 01:46:25,880
At least a sense of
what their future is together.
1727
01:46:26,089 --> 01:46:27,882
Not remotely.
We'd have to do it physically,
1728
01:46:27,966 --> 01:46:31,052
Fifty miles above ground
while the satellite is in orbit.
1729
01:46:31,553 --> 01:46:32,679
Orbit?
1730
01:46:32,971 --> 01:46:34,139
We need help.
1731
01:46:34,264 --> 01:46:36,057
Otherwise, we have no chance.
1732
01:46:37,267 --> 01:46:38,518
We do it ourselves.
1733
01:46:39,728 --> 01:46:42,105
It's where we've been
that got us this far.
1734
01:46:42,522 --> 01:46:44,399
No. No, no, no, no, no.
1735
01:46:44,858 --> 01:46:46,401
Do y'all not understand?
1736
01:46:47,152 --> 01:46:48,528
Clearly, y'all don't.
1737
01:46:48,653 --> 01:46:51,656
Because if you did,
you'd be pissing your pants
1738
01:46:51,740 --> 01:46:52,991
like a normal person.
1739
01:46:53,325 --> 01:46:54,326
Orbit.
1740
01:46:54,659 --> 01:46:55,910
That's outer space.
1741
01:46:56,411 --> 01:46:57,954
That's another level.
1742
01:46:58,163 --> 01:47:00,999
What we gonna do? Hijack a space shuttle?
1743
01:47:01,458 --> 01:47:03,001
Put rockets on our backs?
1744
01:47:04,127 --> 01:47:09,382
This is where... We're about to
head into our third act action sequence.
1745
01:47:09,466 --> 01:47:14,346
And I know a lot of people
maybe, through the years,
1746
01:47:14,429 --> 01:47:17,807
joked about what's next.
Space? You know, and...
1747
01:47:17,891 --> 01:47:21,603
And that's something, internally,
we were always talking about.
1748
01:47:22,228 --> 01:47:27,567
And to be honest, I wasn't sure
if we were ever going to be able to do it.
1749
01:47:27,650 --> 01:47:33,323
And it became a very organic way
because when I finally committed
1750
01:47:33,406 --> 01:47:37,827
to this kind of existential threat
with Roman, Tej and Ramsey,
1751
01:47:37,911 --> 01:47:39,788
as I was working on it,
it felt like we needed
1752
01:47:39,871 --> 01:47:42,082
something that is not of this world.
1753
01:47:42,165 --> 01:47:47,128
And that's pun intended,
to really kind of pay off that thread.
1754
01:47:47,212 --> 01:47:49,631
And I remember even working on it,
1755
01:47:49,714 --> 01:47:54,052
and when we got there,
I called Vin up and I drove to his house
1756
01:47:54,135 --> 01:47:57,055
and I remember sitting down
and he looked at me and goes,
1757
01:47:57,138 --> 01:47:58,598
"So this is the one, right?"
1758
01:47:58,681 --> 01:48:01,810
I said, "I think so."
And we both kind of laughed,
1759
01:48:01,935 --> 01:48:05,772
because, you know, it was something
that we we always would sit there
1760
01:48:05,855 --> 01:48:11,361
and throw the craziest ideas
of what we can do and explore.
1761
01:48:11,444 --> 01:48:16,408
But I don't know if we ever thought like,
"Oh, yeah. Let's go to space on 9."
1762
01:48:16,491 --> 01:48:21,871
It was just something
that became very organic.
1763
01:48:21,955 --> 01:48:25,750
And even like, for me, personally,
1764
01:48:25,834 --> 01:48:30,088
it actually had
a much more profound effect
1765
01:48:30,171 --> 01:48:34,342
because, to me, I always get the sense
when I talked to Vin,
1766
01:48:34,426 --> 01:48:36,678
when we explore and we talk about stories
1767
01:48:36,761 --> 01:48:41,683
about the journeys of our characters
of Fast and the Furious.
1768
01:48:41,808 --> 01:48:45,270
I think we always start from a point
that we're never supposed to be here.
1769
01:48:45,353 --> 01:48:49,149
Like, I remember growing up
being a filmmaker was, you know...
1770
01:48:49,232 --> 01:48:53,820
When I would tell people,
it was like... It was not a possibility.
1771
01:48:53,903 --> 01:48:57,407
And I know that, you know,
having gotten to know Vin very well,
1772
01:48:57,490 --> 01:49:00,076
he had went through
the same thing, you know.
1773
01:49:00,160 --> 01:49:02,829
And Michelle, same thing, you know.
1774
01:49:02,912 --> 01:49:07,417
She was a Jersey girl
and, you know, Sung, all of us.
1775
01:49:07,500 --> 01:49:13,882
And somehow we all found our way
to each other.
1776
01:49:13,965 --> 01:49:19,179
Like with Vin it was about
making this indie film and finishing it.
1777
01:49:19,262 --> 01:49:22,098
And even though nobody believed in him,
he got into Sundance,
1778
01:49:22,182 --> 01:49:25,518
and that's where Spielberg saw him
and he got into Saving Private Ryan.
1779
01:49:25,602 --> 01:49:27,145
He has his own story.
1780
01:49:27,228 --> 01:49:30,815
My story is, nobody believed
in anything that I wanted to do.
1781
01:49:30,899 --> 01:49:32,692
I ultimately did a credit-card movie.
1782
01:49:32,775 --> 01:49:34,652
I met Sung and got into Sundance
1783
01:49:34,736 --> 01:49:37,071
and changed our lives
and gave me a career, you know.
1784
01:49:37,197 --> 01:49:41,284
And for Michelle, it was just
her exploration letter to Girlfight,
1785
01:49:41,367 --> 01:49:45,830
and she would share her stories with me
where the fact that the filmmaker Karyn,
1786
01:49:45,914 --> 01:49:49,584
she took a chance on someone new
as opposed to an established actor.
1787
01:49:49,667 --> 01:49:52,795
And somehow, we met each other and we...
1788
01:49:52,879 --> 01:49:56,174
We started making these films
that wasn't a given.
1789
01:49:56,257 --> 01:49:59,427
Like, I think when I joined,
the Fast and the Furious
1790
01:49:59,511 --> 01:50:01,054
was not Fast and the Furious today.
1791
01:50:01,137 --> 01:50:06,726
And for me to say, "For sure we're going
to have a sequel, " that was insane.
1792
01:50:06,809 --> 01:50:08,895
We had to earn it.
And then by earning it,
1793
01:50:09,020 --> 01:50:13,733
I got to work with Vin and Paul
and Jordana and Michelle and...
1794
01:50:14,442 --> 01:50:16,778
And we just kept challenging
each other, you know.
1795
01:50:16,861 --> 01:50:18,947
And that's the spirit
of Fast and the Furious.
1796
01:50:19,030 --> 01:50:22,909
And at the same time, there was no IP,
1797
01:50:22,992 --> 01:50:24,744
there was no comic book,
it's not based on anything.
1798
01:50:24,827 --> 01:50:27,789
It was whatever we wanted to do.
1799
01:50:27,872 --> 01:50:30,625
And I think it was very clear
for us from the beginning
1800
01:50:30,708 --> 01:50:34,379
that we were never going to just do
the same thing over and over.
1801
01:50:34,462 --> 01:50:38,925
This was not going to be James Bond,
where it's the same character
1802
01:50:39,008 --> 01:50:42,762
or characters that's just going to go
through different adventures.
1803
01:50:42,845 --> 01:50:44,681
We were going to honor these characters,
1804
01:50:44,764 --> 01:50:47,016
and as they grow, we were going to grow.
1805
01:50:47,100 --> 01:50:49,477
And now you're seeing us, you know...
1806
01:50:49,561 --> 01:50:52,480
These characters
have gone together, had kids.
1807
01:50:52,564 --> 01:50:54,691
And now we're doing
these big action movies
1808
01:50:54,774 --> 01:50:58,361
with our protagonists who actually have
kids at home, you know.
1809
01:50:58,444 --> 01:51:00,905
And I think that's what's
so unique about it.
1810
01:51:00,989 --> 01:51:05,910
And to be able to grow together
and not be alone.
1811
01:51:06,536 --> 01:51:10,915
You know, I can go all the way back to
meeting Tyrese on Annapolis
1812
01:51:10,999 --> 01:51:13,209
and getting to know each other.
1813
01:51:14,294 --> 01:51:15,545
But we were so different then.
1814
01:51:15,628 --> 01:51:20,383
And to be able to build that trust
where now I can put him and Chris
1815
01:51:20,466 --> 01:51:23,678
in a deep sea diving suit and say,
1816
01:51:23,761 --> 01:51:25,972
"You're going to attempt to go to space."
1817
01:51:26,055 --> 01:51:29,517
That's meaningful to me,
you know, and to us.
1818
01:51:29,601 --> 01:51:31,561
And so going to space,
1819
01:51:31,644 --> 01:51:33,146
it had all these profound meanings
1820
01:51:33,229 --> 01:51:36,774
that I wasn't even really conscious of
until we did it.
1821
01:51:36,858 --> 01:51:40,236
I'm barely ready to go scuba diving
in this old-ass thing.
1822
01:51:40,320 --> 01:51:41,779
Don't listen to him. We ready!
1823
01:51:41,863 --> 01:51:43,197
- "We"?
- Yes, I said "we"!
1824
01:51:43,281 --> 01:51:44,824
I thought you was invincible.
1825
01:51:44,907 --> 01:51:47,577
Let's see how invincible
your Black ass is after this.
1826
01:51:47,660 --> 01:51:49,037
- Punch it!
- No! Tej!
1827
01:51:52,498 --> 01:51:55,293
Oh, my God! I don't want to die!
1828
01:51:55,376 --> 01:51:56,794
Ignition!
1829
01:52:41,130 --> 01:52:43,758
Oh, my God. Oh, my God.
1830
01:52:46,386 --> 01:52:50,306
When we were shooting this,
and the Roman and Tej sequence
1831
01:52:50,390 --> 01:52:52,058
that comes a little later
when they're talking about,
1832
01:52:52,141 --> 01:52:53,935
"No one's going to believe us, right?"
1833
01:52:54,018 --> 01:52:55,228
it actually had a lot more meaning.
1834
01:52:56,771 --> 01:53:02,819
And again, these sequences
are so complicated to put together.
1835
01:53:02,902 --> 01:53:06,906
It takes months and months to plan
and then you location scout.
1836
01:53:06,989 --> 01:53:10,243
You have to scan the location,
and they have to previz it and previz it,
1837
01:53:10,326 --> 01:53:12,036
and then we have to go through stunts
1838
01:53:12,120 --> 01:53:15,540
to make sure that they can execute
everything that was planned.
1839
01:53:15,623 --> 01:53:18,584
And here, you know,
it looks like two cars...
1840
01:53:18,668 --> 01:53:23,673
That actually was two stunts done
at the same time, a cannon and a ramp.
1841
01:53:23,673 --> 01:53:27,176
such a big part
of Universal's legacy, you know.
1842
01:53:27,260 --> 01:53:28,553
And so, yeah.
1843
01:53:28,636 --> 01:53:34,308
So, to be able to see this sequence
actually, it meant a lot more.
1844
01:53:34,392 --> 01:53:37,311
And, you know,
it is definitely a lot of fun.
1845
01:53:37,395 --> 01:53:43,693
I would say that, you know,
talking to the NASA rocket scientist...
1846
01:53:44,360 --> 01:53:47,405
At first, he just thought we were crazy.
1847
01:53:47,488 --> 01:53:52,493
But soon, I think he realized
we weren't trying to duplicate
1848
01:53:52,577 --> 01:53:55,329
our space to outer atmosphere.
1849
01:53:55,413 --> 01:53:59,000
We were actually really trying
to figure out a real way to start.
1850
01:53:59,083 --> 01:54:01,669
And so those conversations were awesome.
1851
01:54:01,753 --> 01:54:02,837
It was...
1852
01:54:03,463 --> 01:54:07,967
It started off with fuel,
the amount of fuel that we would need.
1853
01:54:08,050 --> 01:54:10,011
And it led us to the launching point
1854
01:54:10,136 --> 01:54:13,055
where I knew we couldn't
launch our characters from the ground,
1855
01:54:13,139 --> 01:54:14,849
it'd just take too much fuel.
1856
01:54:14,932 --> 01:54:17,435
So then we looked at the Virgin Galactic
1857
01:54:17,518 --> 01:54:20,980
and some of the
space shuttle tests they did.
1858
01:54:21,063 --> 01:54:27,528
And we realized if we launch the the craft
from higher altitude,
1859
01:54:27,612 --> 01:54:30,156
it would be a lot less fuel
and actually has been done.
1860
01:54:30,239 --> 01:54:34,535
So it was just about making sure
that we had characters
1861
01:54:34,619 --> 01:54:37,205
that was trained in that discipline.
1862
01:54:37,288 --> 01:54:42,126
So Earl and Sean and Twinkie
actually felt very natural
1863
01:54:42,210 --> 01:54:45,922
because these are characters
that are kind of savants, you know.
1864
01:54:46,005 --> 01:54:48,633
And as they lived in the universe,
1865
01:54:48,716 --> 01:54:53,387
and us not checking in with them
for the last, I don't know, 10 years,
1866
01:54:53,471 --> 01:54:57,308
that they would naturally be
very much into this idea
1867
01:54:57,391 --> 01:54:59,852
of pushing vehicles into new realms.
1868
01:54:59,936 --> 01:55:02,146
And so... Anyway, it is crazy.
1869
01:55:02,230 --> 01:55:04,357
I know that people have seen the trailer,
1870
01:55:04,440 --> 01:55:07,902
and they thought, "Oh, my God,
they're going to space."
1871
01:55:07,985 --> 01:55:09,987
But I could tell you that,
1872
01:55:10,071 --> 01:55:13,741
I think aside from the polymer
and some other things,
1873
01:55:13,825 --> 01:55:16,160
it is actually very sound
what we're doing.
1874
01:55:16,244 --> 01:55:20,039
And we've had many, many
really great conversations
1875
01:55:20,122 --> 01:55:23,918
with literally rocket scientists
to get all that going.
1876
01:55:24,001 --> 01:55:27,046
I think if anything,
the magnet tech is actually
1877
01:55:27,129 --> 01:55:29,632
maybe a little more further out, you know?
1878
01:55:29,715 --> 01:55:33,344
And I just took the principle
of a lot of stuff that they're working on
1879
01:55:33,427 --> 01:55:37,181
in that technology,
and we just kind of build off of that.
1880
01:55:37,265 --> 01:55:41,269
And, yeah, I think a lot of times you see
the knobs being turned right there,
1881
01:55:41,352 --> 01:55:43,271
which is to repel or to attract.
1882
01:55:43,354 --> 01:55:46,148
But there are actually,
if you look at Ramsey's computer,
1883
01:55:46,232 --> 01:55:49,610
there are a lot more specific things
that they're doing with the tech.
1884
01:55:49,694 --> 01:55:51,320
And I shot it.
1885
01:55:51,404 --> 01:55:53,364
And actually, ultimately...
1886
01:55:53,447 --> 01:55:57,994
I just felt like it was going to be
more confusing in those cuts.
1887
01:55:58,077 --> 01:55:59,662
So the tech is there.
1888
01:55:59,745 --> 01:56:01,706
If you really look closely,
it's actually there.
1889
01:56:01,789 --> 01:56:06,252
We actually had footage,
but ultimately it just was not...
1890
01:56:06,335 --> 01:56:08,379
I just felt like it was
confusing people more,
1891
01:56:08,462 --> 01:56:10,214
so I just simplified it.
1892
01:56:13,050 --> 01:56:15,761
And here, we're seeing Francis Ngannou.
1893
01:56:15,845 --> 01:56:18,681
It was one of these nice perks
of doing these movies
1894
01:56:18,764 --> 01:56:21,642
because I just get incoming calls
from people.
1895
01:56:21,726 --> 01:56:26,439
One day it could be Cardi B,
it could be Bad Bunny,
1896
01:56:26,522 --> 01:56:27,690
or it could be Francis Ngannou.
1897
01:56:27,773 --> 01:56:30,234
You know, just people saying,
"Hey, we love the franchise.
1898
01:56:30,318 --> 01:56:31,611
"Can we be a part of it?"
1899
01:56:31,694 --> 01:56:33,988
And I thought, "Okay, cool. Let me see."
1900
01:56:34,071 --> 01:56:36,324
And I remember it was actually...
1901
01:56:36,407 --> 01:56:41,162
I was on my way to the set
and we were well into shooting.
1902
01:56:41,245 --> 01:56:44,874
And I was just inspired one morning.
1903
01:56:44,957 --> 01:56:47,668
I was listening to this Carpenters' song,
Top of the World,
1904
01:56:47,752 --> 01:56:50,296
and for some reason,
it was the structure of the music
1905
01:56:50,379 --> 01:56:54,800
that it was like a three-parter
that really inspired me.
1906
01:56:54,884 --> 01:56:59,096
And I started writing, and this whole
sequence was written in that car.
1907
01:56:59,180 --> 01:57:02,725
And so when we landed at the studio,
I called second unit
1908
01:57:02,808 --> 01:57:05,186
and they were actually
shooting in Tbilisi,
1909
01:57:05,269 --> 01:57:07,855
and I told them the shots
and I started sketching it out
1910
01:57:07,939 --> 01:57:11,192
and I would email it to them
and they ended up shooting it,
1911
01:57:11,275 --> 01:57:13,486
and that became the Ngannou sequence.
1912
01:57:13,569 --> 01:57:16,530
And it was all done when I was in the car,
and it's...
1913
01:57:16,614 --> 01:57:20,117
It's a testament to the team that I have.
1914
01:57:20,201 --> 01:57:23,245
We now have this shorthand
where certain sequences
1915
01:57:23,329 --> 01:57:25,498
we planned for months and months.
1916
01:57:25,581 --> 01:57:28,334
But then on the spur of the moment,
when I get inspired,
1917
01:57:28,417 --> 01:57:33,756
I can actually call them
and plan that over the phone,
1918
01:57:33,839 --> 01:57:36,133
and they could actually shoot it
and we can shoot
1919
01:57:36,217 --> 01:57:39,303
all the interior stuff in London
and get it all done.
1920
01:57:40,805 --> 01:57:45,935
So here what you just saw was actually
the improv sequence with Roman and Tej.
1921
01:57:46,018 --> 01:57:48,020
It is one of those things
that when I saw it,
1922
01:57:48,104 --> 01:57:51,357
I knew it had to be in the film
because it was never scripted.
1923
01:57:51,440 --> 01:57:55,736
But it was a sentiment of
"we're never supposed to be here."
1924
01:57:55,820 --> 01:58:01,033
And I know it's done in a fun way,
but I just love the delivery that Tyrese
1925
01:58:01,117 --> 01:58:04,078
and, both, Chris, in that moment, gave.
1926
01:58:04,161 --> 01:58:07,915
And it really kind of says it all
for all of us,
1927
01:58:07,999 --> 01:58:11,502
I think, you know,
behind the camera, in front of the camera.
1928
01:58:11,585 --> 01:58:14,839
And it really captured the essence
and the spirit of Fast and the Furious.
1929
01:58:14,922 --> 01:58:20,136
And so, it's one of those great things
that in film that I love
1930
01:58:20,219 --> 01:58:23,556
is that sometimes you can plan
and plan and plan.
1931
01:58:23,639 --> 01:58:27,518
If you do that enough, you get the
spontaneous moments on the day
1932
01:58:27,601 --> 01:58:31,439
that outshines all the planning.
1933
01:58:31,522 --> 01:58:34,233
That's what happens,
the magic of filmmaking.
1934
01:58:39,405 --> 01:58:41,949
- Something you want to tell me, Otto?
- My bad.
1935
01:58:42,033 --> 01:58:44,326
Satellite uplink
is actually going splendid.
1936
01:58:44,910 --> 01:58:47,329
And, by the way,
I have a new business partner.
1937
01:58:47,413 --> 01:58:48,414
Maybe you know her.
1938
01:58:48,539 --> 01:58:50,833
Guess who's out of the box, Jakob.
1939
01:58:52,209 --> 01:58:54,003
But I did try to warn you.
1940
01:58:56,922 --> 01:58:58,758
You were never my competition.
1941
01:58:59,383 --> 01:59:01,844
- Otto, there's something you should know.
- Yeah, go on.
1942
01:59:03,012 --> 01:59:05,306
So here, we have seen the intersection now
1943
01:59:05,389 --> 01:59:08,934
of this earned partnership
between Otto and Cipher
1944
01:59:09,018 --> 01:59:12,480
that was all done off screen.
1945
01:59:12,563 --> 01:59:13,898
And, again, it goes all the way back
1946
01:59:13,981 --> 01:59:17,151
to that Yoda, Star Wars scene
between them.
1947
01:59:17,234 --> 01:59:19,403
I was so excited after we shot that.
1948
01:59:19,487 --> 01:59:22,448
You know, soon as I knew
we had that scene in the can,
1949
01:59:22,531 --> 01:59:26,243
I felt like,
"Okay, this beat is going to work."
1950
01:59:42,384 --> 01:59:48,432
And again, these sequences
are so complicated to put together.
1951
01:59:48,516 --> 01:59:52,520
It takes months and months to plan
and then you location scout.
1952
01:59:52,603 --> 01:59:55,856
You have to scan the location,
and they have to previz it and previz it,
1953
01:59:55,940 --> 01:59:57,650
and then we have to go through stunts
1954
01:59:57,733 --> 02:00:01,153
to make sure that they can execute
everything that was planned.
1955
02:00:01,237 --> 02:00:04,198
And here, you know,
it looks like two cars...
1956
02:00:04,281 --> 02:00:08,994
That actually was two stunts done
at the same time, a cannon and a ramp.
1957
02:00:13,916 --> 02:00:16,752
And this is a combination of...
1958
02:00:16,836 --> 02:00:19,004
You're talking about,
at the end of the day,
1959
02:00:19,088 --> 02:00:24,301
crew in Tbilisi, in UK,
and in post, you have crew in India,
1960
02:00:24,385 --> 02:00:26,220
you know, UK, Montreal,
1961
02:00:26,303 --> 02:00:30,224
everywhere around the world
to make it all happen.
1962
02:00:30,307 --> 02:00:36,564
It was a connection of this amazing crew
of thousands across the world
1963
02:00:36,647 --> 02:00:38,732
for us to be able to bring this to life.
1964
02:00:44,196 --> 02:00:47,074
And this is one of the craziest moments
of hitting that.
1965
02:00:47,158 --> 02:00:49,702
And we actually did that practically.
1966
02:00:50,953 --> 02:00:52,663
It was done in pieces, of course,
1967
02:00:52,746 --> 02:00:55,666
but I was very proud
that we were able to capture
1968
02:00:55,749 --> 02:00:58,460
all that in camera, every beat of that.
1969
02:01:05,426 --> 02:01:09,722
And here there's a...
I'm sure people watching it
1970
02:01:09,805 --> 02:01:12,224
have questions about the magnet...
1971
02:01:12,308 --> 02:01:15,477
How is it that the Supra
is the only thing attached?
1972
02:01:16,562 --> 02:01:18,063
And it, actually...
1973
02:01:18,147 --> 02:01:21,775
If you see all those things,
those directional kind of magnetic force,
1974
02:01:21,859 --> 02:01:25,821
we had months and months
of meetings about it,
1975
02:01:25,905 --> 02:01:28,490
and I actually...
1976
02:01:28,574 --> 02:01:32,286
There is actually tech in there
with... that Mia does.
1977
02:01:32,369 --> 02:01:36,040
But I remember seeing an earlier cut
when I actually cut to her doing it,
1978
02:01:36,123 --> 02:01:41,170
it brought on like
it was just an overload of intel.
1979
02:01:41,253 --> 02:01:45,925
And so when I removed it,
it just felt like it all made sense.
1980
02:01:46,008 --> 02:01:48,344
But for people that are doing
a deeper dive,
1981
02:01:48,427 --> 02:01:51,305
I could tell you
that there is a logic to that
1982
02:01:51,388 --> 02:01:54,266
that we had spent months developing.
1983
02:01:54,350 --> 02:01:56,810
I mean, it's still there
if you really look at it,
1984
02:01:56,894 --> 02:02:01,482
but in the cut, it just made
more sense for it to be simple.
1985
02:02:05,611 --> 02:02:10,741
So here, you know, I have
Anna shooting this crazy Gatling gun.
1986
02:02:10,824 --> 02:02:13,327
I think she had a lot of fun
that day doing it.
1987
02:02:13,410 --> 02:02:16,789
But it was a combination of us
shooting interior in London
1988
02:02:16,872 --> 02:02:20,251
and then sending her to Tbilisi
to shoot that gun for real.
1989
02:02:25,714 --> 02:02:29,635
And a lot of people,
they ask me about this sequence.
1990
02:02:29,718 --> 02:02:31,095
And as you can see,
1991
02:02:31,178 --> 02:02:34,223
there's no way we can duplicate
that in the visual effects world.
1992
02:02:34,306 --> 02:02:39,687
So I was giving notes and I just
kept asking them to throw more cars
1993
02:02:39,770 --> 02:02:41,814
at, we call it the Armadillo.
1994
02:02:41,897 --> 02:02:44,650
That's something
that we built from ground up.
1995
02:02:44,733 --> 02:02:48,946
And so, my note for them was
always to keep throwing more cars at it.
1996
02:02:49,029 --> 02:02:52,950
So I was very happy
the way the sequence turned out.
1997
02:02:53,867 --> 02:02:57,371
You know, it was one of those things
where, like this,
1998
02:02:57,454 --> 02:03:00,916
you cannot duplicate that
in the visual effects world.
1999
02:03:03,752 --> 02:03:06,255
Letty, drop back
and line up with the front tires.
2000
02:03:06,338 --> 02:03:07,881
- What?
- If we can't slow it
2001
02:03:07,965 --> 02:03:09,508
and we can't punch through...
2002
02:03:10,175 --> 02:03:13,095
So, where we're coming up to,
is this pole,
2003
02:03:13,178 --> 02:03:15,264
and then this is,
actually this shot right here,
2004
02:03:15,347 --> 02:03:17,057
where the car hits the windshield,
2005
02:03:17,141 --> 02:03:18,767
that was one of the happy accidents.
2006
02:03:18,851 --> 02:03:24,523
We threw a camera on there,
and it just had this amazing moment
2007
02:03:24,606 --> 02:03:26,984
where it captures a car
hitting the windshield,
2008
02:03:27,067 --> 02:03:30,070
and I think it delayed us a little bit,
2009
02:03:30,154 --> 02:03:32,323
but it gave this really great coverage
2010
02:03:32,406 --> 02:03:35,826
that I ultimately was able
to kind of work into the movie.
2011
02:03:35,909 --> 02:03:37,745
You read my mind.
Han, get in front of me.
2012
02:03:39,830 --> 02:03:44,001
And the wire gag here,
it seems pretty simple.
2013
02:03:44,084 --> 02:03:49,423
I think, for anybody,
it's just five seconds of a moment.
2014
02:03:49,506 --> 02:03:52,634
But again, it took so much time.
2015
02:03:53,927 --> 02:03:57,931
We had cannons, poles
and it was all the amazing stunt team.
2016
02:03:59,600 --> 02:04:02,436
And usually, you do one of these,
it's a big deal.
2017
02:04:03,062 --> 02:04:07,941
But to do multiple vehicles like this,
2018
02:04:08,025 --> 02:04:09,860
it is a huge undertaking.
2019
02:04:10,611 --> 02:04:14,365
And again, I just give the crew
so much credit, you know, they...
2020
02:04:14,448 --> 02:04:16,617
There's never any hesitation.
2021
02:04:16,700 --> 02:04:19,661
Everybody was always in
to do something new,
2022
02:04:19,787 --> 02:04:21,914
even if it's just a small beat like that.
2023
02:04:28,921 --> 02:04:33,300
And so, for this beat of the flip,
2024
02:04:33,384 --> 02:04:38,639
we actually had to build
so many different rigs to do that
2025
02:04:38,722 --> 02:04:42,935
and one just for the head
of the Armadillo.
2026
02:04:43,018 --> 02:04:46,188
And actually, for a lot of this,
we had to capture in camera,
2027
02:04:46,271 --> 02:04:48,065
just for reference.
2028
02:04:48,148 --> 02:04:49,650
And it's something that...
2029
02:04:49,817 --> 02:04:51,652
It was so complicated
just because there was
2030
02:04:51,735 --> 02:04:54,696
three different lighting sequences
to try to get all that done.
2031
02:04:54,780 --> 02:04:58,617
But we were able to capture
a lot of the stuff practically,
2032
02:04:58,700 --> 02:05:00,619
even if it was used for reference.
2033
02:05:00,702 --> 02:05:01,829
Satellite is in range.
2034
02:05:01,912 --> 02:05:03,831
Let's power up these magnets and fry it.
2035
02:05:04,248 --> 02:05:05,582
All right, take our time.
2036
02:05:11,880 --> 02:05:17,052
I have to say, I think this coming up here
with Chris and Tyrese,
2037
02:05:17,970 --> 02:05:21,348
to put 'em in the most ridiculous outfits
2038
02:05:21,432 --> 02:05:24,017
and to be in this ridiculous vehicle
2039
02:05:24,768 --> 02:05:26,979
in this ridiculous situation,
2040
02:05:27,062 --> 02:05:30,649
and for them to really
kind of connect on an emotional level...
2041
02:05:31,400 --> 02:05:34,736
Oh, my goodness, it...
I'm so proud of them.
2042
02:05:34,820 --> 02:05:37,865
I would say, with everything
that I've done with them,
2043
02:05:38,240 --> 02:05:40,742
this is my most proud moment with them
2044
02:05:40,826 --> 02:05:44,371
because they're showing up,
they look like Minions.
2045
02:05:44,496 --> 02:05:50,294
I have 'em hanging from the set
for hours and hours.
2046
02:05:51,128 --> 02:05:55,132
And then they had to deliver this
existential monologue
2047
02:05:55,215 --> 02:05:58,844
where both of their philosophies converge.
2048
02:05:58,927 --> 02:06:02,931
And that Tej was always driven
by math and science,
2049
02:06:03,015 --> 02:06:06,185
is basically saying that
it's an impossibility.
2050
02:06:06,268 --> 02:06:07,728
It's one in a million.
2051
02:06:07,811 --> 02:06:11,857
And then for Roman, who's basically,
the dreamer saying,
2052
02:06:12,399 --> 02:06:15,694
"Well, if it's one in a million,
let's go for it.
2053
02:06:15,777 --> 02:06:17,905
"Because we were never
supposed to be here."
2054
02:06:17,988 --> 02:06:21,533
And it says a lot about us
as a franchise,
2055
02:06:21,617 --> 02:06:26,371
and us as a family
in front and behind the camera.
2056
02:06:27,039 --> 02:06:30,459
And you can hear it
in Tyrese's performance.
2057
02:06:30,626 --> 02:06:32,753
It really captured that.
2058
02:06:32,836 --> 02:06:39,092
And I remember thinking about rewriting it
just as an exercise.
2059
02:06:39,801 --> 02:06:44,640
And then I thought, "No, it doesn't matter
whatever I write or rewrite."
2060
02:06:45,140 --> 02:06:49,394
Whatever was captured in that moment
between Tyrese and Chris
2061
02:06:49,478 --> 02:06:51,897
really says it all for us.
2062
02:06:51,980 --> 02:06:55,692
And for us to be
doing this crazy action sequence
2063
02:06:55,776 --> 02:06:59,613
and then getting into that
emotional moment for all of us,
2064
02:07:00,030 --> 02:07:02,866
to me, that's like
the secret weapon a lot of times
2065
02:07:02,950 --> 02:07:05,953
to be able to surprise people.
2066
02:07:06,203 --> 02:07:08,789
And I think people, lot of times,
think the surprise is
2067
02:07:08,872 --> 02:07:11,333
in the craziness in the action,
2068
02:07:11,416 --> 02:07:13,710
but for me, it's always
the emotional moments
2069
02:07:13,794 --> 02:07:16,421
that we're able to capture.
2070
02:07:18,173 --> 02:07:19,383
We did it!
2071
02:07:19,550 --> 02:07:20,551
Let's go.
2072
02:07:20,634 --> 02:07:21,885
Yes!
2073
02:07:22,553 --> 02:07:23,595
Shit.
2074
02:07:23,679 --> 02:07:25,138
Not bad, man.
2075
02:07:25,472 --> 02:07:26,557
Not bad at all.
2076
02:07:26,807 --> 02:07:29,685
And so, the Toretto house,
under construction,
2077
02:07:30,352 --> 02:07:34,731
that was something that I also wanted
to earn our way to,
2078
02:07:34,815 --> 02:07:38,485
even though they were living
in that farmhouse when we first find 'em,
2079
02:07:38,568 --> 02:07:42,322
I always knew our goal
was to earn our way back
2080
02:07:42,406 --> 02:07:45,742
to the Toretto house
and to be able to have our barbecue.
2081
02:07:51,957 --> 02:07:54,835
I'm sure when people saw the trailer,
they expected
2082
02:07:54,918 --> 02:07:58,255
Han to be with Sean
and Twinkie and Earl and I...
2083
02:07:58,839 --> 02:08:02,009
I love the fact that, for the first time
they see each other
2084
02:08:02,092 --> 02:08:05,387
is actually in this moment of the film,
2085
02:08:05,470 --> 02:08:07,931
that they actually
weren't connected at all,
2086
02:08:08,056 --> 02:08:10,809
and that they were able to
find their way to each other
2087
02:08:10,934 --> 02:08:13,854
and to kind of be introduced
to Elle, their new member.
2088
02:08:16,523 --> 02:08:17,524
Just call me T.
2089
02:08:18,275 --> 02:08:20,485
And, you know, Leo, Santos...
2090
02:08:20,569 --> 02:08:24,239
We actually... Is also something
that I really was excited to do
2091
02:08:24,323 --> 02:08:28,869
was to see how they met Dom
in that flashback sequence.
2092
02:08:44,259 --> 02:08:46,261
You see that beat of Dom
running through,
2093
02:08:46,345 --> 02:08:49,139
that is actually one of the hardest sets.
2094
02:08:49,222 --> 02:08:51,266
It took us weeks to build.
2095
02:08:51,350 --> 02:08:56,104
It was on this 360 rotating set
just for those couple of seconds.
2096
02:08:56,396 --> 02:08:58,523
And that's what's so, to me...
2097
02:08:58,607 --> 02:09:01,735
I'm still blown away
that we're able to do that.
2098
02:09:01,860 --> 02:09:04,738
And the amount of care
that we can do.
2099
02:09:05,113 --> 02:09:07,824
This is still something
that I wake up every morning,
2100
02:09:07,908 --> 02:09:10,786
and I'm so happy and excited
2101
02:09:11,828 --> 02:09:15,248
to be part of, you know,
the tent pole cinema.
2102
02:09:18,460 --> 02:09:20,837
You just can't do this
anywhere else in the world.
2103
02:09:23,131 --> 02:09:26,134
You know, to be able to wreck
over 200 cars,
2104
02:09:26,218 --> 02:09:28,095
to come up with crazy ideas,
2105
02:09:28,178 --> 02:09:32,224
and then have this amazing crew
bring it to life.
2106
02:09:33,892 --> 02:09:36,436
And to be able to use
every tool available.
2107
02:09:37,479 --> 02:09:41,483
To even do this, you know,
right here, with the jump.
2108
02:09:42,067 --> 02:09:45,028
To be able to start practically
and then go all the way,
2109
02:09:45,112 --> 02:09:47,781
using every tool to tell the story.
2110
02:09:58,333 --> 02:10:00,752
So coming up here with Cipher,
2111
02:10:01,586 --> 02:10:03,755
this is probably
the beginning of something
2112
02:10:03,839 --> 02:10:07,551
that I'm really excited to explore
with both Vin and Charlize.
2113
02:10:08,885 --> 02:10:10,011
And this is the...
2114
02:10:10,554 --> 02:10:13,807
I'll point this out,
it's one of those luxuries...
2115
02:10:14,474 --> 02:10:18,019
For the first time,
I allowed myself to think of it
2116
02:10:18,103 --> 02:10:21,022
as a final chapter
so that we can have scenes like this.
2117
02:10:22,023 --> 02:10:24,484
A lot of the credit goes to Vin
and the studio
2118
02:10:24,568 --> 02:10:27,904
because I have always wanted to only treat
2119
02:10:28,405 --> 02:10:32,909
every film, every chapter
as its own journey,
2120
02:10:32,993 --> 02:10:35,162
and I didn't wanna engage.
2121
02:10:35,245 --> 02:10:37,038
I wanna earn the next chapter,
2122
02:10:37,581 --> 02:10:42,919
but Vin talked me into thinking of it
as we've earned this final chapter.
2123
02:10:43,003 --> 02:10:47,299
And Fast 9 is really the first film
of the of the three.
2124
02:10:47,382 --> 02:10:51,094
So, it allowed me to be able
to explore things
2125
02:10:51,178 --> 02:10:53,138
and have scenes like that with Cipher,
2126
02:10:53,221 --> 02:10:55,599
which is suggesting
that there's more to come.
2127
02:10:55,682 --> 02:10:56,975
This is the world I chose, Dom.
2128
02:10:58,894 --> 02:11:00,812
You know, Dad wasn't perfect.
2129
02:11:02,105 --> 02:11:04,983
And then, of course, here, this exchange,
2130
02:11:05,066 --> 02:11:08,028
it harkens back to the heart and soul
2131
02:11:08,111 --> 02:11:11,573
of the franchise of the first
Fast and the Furious.
2132
02:11:11,656 --> 02:11:13,325
And even though,
2133
02:11:13,408 --> 02:11:18,747
Brian O'Conner's not physically
part of this film and journey,
2134
02:11:19,206 --> 02:11:22,959
it was very much an effort
to always be conscious
2135
02:11:23,043 --> 02:11:26,796
that he is part of this universe,
and any time we can, you know,
2136
02:11:26,880 --> 02:11:31,259
have moments that helps
the audience connect with him
2137
02:11:31,343 --> 02:11:34,179
and to know that
he's still in this universe,
2138
02:11:34,262 --> 02:11:37,516
it's really important.
And this was one of the great finds.
2139
02:11:37,933 --> 02:11:40,810
It was, again, very organic and earned,
2140
02:11:40,894 --> 02:11:47,108
but it's also very much part of the DNA
of where we all came from.
2141
02:11:58,495 --> 02:12:01,790
So we're about to get into
this kind of wrapping up
2142
02:12:01,873 --> 02:12:04,501
this crazy chapter of going into...
2143
02:12:05,085 --> 02:12:08,213
I know we're saying space.
Like here, it's space.
2144
02:12:08,296 --> 02:12:11,925
But I can officially tell you
that it was outer atmosphere.
2145
02:12:12,008 --> 02:12:15,262
It wasn't until they pushed that NOS
that took them into space,
2146
02:12:15,345 --> 02:12:18,223
which is way further,
and so they've been drifting for a while.
2147
02:12:18,306 --> 02:12:22,227
And, you know, the Minion joke
actually came from me
2148
02:12:22,310 --> 02:12:25,772
trying to figure out
if there's any way of them
2149
02:12:26,231 --> 02:12:28,692
coming up with a space suit with no time.
2150
02:12:28,775 --> 02:12:30,402
And I was talking to a rocket scientists
2151
02:12:30,485 --> 02:12:33,196
and it ultimately came into this idea
that, you know,
2152
02:12:33,280 --> 02:12:37,742
deep sea exploration diving suits
are very close to astronaut suits.
2153
02:12:37,826 --> 02:12:42,080
And so the idea that they blow up,
that's all kind of based on real science.
2154
02:12:49,212 --> 02:12:51,631
And here we are in the race track,
2155
02:12:51,881 --> 02:12:54,718
and this Bad Bunny track was amazing.
2156
02:12:54,843 --> 02:12:56,970
He actually sent us the track.
2157
02:12:57,596 --> 02:13:00,932
And I loved the song
and I didn't know where to put it.
2158
02:13:01,057 --> 02:13:04,269
And I think once we
tried it in the scene,
2159
02:13:04,352 --> 02:13:06,813
it really gave it so much more meaning.
2160
02:13:07,188 --> 02:13:08,189
You did?
2161
02:13:08,815 --> 02:13:11,359
And it was just... Again, I feel so lucky.
2162
02:13:11,443 --> 02:13:13,486
You know, when I first
joined the franchise,
2163
02:13:13,570 --> 02:13:15,697
people weren't sending us tracks to try.
2164
02:13:15,780 --> 02:13:18,283
And now we have all these amazing artists
2165
02:13:18,450 --> 02:13:22,454
that are just sharing with us
materials that they've created.
2166
02:13:22,537 --> 02:13:26,207
And when we're able to find
these amazing connections,
2167
02:13:26,291 --> 02:13:28,293
it just makes me realize
how far we've come,
2168
02:13:28,376 --> 02:13:30,837
and the fact that it
wasn't always like this
2169
02:13:30,920 --> 02:13:33,632
and it was something that
that we've earned together.
2170
02:13:40,930 --> 02:13:45,310
This moment here, I felt like
it was so important to have
2171
02:13:45,393 --> 02:13:48,855
because when we talk
about time travel,
2172
02:13:48,938 --> 02:13:51,900
the idea that we're able to explore
two timelines,
2173
02:13:52,359 --> 02:13:57,739
and finally, we're able to have
this kind of temporal and physical space
2174
02:13:57,822 --> 02:13:59,366
converge into one.
2175
02:14:00,075 --> 02:14:02,035
I was so excited to have this.
2176
02:14:02,869 --> 02:14:06,498
But it was also able to wrap
this chapter up completely
2177
02:14:06,581 --> 02:14:10,752
in a way that it suggests a lot more
2178
02:14:11,169 --> 02:14:13,254
that that's happened, obviously,
2179
02:14:13,338 --> 02:14:15,757
but at the same time, for Fast 9,
2180
02:14:15,840 --> 02:14:18,885
this connection,
it was so important to me,
2181
02:14:18,968 --> 02:14:21,346
and I'm so glad we're able to achieve it.
2182
02:14:28,812 --> 02:14:32,899
And so, the Toretto house,
under construction,
2183
02:14:33,566 --> 02:14:37,946
that was something that I also wanted
to earn our way to,
2184
02:14:38,029 --> 02:14:41,700
even though they were living
in that farmhouse when we first find 'em,
2185
02:14:41,783 --> 02:14:45,537
I always knew our goal
was to earn our way back
2186
02:14:45,620 --> 02:14:48,957
to the Toretto house
and to be able to have our barbecue.
2187
02:14:55,171 --> 02:14:58,049
I'm sure when people saw the trailer,
they expected
2188
02:14:58,133 --> 02:15:01,469
Han to be with Sean
and Twinkie and Earl and I...
2189
02:15:02,053 --> 02:15:05,223
I love the fact that, for the first time
they see each other
2190
02:15:05,306 --> 02:15:08,601
is actually in this moment of the film,
2191
02:15:08,685 --> 02:15:11,146
that they actually
weren't connected at all,
2192
02:15:11,271 --> 02:15:14,023
and that they were able to
find their way to each other
2193
02:15:14,149 --> 02:15:17,068
and to kind of be introduced
to Elle, their new member.
2194
02:15:19,738 --> 02:15:20,739
Just call me T.
2195
02:15:21,489 --> 02:15:23,700
And, you know, Leo, Santos...
2196
02:15:23,783 --> 02:15:27,454
We actually... Is also something
that I really was excited to do
2197
02:15:27,537 --> 02:15:32,083
was to see how they met Dom
in that flashback sequence.
2198
02:15:37,046 --> 02:15:38,923
And it was awesome to get Don Omar.
2199
02:15:39,549 --> 02:15:43,845
In this present timeline, to be able
to get him and everybody together,
2200
02:15:44,220 --> 02:15:46,055
it just meant so much.
2201
02:15:46,973 --> 02:15:48,391
It has so much more value.
2202
02:15:48,475 --> 02:15:51,478
Again, I know I said this so many times
during this commentary,
2203
02:15:51,936 --> 02:15:55,273
but there's a lot of times
in writing and understanding
2204
02:15:55,356 --> 02:15:57,400
the magnitude of certain things,
2205
02:15:57,859 --> 02:16:01,988
but then there's a difference between that
and then showing up on the day
2206
02:16:02,071 --> 02:16:05,533
with all the actors,
with the whole cast.
2207
02:16:05,617 --> 02:16:10,246
And it really elevates it
to another emotional level
2208
02:16:10,330 --> 02:16:13,249
that I think on a cerebral sense,
writing it you understand,
2209
02:16:13,333 --> 02:16:16,669
but until you get there and you shoot it
and you're in that location
2210
02:16:17,086 --> 02:16:20,089
in the Toretto backyard,
you truly feel it.
2211
02:16:24,219 --> 02:16:26,346
I think Daddy has a question for you.
2212
02:16:30,892 --> 02:16:32,769
You ready to say grace, kid?
2213
02:16:33,394 --> 02:16:35,188
But I don't know what to say.
2214
02:16:36,397 --> 02:16:37,607
Oh, it's easy.
2215
02:16:38,274 --> 02:16:43,530
Here, obviously, Little Brian,
you know, joining the barbecue,
2216
02:16:43,613 --> 02:16:47,116
the family barbecue, is significant
because it also suggests that
2217
02:16:47,659 --> 02:16:51,704
he's going to be
at many more barbecues.
2218
02:16:53,665 --> 02:16:56,125
Little Brian's ready to say grace with us.
2219
02:16:57,001 --> 02:16:58,628
I think that the empty chair...
2220
02:16:58,711 --> 02:17:01,005
And I remember sitting there
with the set decks
2221
02:17:01,089 --> 02:17:04,425
and trying to find the right color
to match for Brian.
2222
02:17:08,972 --> 02:17:11,307
And then at the same time, like,
2223
02:17:12,684 --> 02:17:16,563
having Brian show up at the barbecue
with his Skyline,
2224
02:17:17,063 --> 02:17:19,440
for anybody that's been
part of this franchise,
2225
02:17:19,524 --> 02:17:22,819
I just felt like
that was the right way to approach
2226
02:17:22,902 --> 02:17:25,405
his presence in this franchise,
2227
02:17:25,488 --> 02:17:28,867
but hopefully, doing in a respectful way.
2228
02:17:37,458 --> 02:17:41,421
Again, you know, I think
it was so gratifying to be back,
2229
02:17:41,588 --> 02:17:45,258
but I think more importantly,
is to be back for the right reasons.
2230
02:17:45,341 --> 02:17:47,635
And to be able to do this film
2231
02:17:48,177 --> 02:17:53,516
and to be inspired and to know that,
"Yes, this is chapter nine."
2232
02:17:53,600 --> 02:17:58,396
But we still have all this new themes
and arcs and threads
2233
02:17:58,479 --> 02:18:00,231
to explore with our characters.
2234
02:18:00,481 --> 02:18:02,901
And to do that, again,
2235
02:18:03,234 --> 02:18:05,486
I get the business
of making these movies
2236
02:18:05,570 --> 02:18:09,365
that when you're successful,
you have other opportunities,
2237
02:18:09,449 --> 02:18:12,076
but on a creative level
to know that we can do this,
2238
02:18:12,160 --> 02:18:13,703
but be able to have an environment
2239
02:18:13,786 --> 02:18:17,498
where we're still challenging each other
and trying new things,
2240
02:18:17,874 --> 02:18:21,002
that to me, is when it's most fulfilling.
2241
02:18:26,799 --> 02:18:28,551
And I think at the end of this,
2242
02:18:28,801 --> 02:18:32,180
it's interesting because
I knew we were gonna have a tag.
2243
02:18:32,597 --> 02:18:35,808
And I remember shooting Fast 6,
and I was leaving.
2244
02:18:35,892 --> 02:18:39,771
I knew I was leaving,
and I was talking to Jason Statham
2245
02:18:39,854 --> 02:18:43,816
for a long time
about joining our franchise.
2246
02:18:44,400 --> 02:18:48,488
And I remember in London,
I came up with the idea
2247
02:18:48,571 --> 02:18:51,199
that he was going to be Shaw
2248
02:18:51,282 --> 02:18:55,286
and that Shaw was going to be
the one that killed Han, and...
2249
02:18:55,370 --> 02:18:59,374
And I called him and he was awesome
and he came in and did the scene.
2250
02:18:59,457 --> 02:19:01,960
And then I finally
officially decided I was leaving.
2251
02:19:02,043 --> 02:19:03,670
I had a long talk with him.
2252
02:19:04,253 --> 02:19:06,714
His first reaction was,
"If you're leaving, I'm leaving.
2253
02:19:06,798 --> 02:19:08,132
"I'm not going to continue."
2254
02:19:08,216 --> 02:19:10,426
And I said, "No, no, no, no.
Please, you should."
2255
02:19:10,510 --> 02:19:13,304
I think there's still
a lot more story to be had,
2256
02:19:13,388 --> 02:19:15,098
and he obviously stayed.
2257
02:19:15,181 --> 02:19:19,185
But I always felt bad because he came
and did that scene for me.
2258
02:19:19,644 --> 02:19:24,399
So, it was great to be able
to come up with the idea for this,
2259
02:19:24,941 --> 02:19:29,153
and in many ways,
it's the continuation for us, you know,
2260
02:19:29,278 --> 02:19:34,409
and to be able to call him and say, "Hey,
can you come in here and do this tag?
2261
02:19:34,784 --> 02:19:36,703
"And this tag is not about me leaving.
2262
02:19:36,786 --> 02:19:40,415
"This tag is about connecting with Shaw
2263
02:19:40,498 --> 02:19:43,001
"and it's for us to make the promise
2264
02:19:43,084 --> 02:19:46,796
"that we're going to be able to, you know,
not only work together,
2265
02:19:47,547 --> 02:19:51,634
"but really dig into Shaw
the way we wanted to."
2266
02:19:51,718 --> 02:19:54,178
And so, it was a great call to make.
2267
02:19:54,262 --> 02:19:56,139
I didn't know what to expect.
2268
02:19:56,222 --> 02:19:58,641
And Jason was so excited,
and he was great.
2269
02:19:58,725 --> 02:20:03,396
And just... Again, it made it feel like
it was always meant to be, you know?
2270
02:20:03,479 --> 02:20:06,441
And so, on this day,
when we were shooting it,
2271
02:20:06,524 --> 02:20:09,777
it reminded me of shooting that tag on 6.
2272
02:20:10,153 --> 02:20:15,366
But instead of this feeling of leaving,
it was the opposite.
2273
02:20:15,450 --> 02:20:17,535
It was connecting, it was reconnecting,
2274
02:20:17,618 --> 02:20:19,954
and the excitement of what's to come.
2275
02:20:20,329 --> 02:20:21,539
So, it was a great way.
2276
02:20:21,622 --> 02:20:24,459
It was the last scene
that we shot in this movie.
2277
02:20:24,584 --> 02:20:26,461
And to see him and Han
2278
02:20:26,544 --> 02:20:31,007
and the promise of
fully doing justice for Han, right,
2279
02:20:31,090 --> 02:20:32,633
it was the best way to go out.
2280
02:20:32,717 --> 02:20:36,012
And so, I'm excited to be back.
2281
02:20:36,095 --> 02:20:39,348
And I had such a great time
reconnecting with everybody.
2282
02:20:39,557 --> 02:20:43,644
And I look forward
to concluding our saga
2283
02:20:43,728 --> 02:20:46,731
with all these great characters.
2284
02:20:46,856 --> 02:20:50,735
So, thank you, guys, for your time,
for sitting through this.
2285
02:20:50,818 --> 02:20:56,866
And I look forward to exploring
and finding the right next two films
2286
02:20:56,949 --> 02:21:00,119
to close out this saga
for Fast and the Furious.