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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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JD 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
to fully explain it.
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But it's pretty complicated.
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It was exciting
to actually come up with it,
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but it's one of those things
where we commit to it,
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and I hope one day
we will be able to
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fully explore that chapter
in the Fast Saga.
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You know, I would love to see my nephew
just a little bit more often...
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And this is a scene here with Jordana.
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This is her first scene back.
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Both in the film,
but also shooting-wise.
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It was pretty emotional.
I came up with Jordana even outside Fast.
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So, to be able to
be on this journey with her and...
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When I left, she did Fast 7
and that was it.
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And so to be able to be back together,
it meant a lot.
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And to be able to find a storyline
where she comes back organically,
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that was even more of a bonus.
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What life would have been like
if he was alive.
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We'd be a very different...
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Unfortunately, this is a scene
that I ultimately cut
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even though I really liked it.
It went back and forth.
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Staying in the cut and I took it out.
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Ultimately, I felt like for the theatrical
version, we didn't need it.
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Selfishly, it was just nice
to be able to work those small scenes
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with Vin and Jordana.
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00:12:26,997 --> 00:12:31,919
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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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
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and bring it
to share with the audience.
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So I think, having...
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You know, going on that scout
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and loving the visuals
of Phuket, Thailand,
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I felt like it was kind of our perfect
place to shoot our fictional Montequinto.
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What was also amazing for me,
was on the scout,
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I didn't realize the kind of
rich cinematic history of Thailand.
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Until recently
they were producing their own films
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at a rate that I think
was like hundreds a year.
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It was amazing.
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00:13:38,986 --> 00:13:43,657
So to be able to kind of hook up
with the crew in Thailand,
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00:13:43,741 --> 00:13:47,244
and be part of that rich
cinematic history, it really meant a lot.
241
00:13:47,328 --> 00:13:50,080
And I think you could feel it
when we were shooting in Thailand
242
00:13:50,164 --> 00:13:54,418
because they really were an amazing crew.
243
00:13:54,501 --> 00:13:57,671
And that's one of the perks of
shooting these films
244
00:13:57,755 --> 00:14:00,299
is to be able
to go into different cultures
245
00:14:00,382 --> 00:14:02,259
and hopefully not be just tourists,
246
00:14:02,343 --> 00:14:05,763
but to be able to truly kind of work
with them and getting to know
247
00:14:05,846 --> 00:14:09,183
how they work
and having that shared experience.
248
00:14:27,743 --> 00:14:30,871
The source of the SOS signal
is coming from inside this thing.
249
00:14:34,833 --> 00:14:36,126
Somebody wanted in.
250
00:14:36,877 --> 00:14:39,588
Plane must have gone down
before they could cut through.
251
00:14:39,672 --> 00:14:42,091
Or it was sent down on purpose
to stop 'em.
252
00:14:42,216 --> 00:14:43,634
Yeah, well, their mistake
was trying to cut into it.
253
00:14:43,717 --> 00:14:47,429
And here we're about to introduce
our McGuffin for the film,
254
00:14:47,513 --> 00:14:53,102
and this is probably, I would say,
for the Fast franchise, I think that...
255
00:14:53,269 --> 00:14:55,980
In Fast 6 is when
we started kind of introducing
256
00:14:56,063 --> 00:14:58,649
these kind of world-ending devices.
257
00:14:59,149 --> 00:15:03,237
I was torn, I was going back and forth on
if we were going to do this or not.
258
00:15:03,320 --> 00:15:05,572
And ultimately...
259
00:15:06,323 --> 00:15:11,537
I think that was one of the challenges
coming back to do Fast 9.
260
00:15:11,620 --> 00:15:13,998
I don't think we make
these films in a vacuum.
261
00:15:14,415 --> 00:15:18,627
And I think there are a lot of things
about coming back
262
00:15:19,336 --> 00:15:21,255
that I had to respect.
263
00:15:21,338 --> 00:15:24,133
And part of it is,
since I've been gone,
264
00:15:24,717 --> 00:15:27,219
it's kind of gone
a lot more kind of sci-fi.
265
00:15:28,095 --> 00:15:31,265
And I felt like, ultimately,
if I just kind of ignored that,
266
00:15:31,348 --> 00:15:34,852
it just wouldn't be respectful
to the films that I wasn't part of.
267
00:15:34,935 --> 00:15:38,397
So it was a long process
in the writing phase.
268
00:15:38,939 --> 00:15:43,193
When I first came back, I didn't want to
have a world-ending device.
269
00:15:43,277 --> 00:15:44,778
But when we were working on it,
270
00:15:44,862 --> 00:15:49,658
it felt like it was almost
such a rebuke to the other films.
271
00:15:49,742 --> 00:15:50,826
I didn't want that.
272
00:15:50,909 --> 00:15:56,749
I wanted the spirit of this film
to always embrace the chapters prior
273
00:15:56,832 --> 00:15:59,376
and whether it's to correct
something that's wrong,
274
00:15:59,460 --> 00:16:03,339
or to build on something,
I never wanted to be reactionary,
275
00:16:03,422 --> 00:16:04,673
because I think sometimes,
276
00:16:04,757 --> 00:16:08,344
I think having made movies,
TV shows and stuff,
277
00:16:09,011 --> 00:16:11,972
I see a lot of instances
where filmmakers
278
00:16:12,056 --> 00:16:15,434
become very, kind of, reactive
and they take it personally.
279
00:16:16,268 --> 00:16:19,188
And I think the films and the shows
sometimes suffer for it.
280
00:16:19,271 --> 00:16:23,942
And I felt like it was important
to try to be positive.
281
00:16:24,485 --> 00:16:27,196
And, yes, I think one of the
big reasons to come back
282
00:16:27,279 --> 00:16:30,866
and to correct is, we'll talk about later,
which is the justice for Han.
283
00:16:31,450 --> 00:16:32,785
But at the same time,
284
00:16:32,868 --> 00:16:36,372
I wanted to always stay positive
to everything.
285
00:16:36,455 --> 00:16:38,749
And that led to the whole Aries device.
286
00:16:38,832 --> 00:16:40,626
So anyway,
it was a long way to explain it.
287
00:16:40,709 --> 00:16:45,005
But it was months and months of my life
in our writing process
288
00:16:45,089 --> 00:16:47,508
of deciding if we were
going to do it or not.
289
00:16:47,591 --> 00:16:49,593
Ultimately, I feel like we needed it.
290
00:16:49,676 --> 00:16:53,847
It's a bit of a culmination of something
that we kind of started on 6.
291
00:16:53,972 --> 00:16:55,933
And it kind of had continued.
292
00:16:56,100 --> 00:16:58,936
But I think
this is probably it for our franchise,
293
00:16:59,019 --> 00:17:02,022
and as we're going to the final chapter,
294
00:17:02,106 --> 00:17:05,734
we're going to be exploring our characters
through other elements.
295
00:17:19,331 --> 00:17:20,791
Roman, where the hell are you?
296
00:17:27,589 --> 00:17:30,259
Who's compensating now, Tej?
297
00:17:51,780 --> 00:17:54,700
Here, we're about to go in
to the landmine sequence
298
00:17:54,783 --> 00:17:56,410
and I have to say,
I think the one thing
299
00:17:56,493 --> 00:17:58,078
that really surprised me,
300
00:17:58,162 --> 00:18:01,999
when we first went into the scouting
for Thailand
301
00:18:02,499 --> 00:18:08,630
was how much of the jungle of Thailand
has kind of disappeared.
302
00:18:08,714 --> 00:18:13,093
This is only a small stretch
of private land that we were able to find
303
00:18:13,177 --> 00:18:14,553
that we could shoot in.
304
00:18:14,928 --> 00:18:18,307
Most of the land
has become palm plantations.
305
00:18:18,390 --> 00:18:22,144
I think they're just trying to produce
palm oil for the world.
306
00:18:23,061 --> 00:18:24,229
You know, I think growing up
307
00:18:24,313 --> 00:18:26,064
and even just kind of
reading about Thailand,
308
00:18:26,148 --> 00:18:29,485
I was really excited to kind of
explore the jungle aspect.
309
00:18:29,776 --> 00:18:34,865
And, at least in southern Thailand,
a lot of that has been... is gone.
310
00:18:34,948 --> 00:18:36,074
Like even here...
311
00:18:36,158 --> 00:18:38,452
This is actually...
You could see the small palms
312
00:18:38,535 --> 00:18:42,039
being planted and grown
and they're everywhere.
313
00:19:02,643 --> 00:19:04,770
What was great about the sequence,
314
00:19:04,853 --> 00:19:09,441
I really wanted to kind of start with the
feel of just kind of this tactile action.
315
00:19:09,525 --> 00:19:11,318
You know, something that's practical.
316
00:19:11,693 --> 00:19:13,403
What better than to, like,
317
00:19:13,654 --> 00:19:16,114
start blowing stuff up
and the landmine sequence?
318
00:19:16,698 --> 00:19:18,659
It is a very conscious effort
319
00:19:19,284 --> 00:19:23,121
to kind of rebuild,
I think the tone of this franchise.
320
00:19:23,539 --> 00:19:25,332
And again, I feel like...
321
00:19:26,083 --> 00:19:27,709
Just as a movie fan,
322
00:19:27,960 --> 00:19:31,922
CG now is part of
so much of these tent-poles,
323
00:19:32,381 --> 00:19:35,384
and I'm not saying that
we don't do that ourselves.
324
00:19:35,467 --> 00:19:37,135
I mean, I like to think that
325
00:19:37,219 --> 00:19:40,639
we can create a have our cake
and eat it too scenario.
326
00:19:40,931 --> 00:19:42,975
It was just that,
I think as a filmmaker,
327
00:19:43,684 --> 00:19:47,896
there's something really exhilarating
and visceral about practical effects,
328
00:19:47,980 --> 00:19:51,400
and, to me, that's always important.
329
00:19:51,483 --> 00:19:54,361
And especially for the Fast franchise
330
00:19:54,778 --> 00:19:56,238
and especially on this one,
331
00:19:56,363 --> 00:19:58,448
I wanted to make sure
that no matter what,
332
00:19:58,532 --> 00:20:01,868
even the most
outlandish action beats,
333
00:20:01,952 --> 00:20:04,913
we always make sure that
we shoot it practically first.
334
00:20:13,505 --> 00:20:14,590
Roman, you good?
335
00:20:18,427 --> 00:20:20,554
My ass is en fuego!
336
00:20:22,931 --> 00:20:24,725
Like, even this shot right here,
337
00:20:25,225 --> 00:20:28,854
actually, that truck
going over and blowing up,
338
00:20:28,937 --> 00:20:30,230
we shot practically.
339
00:20:30,314 --> 00:20:32,065
And it became reference for us.
340
00:20:33,859 --> 00:20:36,820
And here with Roman hanging upside down,
341
00:20:36,903 --> 00:20:41,283
we had to build this contraption
with the truck on vertical rails.
342
00:20:41,658 --> 00:20:46,622
And it's a small beat,
but it took us three days, which is a lot
343
00:20:46,705 --> 00:20:48,832
to be able to even accomplish this.
344
00:20:49,875 --> 00:20:51,043
But ultimately,
345
00:20:52,419 --> 00:20:54,254
I think you could feel the difference,
346
00:20:54,338 --> 00:20:57,674
because we shot it
practically, you know...
347
00:20:58,508 --> 00:21:00,677
The rocks and everything, we had to build
348
00:21:00,761 --> 00:21:04,931
so that it could be safer
Tyrese to be hanging from that truck.
349
00:21:20,364 --> 00:21:24,284
This is kind of the beat, too,
of this "invincible" thread
350
00:21:24,368 --> 00:21:26,787
that we were exploring.
351
00:21:26,870 --> 00:21:33,168
I think maybe being away from Fast,
I was really kind of drawn
352
00:21:33,251 --> 00:21:38,048
and excited for this
existential thread for Roman,
353
00:21:38,131 --> 00:21:39,841
and Tej and Ramsey.
354
00:21:40,258 --> 00:21:41,927
It is something that I think
355
00:21:42,761 --> 00:21:46,515
a lot of times
with these big action tent-poles,
356
00:21:46,598 --> 00:21:50,060
you know, that the characters,
they obviously escape death.
357
00:21:50,143 --> 00:21:53,105
And I felt like it was time
for us to at least,
358
00:21:53,188 --> 00:21:56,900
hopefully, acknowledge it
and explore it in a fun way.
359
00:22:00,278 --> 00:22:02,280
Wait, okay, I think
I found us another way out.
360
00:22:02,364 --> 00:22:05,325
Two miles to what looks like
a bridge across the border.
361
00:22:05,409 --> 00:22:07,911
Good. The sooner
we get out of here, the better.
362
00:22:09,621 --> 00:22:12,582
This shot here was a really
complicated shot. We shot...
363
00:22:12,666 --> 00:22:14,668
We actually had I think it was
364
00:22:14,751 --> 00:22:19,047
almost like three continents worth of work
just to get that shot in.
365
00:22:19,131 --> 00:22:20,674
Shooting that practically,
366
00:22:20,757 --> 00:22:24,469
and then being able to
basically matte that
367
00:22:24,553 --> 00:22:27,597
and then have Michelle do it
and we shot that in London.
368
00:22:28,014 --> 00:22:31,560
It's amazing how filmmaking
has become so global.
369
00:22:40,610 --> 00:22:44,948
And this jump too, it was something
that basically was shot in Thailand.
370
00:22:45,031 --> 00:22:47,451
We shot again in London, practically.
371
00:22:47,534 --> 00:22:50,787
And then, putting Michelle on wires.
372
00:22:51,204 --> 00:22:52,414
The device.
373
00:22:55,083 --> 00:22:57,085
So here is the big, kind of,
374
00:22:57,169 --> 00:22:59,755
first time where the brothers
see each other.
375
00:23:03,258 --> 00:23:08,638
Getting that Mustang
to drift in was definitely a challenge.
376
00:23:08,722 --> 00:23:10,015
And those doors...
377
00:23:10,432 --> 00:23:13,810
I realized the doors didn't quite match,
378
00:23:13,894 --> 00:23:17,314
so we actually had to bend it 90 degrees.
379
00:23:17,731 --> 00:23:20,567
You don't notice it,
but a lot of times,
380
00:23:20,650 --> 00:23:22,194
the shots that I wanted to have,
381
00:23:22,277 --> 00:23:25,071
the cars don't quite
have the right angles.
382
00:23:25,155 --> 00:23:28,241
But again, I feel I have the
support of this amazing crew,
383
00:23:28,325 --> 00:23:30,202
and we always figure it out.
384
00:23:30,660 --> 00:23:34,498
And sometimes,
it's just a 50 degree shift in something
385
00:23:34,581 --> 00:23:36,249
that's been kind of built in.
386
00:23:46,301 --> 00:23:50,138
So we're about to head into this,
kind of, crazy sequence
387
00:23:50,222 --> 00:23:53,308
that's evolved from
something that was very practical
388
00:23:54,017 --> 00:23:57,270
to something that's going to be
a bit more outlandish.
389
00:23:57,854 --> 00:23:59,815
And hopefully we've earned this.
390
00:24:01,316 --> 00:24:04,277
This is something that
we actually scouted
391
00:24:05,028 --> 00:24:07,155
on so many of these aerial scouts,
392
00:24:07,239 --> 00:24:10,534
trying to find the right two,
I guess, buttes or islands,
393
00:24:10,909 --> 00:24:12,160
so we can shoot this.
394
00:24:12,661 --> 00:24:14,830
Peter Chiang, our VFX supervisor,
395
00:24:15,997 --> 00:24:19,251
he was on it so much,
and I really was very adamant
396
00:24:19,334 --> 00:24:22,587
on making sure that
we found the right practical ones.
397
00:24:23,255 --> 00:24:26,466
I remember we circled around it so much
that Peter actually had to get off
398
00:24:26,550 --> 00:24:28,760
because he was nauseous
and he was throwing up
399
00:24:28,844 --> 00:24:29,970
on one of these buttes.
400
00:24:45,318 --> 00:24:46,695
And here we have the helicopter,
401
00:24:46,778 --> 00:24:50,448
the brother, Mustang,
against Dodge Charger.
402
00:24:52,701 --> 00:24:56,246
You know, it's something that, I think,
people who love cars,
403
00:24:56,371 --> 00:24:58,999
they notice that it's Mustang vs Charger.
404
00:24:59,082 --> 00:25:03,753
And we had a lot of fun
in the writing process, developing it.
405
00:25:03,837 --> 00:25:05,797
I think in the flashbacks, later on,
406
00:25:05,922 --> 00:25:08,800
you'll see that Jakob's
also driving a Mustang.
407
00:25:09,259 --> 00:25:14,139
And it's something that we actually wrote
way more than we needed to.
408
00:25:14,598 --> 00:25:18,059
And I hope, one day we're going
to be able to explore that,
409
00:25:18,143 --> 00:25:20,896
whether in feature
or maybe in other mediums,
410
00:25:21,313 --> 00:25:23,523
because it is really amazing,
411
00:25:23,607 --> 00:25:28,945
sometimes doing these films,
to have the environment to just explore.
412
00:25:29,029 --> 00:25:31,072
And on this one, for some reason,
413
00:25:31,156 --> 00:25:35,702
our script was really long
compared to the other ones.
414
00:25:36,369 --> 00:25:40,498
At one point, we were approaching
almost 200 pages, which is insane.
415
00:25:40,582 --> 00:25:44,085
But it was just fun to be writing
and just to be free.
416
00:25:44,169 --> 00:25:46,755
And ultimately we were able
to kind of bring it down.
417
00:25:52,594 --> 00:25:53,845
Where's the bridge?
418
00:25:58,600 --> 00:25:59,893
No. No, no.
419
00:25:59,976 --> 00:26:01,019
Dom.
420
00:26:03,772 --> 00:26:08,109
I think a lot of people ask,
you know, "This must be all CG."
421
00:26:08,485 --> 00:26:09,819
It actually is a combination.
422
00:26:09,903 --> 00:26:12,280
We actually...
Every beat that you see here,
423
00:26:12,447 --> 00:26:15,283
was accounted for,
like the launch of the car.
424
00:26:15,992 --> 00:26:19,496
Even the swing, you know,
we had a crane.
425
00:26:19,663 --> 00:26:21,539
It was in the UK, actually,
to swing it.
426
00:26:22,082 --> 00:26:26,211
It kind of acted as reference
for us in making sure
427
00:26:26,294 --> 00:26:29,631
that everything we did,
it was kind of accounted for
428
00:26:29,714 --> 00:26:32,175
so we can have the proper conversations.
429
00:26:36,179 --> 00:26:37,639
Well, that was new.
430
00:26:47,482 --> 00:26:52,070
This is Stasiak,
and there's a Japanese antacid...
431
00:26:52,195 --> 00:26:55,073
It happened when I was on a trip in Japan,
432
00:26:56,783 --> 00:26:59,160
and I love how they always have visuals
to sell all their products.
433
00:27:00,662 --> 00:27:02,330
But this thing is a mess.
434
00:27:03,164 --> 00:27:04,749
The headlines out there?
435
00:27:04,874 --> 00:27:06,584
Secret spy plane crashes in a...
436
00:27:06,668 --> 00:27:09,087
It was such a treat
to be able to bring Shea back,
437
00:27:09,170 --> 00:27:14,426
and we had a lot of fun with
Stasiak's nose, and we went through...
438
00:27:14,509 --> 00:27:17,262
We tracked it from Fast 4,
when he gets slammed
439
00:27:17,345 --> 00:27:20,765
by Brian O'Conner and again in Fast 6.
440
00:27:20,849 --> 00:27:25,186
And so, Shea showed up on the day
and we just kept fudging it.
441
00:27:25,270 --> 00:27:27,397
And it was a really fun nod
442
00:27:27,480 --> 00:27:30,275
to his relationship
and the connection to Brian O'Conner.
443
00:27:30,400 --> 00:27:33,528
And that's something
that we were very conscious of.
444
00:27:33,611 --> 00:27:38,074
You know, the spirit of Brian,
the character is still, obviously alive
445
00:27:38,199 --> 00:27:39,993
and thriving in this universe.
446
00:27:40,076 --> 00:27:44,831
But, you know, I felt like
trying to make sure that,
447
00:27:44,914 --> 00:27:48,001
you know, we always kind of
honor thing that's happened.
448
00:27:48,084 --> 00:27:52,630
And so that we can kind of embrace it
for the narrative, for people that really,
449
00:27:52,714 --> 00:27:58,053
you know, love the franchise that
we never short change any of the thing.
450
00:27:58,136 --> 00:27:59,345
So, it was a lot of fun.
451
00:27:59,429 --> 00:28:02,891
It was like multiple meetings
about his broken nose,
452
00:28:03,433 --> 00:28:05,435
and how much we were going to do it.
453
00:28:05,977 --> 00:28:07,228
Brother?
454
00:28:08,438 --> 00:28:09,981
You got a brother?
455
00:28:10,190 --> 00:28:13,818
Who also happens to be
some kind of super spy
456
00:28:13,902 --> 00:28:15,779
with his own private army,
457
00:28:15,862 --> 00:28:16,905
who drives literally...
458
00:28:16,988 --> 00:28:20,784
This is a really interesting moment
between Dom and Letty, you know,
459
00:28:20,867 --> 00:28:24,370
and it is one of those things
that I felt like, you know,
460
00:28:24,454 --> 00:28:27,665
working with Michelle and Vin on it,
461
00:28:27,832 --> 00:28:31,711
it was such a great process, you know,
because, as you can see,
462
00:28:31,795 --> 00:28:34,422
there's not a lot of real estate
for anything.
463
00:28:34,547 --> 00:28:38,551
So, to be able to get everybody
in those moments to track it,
464
00:28:38,635 --> 00:28:43,389
and to feel it without us
really shining a crazy spotlight on it.
465
00:28:43,473 --> 00:28:46,351
And that's always the biggest
challenge for these films
466
00:28:46,434 --> 00:28:49,062
because, you know,
especially Fast 9,
467
00:28:49,145 --> 00:28:51,689
I feel like there's three movies
jammed into one, right?
468
00:28:51,773 --> 00:28:54,943
You have the brother-thread,
you have the main-thread.
469
00:28:55,026 --> 00:28:58,655
And then he had the Han-thread.
And the biggest challenge
470
00:28:58,738 --> 00:29:01,574
of making this film
really was real estate.
471
00:29:01,658 --> 00:29:04,994
And, you know, I have to say,
one of the reasons
472
00:29:05,078 --> 00:29:08,498
why I ultimately felt like I was,
you know, done with the franchise
473
00:29:08,581 --> 00:29:13,503
was that we've never been able to have
474
00:29:13,586 --> 00:29:15,755
a full draft of the script
when we start shooting,
475
00:29:15,839 --> 00:29:17,841
and that's part of the process
476
00:29:17,924 --> 00:29:20,468
that we've had developed,
and I'm not complaining.
477
00:29:20,552 --> 00:29:21,803
It's just... It's okay.
478
00:29:21,886 --> 00:29:23,847
It's just the way
we always end up doing it.
479
00:29:23,930 --> 00:29:27,684
And so, I felt like I wanted to make sure
that for the first time,
480
00:29:27,767 --> 00:29:32,021
we had a script, fully done,
and we were able to on this one.
481
00:29:32,105 --> 00:29:34,691
And the funny thing is that we ended up,
482
00:29:34,774 --> 00:29:38,361
kind of, overshooting it
and it was much longer.
483
00:29:38,820 --> 00:29:40,738
But I think you can feel that,
484
00:29:40,822 --> 00:29:45,618
you know, this film had a lot more,
485
00:29:45,702 --> 00:29:47,871
but it was always about condensing
and making sure
486
00:29:47,954 --> 00:29:50,039
that we didn't take any beat for granted.
487
00:29:51,332 --> 00:29:52,542
What is that?
488
00:29:52,625 --> 00:29:54,711
Get out of here. Go.
489
00:29:55,962 --> 00:29:57,881
So a man can't pay his last respects?
490
00:29:57,964 --> 00:29:59,257
That's what that is?
491
00:29:59,340 --> 00:30:00,800
No.
492
00:30:00,884 --> 00:30:03,136
No, not you.
You're the one that killed him.
493
00:30:03,219 --> 00:30:04,512
No, racing killed him.
494
00:30:04,971 --> 00:30:08,057
Look, he knew that I was gonna
pit him into the wall. He knew that.
495
00:30:08,141 --> 00:30:09,267
Now, I don't know
if he dropped gear.
496
00:30:09,350 --> 00:30:11,603
Here's Jim Parrack playing Linder.
497
00:30:11,686 --> 00:30:14,063
It was great to work with him again.
498
00:30:14,147 --> 00:30:17,942
His first job as an actor was actually
on Annapolis, and we worked on together.
499
00:30:18,026 --> 00:30:21,321
So it's always great to be able to
meet back up with actors
500
00:30:21,404 --> 00:30:22,906
or crew through the years.
501
00:30:22,989 --> 00:30:26,451
And he's kind of a perfect Linder,
he was great.
502
00:30:29,454 --> 00:30:30,663
Leave.
503
00:30:31,414 --> 00:30:36,127
This obviously, is one of the most pivotal
moments in the Fast lore.
504
00:30:38,171 --> 00:30:41,841
And I know that in the first Fast film,
505
00:30:41,925 --> 00:30:45,386
in the garage with Dom and Brian,
506
00:30:45,470 --> 00:30:48,306
Dom was talking about
how he took that wrench,
507
00:30:48,389 --> 00:30:53,478
and he just kept beating Linder
until his arms went numb.
508
00:30:53,561 --> 00:30:57,857
And it was a struggle, because it was
great in that moment when he said it.
509
00:30:57,941 --> 00:30:59,901
And here, when we were working on it,
510
00:31:00,026 --> 00:31:02,987
we actually did
all these tests and...
511
00:31:03,655 --> 00:31:06,866
With that hit with that wrench,
if you just did it more than,
512
00:31:07,742 --> 00:31:12,455
you know, a couple of times,
the skull is going to crack, you know?
513
00:31:12,538 --> 00:31:18,044
And so, I wanted to make sure that we
honor what Dom was sharing with Brian.
514
00:31:18,127 --> 00:31:21,005
But at the same time, I think
in that moment, it was important
515
00:31:21,089 --> 00:31:23,383
that we were capturing it
through Jakob's point of view.
516
00:31:24,092 --> 00:31:28,137
But, that was also one of the things
that we had so many discussions on.
517
00:31:28,221 --> 00:31:33,226
And ultimately I felt like...
You know, sometimes in life,
518
00:31:33,309 --> 00:31:36,020
we're all a little bit...
Get stuck into the moment,
519
00:31:36,104 --> 00:31:41,442
and we're not the most reliable narrators,
even though there's no intent to deceive.
520
00:31:42,110 --> 00:31:44,195
We're the protagonist in our own stories.
521
00:31:44,279 --> 00:31:47,240
And I think in Dom's mind
that's what happened.
522
00:31:47,323 --> 00:31:50,702
But I think one of the ways
that we were able to, kind of,
523
00:31:50,785 --> 00:31:54,455
hopefully, honor that moment,
but at the same time make it feel
524
00:31:54,539 --> 00:31:59,627
like it's not out of this world
where he's beating Linder, you know,
525
00:31:59,794 --> 00:32:03,006
countless times with the wrench
was to go to Jakob's point of view,
526
00:32:03,089 --> 00:32:05,758
which is what we needed in that moment
for this film.
527
00:32:06,134 --> 00:32:08,219
- She say anything?
- Nope. Nada.
528
00:32:09,095 --> 00:32:11,639
You know, I look at her
and I feel creeped out.
529
00:32:11,764 --> 00:32:13,975
And sort of turned on at the same time.
530
00:32:14,642 --> 00:32:16,019
Is that weird?
531
00:32:19,314 --> 00:32:21,024
Nice operation.
532
00:32:21,482 --> 00:32:23,901
You snatched me off
Mr. Nobody's plane midair
533
00:32:23,985 --> 00:32:26,029
without a scratch, and you took him down.
534
00:32:26,237 --> 00:32:28,406
And here we have our scene
with Cipher.
535
00:32:29,115 --> 00:32:33,703
Again, it was such an honor and treat
to be able to work with Charlize.
536
00:32:33,995 --> 00:32:34,996
And this is a character
537
00:32:35,079 --> 00:32:40,084
that obviously was in 8,
and she was so gracious and open.
538
00:32:40,168 --> 00:32:43,713
I remember sitting down with her
and talking about the character,
539
00:32:44,589 --> 00:32:48,259
and I think she was excited
to keep kind of evolving it.
540
00:32:48,343 --> 00:32:53,723
So I remember asking her,
you know, "Is there anything in 8
541
00:32:53,806 --> 00:32:56,559
"that you built
that I need to be aware of?"
542
00:32:58,353 --> 00:33:01,647
And she was like, "No, "
you know? It's the basic...
543
00:33:01,731 --> 00:33:03,441
"Let's go back and rebuild this."
544
00:33:03,524 --> 00:33:06,778
And I had such a great time
with her just talking.
545
00:33:06,861 --> 00:33:12,450
And she is so specific
about every beat, you know,
546
00:33:12,533 --> 00:33:15,078
and I love that, you know, in this scene,
547
00:33:15,161 --> 00:33:18,331
even though she is this
character that's stuck,
548
00:33:18,414 --> 00:33:23,628
has been captured, stuck in the box,
and I wanted to also really make sure that
549
00:33:24,295 --> 00:33:28,007
it's not one of these diabolical scenes
where she's already gotten a way out.
550
00:33:28,508 --> 00:33:31,302
I wanted the experience for the audience
551
00:33:31,677 --> 00:33:37,642
in real time with Cipher, is to see
how she could figure her way out.
552
00:33:39,519 --> 00:33:41,312
I need you to find out which one.
553
00:33:41,604 --> 00:33:43,064
So, here she does
554
00:33:43,147 --> 00:33:47,110
an amazing job of just, kind of,
scoping out all the players, right?
555
00:33:47,193 --> 00:33:49,195
There's Jakob.
There's Otto and there's Sue.
556
00:33:49,862 --> 00:33:53,950
And even though it's probably not clear,
it's not scripted,
557
00:33:54,033 --> 00:34:00,540
this idea of her constantly testing
and trying to figure out
558
00:34:01,040 --> 00:34:03,167
what is her... How is she
going to get out,
559
00:34:03,334 --> 00:34:04,335
starts here.
560
00:34:04,627 --> 00:34:09,382
And I just had such a great time
working with her on the day,
561
00:34:09,465 --> 00:34:13,344
but also in the cutting room
because I can see her,
562
00:34:13,428 --> 00:34:17,640
and that's something that we planned,
you know, basically calculating, like,
563
00:34:18,307 --> 00:34:21,853
let's test Jakob out. Let's go through,
let's push those buttons.
564
00:34:21,936 --> 00:34:25,273
But the... Little bit of the curve ball
565
00:34:25,356 --> 00:34:28,401
is actually she finds
a weak point in Otto.
566
00:34:29,986 --> 00:34:34,449
And I think if you watch this film
multiple times,
567
00:34:34,532 --> 00:34:35,825
you'll really get a sense.
568
00:34:35,908 --> 00:34:38,828
And if you really watch her,
she's been, you know,
569
00:34:38,911 --> 00:34:40,621
you can see her wheels turning.
570
00:34:41,038 --> 00:34:44,417
And that's...
I think, that's the fun of this character
571
00:34:44,500 --> 00:34:49,255
and I think this is also a new element
for us in this franchise.
572
00:34:54,093 --> 00:34:57,805
Finding the two halves
of Project Aries is the easy part.
573
00:34:58,139 --> 00:35:00,057
Add in your brother Dom to the mix?
574
00:35:00,725 --> 00:35:02,268
You don't have a chance.
575
00:35:03,352 --> 00:35:04,854
Plans are in motion.
576
00:35:08,399 --> 00:35:12,612
There's a line in there,
where she basically is pointing out
577
00:35:13,446 --> 00:35:16,324
about Jakob's jawline, the Nordic strain,
578
00:35:16,407 --> 00:35:19,702
and it was important
that we put it in there.
579
00:35:19,785 --> 00:35:21,370
I know that a lot of people are saying,
580
00:35:21,454 --> 00:35:24,999
well, how could John Cena
be Vin Diesel's brother?
581
00:35:25,416 --> 00:35:27,752
You know?
And that's something that we talked about
582
00:35:27,835 --> 00:35:29,629
because John was by far...
583
00:35:29,712 --> 00:35:33,257
I mean, again,
I felt just so lucky to have him join us.
584
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.
585
00:35:38,137 --> 00:35:40,515
And that's something that that one line
586
00:35:40,598 --> 00:35:42,266
is giving you a little bit of glimpse
587
00:35:44,018 --> 00:35:47,230
into the, kind of, origin story
of Toretto family.
588
00:35:47,313 --> 00:35:50,566
I'm not going to spoil it here
because I'm hoping,
589
00:35:50,650 --> 00:35:55,988
hoping that in the next few years,
we're going to be able to tell that story.
590
00:35:56,072 --> 00:35:59,659
But it all started with, you know...
I had a whole back story.
591
00:35:59,742 --> 00:36:01,869
It got condensed down to that one line.
592
00:36:02,286 --> 00:36:05,623
But I am so excited for that one line
593
00:36:05,706 --> 00:36:07,875
because it's going to
potentially get unlocked,
594
00:36:07,959 --> 00:36:09,919
and we're going to be able to, hopefully,
595
00:36:10,002 --> 00:36:13,172
tell more stories
to explore that line.
596
00:36:13,256 --> 00:36:14,423
What now, Dom?
597
00:36:16,926 --> 00:36:18,844
Whoever Jakob has become...
598
00:36:21,430 --> 00:36:23,307
...and whatever he's up to...
599
00:36:27,895 --> 00:36:29,313
...it's on me.
600
00:36:29,397 --> 00:36:30,940
This is amazing, here.
601
00:36:31,899 --> 00:36:35,861
This is like a vulnerable Dom
that I have never seen
602
00:36:35,945 --> 00:36:38,948
you know, in any of the Fast films
that I have been a part of,
603
00:36:39,240 --> 00:36:42,618
but at the same time,
it's a check-in with Dom and Letty.
604
00:36:42,702 --> 00:36:46,205
You know, I think their trust
has been a little bit broken
605
00:36:46,330 --> 00:36:52,169
in the sense that she thought he showed
up to the airport to support her.
606
00:36:52,670 --> 00:36:56,382
But then she realized she was there
because of discovery of Jakob.
607
00:36:56,465 --> 00:36:58,968
Thank you.
I know what a rotary dial phone is.
608
00:37:01,512 --> 00:37:02,847
Okay.
609
00:37:03,306 --> 00:37:07,560
Again, this is a bonus scene
between Ramsey and Chris.
610
00:37:07,643 --> 00:37:10,646
It's amazing.
You know, I don't feel that old,
611
00:37:11,022 --> 00:37:14,525
but, you know, I think,
when I first sat down with Nathalie,
612
00:37:14,692 --> 00:37:17,403
she definitely is obviously
very intelligent.
613
00:37:17,862 --> 00:37:20,948
And she knows, you know,
she's a quick study.
614
00:37:21,699 --> 00:37:27,413
But it was very clear to me that
she was of another generation, you know?
615
00:37:27,496 --> 00:37:31,292
And so that was the inspiration
for all of this.
616
00:37:31,834 --> 00:37:33,711
And we had a lot of fun playing with it.
617
00:37:34,545 --> 00:37:35,796
And I am kind of bummed.
618
00:37:35,880 --> 00:37:37,882
There's a couple of scenes
in this sequence
619
00:37:37,965 --> 00:37:41,719
that I went back and forth on
for the final cut,
620
00:37:41,802 --> 00:37:44,513
and it was actually funny
621
00:37:44,597 --> 00:37:50,186
because, you know, I actually...
As we're working on the extended cut
622
00:37:50,811 --> 00:37:55,358
I was compelled to put, you know,
the scene back into the final version.
623
00:37:55,441 --> 00:37:59,904
But, you know, I never had that happen,
and I think that's the testament to,
624
00:37:59,987 --> 00:38:05,368
I think, this cut because
a lot of times we cut scenes
625
00:38:05,451 --> 00:38:09,372
because the performance or something,
it just feels like it's a double beat.
626
00:38:09,830 --> 00:38:11,874
I think on this film,
I didn't have any problem.
627
00:38:11,957 --> 00:38:15,294
We really showed up every day
and there was always a challenge.
628
00:38:15,628 --> 00:38:19,507
You know, sequences like this where it's
a connection between these characters.
629
00:38:19,632 --> 00:38:23,344
And I think, the humor comes
from their relationship,
630
00:38:23,803 --> 00:38:27,056
and this is very different than obviously,
like an action scene.
631
00:38:27,181 --> 00:38:29,392
But there's always a very fresh
632
00:38:29,475 --> 00:38:33,813
and new challenge for us,
and the cast was amazing.
633
00:38:33,938 --> 00:38:36,857
Everyone showed up, you know, just to play
634
00:38:36,941 --> 00:38:40,569
and to really kind of maximize
the exploration of the day
635
00:38:40,653 --> 00:38:43,322
and that, you know, that is very rare.
636
00:38:43,406 --> 00:38:46,992
So, I was grateful to really be able
to, kind of, reconnect with everybody.
637
00:38:47,576 --> 00:38:51,914
And in a way, we've all kind of grown
and to be able to have these scenes
638
00:38:51,997 --> 00:38:55,126
where not only do you see
the evolution of these characters,
639
00:38:55,543 --> 00:39:00,965
but also for me behind the camera
to see the growth of our actors,
640
00:39:01,048 --> 00:39:02,800
and that that was very gratifying.
641
00:39:02,883 --> 00:39:03,884
...dumbass.
642
00:39:07,930 --> 00:39:10,516
Take your dumbass jacket with you, man.
643
00:39:18,816 --> 00:39:20,776
Pretty impressive driving out there.
644
00:39:22,778 --> 00:39:24,196
You miss the old life.
645
00:39:26,907 --> 00:39:27,908
Do you?
646
00:39:30,369 --> 00:39:31,370
Every day.
647
00:39:33,247 --> 00:39:34,457
Guys.
648
00:39:35,249 --> 00:39:40,921
Ultimately, it was an interesting scene
because I like to edit as we go.
649
00:39:41,005 --> 00:39:45,050
And I knew that the scene
with Dom and Letty at the farm
650
00:39:45,217 --> 00:39:47,386
was probably not going to be it.
651
00:39:47,470 --> 00:39:50,473
And I remember going to Jordana
and saying,
652
00:39:50,598 --> 00:39:52,558
"This is going to be the scene."
653
00:39:53,017 --> 00:39:54,685
And I think for her,
654
00:39:55,019 --> 00:39:58,189
she did such a great job
of, kind of, taking that note
655
00:39:59,273 --> 00:40:01,358
and in a way, take charge of the scene.
656
00:40:01,442 --> 00:40:05,321
You know, I think people
are so used to Dom being the patriarch
657
00:40:05,404 --> 00:40:09,325
and being the decision maker.
Here, you have Mia and Letty
658
00:40:09,408 --> 00:40:12,995
saying, "No. We're part of this family,
and we have a say."
659
00:40:13,078 --> 00:40:15,581
And I think it was a very powerful scene.
660
00:40:15,664 --> 00:40:18,459
And also it was done
not in a confrontational way.
661
00:40:18,542 --> 00:40:20,794
You know, it was done
in a very empowered way,
662
00:40:20,878 --> 00:40:27,134
and I had a lot of meetings with Jordana
and Michelle about the tone of that.
663
00:40:27,218 --> 00:40:29,887
And so it was amazing on the day
when they showed up,
664
00:40:30,346 --> 00:40:33,182
because the last thing I wanted
was to make it feel
665
00:40:33,265 --> 00:40:35,935
like it was them confronting Dom in a way
666
00:40:36,018 --> 00:40:40,189
that was not positive
for the relationship.
667
00:40:48,072 --> 00:40:49,240
Guys!
668
00:40:50,449 --> 00:40:54,286
Guys. Get over here.
You gotta come see this.
669
00:40:54,995 --> 00:40:56,664
Don't ever say Roman...
670
00:40:56,747 --> 00:40:59,833
This is actually the scene
that I went back and forth on.
671
00:41:00,334 --> 00:41:04,129
It was such a fun scene to shoot
and it answers...
672
00:41:04,338 --> 00:41:07,716
In a way, answers a lot of questions
on like, "How can they afford
673
00:41:07,800 --> 00:41:09,885
"all their transportation,
all their cars?"
674
00:41:10,261 --> 00:41:11,637
And it was fun to be able
675
00:41:11,762 --> 00:41:15,182
to kind of, explore Mr. Nobody's hideout,
the unsanctioned hideout.
676
00:41:15,516 --> 00:41:20,312
But it just felt like, ultimately,
last minute, I think, on the eleventh hour
677
00:41:20,396 --> 00:41:23,274
it didn't make the cut
because it was taking away
678
00:41:23,357 --> 00:41:26,235
from the narrative thrust for the films.
679
00:41:26,318 --> 00:41:28,487
But I'm glad the extended cut exists
680
00:41:28,571 --> 00:41:30,990
because it works really well,
681
00:41:31,073 --> 00:41:34,451
and you can see the chemistry
between our characters.
682
00:41:34,785 --> 00:41:38,956
I mean, I'm just so happy
that it actually exists in the world.
683
00:41:42,626 --> 00:41:44,878
...say hello to Project Aries.
684
00:41:45,296 --> 00:41:46,297
What is it?
685
00:41:46,380 --> 00:41:48,090
It's what we got from Mr. Nobody's plane.
686
00:41:48,173 --> 00:41:49,425
Or at least part of it.
687
00:41:50,009 --> 00:41:53,846
Aries was designed to override
and assimilate anything that runs on code.
688
00:41:54,054 --> 00:41:55,514
Any computer anywhere.
689
00:41:55,639 --> 00:41:59,226
If it operates on zeros and ones,
it's vulnerable. Aries can own it.
690
00:41:59,310 --> 00:42:00,728
It can weaponize anything.
691
00:42:00,811 --> 00:42:04,189
Someone could burn your house down
with your refrigerator if they wanted to.
692
00:42:04,273 --> 00:42:06,358
So, now my refrigerator's gonna kill me?
693
00:42:06,442 --> 00:42:07,568
It could be made to.
694
00:42:07,651 --> 00:42:09,945
How about my George Foreman Grill
or foot massager?
695
00:42:10,904 --> 00:42:11,905
It is interesting.
696
00:42:11,989 --> 00:42:15,367
This is, you know... These are always
the toughest scenes to shoot
697
00:42:15,451 --> 00:42:19,330
because they're just exposition scenes
about the McGuffin,
698
00:42:19,413 --> 00:42:22,833
and the McGuffin is the device
that is usually, kind of,
699
00:42:22,916 --> 00:42:25,919
artificially driving our characters.
700
00:42:26,337 --> 00:42:32,092
And what I think became really interesting
in the writing of it,
701
00:42:32,176 --> 00:42:33,969
we had a bit of a Trojan horse.
702
00:42:35,054 --> 00:42:36,555
Here you're seeing Ramsey,
703
00:42:36,639 --> 00:42:40,684
basically setting up our third act
with our McGuffin.
704
00:42:41,810 --> 00:42:45,230
And just when you think the scene
is going to be just one of those scenes
705
00:42:45,314 --> 00:42:49,652
where all this is about information,
there's a bit of a sucker punch
706
00:42:49,735 --> 00:42:54,031
which is discovery of Han
in Mr. Nobody's files.
707
00:42:54,948 --> 00:42:58,786
It was one of those nice finds
in the writing process,
708
00:42:58,869 --> 00:43:01,538
and it ultimately, I think,
709
00:43:01,622 --> 00:43:04,625
made it a lot more interesting
also for the actors.
710
00:43:04,750 --> 00:43:06,710
You know, I mean,
these scenes when we shoot,
711
00:43:06,794 --> 00:43:07,795
it's not in real time, obviously.
712
00:43:08,962 --> 00:43:13,008
We have, you know, coverage,
and it takes us like a day-and-a-half,
713
00:43:13,092 --> 00:43:15,094
I think two days just to shoot the scene.
714
00:43:15,594 --> 00:43:19,681
You know, I can tell
that on the day when we're shooting,
715
00:43:19,765 --> 00:43:23,685
when the Han image came up,
everybody knew that the scene
716
00:43:23,769 --> 00:43:26,105
was much more
than just an exposition scene.
717
00:43:29,608 --> 00:43:33,070
You could see it right here
with the close-up dolly in on Vin.
718
00:43:34,363 --> 00:43:36,115
That's exactly what I said.
719
00:43:36,198 --> 00:43:39,868
So you're saying Han's death
is connected to all of this?
720
00:43:39,993 --> 00:43:42,037
He has to have something to do with it.
721
00:43:42,246 --> 00:43:45,749
Again, I think these scenes
that usually are, kind of,
722
00:43:45,833 --> 00:43:48,252
there for functional plot reasons.
723
00:43:48,669 --> 00:43:52,714
It became these kind of intersection,
emotionally, for all our characters.
724
00:43:53,465 --> 00:43:55,426
I got this the day Han died.
725
00:43:56,218 --> 00:43:57,344
Mexico.
726
00:43:57,636 --> 00:43:59,179
And here's the postcard again.
727
00:43:59,263 --> 00:44:02,850
And I'll give you
a little bit more intel on that.
728
00:44:02,933 --> 00:44:06,145
You know, this goes all the way back
when I first met Vin.
729
00:44:06,687 --> 00:44:10,441
You know, this is for Tokyo Drift
for his final scene and I didn't know him.
730
00:44:10,524 --> 00:44:13,944
I had heard that there's no way
he was coming back to the franchise,
731
00:44:14,027 --> 00:44:16,321
and I was lucky enough
to get a meeting with him.
732
00:44:16,405 --> 00:44:19,616
And were at his house by his pool,
and we were talking.
733
00:44:19,741 --> 00:44:22,035
And I think we...
At one point we just connected
734
00:44:22,119 --> 00:44:25,497
on the mythology
and the family of Dom.
735
00:44:25,581 --> 00:44:32,045
And I was talking to him
about how, in my mind, Dom had met Han
736
00:44:32,129 --> 00:44:38,343
in either in Mexico or Central America,
and I had kind of mapped out,
737
00:44:38,427 --> 00:44:40,721
you know, the connection between them
738
00:44:40,804 --> 00:44:45,267
that Han in a way was on the run
and Dom was on the run.
739
00:44:45,350 --> 00:44:49,480
You know, I had mentioned this town
in Mexico, Guanajuato,
740
00:44:49,563 --> 00:44:56,445
and that conversation in 2005
led all the way to the postcard.
741
00:44:56,528 --> 00:45:01,241
And if you notice on the postcard
the cross on that church is the same cross
742
00:45:01,325 --> 00:45:03,619
that Dom and Jakob, they're wearing.
743
00:45:03,702 --> 00:45:06,580
So it's the Toretto Cross,
so there's a lot of meaning to that.
744
00:45:06,663 --> 00:45:10,542
And there's a whole back story to that
that we've been talking about for years,
745
00:45:10,626 --> 00:45:14,296
and this is the first time
that's being shared.
746
00:45:14,379 --> 00:45:17,382
It's done as a connective tissue beat,
747
00:45:17,508 --> 00:45:21,678
but I can tell you there's a potential
down the road for us
748
00:45:21,762 --> 00:45:25,390
to fully explain and explore
that thread of the mythology.
749
00:45:43,909 --> 00:45:50,874
Here, we're in the "Young Dom" sequence,
and, to me, it was so much fun,
750
00:45:50,999 --> 00:45:54,878
kind of, finding the right music
of the era, you know?
751
00:45:56,088 --> 00:46:01,718
And, you know, a lot of times
when I run into fans and they talk,
752
00:46:01,802 --> 00:46:02,970
it's amazing, you know?
753
00:46:03,053 --> 00:46:06,390
You could see when certain fans'
engagement was on Fast 1.
754
00:46:06,473 --> 00:46:10,143
There's actually a section of the fan base
that started, kind of,
755
00:46:10,227 --> 00:46:12,229
loving Fast on Tokyo Drift.
756
00:46:12,938 --> 00:46:16,525
And obviously now, you know,
that's been 15 years,
757
00:46:16,608 --> 00:46:20,612
and people would use words
like, "That's a classic, " you know?
758
00:46:20,696 --> 00:46:24,032
And I thought, "Wow, God,
you know, it has been a while."
759
00:46:24,116 --> 00:46:27,411
But in many ways, you know, of the time...
760
00:46:27,494 --> 00:46:32,165
The music choices is a challenge
because it's not like
761
00:46:32,249 --> 00:46:38,171
we go and pick the "best of"
from the music sound library.
762
00:46:38,255 --> 00:46:41,008
We're actually creating
music of the moment.
763
00:46:41,091 --> 00:46:46,346
And so to be able to go back
and work on these flashback sequences,
764
00:46:46,430 --> 00:46:49,558
that was a luxury of
being able to really listen
765
00:46:49,641 --> 00:46:52,102
to all the music of the era
766
00:46:52,185 --> 00:46:55,188
and find the true piece of music
that really, for me,
767
00:46:55,272 --> 00:47:00,235
defined not only these moments
for our characters,
768
00:47:00,319 --> 00:47:04,281
but to really able to capture
and kind of honor that era.
769
00:47:05,782 --> 00:47:06,950
Come on, Dom.
770
00:47:08,243 --> 00:47:10,787
You don't want to race me
in Buddy's old Charger.
771
00:47:11,413 --> 00:47:12,623
No, it won't even be close.
772
00:47:12,706 --> 00:47:15,626
My Mustang?
With all the mods that I put in it?
773
00:47:15,709 --> 00:47:17,544
Car don't make the driver.
774
00:47:26,303 --> 00:47:28,221
And this again,
775
00:47:28,305 --> 00:47:35,062
there were a lot more pages written
about this young Dom and Jakob chapter,
776
00:47:35,145 --> 00:47:39,983
that, you know, my hope is to one day
to be able to share it with everybody.
777
00:47:40,067 --> 00:47:43,487
Again, it was so gratifying
to be able to write that.
778
00:47:43,570 --> 00:47:47,282
To me, it's always better
to have more than less,
779
00:47:47,366 --> 00:47:50,994
because having those extra pages
and scenes,
780
00:47:51,078 --> 00:47:54,956
it really kind of helped inform me
and also the actors
781
00:47:55,040 --> 00:47:58,377
so that they're not just showing up
and doing what's on page.
782
00:47:58,502 --> 00:48:00,921
You know, they're able to either read,
783
00:48:01,088 --> 00:48:06,093
or talk to me about their world, that era.
784
00:48:06,176 --> 00:48:10,889
And so I really do think
that the challenge to Finn and to Vinnie
785
00:48:11,014 --> 00:48:14,685
is to be able to understand and thrive,
and live in that world
786
00:48:14,768 --> 00:48:17,854
so that, you know, they're just not
showing up doing these scenes
787
00:48:17,979 --> 00:48:22,401
to kind of update, and tell the audience
what's happening in the relationship.
788
00:48:22,484 --> 00:48:26,196
And they did an amazing job,
and this is one of our last scenes
789
00:48:26,279 --> 00:48:29,491
that I shot with them, and I remember
sitting there in that corner
790
00:48:29,574 --> 00:48:31,618
as we're waiting for the lighting,
791
00:48:31,702 --> 00:48:38,291
and we continue to talk about their
relationship outside of what was scripted,
792
00:48:38,417 --> 00:48:42,587
and I could see them just really
absorbing that and taking that in.
793
00:48:42,671 --> 00:48:45,757
You know, I remember Finn
comes from a family. He has siblings.
794
00:48:45,841 --> 00:48:49,219
And he was really channeling
a lot of that in this race.
795
00:48:49,302 --> 00:48:53,348
And, you know, when we do these films,
796
00:48:53,432 --> 00:48:57,769
these driving scenes are the most
artificial-feeling, constructed
797
00:48:57,853 --> 00:48:59,980
because they're in a green screen,
798
00:49:00,105 --> 00:49:01,940
and you know, we're putting on casters,
799
00:49:02,065 --> 00:49:04,818
and we're pushing them around,
and it's very awkward.
800
00:49:05,402 --> 00:49:08,905
And so for them to really,
kind of, get in that head space
801
00:49:08,989 --> 00:49:10,949
where it's not about the race, you know,
802
00:49:11,032 --> 00:49:14,202
this race is about the relationship.
803
00:49:14,327 --> 00:49:17,247
About this little brother,
you know, at the core of it
804
00:49:17,372 --> 00:49:21,543
is that he's never going to be able
to catch his older brother.
805
00:49:21,626 --> 00:49:25,672
You know, that's the basis
and the essence of this race.
806
00:49:25,756 --> 00:49:28,800
And on top of that, we built,
kind of this layered...
807
00:49:28,884 --> 00:49:30,510
This family secret.
808
00:49:30,594 --> 00:49:36,892
And ultimately, it's this poor kid
being crushed by the pressure of...
809
00:49:36,975 --> 00:49:40,520
You know, the secret that he's promised
his dad that he was going to keep.
810
00:49:41,021 --> 00:49:43,774
But on top of that is having this brother
811
00:49:43,857 --> 00:49:47,277
that is the spotlight of the family,
and I just thought...
812
00:49:47,360 --> 00:49:48,904
Finn was able to, like,
813
00:49:48,987 --> 00:49:52,240
really hone into that and capture that
and on the day,
814
00:49:52,574 --> 00:49:55,494
to really deliver that
in such an amazing way
815
00:49:55,577 --> 00:49:58,997
in the most uncomfortable
and awkward of, you know, set ups.
816
00:50:14,471 --> 00:50:15,514
Too soon.
817
00:50:23,897 --> 00:50:25,190
No!
818
00:50:26,900 --> 00:50:28,527
It was also great to be able to shoot.
819
00:50:28,610 --> 00:50:31,404
This is on the Fourth Street Bridge.
820
00:50:31,530 --> 00:50:34,658
I was bummed because having shot in LA,
821
00:50:34,825 --> 00:50:38,036
the Sixth Street Bridge was,
you know, is my favorite.
822
00:50:38,161 --> 00:50:40,747
You know, we shot Tokyo Drift
underneath that bridge.
823
00:50:41,122 --> 00:50:44,125
It actually got taken down. And, so...
824
00:50:45,085 --> 00:50:46,503
You know, it's sad to see
825
00:50:46,586 --> 00:50:49,631
all these kind of iconic LA structures,
826
00:50:49,798 --> 00:50:52,759
you know, I think just with time,
they're going to get replaced.
827
00:50:52,843 --> 00:50:58,056
So it was great to be able to at least
capture the Fourth Street Bridge on film.
828
00:51:07,440 --> 00:51:09,276
Here's Dom going back,
829
00:51:09,609 --> 00:51:12,946
and it's funny
because I think the fans will joke
830
00:51:13,154 --> 00:51:16,408
about crossover franchises, you know?
831
00:51:16,491 --> 00:51:19,953
And they're like "Can Fast cross
with Back to the Future?"
832
00:51:20,036 --> 00:51:21,037
I don't know why.
833
00:51:21,913 --> 00:51:25,250
It's always fun when they have
all these suggestions for us.
834
00:51:25,584 --> 00:51:30,213
In many ways, I feel like, yeah,
we've kind of done the time travel thing.
835
00:51:30,297 --> 00:51:32,424
You know, like it's been
part of our franchise.
836
00:51:32,507 --> 00:51:35,510
It started in Fast 4, and it continues.
837
00:51:35,594 --> 00:51:38,972
And here we, structurally,
are actually time traveling.
838
00:51:39,055 --> 00:51:41,224
We have two different timelines.
839
00:51:43,310 --> 00:51:44,728
Can't help you, man.
840
00:51:46,021 --> 00:51:50,233
This is one of those days,
you know, as a filmmaker, where...
841
00:51:50,317 --> 00:51:53,820
I love Michael Rooker.
I was such a big fan.
842
00:51:53,904 --> 00:51:55,238
We casted him,
843
00:51:56,031 --> 00:51:58,408
and then I remember showing up on set,
844
00:51:58,867 --> 00:52:01,786
and it was just like...
I felt like a 12-year-old.
845
00:52:02,746 --> 00:52:06,499
And the first time I saw him was
in this film, Mississippi Burning,
846
00:52:07,083 --> 00:52:12,380
and he played this KKK member,
and it scared the shit out of me
847
00:52:12,464 --> 00:52:14,633
as a kid, you know.
848
00:52:14,716 --> 00:52:18,678
And I knew that it was Michael Rooker,
and he's a great actor,
849
00:52:19,387 --> 00:52:20,722
and when I showed up on set,
850
00:52:21,389 --> 00:52:22,974
I was so scared.
851
00:52:23,350 --> 00:52:25,894
It was like this crazy, just...
852
00:52:25,977 --> 00:52:29,648
Like something in me was back
853
00:52:30,106 --> 00:52:32,776
and I was in Mississippi,
and he was that character.
854
00:52:33,610 --> 00:52:35,528
But luckily, it only lasted like a minute
855
00:52:35,612 --> 00:52:38,990
because he's also just
the most gracious, nicest person.
856
00:52:39,074 --> 00:52:40,700
He came in and just gave me this big hug,
857
00:52:40,784 --> 00:52:42,494
and I was like, "Okay, great.
This is great."
858
00:52:42,577 --> 00:52:45,997
And we had a great day,
kind of just shooting the scene.
859
00:52:46,498 --> 00:52:48,708
And I think a lot of times with Vin,
860
00:52:49,209 --> 00:52:53,755
we have this great process of, you know,
making sure that scenes like this,
861
00:52:54,255 --> 00:52:55,548
we have ample time.
862
00:52:55,632 --> 00:52:58,134
And so, we had a day set aside
for the scene,
863
00:52:58,218 --> 00:53:01,554
and we just started, you know,
with what was scripted,
864
00:53:01,638 --> 00:53:04,015
and then we just started
exploring moments.
865
00:53:04,140 --> 00:53:08,228
And this was tough, I have to say,
because Dom is there
866
00:53:08,311 --> 00:53:12,107
really for plot purposes to try to get
his next piece of information.
867
00:53:12,232 --> 00:53:18,488
But, you know, I think there's
a lot of kind of hurt and guilt,
868
00:53:18,613 --> 00:53:21,700
and also frustration, I think,
between these characters.
869
00:53:22,575 --> 00:53:25,286
And Vin was bringing a lot more
of this reverential sense of his past
870
00:53:26,705 --> 00:53:28,623
that we kept calibrating.
871
00:53:28,707 --> 00:53:31,459
And ultimately, I think
we were able to kind of find it.
872
00:53:31,543 --> 00:53:34,379
But it was definitely one
of those discovery scenes
873
00:53:34,462 --> 00:53:36,965
where we just had
two amazing actors on set
874
00:53:37,632 --> 00:53:40,510
and we just went at it.
And it was exhausting.
875
00:53:40,593 --> 00:53:43,096
I would say that scene, the Buddy scene,
876
00:53:43,179 --> 00:53:46,599
to me, is probably
the most exhausting scene,
877
00:53:46,725 --> 00:53:48,977
for me, physically, just going through
878
00:53:49,060 --> 00:53:52,313
the whole exploration
of emotion between them.
879
00:54:08,580 --> 00:54:10,039
Han's old shop.
880
00:54:10,123 --> 00:54:13,001
And here's another scene
that I ultimately had to take out.
881
00:54:13,084 --> 00:54:14,836
I was bummed. I mean, this...
882
00:54:15,336 --> 00:54:20,008
This car is the car
that Sean wrecks in Tokyo Drift.
883
00:54:20,091 --> 00:54:22,761
They ultimately take
the engine of that car
884
00:54:22,886 --> 00:54:25,221
and put in the Mustang for the third act.
885
00:54:25,305 --> 00:54:26,931
And I remember, when I wrote it,
886
00:54:27,015 --> 00:54:29,225
Clayton, our producer, he was like,
887
00:54:29,309 --> 00:54:30,935
"Wait a minute, you want that car?"
888
00:54:31,019 --> 00:54:33,396
And we're sitting there in London
on the set and I said,
889
00:54:33,480 --> 00:54:35,398
"Yeah, we got to get
the exact same car."
890
00:54:35,482 --> 00:54:37,192
And so they had to basically find it.
891
00:54:37,275 --> 00:54:39,152
I think they ultimately had to ship it.
892
00:54:39,944 --> 00:54:40,987
It was a big deal.
893
00:54:41,154 --> 00:54:43,698
It was a big deal to get that car there.
894
00:54:43,782 --> 00:54:48,369
We had to paint it, and it was
a lot of time revisiting Han's garage.
895
00:54:48,453 --> 00:54:51,206
I think, sometimes I have to remind myself
896
00:54:51,289 --> 00:54:53,750
just because it was
really hard, logistically,
897
00:54:53,833 --> 00:54:58,087
to get the scene, doesn't mean
they should be in the movie.
898
00:54:58,171 --> 00:54:59,589
And I still love the scene.
899
00:54:59,672 --> 00:55:01,883
I love the connection to Gisele.
900
00:55:02,467 --> 00:55:04,761
But ultimately, it was
just one of those things
901
00:55:04,844 --> 00:55:09,933
where scenes to clarify sometimes
ends up complicating, you know?
902
00:55:10,016 --> 00:55:13,645
And, so I ultimately took it out
of the final cut.
903
00:55:14,145 --> 00:55:15,688
I'll check in with Tej and Roman.
904
00:55:28,034 --> 00:55:31,037
This scene here in Cologne,
it was such a treat, you know?
905
00:55:31,120 --> 00:55:34,457
Because it was very much
a reunion for me and for all of us
906
00:55:34,541 --> 00:55:37,252
with Lucas, Jason, Bow.
907
00:55:37,794 --> 00:55:39,754
And Sung showed up that day, too.
908
00:55:39,838 --> 00:55:43,550
And it was just, you know...
This is where all started for me.
909
00:55:44,133 --> 00:55:46,845
And it was interesting.
I think I was walking to set
910
00:55:46,928 --> 00:55:51,015
and I saw them connecting.
911
00:55:51,432 --> 00:55:54,519
Like really connecting as people.
And it was amazing.
912
00:55:54,727 --> 00:55:57,647
It was this profound moment
because, in '05,
913
00:55:57,730 --> 00:56:01,025
we were just a bunch of kids, you know.
For me, it was kind of like...
914
00:56:01,734 --> 00:56:04,571
It was like... I had just finished
a credit-card movie,
915
00:56:04,654 --> 00:56:07,740
and, you know, we're trying to make
a Fast & Furious movie,
916
00:56:07,824 --> 00:56:09,784
and they were just kids.
917
00:56:10,076 --> 00:56:14,122
And now, they were all talking
about their family and their kids,
918
00:56:14,205 --> 00:56:17,792
and just kind of bringing back
these moments from 2005.
919
00:56:19,127 --> 00:56:20,503
Did I hear that right?
920
00:56:21,421 --> 00:56:23,298
You a runner and you afraid of flying?
921
00:56:24,924 --> 00:56:26,217
"Twinkie"?
922
00:56:26,301 --> 00:56:28,469
Here's this moment between
923
00:56:29,721 --> 00:56:32,473
Roman, Tej, and the boys I love.
924
00:56:32,557 --> 00:56:35,059
I have to say, as a kid, I always love it
925
00:56:35,143 --> 00:56:39,480
when characters
from the same, like, universe
926
00:56:39,981 --> 00:56:43,484
that somehow maybe are in different shows,
when they meet back up.
927
00:56:43,735 --> 00:56:45,987
And it really...
928
00:56:46,070 --> 00:56:47,989
It's not one of those things,
even in writing,
929
00:56:48,072 --> 00:56:49,574
that I was that conscious of.
930
00:56:49,657 --> 00:56:51,451
But on the day,
931
00:56:51,534 --> 00:56:54,203
seeing these characters meeting
for the first time was great.
932
00:56:58,791 --> 00:57:01,544
And then here's the reveal of the Fiero.
933
00:57:01,920 --> 00:57:04,923
The Fiero is this kind of...
934
00:57:06,007 --> 00:57:09,344
I guess it was a sports car.
It was big when I was in junior high.
935
00:57:10,470 --> 00:57:14,265
And I had this history teacher,
Miss Grant.
936
00:57:15,266 --> 00:57:19,020
She would pull up every morning
in her red Fiero.
937
00:57:19,103 --> 00:57:23,399
And, you know, I have to admit,
I had a crush on Miss Grant.
938
00:57:23,483 --> 00:57:24,734
I think a lot of boys did.
939
00:57:24,817 --> 00:57:27,570
And that Fiero made her look so cool.
940
00:57:27,904 --> 00:57:31,491
And so, when we were thinking
about finding a vehicle for this,
941
00:57:32,075 --> 00:57:34,327
I have to say,
I give Miss Grant a lot of credit.
942
00:57:34,452 --> 00:57:38,247
It wasn't actually her that
inspired this moment.
943
00:57:38,331 --> 00:57:42,043
It was just... I remember talking
to my friends about Miss Grant.
944
00:57:42,210 --> 00:57:43,920
This is probably like
a couple of years before,
945
00:57:44,003 --> 00:57:48,007
and the red Fiero was
the thing that we all talked about.
946
00:57:48,466 --> 00:57:52,178
And then when I was talking
to the NASA rocket scientists
947
00:57:52,261 --> 00:57:56,683
about how can we get to,
you know, not necessarily space
948
00:57:56,766 --> 00:57:58,226
but the outer atmosphere,
949
00:57:58,518 --> 00:58:01,479
they talked about,
obviously weight and fuel.
950
00:58:01,771 --> 00:58:04,607
And the more we talked about it,
the more it was evident
951
00:58:04,691 --> 00:58:07,610
that we needed something light
as our starting off point.
952
00:58:07,694 --> 00:58:12,281
And it was that moment of
"Oh, Miss Grant's red Fiero could be
953
00:58:12,365 --> 00:58:15,326
"the car that takes us into space.
954
00:58:15,493 --> 00:58:18,162
So, it's one of those fun moments
955
00:58:18,329 --> 00:58:21,541
of just kind of reconnecting
with my childhood friends,
956
00:58:21,624 --> 00:58:24,502
and just happy accident in trying
to kind of figure out
957
00:58:24,711 --> 00:58:31,259
how to get, you know,
to this kind of crazy idea in Fast
958
00:58:31,342 --> 00:58:34,012
but hopefully do it
in a way that is kind of
959
00:58:34,095 --> 00:58:38,182
at least grounded in science
as our starting off point.
960
00:58:45,273 --> 00:58:46,691
Who's Dominic Toretto?
961
00:58:55,241 --> 00:58:56,701
Arigato.
962
00:58:59,579 --> 00:59:01,581
This place is a dead end.
963
00:59:01,831 --> 00:59:03,583
Do you think Jakob could be
onto the Han connection?
964
00:59:03,666 --> 00:59:06,044
This is one of my favorite scenes
in the film.
965
00:59:06,127 --> 00:59:07,670
If he has all the information
we do...
966
00:59:08,129 --> 00:59:12,550
It took a long time,
in the kind of the writing of it,
967
00:59:12,633 --> 00:59:17,764
and I had some really deep
and amazing conversation
968
00:59:17,847 --> 00:59:20,558
with Michelle and Jordana on it, you know.
969
00:59:21,225 --> 00:59:25,688
It's interesting because I think there's
a lot of articles about, you know, the...
970
00:59:26,522 --> 00:59:28,941
Yeah, I think Michelle was
very adamant and very vocal
971
00:59:29,025 --> 00:59:33,237
about the treatment
of the female characters in the franchise.
972
00:59:33,738 --> 00:59:37,992
And this is again one of those things
that was really weird for me,
973
00:59:38,076 --> 00:59:41,788
because when I was kind of
part of the Fast franchise,
974
00:59:42,497 --> 00:59:47,251
I've always felt like, you know,
Letty, Mia, Gisele, you know, Elena,
975
00:59:47,335 --> 00:59:49,879
a lot of our female characters were so...
976
00:59:50,421 --> 00:59:53,299
I had such a great time,
kind of crafting it with the actors
977
00:59:53,382 --> 00:59:55,426
and, kind of, building the characters.
978
00:59:55,843 --> 00:59:59,847
But I think, for whatever reason,
since I was gone,
979
00:59:59,931 --> 01:00:01,849
I actually, to this day,
I don't know what happened,
980
01:00:01,933 --> 01:00:03,351
but when I came back, there was...
981
01:00:04,060 --> 01:00:06,062
She was really upset.
982
01:00:06,354 --> 01:00:09,190
And totally justified, you know.
983
01:00:09,273 --> 01:00:12,193
And for me, you know,
I've had conversations with people
984
01:00:12,276 --> 01:00:13,861
that have seen the film going,
985
01:00:13,945 --> 01:00:16,280
"It must have been
a really tough conversation
986
01:00:16,364 --> 01:00:18,533
"with, like Michelle
and all the female cast."
987
01:00:19,158 --> 01:00:23,371
And I was like, "No, we never really had
those conversations." You know?
988
01:00:23,454 --> 01:00:26,791
I always felt like
I love these characters.
989
01:00:27,458 --> 01:00:31,587
And to be totally honest, I felt like
they were really underserved, you know?
990
01:00:31,671 --> 01:00:33,840
And so, it really was just one
of those things that
991
01:00:33,923 --> 01:00:36,092
it was very organic,
you know, to come back.
992
01:00:36,551 --> 01:00:39,595
I love these characters,
and I want to make sure that, you know,
993
01:00:39,679 --> 01:00:45,309
all our characters are being
really, kind of, loved and supported.
994
01:00:45,852 --> 01:00:47,812
And so it became very natural.
995
01:00:47,979 --> 01:00:50,898
So, you know, this scene though,
996
01:00:50,982 --> 01:00:52,567
in a big action movie
where you have two characters
997
01:00:55,027 --> 01:00:57,446
that were able to kind of sit down
and really kind of get a state
998
01:00:57,530 --> 01:00:59,574
of where they are as human beings,
999
01:01:00,616 --> 01:01:03,786
that was definitely one
of the gifts
1000
01:01:03,870 --> 01:01:05,496
of being able to kind of reconnect.
1001
01:01:07,707 --> 01:01:08,916
No way.
1002
01:01:30,897 --> 01:01:34,775
Here, this is a really fun sequence
with Queenie that's coming up.
1003
01:01:35,193 --> 01:01:37,320
And I would kind of point to this scene
1004
01:01:37,403 --> 01:01:42,158
as kind of the growth
and evolution of our franchise.
1005
01:01:42,325 --> 01:01:46,078
I think that a lot of times
when we shoot these scenes,
1006
01:01:46,704 --> 01:01:48,873
you're showing up on the day
and you're trying to find the scene
1007
01:01:48,956 --> 01:01:53,753
and what Helen did, that was amazing,
was that, you know, we rehearsed it,
1008
01:01:54,128 --> 01:01:57,215
and she was so on point
1009
01:01:57,673 --> 01:02:00,885
that it really kind of allowed
the camera work
1010
01:02:01,928 --> 01:02:05,848
to complement everything that's happening
between the characters, you know.
1011
01:02:05,932 --> 01:02:10,228
And I think as we are
growing as a franchise,
1012
01:02:10,311 --> 01:02:16,859
one of the things I love doing is to
not edit, is to create these moments
1013
01:02:16,943 --> 01:02:19,779
where our characters are
just living in that moment
1014
01:02:19,862 --> 01:02:21,489
and the camera is there with them.
1015
01:02:22,198 --> 01:02:23,783
When are they gonna learn
1016
01:02:24,325 --> 01:02:26,160
some birds can't be caged?
1017
01:02:26,244 --> 01:02:28,204
Are you looking for one of me sons?
1018
01:02:29,538 --> 01:02:30,873
Not tonight.
1019
01:02:32,083 --> 01:02:33,960
This was a great night in London
1020
01:02:34,043 --> 01:02:38,005
where, you know, when she showed up,
she really set the tone,
1021
01:02:38,965 --> 01:02:42,218
and Vin was amazing, and at that moment,
during the rehearsal,
1022
01:02:42,301 --> 01:02:45,054
I knew that I was able to, like,
1023
01:02:45,137 --> 01:02:46,847
really challenge everybody
1024
01:02:46,931 --> 01:02:49,934
so that we can capture
everything in camera
1025
01:02:50,017 --> 01:02:54,271
and not have to sometimes find
some of the beats in the editing.
1026
01:03:02,071 --> 01:03:04,824
This is the Queenie...
We call this the Queenie Chase
1027
01:03:04,907 --> 01:03:06,659
that we're shooting throughout London.
1028
01:03:07,118 --> 01:03:09,829
And it still blows me away
that they allowed us
1029
01:03:09,912 --> 01:03:12,498
to be so close to Buckingham Palace.
1030
01:03:12,873 --> 01:03:15,918
It just shows the kind
of earned relationship
1031
01:03:16,002 --> 01:03:18,254
we have with the government, I think,
1032
01:03:18,337 --> 01:03:21,632
because I can guarantee you,
when we were shooting there in Fast 6,
1033
01:03:21,716 --> 01:03:24,927
I wasn't being brought that close
to Buckingham Palace.
1034
01:03:25,011 --> 01:03:29,223
But I think having this as being
our second time shooting in the UK,
1035
01:03:29,765 --> 01:03:32,768
we definitely had much...
And I wouldn't say better,
1036
01:03:32,893 --> 01:03:36,313
but I think we've kind of earned
our way into locations
1037
01:03:36,397 --> 01:03:40,067
that I think weren't available to us
the first time around.
1038
01:03:40,151 --> 01:03:41,944
...he was into
something big up in Edinburgh.
1039
01:03:46,949 --> 01:03:48,451
Local seller, huh?
1040
01:03:49,285 --> 01:03:51,912
She wouldn't happen to be
wearing a stolen necklace, would she?
1041
01:03:52,038 --> 01:03:54,165
He paid well. What was I supposed to do?
1042
01:03:54,248 --> 01:03:57,960
This is also another kind of great day
for us on production,
1043
01:03:58,044 --> 01:04:03,424
just to be able to get in there
and work with Helen and Vin.
1044
01:04:05,051 --> 01:04:06,761
Oh, bloody hell, he's not
your cousin...
1045
01:04:06,844 --> 01:04:11,432
And obviously the scene is, you know,
for it to happen in this chase,
1046
01:04:12,266 --> 01:04:15,978
but really, it is her connecting with Dom.
1047
01:04:16,270 --> 01:04:20,566
She's kind of the mastermind in many ways,
1048
01:04:20,649 --> 01:04:27,323
and she's always kind of also testing Dom
and a lot of the characters.
1049
01:04:27,406 --> 01:04:30,618
And so to be able do that
in the middle of a chase,
1050
01:04:30,701 --> 01:04:32,036
it was a lot of fun.
1051
01:04:32,119 --> 01:04:33,746
It was a lot of fun
because Helen showed up
1052
01:04:33,829 --> 01:04:37,625
and she wanted to really understand
driving the Noble.
1053
01:04:37,958 --> 01:04:41,045
And she was able...
1054
01:04:41,128 --> 01:04:43,506
I mean, she learned it so fast,
1055
01:04:44,090 --> 01:04:45,925
and she never kind of lost continuity,
1056
01:04:46,008 --> 01:04:48,427
so she was able to, like, really mimic
1057
01:04:48,511 --> 01:04:52,431
the driving through London
as she was delivering the scene.
1058
01:04:52,640 --> 01:04:54,433
It was unbelievable, you know?
1059
01:04:54,517 --> 01:04:56,519
And actually it was interesting
1060
01:04:56,602 --> 01:04:59,647
because, you know,
growing up as a Laker fan,
1061
01:04:59,855 --> 01:05:02,233
I was always kind of fascinated
by the colors.
1062
01:05:02,316 --> 01:05:04,985
And growing up, it was called Forum Blue,
1063
01:05:05,069 --> 01:05:08,656
which is this kind of dark blue,
purple and gold.
1064
01:05:09,031 --> 01:05:12,993
And I remember learning that
that was kind of the royal colors.
1065
01:05:13,160 --> 01:05:14,745
Those are the Queen's colors.
1066
01:05:17,414 --> 01:05:18,666
And, so I thought,
"Oh, we get to finally get
1067
01:05:18,749 --> 01:05:22,086
"the thing that I loved as a kid,
I can match it."
1068
01:05:22,419 --> 01:05:27,133
And ultimately, you know, I couldn't
quite find the right purple.
1069
01:05:27,299 --> 01:05:31,762
I think the purple on the Noble is
actually a bit more purple than I like.
1070
01:05:31,846 --> 01:05:33,889
It was kind of more the 2000 Lakers color
1071
01:05:33,973 --> 01:05:36,559
as opposed to the color I was looking for,
1072
01:05:36,642 --> 01:05:38,811
which is the kind of 1980s Magic Johnson,
1073
01:05:38,894 --> 01:05:40,980
Kareem Abdul-Jabbar purple.
1074
01:05:48,237 --> 01:05:50,114
Dominic Toretto.
1075
01:05:50,197 --> 01:05:53,659
Tell me.
Why is the best fruit always forbidden?
1076
01:05:54,160 --> 01:05:55,161
You should know.
1077
01:05:55,703 --> 01:05:58,205
Here we had... This is
kind of a bonus moment
1078
01:05:58,289 --> 01:06:01,417
with Cardi's character
when she greets Dom.
1079
01:06:02,960 --> 01:06:04,628
It was a lot of fun shooting it,
1080
01:06:04,712 --> 01:06:07,464
and ultimately, I felt like, you know,
1081
01:06:07,548 --> 01:06:10,217
it was better to kind of
hide her in the crowd
1082
01:06:10,301 --> 01:06:12,511
and reveal her in the back of the truck.
1083
01:06:14,763 --> 01:06:16,223
Well, financier.
1084
01:06:17,057 --> 01:06:18,601
But, you know, my dad, he's a dictator,
1085
01:06:18,684 --> 01:06:20,019
so we're not talking regular people...
1086
01:06:20,186 --> 01:06:22,438
Thue... And here we have Otto.
1087
01:06:22,646 --> 01:06:26,775
He is kind of the financier
for Jakob and Sue.
1088
01:06:26,984 --> 01:06:30,362
We actually have this backstory for Sue.
1089
01:06:30,446 --> 01:06:33,449
He was "The boy named Sue, "
the Johnny Cash song.
1090
01:06:33,532 --> 01:06:36,952
We had this whole thing,
and we even shot it, and it was awesome.
1091
01:06:37,369 --> 01:06:40,414
But ultimately, it just got to be
too long.
1092
01:06:40,497 --> 01:06:44,919
And it was one of the heartbreaks for me
1093
01:06:45,002 --> 01:06:47,796
because I love it when in movies,
1094
01:06:47,880 --> 01:06:50,883
when you have these characters
that are kind of...
1095
01:06:51,634 --> 01:06:55,638
They're there as, quote-unquote, muscle
or whatever purpose,
1096
01:06:55,763 --> 01:06:57,890
and you realize there's a whole history,
1097
01:06:57,973 --> 01:07:00,684
and there was a whole back story
to these characters,
1098
01:07:00,768 --> 01:07:04,480
and we definitely had a lot of fun
with both Otto and Sue.
1099
01:07:04,563 --> 01:07:08,567
And the Sue thread
ultimately kind of got cut down,
1100
01:07:08,651 --> 01:07:12,238
and it was kind of...
I had it for a long time,
1101
01:07:12,863 --> 01:07:14,073
but it was the right choice,
1102
01:07:14,198 --> 01:07:17,451
but I just had so much fun
with Martyn on that.
1103
01:07:20,120 --> 01:07:21,247
He's long gone.
1104
01:07:21,330 --> 01:07:24,917
All I see is the same scared little kid
that killed our father.
1105
01:07:27,044 --> 01:07:28,504
That's your mistake.
1106
01:07:31,048 --> 01:07:32,508
The spy game,
1107
01:07:33,676 --> 01:07:35,135
this is my world.
1108
01:07:40,516 --> 01:07:43,811
And this is, you know, obviously
the first real face-to-face meeting
1109
01:07:43,936 --> 01:07:46,480
between Dom and Jakob.
1110
01:07:48,941 --> 01:07:53,195
I think, in this scene,
we actually had a lot more to it.
1111
01:07:53,779 --> 01:07:56,448
And in the earlier drafts,
1112
01:07:56,907 --> 01:07:59,034
I actually was playing with the flashbacks
1113
01:07:59,785 --> 01:08:03,706
where it explained a lot more
of where Jakob was
1114
01:08:04,373 --> 01:08:07,251
during even the events
of the first Fast and the Furious.
1115
01:08:07,835 --> 01:08:09,795
And we had this amazing shot
1116
01:08:09,878 --> 01:08:12,798
where I took footage
from the first Fast and the Furious
1117
01:08:12,881 --> 01:08:17,219
that handed off into a young Jakob
who was in the crowd
1118
01:08:17,303 --> 01:08:19,221
when Dom was racing Brian.
1119
01:08:19,888 --> 01:08:23,934
And it was an expensive, extensive shot
1120
01:08:24,184 --> 01:08:26,729
that took us months and months to prepare.
1121
01:08:27,062 --> 01:08:30,399
And Peter Chiang, our VFX supervisor,
did an amazing job,
1122
01:08:30,482 --> 01:08:33,068
and as we were working on that shot,
1123
01:08:33,569 --> 01:08:38,240
it was so good
that it really took me out of the movie,
1124
01:08:38,782 --> 01:08:42,953
so much so that I ultimately
cut it from everything,
1125
01:08:43,037 --> 01:08:46,290
because I didn't want the audience
to be taken out that much.
1126
01:08:47,249 --> 01:08:49,918
And I think ultimately it was
the right call, and it's better here
1127
01:08:50,002 --> 01:08:53,839
because it's kind of referenced to
as opposed to kind of shown.
1128
01:08:54,256 --> 01:08:58,093
And again, I hope that there's going
to be other opportunities for us
1129
01:08:58,177 --> 01:09:00,429
to really kind of explore that chapter.
1130
01:09:00,512 --> 01:09:03,515
And I think we'll be able to do it
in a much better way
1131
01:09:03,599 --> 01:09:07,436
than to be able to cram it
into, you know, this film.
1132
01:09:08,437 --> 01:09:10,981
And here I thought my dad
was a pain in the ass.
1133
01:09:12,441 --> 01:09:14,943
But your family is a train wreck.
1134
01:09:15,903 --> 01:09:18,739
Well, now that your brother's
finally out of the game,
1135
01:09:18,822 --> 01:09:20,532
it's time we go to Edinburgh.
1136
01:09:20,866 --> 01:09:24,328
Get the second piece,
maybe do a little sightseeing, huh?
1137
01:09:25,412 --> 01:09:27,581
Otto, with his father issues,
1138
01:09:27,831 --> 01:09:31,960
I had so much fun with Thue,
kind of working on his relationship.
1139
01:09:32,044 --> 01:09:34,713
And we had numerous conversations,
1140
01:09:34,797 --> 01:09:36,715
so that when we were doing this scene,
1141
01:09:36,799 --> 01:09:39,635
you really get
his relationship with his father.
1142
01:09:40,094 --> 01:09:43,931
And he was so much fun
to work with and build Otto.
1143
01:09:44,014 --> 01:09:47,351
Because I think very easily
he could just be a stock character.
1144
01:09:47,434 --> 01:09:49,269
But I think if you watch
the film, you can see that
1145
01:09:49,353 --> 01:09:53,565
he's a fully developed character
and it's something that I enjoy.
1146
01:10:00,239 --> 01:10:02,157
So, here is Cardi's scene.
1147
01:10:02,241 --> 01:10:07,329
And this is really a big Easter egg
for the fans.
1148
01:10:07,413 --> 01:10:12,209
You know, I think the fans that
maybe had not followed the Fast Saga,
1149
01:10:12,292 --> 01:10:16,171
they'll know her as someone
that's working with Queenie,
1150
01:10:16,255 --> 01:10:20,384
that was probably in a white dress,
that was planted in there to help Dom out,
1151
01:10:20,717 --> 01:10:22,845
but she's actually the sister of Cara.
1152
01:10:22,928 --> 01:10:28,851
Cara is Han's significant other
in Fast 4.
1153
01:10:28,934 --> 01:10:33,063
And they used to, in D.R., they would
steal gas for the people.
1154
01:10:33,147 --> 01:10:36,442
So there was a whole connection there
that I talked to Vin about.
1155
01:10:36,859 --> 01:10:41,238
And, so now Cardi has
been introduced in our franchise
1156
01:10:41,321 --> 01:10:44,783
as a character
that's basically been around
1157
01:10:44,867 --> 01:10:47,619
since, you know, Fast 4.
1158
01:10:48,036 --> 01:10:50,873
So, you know, I'm hoping
that there will be an opportunity
1159
01:10:50,956 --> 01:10:53,208
for us to explore that character more.
1160
01:11:08,765 --> 01:11:12,978
So here, we're introducing
this, kind of, new element to Han
1161
01:11:13,061 --> 01:11:16,940
to explain his absence
and how he's alive.
1162
01:11:17,483 --> 01:11:20,027
This is something that we worked on a lot.
1163
01:11:20,110 --> 01:11:23,405
And I have to say, it kind of felt poetic.
1164
01:11:24,656 --> 01:11:26,408
This whole "Justice for Han"...
1165
01:11:27,117 --> 01:11:29,077
Because when I left,
1166
01:11:29,161 --> 01:11:32,623
I didn't engage on any of the other films,
1167
01:11:32,998 --> 01:11:37,544
it was during the screening
of my indie movie Better Luck Tomorrow,
1168
01:11:37,628 --> 01:11:41,215
at the Egyptian, where, I think,
the fans during the Q&A, brought up
1169
01:11:41,298 --> 01:11:44,343
this idea, or this movement
of "Justice for Han."
1170
01:11:45,135 --> 01:11:47,304
And when I heard it,
I was totally baffled.
1171
01:11:47,387 --> 01:11:49,598
To this day, I have no idea why
1172
01:11:50,474 --> 01:11:54,019
the whole Shaw showing up
at the barbecue at the end of 8
1173
01:11:54,102 --> 01:11:57,397
was handled that way.
I mean, you know, when I left,
1174
01:11:57,898 --> 01:11:59,858
Shaw had killed Han,
1175
01:12:00,400 --> 01:12:03,612
and he was the antagonist
to Dom and the family.
1176
01:12:03,987 --> 01:12:06,114
And, you know, I don't mind
1177
01:12:06,198 --> 01:12:10,536
when characters can maybe show up
and they can change sides.
1178
01:12:10,619 --> 01:12:13,372
I think it's part of Fast universe.
1179
01:12:13,539 --> 01:12:15,040
But I just never...
You know, when I came back,
1180
01:12:15,123 --> 01:12:20,045
there was after the discovering
this whole "Justice for Han" movement,
1181
01:12:20,587 --> 01:12:22,589
I even sat and talked to the studio,
1182
01:12:22,673 --> 01:12:25,801
and I said, "What happened?"
And nobody could give me an answer.
1183
01:12:25,884 --> 01:12:27,344
You know? And, so...
1184
01:12:27,886 --> 01:12:31,932
I think it ultimately was great
because to be able to come back,
1185
01:12:32,015 --> 01:12:34,601
I felt like it was something
that needed to be addressed.
1186
01:12:34,685 --> 01:12:38,188
And, you know, I think
part of the gift of it is that,
1187
01:12:38,272 --> 01:12:40,315
if they actually did handle it correctly,
1188
01:12:40,399 --> 01:12:42,442
then Han would
probably stay dead, you know?
1189
01:12:42,526 --> 01:12:45,404
And, so I think, you know,
for whatever reason,
1190
01:12:45,487 --> 01:12:50,909
the way it was handled, you know,
really, for me, needed some answers.
1191
01:12:50,993 --> 01:12:54,162
And because of that,
I was able to come back
1192
01:12:54,329 --> 01:12:58,333
and be part of the solution
in answering that.
1193
01:12:58,417 --> 01:13:01,962
And by answering that, you know,
I was able to bring Han back.
1194
01:13:02,045 --> 01:13:05,841
So it actually ends up being a win-win.
1195
01:13:24,651 --> 01:13:25,944
You okay?
1196
01:13:26,028 --> 01:13:30,032
This moment here...
You know, in Tokyo with Han,
1197
01:13:30,115 --> 01:13:31,199
it was just a great moment.
1198
01:13:31,325 --> 01:13:34,745
It was again, one of those things
where, in writing it, developing it,
1199
01:13:34,828 --> 01:13:36,580
I knew what we were doing.
1200
01:13:36,705 --> 01:13:39,875
But it wasn't until we were shooting
and you see it through the lens,
1201
01:13:39,958 --> 01:13:42,336
and you see Han's face,
1202
01:13:42,419 --> 01:13:45,464
that, like, I got chills, you know.
1203
01:13:45,547 --> 01:13:51,303
And it was something that, you know,
as we get into more of the film,
1204
01:13:51,386 --> 01:13:55,515
I'll try to share a little bit more
of the reasons and the process
1205
01:13:55,599 --> 01:13:56,725
of bringing him back.
1206
01:14:15,744 --> 01:14:18,622
We're hitting this Edinburgh sequence,
1207
01:14:18,705 --> 01:14:22,125
and this actually is an amazing location.
1208
01:14:24,127 --> 01:14:27,381
And it was actually a pivotal,
not just on a logistical level,
1209
01:14:28,048 --> 01:14:29,966
but creatively,
1210
01:14:30,050 --> 01:14:33,804
you know, we take this train
from London to Edinburgh,
1211
01:14:33,887 --> 01:14:38,975
and it ended up being a defining moment
in the development of the film.
1212
01:14:43,772 --> 01:14:46,191
When I first came back,
1213
01:14:46,525 --> 01:14:50,821
I actually wasn't planning on bringing
Han back alive.
1214
01:14:50,904 --> 01:14:53,990
We were gonna address Justice for Han,
but he was going to stay dead.
1215
01:14:54,074 --> 01:14:58,245
So a lot of this stuff was going to be
handled in the flashbacks.
1216
01:15:00,205 --> 01:15:04,584
But it was actually in the train ride
to Edinburgh that Jeff Kirschenbaum,
1217
01:15:04,668 --> 01:15:06,169
who is an executive that...
1218
01:15:06,253 --> 01:15:09,673
When I started Tokyo Drift,
he was executive on it,
1219
01:15:09,756 --> 01:15:13,635
and we kind of grew up together
making the Fast movies.
1220
01:15:13,760 --> 01:15:16,221
And then we both left the franchise.
1221
01:15:16,596 --> 01:15:21,351
And so when I came back, I felt it was
important to have him be a part of this.
1222
01:15:21,435 --> 01:15:26,148
So he became a producer on this film,
and he's a big part...
1223
01:15:26,231 --> 01:15:29,234
He's one of the architects.
1224
01:15:29,693 --> 01:15:33,488
I consider him a partner
on the building of this franchise.
1225
01:15:34,239 --> 01:15:39,703
And it was on that train ride
that we started talking about Han.
1226
01:15:40,412 --> 01:15:42,539
And, I think, one of the things
that is great about Kirsch
1227
01:15:42,622 --> 01:15:47,210
is that his enthusiasm
for this franchise has no boundaries.
1228
01:15:47,794 --> 01:15:51,173
And I would say 99 out of 100 times,
1229
01:15:51,882 --> 01:15:54,176
he would say the most outrageous things,
1230
01:15:54,259 --> 01:15:58,013
and he would get crapped on
and laughed at by me, mostly by me.
1231
01:15:58,638 --> 01:16:01,475
And I love crapping on
and laughing at Kirsch.
1232
01:16:02,184 --> 01:16:05,562
But one out of 100,
this guy will say something
1233
01:16:05,645 --> 01:16:09,274
that maybe doesn't even make sense
in the beginning,
1234
01:16:09,983 --> 01:16:13,320
but ultimately becomes a brilliant idea,
1235
01:16:13,403 --> 01:16:19,493
which is this idea of Justice for Han
is not just justice for Han.
1236
01:16:19,576 --> 01:16:21,328
Let's bring him back for real.
1237
01:16:21,620 --> 01:16:23,789
And I have to admit, I get it.
1238
01:16:23,872 --> 01:16:27,626
I don't get up in the morning and say,
1239
01:16:27,709 --> 01:16:29,836
"Hey, let's just bring
dead characters back."
1240
01:16:29,920 --> 01:16:32,422
I don't want to do that, as a rule.
1241
01:16:32,756 --> 01:16:37,260
And I think even when on this train ride
when Kirsch brought up the idea,
1242
01:16:38,094 --> 01:16:40,472
I thought it was nuts.
1243
01:16:40,722 --> 01:16:42,224
But for some reason,
1244
01:16:42,307 --> 01:16:44,601
I think in the second or third hour
of the train ride,
1245
01:16:45,393 --> 01:16:46,978
it started settling in.
1246
01:16:47,813 --> 01:16:52,150
And then we started discussing
about what we were working on
1247
01:16:52,234 --> 01:16:57,239
with the back story of Han,
and how he could actually be alive.
1248
01:16:57,322 --> 01:17:00,075
And it actually made more sense.
1249
01:17:00,158 --> 01:17:02,619
But it was a very organic way for me.
1250
01:17:02,702 --> 01:17:08,959
That morning, I did not wake up thinking
that Han was going to be alive to...
1251
01:17:09,042 --> 01:17:13,213
This train ride,
by the time we landed in Edinburgh,
1252
01:17:13,296 --> 01:17:15,841
that, "Oh, my God. Han is alive."
1253
01:17:16,049 --> 01:17:19,177
So it was a...
It was an amazing ride,
1254
01:17:19,261 --> 01:17:22,264
and it was very inspired.
1255
01:17:23,223 --> 01:17:24,599
It just kind of shows...
1256
01:17:24,683 --> 01:17:27,143
It reminds me of the spirit
of Fast & Furious,
1257
01:17:28,186 --> 01:17:33,233
is to never
fully just reject things because...
1258
01:17:33,733 --> 01:17:34,734
Just because.
1259
01:17:34,818 --> 01:17:38,947
And it's never to condescend on anything.
1260
01:17:39,072 --> 01:17:42,826
And the fact that I have
this amazing group of people,
1261
01:17:42,909 --> 01:17:46,329
where we can say
the most ridiculous things,
1262
01:17:46,413 --> 01:17:50,500
but feel there's enough support where...
1263
01:17:50,625 --> 01:17:53,211
We can laugh at each other,
we can crap on each other,
1264
01:17:53,295 --> 01:17:56,381
but to be able to take it seriously
at some point,
1265
01:17:56,464 --> 01:17:57,465
it's really rare.
1266
01:17:57,716 --> 01:17:59,801
I could say that in Hollywood,
1267
01:17:59,926 --> 01:18:03,597
where you'd think
that creativity is embraced,
1268
01:18:04,306 --> 01:18:08,143
it's actually very much something
that you have to fight for.
1269
01:18:08,226 --> 01:18:11,271
A lot of times, there's so many agendas
when it comes to budgets,
1270
01:18:11,354 --> 01:18:13,273
and there's all these things.
1271
01:18:13,356 --> 01:18:16,902
And a lot of times when you make
these big tent-pole sequels,
1272
01:18:16,985 --> 01:18:20,989
the tendency sometimes with success
is that, "Well, we know what works,
1273
01:18:21,156 --> 01:18:22,574
"so let's keep doing the same thing."
1274
01:18:23,325 --> 01:18:25,869
And so to be able
to be a part of this process
1275
01:18:25,952 --> 01:18:30,081
where we're saying,
"No, we were successful in the last film
1276
01:18:30,165 --> 01:18:31,416
"because of A,
1277
01:18:31,541 --> 01:18:35,045
"but I think it's potentially yielding
something that we've earned.
1278
01:18:35,170 --> 01:18:36,588
"Let's try something brand new."
1279
01:18:37,213 --> 01:18:40,050
It sounds kind of logical, but is also...
1280
01:18:40,133 --> 01:18:42,594
I think in the business sense,
it's the scariest thing
1281
01:18:42,677 --> 01:18:47,390
to always be exploring
and trying new things.
1282
01:18:47,766 --> 01:18:50,518
And I think that's what I love
about doing these films.
1283
01:18:50,936 --> 01:18:53,313
And that is what I love
about being with Universal
1284
01:18:53,396 --> 01:18:55,982
and the group of people
that I work with in that,
1285
01:18:57,609 --> 01:19:00,403
we're never trying to do the same thing.
1286
01:19:00,487 --> 01:19:04,699
If we were, I wouldn't be making
the fifth movie in this franchise.
1287
01:19:04,783 --> 01:19:08,411
I feel like every one that I've done
have been completely different,
1288
01:19:08,495 --> 01:19:11,164
thematically, and also
in what we're trying to explore.
1289
01:19:11,873 --> 01:19:17,504
And I think that, for me, on this one,
is to embrace what we've evolved to,
1290
01:19:17,587 --> 01:19:22,550
over-the-top action
and just even taking ideas.
1291
01:19:23,176 --> 01:19:25,637
And it's almost become science fiction,
1292
01:19:25,971 --> 01:19:30,558
but at the same time being able to explore
and go back to what started it all.
1293
01:19:31,017 --> 01:19:33,520
I feel like that balance
was such a new thing for us,
1294
01:19:34,270 --> 01:19:39,109
that if we're able to earn
the emotional connection,
1295
01:19:39,192 --> 01:19:42,028
the emotional exploration
on a very real level,
1296
01:19:42,612 --> 01:19:44,906
then it allows us, gave us license
1297
01:19:44,990 --> 01:19:49,744
to then push the ridiculousness
of the tone of the action.
1298
01:19:49,828 --> 01:19:52,038
But I felt like
if we weren't able to do that,
1299
01:19:52,122 --> 01:19:54,457
then we wouldn't be able
to really evolve our action.
1300
01:20:45,675 --> 01:20:46,676
Shit.
1301
01:20:50,263 --> 01:20:51,264
Hey!
1302
01:20:51,347 --> 01:20:53,058
And here you have...
I'm just going to point out,
1303
01:20:53,141 --> 01:20:55,602
that's my son and all the kids.
1304
01:20:55,685 --> 01:21:00,899
I think Jordana's son,
J. J. Perry, Samantha Vincent.
1305
01:21:02,108 --> 01:21:04,194
It's become a tradition for us
1306
01:21:04,569 --> 01:21:08,740
to have these kids in the middle
of these big action set pieces.
1307
01:21:09,032 --> 01:21:10,784
My gut is that it's going to keep growing
1308
01:21:10,867 --> 01:21:13,620
just because when we started,
there were no kids,
1309
01:21:13,870 --> 01:21:15,747
and I think Fast 5 was the first time
1310
01:21:15,830 --> 01:21:19,417
where my son was
a year-and-a-half old,
1311
01:21:19,501 --> 01:21:21,127
and I was doing the vault scene,
1312
01:21:21,211 --> 01:21:24,297
and I wanted to inject
a little bit of humanity in there,
1313
01:21:24,380 --> 01:21:27,842
and I thought,
"Yeah. What about a young kid?"
1314
01:21:27,926 --> 01:21:29,761
And I thought,
"Yeah, I have one of those, "
1315
01:21:29,844 --> 01:21:32,388
and then that's when we started,
and then it just kept...
1316
01:21:32,472 --> 01:21:34,974
For me, it's always good
1317
01:21:35,058 --> 01:21:39,479
to connect with humanity
in the middle of these set pieces,
1318
01:21:39,562 --> 01:21:41,272
so it's become a tradition for us.
1319
01:21:50,156 --> 01:21:51,491
Oh, no!
1320
01:21:54,077 --> 01:21:56,121
The Ramsey driving scene,
1321
01:21:56,204 --> 01:22:00,041
it was one of those great
character threads that I loved.
1322
01:22:00,542 --> 01:22:05,004
I think, to me, I remember
talking about this character.
1323
01:22:05,088 --> 01:22:06,256
She wasn't named Ramsey,
1324
01:22:06,339 --> 01:22:09,717
but we were talking about this
computer hacker character
1325
01:22:09,801 --> 01:22:11,261
all the way back to Fast 5.
1326
01:22:11,636 --> 01:22:13,555
And then, when I showed up, she was...
1327
01:22:13,638 --> 01:22:17,058
Nathalie had taken over,
and they birthed the character.
1328
01:22:17,267 --> 01:22:19,644
But it was interesting to me,
meeting with her.
1329
01:22:19,727 --> 01:22:22,230
It was very clear
that there's so much to her
1330
01:22:22,313 --> 01:22:23,439
that hasn't been explored.
1331
01:22:23,523 --> 01:22:27,694
So it was just a great opportunity
to be able to introduce something new.
1332
01:22:27,777 --> 01:22:32,824
The fact that I always love meeting,
not savants, but even geniuses,
1333
01:22:33,158 --> 01:22:35,702
and seeing that they are human beings.
1334
01:22:35,785 --> 01:22:37,662
She could hack
everything in the world,
1335
01:22:37,745 --> 01:22:40,582
but the price of that is that
she's never driven a car,
1336
01:22:40,665 --> 01:22:43,168
and that was very exciting for me,
to be able to explore that.
1337
01:22:43,251 --> 01:22:45,003
And I think it's unlocked something
1338
01:22:45,086 --> 01:22:48,339
that now I feel like I have
a better sense of Ramsey,
1339
01:22:48,423 --> 01:22:51,384
and there's going to be a lot more
that we get to explore.
1340
01:23:01,895 --> 01:23:03,771
Otto, sending you new pickup location.
1341
01:23:11,738 --> 01:23:13,489
I've got it. I'm headed to you now.
1342
01:23:13,948 --> 01:23:15,992
And here you can see the brother fight.
1343
01:23:16,075 --> 01:23:19,579
This is something
that I wanted to be in close quarters,
1344
01:23:19,662 --> 01:23:22,874
and it was something
that I felt like tonally,
1345
01:23:22,957 --> 01:23:26,711
it needed to capture anybody
that's ever had siblings,
1346
01:23:26,794 --> 01:23:29,297
where you can fight strangers,
1347
01:23:29,380 --> 01:23:32,717
but something about blood,
where it always feels
1348
01:23:32,800 --> 01:23:34,344
one hundred times more intense.
1349
01:23:34,969 --> 01:23:37,180
And that evolved to them
1350
01:23:37,263 --> 01:23:41,517
going through walls
and windows and everything.
1351
01:23:42,018 --> 01:23:45,438
And this is really
more of just an exercise
1352
01:23:45,521 --> 01:23:50,902
of trying to articulate for anybody
that doesn't have siblings.
1353
01:23:51,569 --> 01:23:56,157
If we were able to manifest that
into an action sequence in a fight,
1354
01:23:56,282 --> 01:23:58,743
what that would be
and the scale of that.
1355
01:23:58,826 --> 01:24:01,788
It really was not even
the physical objects and things
1356
01:24:01,871 --> 01:24:03,373
that we were designing,
1357
01:24:03,456 --> 01:24:05,917
it was more of the feel for it.
1358
01:24:06,000 --> 01:24:08,544
So it was a great exercise of doing that,
1359
01:24:08,628 --> 01:24:11,172
and giving it its own tone
1360
01:24:11,256 --> 01:24:13,967
that's different
than the rest of the sequences.
1361
01:24:35,280 --> 01:24:39,784
This is integrating
the craziest thing that we're introducing,
1362
01:24:39,867 --> 01:24:40,952
which, you know...
1363
01:24:41,035 --> 01:24:44,122
I know people talk about going to space.
1364
01:24:44,497 --> 01:24:48,543
I actually think that after talking
to NASA scientists and everything,
1365
01:24:48,626 --> 01:24:53,131
I actually felt like there's much more
sound science in going to space.
1366
01:24:53,464 --> 01:24:58,052
This whole magnet tech, actually,
didn't start off as me going,
1367
01:24:58,136 --> 01:25:00,388
"Hey, let's go and explore magnets."
It actually...
1368
01:25:00,471 --> 01:25:04,559
We were doing this scout,
and I was actually in Hamburg, Germany,
1369
01:25:04,934 --> 01:25:07,687
and I was interested
in particle accelerators,
1370
01:25:08,271 --> 01:25:11,983
and I remember going underground
and walking it with these scientists,
1371
01:25:12,108 --> 01:25:15,611
and they were talking to me
about particle accelerators
1372
01:25:16,112 --> 01:25:18,614
and the magnet tech that it took.
1373
01:25:18,698 --> 01:25:21,951
And, actually, that's what
inspired this whole thing.
1374
01:25:22,410 --> 01:25:26,164
And so I started asking questions
about magnets.
1375
01:25:26,247 --> 01:25:28,875
And I think we ended up
in some restaurant,
1376
01:25:28,958 --> 01:25:31,669
having our lunch with pints of beer.
1377
01:25:32,170 --> 01:25:37,633
It evolved into
from particle acceleration into magnets.
1378
01:25:38,092 --> 01:25:41,012
And so that actually was the origin
of this whole thing.
1379
01:25:41,095 --> 01:25:44,182
And I start asking about
the magnet techs and everything.
1380
01:25:44,557 --> 01:25:48,227
And I think, with everything,
it was always started off in reality,
1381
01:25:48,311 --> 01:25:52,398
and then I think the questions I had
was more of just
1382
01:25:52,482 --> 01:25:57,487
aspiration of that technology,
and it just set me off.
1383
01:25:57,695 --> 01:26:02,784
And I think that was the origin
of what we were going to do in this film.
1384
01:26:03,409 --> 01:26:06,579
And it became,
I wouldn't say like fiction.
1385
01:26:06,662 --> 01:26:08,748
It was still based on something.
1386
01:26:08,831 --> 01:26:12,794
I think a lot of it was in theory,
and then creatively,
1387
01:26:12,877 --> 01:26:15,213
I just took license to it,
and we just evolved it.
1388
01:26:15,296 --> 01:26:18,424
So, at the end of the day,
I actually think that it's interesting
1389
01:26:18,508 --> 01:26:22,053
because it was based on
something that was science.
1390
01:26:22,178 --> 01:26:25,223
And then we just, through questioning,
it evolved into something
1391
01:26:25,306 --> 01:26:27,934
that maybe one day
science will catch up to.
1392
01:26:28,017 --> 01:26:30,353
I don't know.
But it was something we're playing with.
1393
01:26:30,853 --> 01:26:32,355
We're the good guys.
1394
01:26:32,438 --> 01:26:34,649
Me? I'm Luke freaking Skywalker.
1395
01:26:34,941 --> 01:26:36,442
Are you sure about that?
1396
01:26:37,276 --> 01:26:39,487
I mean, I get the daddy issues, but...
1397
01:26:41,531 --> 01:26:43,116
Look at what you've built.
1398
01:26:44,909 --> 01:26:46,577
Really? Luke?
1399
01:26:47,954 --> 01:26:49,247
You're right.
1400
01:26:49,831 --> 01:26:51,624
No, I'm more of a Han Solo.
1401
01:26:52,750 --> 01:26:53,960
No.
1402
01:26:54,460 --> 01:26:57,672
And here, this scene
between Cipher and Otto,
1403
01:26:57,964 --> 01:27:01,008
it is one of those...
Again, it is one those really scary
1404
01:27:01,801 --> 01:27:05,138
things to concede,
because if you see the earlier scene,
1405
01:27:05,221 --> 01:27:08,516
she started clocking Otto
as her ticket way out.
1406
01:27:08,599 --> 01:27:10,685
And here, we needed a scene
1407
01:27:10,768 --> 01:27:14,772
where she was going to be able
to pull him in,
1408
01:27:15,982 --> 01:27:20,486
but not only destroy
his being, his philosophy,
1409
01:27:20,987 --> 01:27:23,698
but knowing that he's going to come back
and open up that door.
1410
01:27:24,407 --> 01:27:27,743
And we had to do that
in that one quick scene.
1411
01:27:28,119 --> 01:27:31,205
But I... On the day,
working with both actors,
1412
01:27:31,289 --> 01:27:33,583
I just felt like without them,
1413
01:27:33,666 --> 01:27:36,169
there's no way
we're able to have a chance.
1414
01:27:36,252 --> 01:27:40,047
So, it's again
one of those gymnastics
1415
01:27:40,131 --> 01:27:44,677
of trying to make sure that maybe
you don't get it in the first bounce,
1416
01:27:44,802 --> 01:27:49,348
but when the twist and reveal happened,
it will all make sense.
1417
01:27:49,432 --> 01:27:54,562
And I felt like Charlize and Thue
just did an amazing job in that scene.
1418
01:27:57,690 --> 01:27:58,774
Man.
1419
01:27:58,858 --> 01:28:02,195
There is literally zero industrial
or weapons-grade electromagnets
1420
01:28:02,278 --> 01:28:04,113
I can find that are this powerful.
1421
01:28:04,197 --> 01:28:05,781
Look at the pull strength level here.
1422
01:28:05,865 --> 01:28:07,366
- It's crazy.
- Yeah.
1423
01:28:08,576 --> 01:28:09,785
Wait, watch this.
1424
01:28:12,163 --> 01:28:14,665
So, just going back to the magnet tech,
1425
01:28:15,833 --> 01:28:19,962
we have actually spent way more time
in a lot of the tech,
1426
01:28:20,296 --> 01:28:24,592
that was based on science,
and it just evolved into our world.
1427
01:28:25,051 --> 01:28:27,762
And I know I spent way too much time.
1428
01:28:27,845 --> 01:28:29,180
I think even in shooting it,
1429
01:28:29,263 --> 01:28:32,058
there was a lot more logic
into the magnets.
1430
01:28:32,433 --> 01:28:36,187
Ultimately, they're still there
if you freeze frame it,
1431
01:28:36,771 --> 01:28:38,606
but it's actually in the edit,
1432
01:28:38,981 --> 01:28:42,026
I decided not to really spend
too much time on it.
1433
01:28:42,151 --> 01:28:45,821
But it's there and we...
Actually, in the construction of it,
1434
01:28:46,322 --> 01:28:49,075
there's actually a logic
to everything that was happening.
1435
01:28:51,827 --> 01:28:53,204
'Sup, man?
1436
01:28:58,209 --> 01:28:59,335
Nice to meet you.
1437
01:29:04,674 --> 01:29:09,136
And so this is another one of those scenes
that in writing it, you're like,
1438
01:29:09,220 --> 01:29:12,139
"Yeah, at some point, if Han's alive,
he's going to meet the family."
1439
01:29:12,765 --> 01:29:17,520
And it wasn't until this moment,
where Dom embraces Han,
1440
01:29:19,188 --> 01:29:22,817
he basically gives the okay
to not only the characters,
1441
01:29:22,900 --> 01:29:26,404
but to the fans to say Han is back.
1442
01:29:26,487 --> 01:29:30,741
But, at the same time,
trying to build in the triangle,
1443
01:29:30,825 --> 01:29:33,077
this idea of family through Jakob.
1444
01:29:33,160 --> 01:29:35,413
To me, that was a... That was...
1445
01:29:35,496 --> 01:29:37,039
We needed every piece to work.
1446
01:29:37,123 --> 01:29:40,626
How you doin'? Stayin' out of trouble?
1447
01:29:42,878 --> 01:29:45,089
Of course not.
Well, at least you're honest.
1448
01:29:45,172 --> 01:29:47,216
And that's the most important thing.
1449
01:29:48,050 --> 01:29:50,303
And here we have the scene,
1450
01:29:50,386 --> 01:29:53,222
and this is also another scene
that stayed in for a while,
1451
01:29:54,599 --> 01:29:57,101
and it was to check in
with Little Brian.
1452
01:29:57,685 --> 01:30:01,897
And shooting it on the day,
we had all these takes,
1453
01:30:01,981 --> 01:30:03,941
and I was honing it with Vin.
1454
01:30:04,025 --> 01:30:07,028
And ultimately, I told him, I said,
"Look, I'm not going to cover this.
1455
01:30:07,153 --> 01:30:08,696
"I'm not going to edit this.
1456
01:30:08,779 --> 01:30:11,198
"So we're going to have to get this
in one take."
1457
01:30:11,741 --> 01:30:14,577
I remember the scene started off,
two-and-a-half minutes,
1458
01:30:14,660 --> 01:30:16,120
and I just kept working
with Vin on it, and I said,
1459
01:30:16,203 --> 01:30:19,749
"Look, I am not going
to do coverage on this
1460
01:30:19,874 --> 01:30:21,334
"because there's a sincerity.
1461
01:30:21,417 --> 01:30:24,086
"There's a real time emotional connection
1462
01:30:24,170 --> 01:30:26,756
"we had to have
with Dom and Little Brian."
1463
01:30:26,839 --> 01:30:28,633
And Vin just was on his A game.
1464
01:30:29,175 --> 01:30:33,554
He ultimately got it down to what
we wanted to, and it was very sincere.
1465
01:30:34,722 --> 01:30:37,058
Ultimately, I ended up
cutting it out of the film,
1466
01:30:37,141 --> 01:30:39,977
because it's something
that I felt was so inherent,
1467
01:30:40,061 --> 01:30:44,065
it worked so well in the beginning
that we didn't need to do that.
1468
01:30:44,857 --> 01:30:46,650
Can you just be quiet for one minute?
1469
01:30:47,068 --> 01:30:48,569
We made plans.
1470
01:30:50,154 --> 01:30:51,280
We had dreams.
1471
01:30:51,906 --> 01:30:54,075
So what's our next adventure after this?
1472
01:30:55,868 --> 01:31:01,499
Here we're seeing the flashback
to the connection between Gisele and Han.
1473
01:31:01,874 --> 01:31:03,709
This is on Fast 6.
1474
01:31:03,793 --> 01:31:07,004
And we were always very conscious
1475
01:31:07,380 --> 01:31:09,840
that Gisele and Han,
1476
01:31:09,924 --> 01:31:12,385
every time we had
a chance with them on screen
1477
01:31:12,760 --> 01:31:15,679
was going to get closer to Tokyo.
1478
01:31:15,763 --> 01:31:17,473
And so it was really fulfilling
1479
01:31:17,556 --> 01:31:20,226
to be able to actually come back
and revisit that moment.
1480
01:31:20,851 --> 01:31:25,106
Because when we shot Fast 6,
we definitely planted it there,
1481
01:31:25,356 --> 01:31:27,691
and it was going to launch Han into Tokyo.
1482
01:31:28,025 --> 01:31:30,027
But to be able to bring that back
1483
01:31:30,152 --> 01:31:34,323
into the Justice for Han,
it felt very appropriate.
1484
01:31:35,783 --> 01:31:37,868
You can lose an asset at any time.
1485
01:31:39,662 --> 01:31:42,331
Bullet, knife, wire.
1486
01:31:43,124 --> 01:31:45,376
But I never thought I'd lose her...
1487
01:31:45,876 --> 01:31:51,799
And Kurt here, the connection
between Mr. Nobody and Han through Gisele,
1488
01:31:52,091 --> 01:31:54,885
it was also another thread
that I hope one day
1489
01:31:54,969 --> 01:32:00,349
we'll be able to explore,
because it was so much fun
1490
01:32:00,433 --> 01:32:01,434
working on this thread.
1491
01:32:02,059 --> 01:32:04,687
Because when Gisele
was introduced to the fans,
1492
01:32:04,770 --> 01:32:09,400
it was actually Fast 4, with Braga,
and they were doing the tunnel runs.
1493
01:32:09,942 --> 01:32:14,238
And I've always felt like her connection
was actually through Mr. Nobody
1494
01:32:14,697 --> 01:32:16,615
when he was still with the CIA.
1495
01:32:16,699 --> 01:32:19,493
And so, I remember thinking that.
1496
01:32:19,618 --> 01:32:23,330
And again, Mr. Nobody was a character
that we had talked about before I left.
1497
01:32:23,706 --> 01:32:25,416
And then, Kurt Russell showed up.
1498
01:32:26,208 --> 01:32:29,712
And I remember meeting Kurt
when I wasn't doing the Fast.
1499
01:32:29,795 --> 01:32:31,380
We were actually
looking at another project.
1500
01:32:31,714 --> 01:32:35,968
And he ended up talking about Mr. Nobody
and his philosophy and his history.
1501
01:32:36,343 --> 01:32:37,803
And I was like, "This is so great."
1502
01:32:37,887 --> 01:32:41,140
And then, when I saw the films,
it wasn't in there at all.
1503
01:32:41,432 --> 01:32:44,435
And so it was great to be able
to come back and connect with Kurt again,
1504
01:32:44,518 --> 01:32:48,314
and then actually bring that to life
and know that there's a lot more to it.
1505
01:32:49,565 --> 01:32:51,775
I was so excited to go
1506
01:32:52,109 --> 01:32:55,488
I forgot my raincoat, so I went back in.
1507
01:33:02,244 --> 01:33:04,288
At first, I didn't see it.
1508
01:33:05,080 --> 01:33:08,125
By the time I looked out the window...
1509
01:33:08,209 --> 01:33:11,795
Elle is another really exciting character.
1510
01:33:11,879 --> 01:33:15,174
Anna was... We did a global search,
1511
01:33:15,758 --> 01:33:20,846
and when I saw the audition from Anna,
I knew that that was our Elle.
1512
01:33:21,180 --> 01:33:26,101
It's funny because doing these auditions,
there are always NDAs,
1513
01:33:26,185 --> 01:33:28,187
and we'll always take the names out,
1514
01:33:28,562 --> 01:33:31,357
because we don't want to have
any spoilers out in the world.
1515
01:33:31,732 --> 01:33:37,196
And Elle actually was
the code name for the character.
1516
01:33:37,655 --> 01:33:43,244
But when I saw the audition with Anna,
the way she said Elle was so...
1517
01:33:43,661 --> 01:33:46,080
Something about it felt so right
1518
01:33:46,163 --> 01:33:49,333
that I actually changed
the character's name and made it Elle.
1519
01:33:49,416 --> 01:33:51,710
So it was actually
supposed to be the letter "L",
1520
01:33:52,253 --> 01:33:55,548
but I just really loved the way
she delivered the character's name.
1521
01:33:55,673 --> 01:33:59,176
And so we ended up
changing her name to Elle.
1522
01:33:59,760 --> 01:34:03,472
He knew I'd always be a target,
so he taught me how to survive.
1523
01:34:06,308 --> 01:34:08,060
We became a family.
1524
01:34:10,563 --> 01:34:13,524
Again, this is something
in the whole Justice for Han.
1525
01:34:13,899 --> 01:34:16,735
There was a lot more worked out
1526
01:34:17,236 --> 01:34:21,949
that I hope, one day, we'll be able
to bring it to life for the fans.
1527
01:34:22,032 --> 01:34:24,910
So I'm really excited for right now.
1528
01:34:24,994 --> 01:34:27,413
I don't want to say anything.
1529
01:34:27,496 --> 01:34:30,916
I feel like
whatever is out there in Fast 9
1530
01:34:31,000 --> 01:34:34,378
is there for the fans
to talk about and to explore.
1531
01:34:34,920 --> 01:34:40,884
And I think when it's appropriate,
we'll be able to bring that story to life.
1532
01:34:41,176 --> 01:34:45,014
But I am excited for people
to see what...
1533
01:34:45,097 --> 01:34:48,225
Which dots they connect,
and what is the back story
1534
01:34:48,309 --> 01:34:50,352
that they can come up with and to share.
1535
01:34:52,646 --> 01:34:55,399
But you got killed in a car crash, Han.
1536
01:34:57,192 --> 01:34:59,737
Mr. Nobody had a way
of making things look real.
1537
01:35:07,786 --> 01:35:12,791
This is also one of those moments
where I was telling Kurt and Sung...
1538
01:35:12,875 --> 01:35:19,048
We ended up finding the perfect location,
and it took a while to light,
1539
01:35:19,673 --> 01:35:20,924
but there was not
going to be any coverage.
1540
01:35:21,008 --> 01:35:24,303
It was just going to be this moment
that it was going to be
1541
01:35:24,386 --> 01:35:27,181
Mr. Nobody and Han sharing that screen,
1542
01:35:27,264 --> 01:35:31,644
and it had to say everything
about the absence of Han in that world.
1543
01:35:31,769 --> 01:35:33,562
- What's happening?
- It's some kind of hidden subroutine
1544
01:35:33,646 --> 01:35:34,688
the system follows.
1545
01:35:38,651 --> 01:35:40,694
So coming up here, this scene,
1546
01:35:40,778 --> 01:35:44,657
this is one of those scenes
that I would say
1547
01:35:44,740 --> 01:35:47,826
making these movies or making anything,
1548
01:35:48,243 --> 01:35:50,829
it's the toughest thing to shoot,
1549
01:35:50,913 --> 01:35:52,039
because you have...
1550
01:35:52,456 --> 01:35:56,794
First of all, you have the whole cast,
you have all these moving parts,
1551
01:35:56,877 --> 01:35:59,672
you have all these soldiers with guns,
1552
01:35:59,755 --> 01:36:02,466
and you're trying to earn
this moment of intimacy
1553
01:36:02,549 --> 01:36:04,635
between two characters.
1554
01:36:11,100 --> 01:36:12,184
Jakob.
1555
01:36:13,644 --> 01:36:14,770
I'm sorry, Mia.
1556
01:36:17,690 --> 01:36:21,193
And this was really the second scene
we shot with John,
1557
01:36:21,276 --> 01:36:22,945
and it was interesting.
1558
01:36:23,028 --> 01:36:25,572
I could tell, in the morning,
1559
01:36:25,906 --> 01:36:28,867
Vin really wanted
to get into the meat of it.
1560
01:36:29,410 --> 01:36:33,038
And usually, when you shoot these scenes,
you shoot the wides,
1561
01:36:33,122 --> 01:36:34,498
and you go in.
1562
01:36:35,165 --> 01:36:37,167
And I was going on set,
1563
01:36:37,251 --> 01:36:40,337
and Vin came up to me and he said,
"What do you think?"
1564
01:36:41,505 --> 01:36:43,090
As soon as he said,
"What do you think?"
1565
01:36:43,173 --> 01:36:47,177
I knew what he was saying,
and I went to the crew, and I said,
1566
01:36:47,302 --> 01:36:50,848
"We're not going to cover it
the way we usually cover this.
1567
01:36:51,515 --> 01:36:54,977
"I want to get to the intimate moment
between these two brothers."
1568
01:36:55,269 --> 01:36:58,605
So we actually shot this
not in a conventional way.
1569
01:36:58,897 --> 01:37:03,485
It was done actually on this fluid master
between Jakob and Dom.
1570
01:37:04,194 --> 01:37:07,614
And then we just kept working on it
until we felt we got it.
1571
01:37:08,031 --> 01:37:10,325
And once we had it,
then I was able to go back
1572
01:37:10,409 --> 01:37:12,536
and do the coverage
and shoot the wide shot.
1573
01:37:12,619 --> 01:37:16,832
And it was...
It was the right way to approach this,
1574
01:37:16,915 --> 01:37:20,502
especially with John Cena,
this being his second scene.
1575
01:37:20,586 --> 01:37:22,129
Good thing about Dad dying...
1576
01:37:23,422 --> 01:37:25,799
...was he didn't have to watch
what you became.
1577
01:37:26,717 --> 01:37:29,136
You never deserved the Toretto name.
1578
01:37:31,680 --> 01:37:33,724
This is part of the fluid master here.
1579
01:37:33,807 --> 01:37:36,810
It was the first shot that I did
for the whole scene,
1580
01:37:36,894 --> 01:37:39,021
and he was amazing.
1581
01:37:39,271 --> 01:37:40,856
He was fearless.
1582
01:37:40,939 --> 01:37:45,736
And part of it was
he was going to reveal this big secret
1583
01:37:45,819 --> 01:37:48,322
that he's been holding
all these years
1584
01:37:48,405 --> 01:37:52,743
that was going to fundamentally change
everyone's point of view.
1585
01:37:52,826 --> 01:37:55,537
Dom, and Mia, and Letty,
everybody that was there.
1586
01:37:55,913 --> 01:38:00,584
And so, John, I could see him
on that day, he just used it.
1587
01:38:00,667 --> 01:38:06,423
He used even the awkwardness of going in
1588
01:38:06,507 --> 01:38:07,925
and shooting that close up first,
1589
01:38:08,008 --> 01:38:10,761
a shared close up
with Vin and the whole cast
1590
01:38:10,844 --> 01:38:12,888
with all these ex...
1591
01:38:13,013 --> 01:38:15,182
Everybody.
1592
01:38:15,265 --> 01:38:18,268
And to be able to fully engage
1593
01:38:18,477 --> 01:38:21,814
and not let any of the artificial elements
get to him.
1594
01:38:22,731 --> 01:38:27,444
That was an amazing...
It's not even a performance,
1595
01:38:27,528 --> 01:38:31,698
but it's an amazing feat
for John and also Vin,
1596
01:38:31,782 --> 01:38:33,784
and it really set the tone for the scene.
1597
01:38:34,493 --> 01:38:38,914
And it's just an example
of there's no right or wrong way
1598
01:38:38,997 --> 01:38:41,208
to make films,
1599
01:38:41,291 --> 01:38:43,794
and sometimes you just
have to go with your gut.
1600
01:38:44,336 --> 01:38:49,132
And, in this case,
it really made a huge difference.
1601
01:39:08,068 --> 01:39:13,657
It's funny, I think, a lot of times,
how you get characters out of binds,
1602
01:39:13,740 --> 01:39:17,619
and when you watch the movie,
it's like, "It's two seconds right here."
1603
01:39:17,703 --> 01:39:19,913
It's like, "Tej doing this knob."
1604
01:39:20,539 --> 01:39:23,458
But to be able to do that,
hopefully on multiple levels...
1605
01:39:23,542 --> 01:39:26,503
I mean, this thing took...
It took eight months
1606
01:39:26,628 --> 01:39:30,007
of writing ourselves
into a corner of saying,
1607
01:39:30,090 --> 01:39:34,428
"Okay. Well, now Jakob's got Elle,
and he's leaving,
1608
01:39:34,511 --> 01:39:36,597
"and now he's leaving
all the soldiers there
1609
01:39:36,680 --> 01:39:39,850
"to probably kill Dom and the family.
How do they get out?"
1610
01:39:40,559 --> 01:39:42,728
And so it's like,
in the writing process,
1611
01:39:42,811 --> 01:39:43,937
it's always great because you're like,
1612
01:39:44,021 --> 01:39:46,565
"Great. We basically...
1613
01:39:46,648 --> 01:39:48,984
"We give Jakob a true win.
1614
01:39:50,277 --> 01:39:54,573
"And now how are we going to be able
get Dom and the family out?"
1615
01:39:54,656 --> 01:39:57,951
And so, to be able to figure out
that magnet, I mean, it was...
1616
01:39:58,035 --> 01:40:01,163
It's funny, every time I watch it,
I start heating up
1617
01:40:01,246 --> 01:40:04,958
because I get drawn into the struggle
1618
01:40:05,042 --> 01:40:07,044
and the challenge
of how to get these characters out.
1619
01:40:07,127 --> 01:40:09,922
And it's just a great...
Like, once you get it,
1620
01:40:10,005 --> 01:40:14,927
it feels like you're able to solve
all the world's problems, you know.
1621
01:40:15,010 --> 01:40:16,720
But then, when people are
watching the movie,
1622
01:40:16,845 --> 01:40:19,389
it's like, it's two seconds,
boom, they're gone.
1623
01:40:32,194 --> 01:40:38,033
Here this is another sequence that,
for us is kind of a first time,
1624
01:40:38,116 --> 01:40:42,412
which is actually seeing
Dom be really defeated.
1625
01:40:42,496 --> 01:40:46,500
And obviously he's doing this
to try to save Letty and the family.
1626
01:40:46,583 --> 01:40:48,961
But it's always kind of gratifying
1627
01:40:49,044 --> 01:40:55,467
to find new beats for us
to explore, you know, and...
1628
01:40:55,550 --> 01:40:59,137
And I think we actually
never had anything like this
1629
01:40:59,221 --> 01:41:03,684
where, yes, it's a big fight scene
with Dom and all these guys,
1630
01:41:03,767 --> 01:41:06,645
but for him to really be doing it
1631
01:41:06,728 --> 01:41:10,357
to try to save his family,
1632
01:41:10,440 --> 01:41:15,028
even if it's ultimately about
giving up his own life,
1633
01:41:15,112 --> 01:41:16,154
it was great.
1634
01:41:29,376 --> 01:41:31,294
No!
1635
01:41:33,505 --> 01:41:36,508
And I thought, again,
if you watch it closely,
1636
01:41:36,591 --> 01:41:42,556
there's shades of Dom in this film
that we had never experienced.
1637
01:41:43,098 --> 01:41:48,854
And this sequence coming up, to me,
is another example of that, you know.
1638
01:41:48,937 --> 01:41:53,859
I think Vin really just brought it
and he was able to go places
1639
01:41:53,942 --> 01:41:57,696
that I think that even
if we tried in the other films,
1640
01:41:57,779 --> 01:42:00,323
it wouldn't have been right.
It had to be earned.
1641
01:42:01,033 --> 01:42:02,451
See, cars like this are immortal.
1642
01:42:02,534 --> 01:42:05,370
Here, you see, Vincent,
this is actually Vin's son.
1643
01:42:05,454 --> 01:42:08,582
And it was one of those
amazing moments
1644
01:42:08,665 --> 01:42:13,378
where I knew we were going to have
a young Dom Toretto,
1645
01:42:13,462 --> 01:42:17,215
and they actually started scouting for it.
1646
01:42:17,841 --> 01:42:20,218
And I'm looking through all the auditions
1647
01:42:20,302 --> 01:42:23,889
and at one point, you know,
it dawned on me that,
1648
01:42:23,972 --> 01:42:29,561
"Well, why don't we just
try Vin's son, " you know.
1649
01:42:29,644 --> 01:42:34,107
And it just became this perfect fit
and Vincent did such an amazing job.
1650
01:42:38,487 --> 01:42:42,449
And here again, this is a Dominic Toretto
that, you know, for me...
1651
01:42:42,532 --> 01:42:45,702
I have never gone to that place with Vin.
1652
01:42:45,786 --> 01:42:50,165
And I know for sure that
Vin's been always keeping that.
1653
01:42:50,248 --> 01:42:53,001
And this was one of those
earned moments for us,
1654
01:42:53,085 --> 01:42:55,962
and it was such a great time on set
1655
01:42:56,046 --> 01:42:59,049
to be able to earn that
and earn that together.
1656
01:43:02,636 --> 01:43:04,763
No. You know I'm good for it.
1657
01:43:04,846 --> 01:43:07,682
It's crazy. You see that door with Jack.
1658
01:43:07,766 --> 01:43:13,563
You know, we shot this on a sound stage,
but as soon as I walked on that little set
1659
01:43:13,647 --> 01:43:16,566
and I saw that door,
I was in the Toretto house,
1660
01:43:16,691 --> 01:43:22,030
I feel like, even as a viewer,
a fan of this franchise,
1661
01:43:22,114 --> 01:43:24,449
sometimes it's like these little cues
1662
01:43:24,533 --> 01:43:27,452
that really just brings out
all these feelings.
1663
01:43:27,536 --> 01:43:31,790
Seeing that door brought me back to
me being in film school
1664
01:43:31,873 --> 01:43:33,667
and watching
the first Fast & Furious film
1665
01:43:33,750 --> 01:43:36,002
at the AMC Santa Monica, you know.
1666
01:43:36,086 --> 01:43:38,797
And then shooting that in that house
1667
01:43:38,880 --> 01:43:41,383
on Fast 4 with Brian and Mia.
1668
01:43:49,141 --> 01:43:50,308
I'm telling you, I got intermittent miss.
1669
01:43:50,433 --> 01:43:52,060
- Last two laps.
- On it!
1670
01:43:52,144 --> 01:43:53,687
Get those plug wires!
1671
01:43:55,480 --> 01:43:57,315
Jakob! Now.
1672
01:43:57,399 --> 01:43:59,776
And here,
this is the moment of connection.
1673
01:43:59,860 --> 01:44:03,905
And I just thought, you know J.D. and Finn
1674
01:44:03,989 --> 01:44:07,993
and Vin, even though we shot it
in different environments,
1675
01:44:08,076 --> 01:44:10,579
it was such a great connection.
1676
01:44:10,662 --> 01:44:16,710
And a lot of it was this moment of,
for Jakob, of deciding
1677
01:44:16,793 --> 01:44:19,337
and that pressure of not knowing
what's right or wrong,
1678
01:44:19,421 --> 01:44:24,426
but ultimately doing it
and keeping his word to his dad.
1679
01:44:24,509 --> 01:44:26,845
And for Vin and Dom
to be able to process that...
1680
01:44:26,928 --> 01:44:29,890
Again, it's unchartered territory,
and I'm so kind of proud
1681
01:44:29,973 --> 01:44:34,227
that we're able to earn that
in this new chapter.
1682
01:44:41,985 --> 01:44:44,112
No!
1683
01:44:49,868 --> 01:44:54,289
It's interesting, you know, this sequence
was actually really a challenge
1684
01:44:54,372 --> 01:44:56,583
to put together,
1685
01:44:56,666 --> 01:45:00,086
because a lot of times you watch films
1686
01:45:00,170 --> 01:45:02,839
and there's underwater sequences
and it's great,
1687
01:45:02,923 --> 01:45:05,634
but it's really hard to capture that.
1688
01:45:05,717 --> 01:45:10,013
And so, we had to find this tank
and Michelle was just fearless.
1689
01:45:10,096 --> 01:45:14,309
She jumped in and it was great
and then Vin had to come,
1690
01:45:14,392 --> 01:45:17,479
and we had to shoot
all the underwater sequences,
1691
01:45:17,562 --> 01:45:20,232
and it was mind-bending and...
1692
01:45:20,315 --> 01:45:24,778
I was trying to change
the axis and everything.
1693
01:45:24,861 --> 01:45:26,529
But ultimately, it was great,
1694
01:45:26,613 --> 01:45:30,242
even though it was only, like,
maybe less than 10 seconds,
1695
01:45:30,367 --> 01:45:31,493
I felt like we did it right.
1696
01:45:31,576 --> 01:45:33,954
And both Vin and Michelle's
commitment to it
1697
01:45:34,037 --> 01:45:36,081
really just helped those moments.
1698
01:45:37,082 --> 01:45:38,541
Do you hear me?
1699
01:45:41,336 --> 01:45:42,963
Is this who we are?
1700
01:45:47,968 --> 01:45:49,386
Yeah.
1701
01:45:49,469 --> 01:45:53,890
And this is, in a way, an earned moment
between Letty and Dom.
1702
01:45:53,974 --> 01:45:57,102
We really only had various moments
1703
01:45:57,185 --> 01:45:58,561
in throughout the movie for them
1704
01:45:58,645 --> 01:46:01,606
to kind of get to work out
everything they've gone through.
1705
01:46:01,690 --> 01:46:05,819
But what I love is that it wasn't
about them working it through together,
1706
01:46:05,902 --> 01:46:10,490
it needed Letty
to go on this journey with Mia,
1707
01:46:10,573 --> 01:46:15,662
and then Dom to go through this journey
with Jakob for them to reconnect,
1708
01:46:15,745 --> 01:46:18,206
and to have to not only share that moment,
1709
01:46:18,290 --> 01:46:22,210
but to have a sense of...
1710
01:46:22,294 --> 01:46:25,922
At least a sense of
what their future is together.
1711
01:46:26,131 --> 01:46:27,924
Not remotely.
We'd have to do it physically,
1712
01:46:28,008 --> 01:46:31,094
Fifty miles above ground
while the satellite is in orbit.
1713
01:46:31,594 --> 01:46:32,721
Orbit?
1714
01:46:33,013 --> 01:46:34,180
We need help.
1715
01:46:34,306 --> 01:46:36,099
Otherwise, we have no chance.
1716
01:46:37,309 --> 01:46:38,560
We do it ourselves.
1717
01:46:39,769 --> 01:46:42,147
It's where we've been
that got us this far.
1718
01:46:42,564 --> 01:46:44,441
No. No, no, no, no, no.
1719
01:46:44,899 --> 01:46:46,443
Do y'all not understand?
1720
01:46:47,193 --> 01:46:48,570
Clearly, y'all don't.
1721
01:46:48,695 --> 01:46:51,698
Because if you did,
you'd be pissing your pants
1722
01:46:51,781 --> 01:46:53,033
like a normal person.
1723
01:46:53,366 --> 01:46:54,367
Orbit.
1724
01:46:54,701 --> 01:46:55,952
That's outer space.
1725
01:46:56,453 --> 01:46:57,996
That's another level.
1726
01:46:58,204 --> 01:47:01,041
What we gonna do? Hijack a space shuttle?
1727
01:47:01,499 --> 01:47:03,043
Put rockets on our backs?
1728
01:47:04,169 --> 01:47:09,424
This is where... We're about to
head into our third act action sequence.
1729
01:47:09,507 --> 01:47:14,387
And I know a lot of people
maybe, through the years,
1730
01:47:14,471 --> 01:47:17,849
joked about what's next.
Space? You know, and...
1731
01:47:17,932 --> 01:47:21,644
And that's something, internally,
we were always talking about.
1732
01:47:22,270 --> 01:47:27,609
And to be honest, I wasn't sure
if we were ever going to be able to do it.
1733
01:47:27,692 --> 01:47:33,365
And it became a very organic way
because when I finally committed
1734
01:47:33,448 --> 01:47:37,869
to this kind of existential threat
with Roman, Tej and Ramsey,
1735
01:47:37,952 --> 01:47:39,829
as I was working on it,
it felt like we needed
1736
01:47:39,913 --> 01:47:42,123
something that is not of this world.
1737
01:47:42,207 --> 01:47:47,170
And that's pun intended,
to really kind of pay off that thread.
1738
01:47:47,253 --> 01:47:49,672
And I remember even working on it,
1739
01:47:49,756 --> 01:47:54,094
and when we got there,
I called Vin up and I drove to his house
1740
01:47:54,177 --> 01:47:57,097
and I remember sitting down
and he looked at me and goes,
1741
01:47:57,180 --> 01:47:58,640
"So this is the one, right?"
1742
01:47:58,723 --> 01:48:01,851
I said, "I think so."
And we both kind of laughed,
1743
01:48:01,976 --> 01:48:05,814
because, you know, it was something
that we we always would sit there
1744
01:48:05,897 --> 01:48:11,403
and throw the craziest ideas
of what we can do and explore.
1745
01:48:11,486 --> 01:48:16,449
But I don't know if we ever thought like,
"Oh, yeah. Let's go to space on 9."
1746
01:48:16,533 --> 01:48:21,913
It was just something
that became very organic.
1747
01:48:21,996 --> 01:48:25,792
And even like, for me, personally,
1748
01:48:25,875 --> 01:48:30,130
it actually had
a much more profound effect
1749
01:48:30,213 --> 01:48:34,384
because, to me, I always get the sense
when I talked to Vin,
1750
01:48:34,467 --> 01:48:36,719
when we explore and we talk about stories
1751
01:48:36,803 --> 01:48:41,724
about the journeys of our characters
of Fast and the Furious.
1752
01:48:41,850 --> 01:48:45,311
I think we always start from a point
that we're never supposed to be here.
1753
01:48:45,395 --> 01:48:49,190
Like, I remember growing up
being a filmmaker was, you know...
1754
01:48:49,274 --> 01:48:53,862
When I would tell people,
it was like... It was not a possibility.
1755
01:48:53,945 --> 01:48:57,449
And I know that, you know,
having gotten to know Vin very well,
1756
01:48:57,532 --> 01:49:00,118
he had went through
the same thing, you know.
1757
01:49:00,201 --> 01:49:02,871
And Michelle, same thing, you know.
1758
01:49:02,954 --> 01:49:07,459
She was a Jersey girl
and, you know, Sung, all of us.
1759
01:49:07,542 --> 01:49:12,714
And somehow we all found our way
to each other.
1760
01:49:12,797 --> 01:49:19,220
Like with Vin it was about
making this indie film and finishing it.
1761
01:49:19,304 --> 01:49:22,140
And even though nobody believed in him,
he got into Sundance,
1762
01:49:22,223 --> 01:49:25,560
and that's where Spielberg saw him
and he got into Saving Private Ryan.
1763
01:49:25,643 --> 01:49:27,187
He has his own story.
1764
01:49:27,270 --> 01:49:30,857
My story is, nobody believed
in anything that I wanted to do.
1765
01:49:30,940 --> 01:49:32,734
I ultimately did a credit-card movie.
1766
01:49:32,817 --> 01:49:34,694
I met Sung and got into Sundance
1767
01:49:34,777 --> 01:49:37,113
and changed our lives
and gave me a career, you know.
1768
01:49:37,238 --> 01:49:41,326
And for Michelle, it was just
her exploration letter to Girlfight,
1769
01:49:41,409 --> 01:49:45,872
and she would share her stories with me
where the fact that the filmmaker Karyn,
1770
01:49:45,955 --> 01:49:49,626
she took a chance on someone new
as opposed to an established actor.
1771
01:49:49,709 --> 01:49:52,837
And somehow, we met each other and we...
1772
01:49:52,921 --> 01:49:56,216
We started making these films
that wasn't a given.
1773
01:49:56,299 --> 01:49:59,469
Like, I think when I joined,
the Fast and the Furious
1774
01:49:59,552 --> 01:50:01,095
was not Fast and the Furious today.
1775
01:50:01,179 --> 01:50:06,768
And for me to say, "For sure we're going
to have a sequel, " that was insane.
1776
01:50:06,851 --> 01:50:08,937
We had to earn it.
And then by earning it,
1777
01:50:09,062 --> 01:50:13,775
I got to work with Vin and Paul
and Jordana and Michelle and...
1778
01:50:14,484 --> 01:50:16,819
And we just kept challenging
each other, you know.
1779
01:50:16,903 --> 01:50:18,988
And that's the spirit
of Fast and the Furious.
1780
01:50:19,072 --> 01:50:22,951
And at the same time, there was no IP,
1781
01:50:23,034 --> 01:50:24,786
there was no comic book,
it's not based on anything.
1782
01:50:24,869 --> 01:50:27,830
It was whatever we wanted to do.
1783
01:50:27,914 --> 01:50:30,667
And I think it was very clear
for us from the beginning
1784
01:50:30,750 --> 01:50:34,420
that we were never going to just do
the same thing over and over.
1785
01:50:34,504 --> 01:50:38,967
This was not going to be James Bond,
where it's the same character
1786
01:50:39,050 --> 01:50:42,804
or characters that's just going to go
through different adventures.
1787
01:50:42,887 --> 01:50:44,722
We were going to honor these characters,
1788
01:50:44,806 --> 01:50:47,058
and as they grow, we were going to grow.
1789
01:50:47,141 --> 01:50:49,519
And now you're seeing us, you know...
1790
01:50:49,602 --> 01:50:52,522
These characters
have gone together, had kids.
1791
01:50:52,605 --> 01:50:54,732
And now we're doing
these big action movies
1792
01:50:54,816 --> 01:50:58,403
with our protagonists who actually have
kids at home, you know.
1793
01:50:58,486 --> 01:51:00,947
And I think that's what's
so unique about it.
1794
01:51:01,030 --> 01:51:05,952
And to be able to grow together
and not be alone.
1795
01:51:06,578 --> 01:51:10,957
You know, I can go all the way back to
meeting Tyrese on Annapolis
1796
01:51:11,040 --> 01:51:13,251
and getting to know each other.
1797
01:51:14,335 --> 01:51:15,587
But we were so different then.
1798
01:51:15,670 --> 01:51:20,425
And to be able to build that trust
where now I can put him and Chris
1799
01:51:20,508 --> 01:51:23,720
in a deep sea diving suit and say,
1800
01:51:23,803 --> 01:51:26,014
"You're going to attempt to go to space."
1801
01:51:26,097 --> 01:51:29,559
That's meaningful to me,
you know, and to us.
1802
01:51:29,642 --> 01:51:31,603
And so going to space,
1803
01:51:31,686 --> 01:51:33,187
it had all these profound meanings
1804
01:51:33,271 --> 01:51:36,816
that I wasn't even really conscious of
until we did it.
1805
01:51:36,899 --> 01:51:40,278
I'm barely ready to go scuba diving
in this old-ass thing.
1806
01:51:40,361 --> 01:51:41,821
Don't listen to him. We ready!
1807
01:51:41,904 --> 01:51:43,239
- "We"?
- Yes, I said "we"!
1808
01:51:43,323 --> 01:51:44,866
I thought you was invincible.
1809
01:51:44,949 --> 01:51:47,619
Let's see how invincible
your Black ass is after this.
1810
01:51:47,702 --> 01:51:49,078
- Punch it!
- No! Tej!
1811
01:51:52,540 --> 01:51:55,335
Oh, my God! I don't want to die!
1812
01:51:55,418 --> 01:51:56,836
Ignition!
1813
01:52:41,172 --> 01:52:43,800
Oh, my God. Oh, my God.
1814
01:52:46,427 --> 01:52:50,348
When we were shooting this,
and the Roman and Tej sequence
1815
01:52:50,431 --> 01:52:52,100
that comes a little later
when they're talking about,
1816
01:52:52,183 --> 01:52:53,976
"No one's going to believe us, right?"
1817
01:52:54,060 --> 01:52:55,269
it actually had a lot more meaning.
1818
01:52:56,270 --> 01:52:57,355
And those were actually improvised.
1819
01:52:57,438 --> 01:52:59,023
And when they said it,
1820
01:52:59,107 --> 01:53:01,484
I really had this
emotional connection to it,
1821
01:53:01,567 --> 01:53:05,321
and I felt like, "Okay, great, "
because now that we're up here,
1822
01:53:05,405 --> 01:53:08,032
we're going to definitely...
That's going to be in the movie
1823
01:53:08,116 --> 01:53:10,118
because we're never supposed to be here.
1824
01:53:10,201 --> 01:53:13,621
We're not supposed
to actually be making Fast 9,
1825
01:53:13,705 --> 01:53:18,668
and this was never supposed to be
a franchise that was going to be
1826
01:53:18,793 --> 01:53:22,130
such a big part
of Universal's legacy, you know.
1827
01:53:22,213 --> 01:53:23,047
And so, yeah.
1828
01:53:23,756 --> 01:53:29,429
So, to be able to see this sequence
actually, it meant a lot more.
1829
01:53:29,512 --> 01:53:32,432
And, you know,
it is definitely a lot of fun.
1830
01:53:32,515 --> 01:53:38,813
I would say that, you know,
talking to the NASA rocket scientist...
1831
01:53:39,480 --> 01:53:42,525
At first, he just thought we were crazy.
1832
01:53:42,608 --> 01:53:47,613
But soon, I think he realized
we weren't trying to duplicate
1833
01:53:47,697 --> 01:53:50,450
our space to outer atmosphere.
1834
01:53:50,533 --> 01:53:54,120
We were actually really trying
to figure out a real way to start.
1835
01:53:54,203 --> 01:53:56,789
And so those conversations were awesome.
1836
01:53:56,873 --> 01:53:57,957
It was...
1837
01:53:58,583 --> 01:54:03,087
It started off with fuel,
the amount of fuel that we would need.
1838
01:54:03,171 --> 01:54:05,131
And it led us to the launching point
1839
01:54:05,256 --> 01:54:08,176
where I knew we couldn't
launch our characters from the ground,
1840
01:54:08,259 --> 01:54:09,969
it'd just take too much fuel.
1841
01:54:10,052 --> 01:54:12,555
So then we looked at the Virgin Galactic
1842
01:54:12,638 --> 01:54:16,100
and some of the
space shuttle tests they did.
1843
01:54:16,184 --> 01:54:22,648
And we realized if we launch the the craft
from higher altitude,
1844
01:54:22,732 --> 01:54:25,276
it would be a lot less fuel
and actually has been done.
1845
01:54:25,359 --> 01:54:29,655
So it was just about making sure
that we had characters
1846
01:54:29,739 --> 01:54:32,325
that was trained in that discipline.
1847
01:54:32,408 --> 01:54:37,246
So Earl and Sean and Twinkie
actually felt very natural
1848
01:54:37,330 --> 01:54:41,042
because these are characters
that are kind of savants, you know.
1849
01:54:41,125 --> 01:54:43,753
And as they lived in the universe,
1850
01:54:43,836 --> 01:54:48,508
and us not checking in with them
for the last, I don't know, 10 years,
1851
01:54:48,591 --> 01:54:52,428
that they would naturally be
very much into this idea
1852
01:54:52,512 --> 01:54:54,972
of pushing vehicles into new realms.
1853
01:54:55,056 --> 01:54:57,266
And so... Anyway, it is crazy.
1854
01:54:57,350 --> 01:54:59,477
I know that people have seen the trailer,
1855
01:54:59,560 --> 01:55:03,022
and they thought, "Oh, my God,
they're going to space."
1856
01:55:03,105 --> 01:55:05,107
But I could tell you that,
1857
01:55:05,191 --> 01:55:08,861
I think aside from the polymer
and some other things,
1858
01:55:08,945 --> 01:55:11,280
it is actually very sound
what we're doing.
1859
01:55:11,364 --> 01:55:15,159
And we've had many, many
really great conversations
1860
01:55:15,243 --> 01:55:19,038
with literally rocket scientists
to get all that going.
1861
01:55:19,121 --> 01:55:22,166
I think if anything,
the magnet tech is actually
1862
01:55:22,250 --> 01:55:24,752
maybe a little more further out, you know?
1863
01:55:24,836 --> 01:55:28,464
And I just took the principle
of a lot of stuff that they're working on
1864
01:55:28,548 --> 01:55:32,301
in that technology,
and we just kind of build off of that.
1865
01:55:32,385 --> 01:55:36,389
And, yeah, I think a lot of times you see
the knobs being turned right there,
1866
01:55:36,472 --> 01:55:38,391
which is to repel or to attract.
1867
01:55:38,474 --> 01:55:41,269
But there are actually,
if you look at Ramsey's computer,
1868
01:55:41,352 --> 01:55:44,730
there are a lot more specific things
that they're doing with the tech.
1869
01:55:44,814 --> 01:55:46,440
And I shot it.
1870
01:55:46,524 --> 01:55:48,484
And actually, ultimately...
1871
01:55:48,568 --> 01:55:53,114
I just felt like it was going to be
more confusing in those cuts.
1872
01:55:53,197 --> 01:55:54,782
So the tech is there.
1873
01:55:54,866 --> 01:55:56,826
If you really look closely,
it's actually there.
1874
01:55:56,909 --> 01:56:01,372
We actually had footage,
but ultimately it just was not...
1875
01:56:01,455 --> 01:56:03,499
I just felt like it was
confusing people more,
1876
01:56:03,583 --> 01:56:05,334
so I just simplified it.
1877
01:56:13,050 --> 01:56:15,761
And here, we're seeing Francis Ngannou.
1878
01:56:15,845 --> 01:56:18,681
It was one of these nice perks
of doing these movies
1879
01:56:18,764 --> 01:56:21,642
because I just get incoming calls
from people.
1880
01:56:21,726 --> 01:56:26,439
One day it could be Cardi B,
it could be Bad Bunny,
1881
01:56:26,522 --> 01:56:27,690
or it could be Francis Ngannou.
1882
01:56:27,773 --> 01:56:30,234
You know, just people saying,
"Hey, we love the franchise.
1883
01:56:30,318 --> 01:56:31,611
"Can we be a part of it?"
1884
01:56:31,694 --> 01:56:33,988
And I thought, "Okay, cool. Let me see."
1885
01:56:34,071 --> 01:56:36,324
And I remember it was actually...
1886
01:56:36,407 --> 01:56:41,162
I was on my way to the set
and we were well into shooting.
1887
01:56:41,245 --> 01:56:44,874
And I was just inspired one morning.
1888
01:56:44,957 --> 01:56:47,668
I was listening to this Carpenters' song,
Top of the World,
1889
01:56:47,752 --> 01:56:50,296
and for some reason,
it was the structure of the music
1890
01:56:50,379 --> 01:56:54,800
that it was like a three-parter
that really inspired me.
1891
01:56:54,884 --> 01:56:59,096
And I started writing, and this whole
sequence was written in that car.
1892
01:56:59,180 --> 01:57:02,725
And so when we landed at the studio,
I called second unit
1893
01:57:02,808 --> 01:57:05,186
and they were actually
shooting in Tbilisi,
1894
01:57:05,269 --> 01:57:07,855
and I told them the shots
and I started sketching it out
1895
01:57:07,939 --> 01:57:11,192
and I would email it to them
and they ended up shooting it,
1896
01:57:11,275 --> 01:57:13,486
and that became the Ngannou sequence.
1897
01:57:13,569 --> 01:57:16,530
And it was all done when I was in the car,
and it's...
1898
01:57:16,614 --> 01:57:20,117
It's a testament to the team that I have.
1899
01:57:20,201 --> 01:57:23,245
We now have this shorthand
where certain sequences
1900
01:57:23,329 --> 01:57:25,498
we planned for months and months.
1901
01:57:25,581 --> 01:57:28,334
But then on the spur of the moment,
when I get inspired,
1902
01:57:28,417 --> 01:57:33,756
I can actually call them
and plan that over the phone,
1903
01:57:33,839 --> 01:57:36,133
and they could actually shoot it
and we can shoot
1904
01:57:36,217 --> 01:57:39,303
all the interior stuff in London
and get it all done.
1905
01:57:40,262 --> 01:57:45,393
So here what you just saw was actually
the improv sequence with Roman and Tej.
1906
01:57:45,476 --> 01:57:47,478
It is one of those things
that when I saw it,
1907
01:57:47,561 --> 01:57:50,815
I knew it had to be in the film
because it was never scripted.
1908
01:57:50,898 --> 01:57:55,194
But it was a sentiment of
"we're never supposed to be here."
1909
01:57:55,277 --> 01:58:00,491
And I know it's done in a fun way,
but I just love the delivery that Tyrese
1910
01:58:00,574 --> 01:58:03,536
and, both, Chris, in that moment, gave.
1911
01:58:03,619 --> 01:58:07,373
And it really kind of says it all
for all of us,
1912
01:58:07,456 --> 01:58:10,960
I think, you know,
behind the camera, in front of the camera.
1913
01:58:11,043 --> 01:58:14,296
And it really captured the essence
and the spirit of Fast and the Furious.
1914
01:58:14,380 --> 01:58:19,593
And so, it's one of those great things
that in film that I love
1915
01:58:19,677 --> 01:58:23,014
is that sometimes you can plan
and plan and plan.
1916
01:58:23,097 --> 01:58:26,976
If you do that enough, you get the
spontaneous moments on the day
1917
01:58:27,059 --> 01:58:30,896
that outshines all the planning.
1918
01:58:30,980 --> 01:58:33,691
That's what happens,
the magic of filmmaking.
1919
01:58:39,822 --> 01:58:41,991
- Something you want to tell me, Otto?
- My bad.
1920
01:58:42,074 --> 01:58:44,368
Satellite uplink
is actually going splendid.
1921
01:58:44,869 --> 01:58:47,288
And, by the way,
I have a new business partner.
1922
01:58:47,371 --> 01:58:48,372
Maybe you know her.
1923
01:58:48,456 --> 01:58:50,750
Guess who's out of the box, Jakob.
1924
01:58:52,376 --> 01:58:54,170
But I did try to warn you.
1925
01:58:56,922 --> 01:58:58,758
You were never my competition.
1926
01:58:59,383 --> 01:59:01,844
- Otto, there's something you should know.
- Yeah, go on.
1927
01:59:03,179 --> 01:59:05,306
So here, we have seen the intersection now
1928
01:59:05,389 --> 01:59:08,934
of this earned partnership
between Otto and Cipher
1929
01:59:09,018 --> 01:59:12,480
that was all done off screen.
1930
01:59:12,563 --> 01:59:13,898
And, again, it goes all the way back
1931
01:59:13,981 --> 01:59:17,151
to that Yoda, Star Wars scene
between them.
1932
01:59:17,234 --> 01:59:19,403
I was so excited after we shot that.
1933
01:59:19,487 --> 01:59:22,448
You know, soon as I knew
we had that scene in the can,
1934
01:59:22,531 --> 01:59:26,243
I felt like,
"Okay, this beat is going to work."
1935
01:59:42,384 --> 01:59:48,432
And again, these sequences
are so complicated to put together.
1936
01:59:48,516 --> 01:59:52,520
It takes months and months to plan
and then you location scout.
1937
01:59:52,603 --> 01:59:55,856
You have to scan the location,
and they have to previz it and previz it,
1938
01:59:55,940 --> 01:59:57,650
and then we have to go through stunts
1939
01:59:57,733 --> 02:00:01,153
to make sure that they can execute
everything that was planned.
1940
02:00:01,237 --> 02:00:04,198
And here, you know,
it looks like two cars...
1941
02:00:04,281 --> 02:00:08,994
That actually was two stunts done
at the same time, a cannon and a ramp.
1942
02:00:13,916 --> 02:00:16,752
And this is a combination of...
1943
02:00:16,836 --> 02:00:19,004
You're talking about,
at the end of the day,
1944
02:00:19,088 --> 02:00:24,301
crew in Tbilisi, in UK,
and in post, you have crew in India,
1945
02:00:24,385 --> 02:00:26,220
you know, UK, Montreal,
1946
02:00:26,303 --> 02:00:30,224
everywhere around the world
to make it all happen.
1947
02:00:30,307 --> 02:00:36,564
It was a connection of this amazing crew
of thousands across the world
1948
02:00:36,647 --> 02:00:38,732
for us to be able to bring this to life.
1949
02:00:44,196 --> 02:00:47,074
And this is one of the craziest moments
of hitting that.
1950
02:00:47,158 --> 02:00:49,702
And we actually did that practically.
1951
02:00:50,953 --> 02:00:52,663
It was done in pieces, of course,
1952
02:00:52,746 --> 02:00:55,666
but I was very proud
that we were able to capture
1953
02:00:55,749 --> 02:00:58,460
all that in camera, every beat of that.
1954
02:01:05,426 --> 02:01:09,722
And here there's a...
I'm sure people watching it
1955
02:01:09,805 --> 02:01:12,224
have questions about the magnet...
1956
02:01:12,308 --> 02:01:15,477
How is it that the Supra
is the only thing attached?
1957
02:01:16,562 --> 02:01:18,063
And it, actually...
1958
02:01:18,147 --> 02:01:21,775
If you see all those things,
those directional kind of magnetic force,
1959
02:01:21,859 --> 02:01:25,821
we had months and months
of meetings about it,
1960
02:01:25,905 --> 02:01:28,490
and I actually...
1961
02:01:28,574 --> 02:01:32,286
There is actually tech in there
with... that Mia does.
1962
02:01:32,369 --> 02:01:36,040
But I remember seeing an earlier cut
when I actually cut to her doing it,
1963
02:01:36,123 --> 02:01:41,170
it brought on like
it was just an overload of intel.
1964
02:01:41,253 --> 02:01:45,925
And so when I removed it,
it just felt like it all made sense.
1965
02:01:46,008 --> 02:01:48,344
But for people that are doing
a deeper dive,
1966
02:01:48,427 --> 02:01:51,305
I could tell you
that there is a logic to that
1967
02:01:51,388 --> 02:01:54,266
that we had spent months developing.
1968
02:01:54,350 --> 02:01:56,810
I mean, it's still there
if you really look at it,
1969
02:01:56,894 --> 02:02:01,482
but in the cut, it just made
more sense for it to be simple.
1970
02:02:05,611 --> 02:02:10,741
So here, you know, I have
Anna shooting this crazy Gatling gun.
1971
02:02:10,824 --> 02:02:13,327
I think she had a lot of fun
that day doing it.
1972
02:02:13,410 --> 02:02:16,789
But it was a combination of us
shooting interior in London
1973
02:02:16,872 --> 02:02:20,251
and then sending her to Tbilisi
to shoot that gun for real.
1974
02:02:25,714 --> 02:02:29,635
And a lot of people,
they ask me about this sequence.
1975
02:02:29,718 --> 02:02:31,095
And as you can see,
1976
02:02:31,178 --> 02:02:34,223
there's no way we can duplicate
that in the visual effects world.
1977
02:02:34,306 --> 02:02:39,687
So I was giving notes and I just
kept asking them to throw more cars
1978
02:02:39,770 --> 02:02:41,814
at, we call it the Armadillo.
1979
02:02:41,897 --> 02:02:44,650
That's something
that we built from ground up.
1980
02:02:44,733 --> 02:02:48,946
And so, my note for them was
always to keep throwing more cars at it.
1981
02:02:49,029 --> 02:02:52,950
So I was very happy
the way the sequence turned out.
1982
02:02:53,867 --> 02:02:57,371
You know, it was one of those things
where, like this,
1983
02:02:57,454 --> 02:03:00,916
you cannot duplicate that
in the visual effects world.
1984
02:03:03,752 --> 02:03:06,255
Letty, drop back
and line up with the front tires.
1985
02:03:06,338 --> 02:03:07,881
- What?
- If we can't slow it
1986
02:03:07,965 --> 02:03:09,508
and we can't punch through...
1987
02:03:10,175 --> 02:03:13,095
So, where we're coming up to,
is this pole,
1988
02:03:13,178 --> 02:03:15,264
and then this is,
actually this shot right here,
1989
02:03:15,347 --> 02:03:17,057
where the car hits the windshield,
1990
02:03:17,141 --> 02:03:18,767
that was one of the happy accidents.
1991
02:03:18,851 --> 02:03:24,523
We threw a camera on there,
and it just had this amazing moment
1992
02:03:24,606 --> 02:03:26,984
where it captures a car
hitting the windshield,
1993
02:03:27,067 --> 02:03:30,070
and I think it delayed us a little bit,
1994
02:03:30,154 --> 02:03:32,323
but it gave this really great coverage
1995
02:03:32,406 --> 02:03:35,826
that I ultimately was able
to kind of work into the movie.
1996
02:03:35,909 --> 02:03:37,745
You read my mind.
Han, get in front of me.
1997
02:03:39,830 --> 02:03:44,001
And the wire gag here,
it seems pretty simple.
1998
02:03:44,084 --> 02:03:49,423
I think, for anybody,
it's just five seconds of a moment.
1999
02:03:49,506 --> 02:03:52,634
But again, it took so much time.
2000
02:03:53,927 --> 02:03:57,931
We had cannons, poles
and it was all the amazing stunt team.
2001
02:03:59,600 --> 02:04:02,436
And usually, you do one of these,
it's a big deal.
2002
02:04:03,062 --> 02:04:07,941
But to do multiple vehicles like this,
2003
02:04:08,025 --> 02:04:09,860
it is a huge undertaking.
2004
02:04:10,611 --> 02:04:14,365
And again, I just give the crew
so much credit, you know, they...
2005
02:04:14,448 --> 02:04:16,617
There's never any hesitation.
2006
02:04:16,700 --> 02:04:19,661
Everybody was always in
to do something new,
2007
02:04:19,787 --> 02:04:21,914
even if it's just a small beat like that.
2008
02:04:28,921 --> 02:04:33,300
And so, for this beat of the flip,
2009
02:04:33,384 --> 02:04:38,639
we actually had to build
so many different rigs to do that
2010
02:04:38,722 --> 02:04:42,935
and one just for the head
of the Armadillo.
2011
02:04:43,018 --> 02:04:46,188
And actually, for a lot of this,
we had to capture in camera,
2012
02:04:46,271 --> 02:04:48,065
just for reference.
2013
02:04:48,148 --> 02:04:49,650
And it's something that...
2014
02:04:49,817 --> 02:04:51,652
It was so complicated
just because there was
2015
02:04:51,735 --> 02:04:54,696
three different lighting sequences
to try to get all that done.
2016
02:04:54,780 --> 02:04:58,617
But we were able to capture
a lot of the stuff practically,
2017
02:04:58,700 --> 02:05:00,619
even if it was used for reference.
2018
02:05:00,702 --> 02:05:01,829
Satellite is in range.
2019
02:05:01,912 --> 02:05:03,831
Let's power up these magnets and fry it.
2020
02:05:04,248 --> 02:05:05,582
All right, take our time.
2021
02:05:11,880 --> 02:05:17,052
I have to say, I think this coming up here
with Chris and Tyrese,
2022
02:05:17,970 --> 02:05:21,348
to put 'em in the most ridiculous outfits
2023
02:05:21,432 --> 02:05:24,017
and to be in this ridiculous vehicle
2024
02:05:24,768 --> 02:05:26,979
in this ridiculous situation,
2025
02:05:27,062 --> 02:05:30,649
and for them to really
kind of connect on an emotional level...
2026
02:05:31,400 --> 02:05:34,736
Oh, my goodness, it...
I'm so proud of them.
2027
02:05:34,820 --> 02:05:37,865
I would say, with everything
that I've done with them,
2028
02:05:38,240 --> 02:05:40,742
this is my most proud moment with them
2029
02:05:40,826 --> 02:05:44,371
because they're showing up,
they look like Minions.
2030
02:05:44,496 --> 02:05:50,294
I have 'em hanging from the set
for hours and hours.
2031
02:05:51,128 --> 02:05:55,132
And then they had to deliver this
existential monologue
2032
02:05:55,215 --> 02:05:58,844
where both of their philosophies converge.
2033
02:05:58,927 --> 02:06:02,931
And that Tej was always driven
by math and science,
2034
02:06:03,015 --> 02:06:06,185
is basically saying that
it's an impossibility.
2035
02:06:06,268 --> 02:06:07,728
It's one in a million.
2036
02:06:07,811 --> 02:06:11,857
And then for Roman, who's basically,
the dreamer saying,
2037
02:06:12,399 --> 02:06:15,694
"Well, if it's one in a million,
let's go for it.
2038
02:06:15,777 --> 02:06:17,905
"Because we were never
supposed to be here."
2039
02:06:17,988 --> 02:06:21,533
And it says a lot about us
as a franchise,
2040
02:06:21,617 --> 02:06:26,371
and us as a family
in front and behind the camera.
2041
02:06:27,039 --> 02:06:30,459
And you can hear it
in Tyrese's performance.
2042
02:06:30,626 --> 02:06:32,753
It really captured that.
2043
02:06:32,836 --> 02:06:39,092
And I remember thinking about rewriting it
just as an exercise.
2044
02:06:39,801 --> 02:06:44,640
And then I thought, "No, it doesn't matter
whatever I write or rewrite."
2045
02:06:45,140 --> 02:06:49,394
Whatever was captured in that moment
between Tyrese and Chris
2046
02:06:49,478 --> 02:06:51,897
really says it all for us.
2047
02:06:51,980 --> 02:06:55,692
And for us to be
doing this crazy action sequence
2048
02:06:55,776 --> 02:06:59,613
and then getting into that
emotional moment for all of us,
2049
02:07:00,030 --> 02:07:02,866
to me, that's like
the secret weapon a lot of times
2050
02:07:02,950 --> 02:07:05,953
to be able to surprise people.
2051
02:07:06,203 --> 02:07:08,789
And I think people, lot of times,
think the surprise is
2052
02:07:08,872 --> 02:07:11,333
in the craziness in the action,
2053
02:07:11,416 --> 02:07:13,710
but for me, it's always
the emotional moments
2054
02:07:13,794 --> 02:07:16,421
that we're able to capture.
2055
02:07:18,173 --> 02:07:19,383
We did it!
2056
02:07:19,550 --> 02:07:20,551
Let's go.
2057
02:07:20,634 --> 02:07:21,885
Yes!
2058
02:07:22,553 --> 02:07:23,595
Shit.
2059
02:07:23,679 --> 02:07:25,138
Not bad, man.
2060
02:07:25,514 --> 02:07:26,557
Not bad at all.
2061
02:07:27,849 --> 02:07:32,646
We're about to hit the sequence here
where, for the first time,
2062
02:07:32,854 --> 02:07:37,567
I ended up taking out
this huge action beat.
2063
02:07:38,277 --> 02:07:40,988
And this is not in that cut,
2064
02:07:41,488 --> 02:07:43,699
but I love it in the extended cut
2065
02:07:43,782 --> 02:07:47,661
because it took us months
and we shot this practically,
2066
02:07:47,786 --> 02:07:51,373
we went through simulations,
went through all these things.
2067
02:07:51,456 --> 02:07:55,043
And it's a combination of cars
going through buildings
2068
02:07:55,127 --> 02:07:58,672
and CG simulations
of a crumbling building and stuff,
2069
02:07:58,755 --> 02:08:00,882
and I still love it.
2070
02:08:01,466 --> 02:08:05,304
But ultimately, I just felt like
it wasn't contributing
2071
02:08:05,387 --> 02:08:07,306
to the emotional connection
2072
02:08:07,389 --> 02:08:10,642
which is this next beat
of Dom and Cipher.
2073
02:08:11,184 --> 02:08:12,853
And I took it out,
2074
02:08:13,437 --> 02:08:14,646
but I still am really,
2075
02:08:14,730 --> 02:08:17,316
I have to say, even though I felt like
it was the right choice,
2076
02:08:17,816 --> 02:08:18,817
I was bummed.
2077
02:08:18,900 --> 02:08:20,736
But I think as a filmmaker,
2078
02:08:20,819 --> 02:08:26,283
it gives me a lot of peace to know
that we have this extended cut.
2079
02:08:26,366 --> 02:08:28,952
It was always, I think, in conception.
2080
02:08:30,037 --> 02:08:32,372
It needed to be in there,
but I think, you know, ultimately,
2081
02:08:32,456 --> 02:08:34,124
we just had so much.
2082
02:08:34,207 --> 02:08:36,251
I felt like the right thing
was to take it out.
2083
02:08:46,553 --> 02:08:47,596
And then also just...
2084
02:08:47,679 --> 02:08:49,681
Again, you see that beat of Dom
running through,
2085
02:08:49,765 --> 02:08:52,559
that is actually one of the hardest sets.
2086
02:08:52,642 --> 02:08:54,686
It took us weeks to build.
2087
02:08:54,770 --> 02:08:59,524
It was on this 360 rotating set
just for those couple of seconds.
2088
02:08:59,816 --> 02:09:01,943
And that's what's so, to me...
2089
02:09:02,027 --> 02:09:05,155
I'm still blown away
that we're able to do that.
2090
02:09:05,280 --> 02:09:08,158
And the amount of care
that we can do.
2091
02:09:08,533 --> 02:09:11,244
This is still something
that I wake up every morning,
2092
02:09:11,328 --> 02:09:14,206
and I'm so happy and excited
2093
02:09:15,248 --> 02:09:18,668
to be part of, you know,
the tent pole cinema.
2094
02:09:21,421 --> 02:09:23,799
You just can't do this
anywhere else in the world.
2095
02:09:25,967 --> 02:09:28,970
You know, to be able to wreck
over 200 cars,
2096
02:09:29,054 --> 02:09:30,931
to come up with crazy ideas,
2097
02:09:31,014 --> 02:09:35,060
and then have this amazing crew
bring it to life.
2098
02:09:36,728 --> 02:09:39,272
And to be able to use
every tool available.
2099
02:09:40,315 --> 02:09:44,319
To even do this, you know,
right here, with the jump.
2100
02:09:44,903 --> 02:09:47,864
To be able to start practically
and then go all the way,
2101
02:09:47,948 --> 02:09:50,617
using every tool to tell the story.
2102
02:09:58,333 --> 02:10:00,752
So coming up here with Cipher,
2103
02:10:01,586 --> 02:10:03,755
this is probably
the beginning of something
2104
02:10:03,839 --> 02:10:07,551
that I'm really excited to explore
with both Vin and Charlize.
2105
02:10:08,885 --> 02:10:10,011
And this is the...
2106
02:10:10,554 --> 02:10:13,807
I'll point this out,
it's one of those luxuries...
2107
02:10:14,474 --> 02:10:18,019
For the first time,
I allowed myself to think of it
2108
02:10:18,103 --> 02:10:21,022
as a final chapter
so that we can have scenes like this.
2109
02:10:22,023 --> 02:10:24,484
A lot of the credit goes to Vin
and the studio
2110
02:10:24,568 --> 02:10:27,904
because I have always wanted to only treat
2111
02:10:28,405 --> 02:10:32,909
every film, every chapter
as its own journey,
2112
02:10:32,993 --> 02:10:35,162
and I didn't wanna engage.
2113
02:10:35,245 --> 02:10:37,038
I wanna earn the next chapter,
2114
02:10:37,581 --> 02:10:42,919
but Vin talked me into thinking of it
as we've earned this final chapter.
2115
02:10:43,003 --> 02:10:47,299
And Fast 9 is really the first film
of the of the three.
2116
02:10:47,382 --> 02:10:51,094
So, it allowed me to be able
to explore things
2117
02:10:51,178 --> 02:10:53,138
and have scenes like that with Cipher,
2118
02:10:53,221 --> 02:10:55,599
which is suggesting
that there's more to come.
2119
02:10:55,682 --> 02:10:56,975
This is the world I chose, Dom.
2120
02:10:58,894 --> 02:11:00,812
You know, Dad wasn't perfect.
2121
02:11:02,105 --> 02:11:04,983
And then, of course, here, this exchange,
2122
02:11:05,066 --> 02:11:08,028
it harkens back to the heart and soul
2123
02:11:08,111 --> 02:11:11,573
of the franchise of the first
Fast and the Furious.
2124
02:11:11,656 --> 02:11:13,325
And even though,
2125
02:11:13,408 --> 02:11:18,747
Brian O'Conner's not physically
part of this film and journey,
2126
02:11:19,206 --> 02:11:22,959
it was very much an effort
to always be conscious
2127
02:11:23,043 --> 02:11:26,796
that he is part of this universe,
and any time we can, you know,
2128
02:11:26,880 --> 02:11:31,259
have moments that helps
the audience connect with him
2129
02:11:31,343 --> 02:11:34,179
and to know that
he's still in this universe,
2130
02:11:34,262 --> 02:11:37,516
it's really important.
And this was one of the great finds.
2131
02:11:37,933 --> 02:11:40,810
It was, again, very organic and earned,
2132
02:11:40,894 --> 02:11:45,649
but it's also very much part of the DNA
of where we all came from.
2133
02:11:58,495 --> 02:12:01,790
So we're about to get into
this kind of wrapping up
2134
02:12:01,873 --> 02:12:04,501
this crazy chapter of going into...
2135
02:12:05,085 --> 02:12:08,213
I know we're saying space.
Like here, it's space.
2136
02:12:08,296 --> 02:12:11,925
But I can officially tell you
that it was outer atmosphere.
2137
02:12:12,008 --> 02:12:15,262
It wasn't until they pushed that NOS
that took them into space,
2138
02:12:15,345 --> 02:12:18,223
which is way further,
and so they've been drifting for a while.
2139
02:12:18,306 --> 02:12:22,227
And, you know, the Minion joke
actually came from me
2140
02:12:22,310 --> 02:12:25,772
trying to figure out
if there's any way of them
2141
02:12:26,231 --> 02:12:28,692
coming up with a space suit with no time.
2142
02:12:28,775 --> 02:12:30,402
And I was talking to a rocket scientists
2143
02:12:30,485 --> 02:12:33,196
and it ultimately came into this idea
that, you know,
2144
02:12:33,280 --> 02:12:37,742
deep sea exploration diving suits
are very close to astronaut suits.
2145
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.
2146
02:12:49,212 --> 02:12:51,631
And here we are in the race track,
2147
02:12:51,881 --> 02:12:54,718
and this Bad Bunny track was amazing.
2148
02:12:54,843 --> 02:12:56,970
He actually sent us the track.
2149
02:12:57,596 --> 02:13:00,932
And I loved the song
and I didn't know where to put it.
2150
02:13:01,057 --> 02:13:04,269
And I think once we
tried it in the scene,
2151
02:13:04,352 --> 02:13:06,813
it really gave it so much more meaning.
2152
02:13:07,188 --> 02:13:08,189
You did?
2153
02:13:08,815 --> 02:13:11,359
And it was just... Again, I feel so lucky.
2154
02:13:11,443 --> 02:13:13,486
You know, when I first
joined the franchise,
2155
02:13:13,570 --> 02:13:15,697
people weren't sending us tracks to try.
2156
02:13:15,780 --> 02:13:18,283
And now we have all these amazing artists
2157
02:13:18,450 --> 02:13:22,454
that are just sharing with us
materials that they've created.
2158
02:13:22,537 --> 02:13:26,207
And when we're able to find
these amazing connections,
2159
02:13:26,291 --> 02:13:28,293
it just makes me realize
how far we've come,
2160
02:13:28,376 --> 02:13:30,837
and the fact that it
wasn't always like this
2161
02:13:30,920 --> 02:13:33,632
and it was something that
that we've earned together.
2162
02:13:40,930 --> 02:13:45,310
This moment here, I felt like
it was so important to have
2163
02:13:45,393 --> 02:13:48,855
because when we talk
about time travel,
2164
02:13:48,938 --> 02:13:51,900
the idea that we're able to explore
two timelines,
2165
02:13:52,359 --> 02:13:57,739
and finally, we're able to have
this kind of temporal and physical space
2166
02:13:57,822 --> 02:13:59,366
converge into one.
2167
02:14:00,075 --> 02:14:02,035
I was so excited to have this.
2168
02:14:02,869 --> 02:14:06,498
But it was also able to wrap
this chapter up completely
2169
02:14:06,581 --> 02:14:10,752
in a way that it suggests a lot more
2170
02:14:11,169 --> 02:14:13,254
that that's happened, obviously,
2171
02:14:13,338 --> 02:14:15,757
but at the same time, for Fast 9,
2172
02:14:15,840 --> 02:14:18,885
this connection,
it was so important to me,
2173
02:14:18,968 --> 02:14:21,346
and I'm so glad we're able to achieve it.
2174
02:14:28,812 --> 02:14:32,899
And so, the Toretto house,
under construction,
2175
02:14:33,566 --> 02:14:37,946
that was something that I also wanted
to earn our way to,
2176
02:14:38,029 --> 02:14:41,700
even though they were living
in that farmhouse when we first find 'em,
2177
02:14:41,783 --> 02:14:45,537
I always knew our goal
was to earn our way back
2178
02:14:45,620 --> 02:14:48,957
to the Toretto house
and to be able to have our barbecue.
2179
02:14:55,171 --> 02:14:58,049
I'm sure when people saw the trailer,
they expected
2180
02:14:58,133 --> 02:15:01,469
Han to be with Sean
and Twinkie and Earl and I...
2181
02:15:02,053 --> 02:15:05,223
I love the fact that, for the first time
they see each other
2182
02:15:05,306 --> 02:15:08,601
is actually in this moment of the film,
2183
02:15:08,685 --> 02:15:11,146
that they actually
weren't connected at all,
2184
02:15:11,271 --> 02:15:14,023
and that they were able to
find their way to each other
2185
02:15:14,149 --> 02:15:17,068
and to kind of be introduced
to Elle, their new member.
2186
02:15:19,738 --> 02:15:20,739
Just call me T.
2187
02:15:21,489 --> 02:15:23,700
And, you know, Leo, Santos...
2188
02:15:23,783 --> 02:15:27,454
We actually... Is also something
that I really was excited to do
2189
02:15:27,537 --> 02:15:32,083
was to see how they met Dom
in that flashback sequence.
2190
02:15:37,046 --> 02:15:38,923
And it was awesome to get Don Omar.
2191
02:15:39,549 --> 02:15:43,845
In this present timeline, to be able
to get him and everybody together,
2192
02:15:44,220 --> 02:15:46,055
it just meant so much.
2193
02:15:46,973 --> 02:15:48,391
It has so much more value.
2194
02:15:48,475 --> 02:15:51,478
Again, I know I said this so many times
during this commentary,
2195
02:15:51,936 --> 02:15:55,273
but there's a lot of times
in writing and understanding
2196
02:15:55,356 --> 02:15:57,400
the magnitude of certain things,
2197
02:15:57,859 --> 02:16:01,988
but then there's a difference between that
and then showing up on the day
2198
02:16:02,071 --> 02:16:05,533
with all the actors,
with the whole cast.
2199
02:16:05,617 --> 02:16:10,246
And it really elevates it
to another emotional level
2200
02:16:10,330 --> 02:16:13,249
that I think on a cerebral sense,
writing it you understand,
2201
02:16:13,333 --> 02:16:16,669
but until you get there and you shoot it
and you're in that location
2202
02:16:17,086 --> 02:16:20,089
in the Toretto backyard,
you truly feel it.
2203
02:16:24,219 --> 02:16:26,346
I think Daddy has a question for you.
2204
02:16:30,892 --> 02:16:32,769
You ready to say grace, kid?
2205
02:16:33,394 --> 02:16:35,188
But I don't know what to say.
2206
02:16:36,397 --> 02:16:37,607
Oh, it's easy.
2207
02:16:38,274 --> 02:16:43,530
Here, obviously, little Brian,
you know, joining the barbecue,
2208
02:16:43,613 --> 02:16:47,116
the family barbecue, is significant
because it also suggests that
2209
02:16:47,659 --> 02:16:51,704
he's going to be
at many more barbecues.
2210
02:16:53,665 --> 02:16:56,125
Little Brian's ready to say grace with us.
2211
02:16:57,001 --> 02:16:58,628
I think that the empty chair...
2212
02:16:58,711 --> 02:17:01,005
And I remember sitting there
with the set decks
2213
02:17:01,089 --> 02:17:04,425
and trying to find the right color
to match for Brian.
2214
02:17:08,972 --> 02:17:11,307
And then at the same time, like,
2215
02:17:12,684 --> 02:17:16,563
having Brian show up at the barbecue
with his Skyline,
2216
02:17:17,063 --> 02:17:19,440
for anybody that's been
part of this franchise,
2217
02:17:19,524 --> 02:17:22,819
I just felt like
that was the right way to approach
2218
02:17:22,902 --> 02:17:25,405
his presence in this franchise,
2219
02:17:25,488 --> 02:17:28,867
but hopefully, doing in a respectful way.
2220
02:17:37,458 --> 02:17:41,421
Again, you know, I think
it was so gratifying to be back,
2221
02:17:41,588 --> 02:17:45,258
but I think more importantly,
is to be back for the right reasons.
2222
02:17:45,341 --> 02:17:47,635
And to be able to do this film
2223
02:17:48,177 --> 02:17:53,516
and to be inspired and to know that,
"Yes, this is chapter nine."
2224
02:17:53,600 --> 02:17:58,396
But we still have all this new themes
and arcs and threads
2225
02:17:58,479 --> 02:18:00,231
to explore with our characters.
2226
02:18:00,481 --> 02:18:02,901
And to do that, again,
2227
02:18:03,234 --> 02:18:05,486
I get the business
of making these movies
2228
02:18:05,570 --> 02:18:09,365
that when you're successful,
you have other opportunities,
2229
02:18:09,449 --> 02:18:12,076
but on a creative level
to know that we can do this,
2230
02:18:12,160 --> 02:18:13,703
but be able to have an environment
2231
02:18:13,786 --> 02:18:17,498
where we're still challenging each other
and trying new things,
2232
02:18:17,874 --> 02:18:21,002
that to me, is when it's most fulfilling.
2233
02:18:26,799 --> 02:18:28,551
And I think at the end of this,
2234
02:18:28,801 --> 02:18:32,180
it's interesting because
I knew we were gonna have a tag.
2235
02:18:32,597 --> 02:18:35,808
And I remember shooting Fast 6,
and I was leaving.
2236
02:18:35,892 --> 02:18:39,771
I knew I was leaving,
and I was talking to Jason Statham
2237
02:18:39,854 --> 02:18:43,816
for a long time
about joining our franchise.
2238
02:18:44,400 --> 02:18:48,488
And I remember in London,
I came up with the idea
2239
02:18:48,571 --> 02:18:51,199
that he was going to be Shaw
2240
02:18:51,282 --> 02:18:55,286
and that Shaw was going to be
the one that killed Han, and...
2241
02:18:55,370 --> 02:18:59,374
And I called him and he was awesome
and he came in and did the scene.
2242
02:18:59,457 --> 02:19:01,960
And then I finally
officially decided I was leaving.
2243
02:19:02,043 --> 02:19:03,670
I had a long talk with him.
2244
02:19:04,253 --> 02:19:06,714
His first reaction was,
"If you're leaving, I'm leaving.
2245
02:19:06,798 --> 02:19:08,132
"I'm not going to continue."
2246
02:19:08,216 --> 02:19:10,426
And I said, "No, no, no, no.
Please, you should."
2247
02:19:10,510 --> 02:19:13,304
I think there's still
a lot more story to be had,
2248
02:19:13,388 --> 02:19:15,098
and he obviously stayed.
2249
02:19:15,181 --> 02:19:19,185
But I always felt bad because he came
and did that scene for me.
2250
02:19:19,644 --> 02:19:24,399
So, it was great to be able
to come up with the idea for this,
2251
02:19:24,941 --> 02:19:29,153
and in many ways,
it's the continuation for us, you know,
2252
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?
2253
02:19:34,784 --> 02:19:36,703
"And this tag is not about me leaving.
2254
02:19:36,786 --> 02:19:40,415
"This tag is about connecting with Shaw
2255
02:19:40,498 --> 02:19:43,001
"and it's for us to make the promise
2256
02:19:43,084 --> 02:19:46,796
"that we're going to be able to, you know,
not only work together,
2257
02:19:47,547 --> 02:19:51,634
"but really dig into Shaw
the way we wanted to."
2258
02:19:51,718 --> 02:19:54,178
And so, it was a great call to make.
2259
02:19:54,262 --> 02:19:56,139
I didn't know what to expect.
2260
02:19:56,222 --> 02:19:58,641
And Jason was so excited,
and he was great.
2261
02:19:58,725 --> 02:20:03,396
And just... Again, it made it feel like
it was always meant to be, you know?
2262
02:20:03,479 --> 02:20:06,441
And so, on this day,
when we were shooting it,
2263
02:20:06,524 --> 02:20:09,777
it reminded me of shooting that tag on 6.
2264
02:20:10,153 --> 02:20:15,366
But instead of this feeling of leaving,
it was the opposite.
2265
02:20:15,450 --> 02:20:17,535
It was connecting, it was reconnecting,
2266
02:20:17,618 --> 02:20:19,954
and the excitement of what's to come.
2267
02:20:20,329 --> 02:20:21,539
So, it was a great way.
2268
02:20:21,622 --> 02:20:24,459
It was the last scene
that we shot in this movie.
2269
02:20:24,584 --> 02:20:26,461
And to see him and Han
2270
02:20:26,544 --> 02:20:31,007
and the promise of
fully doing justice for Han, right,
2271
02:20:31,090 --> 02:20:32,633
it was the best way to go out.
2272
02:20:32,717 --> 02:20:36,012
And so, I'm excited to be back.
2273
02:20:36,095 --> 02:20:39,348
And I had such a great time
reconnecting with everybody.
2274
02:20:40,349 --> 02:20:43,644
And I look forward
to concluding our saga
2275
02:20:43,728 --> 02:20:46,731
with all these great characters.
2276
02:20:46,856 --> 02:20:50,735
So, thank you, guys, for your time,
for sitting through this.
2277
02:20:50,818 --> 02:20:56,866
And I look forward to exploring
and finding the right next two films
2278
02:20:56,949 --> 02:21:00,119
to close out this saga
for Fast and the Furious.