-Congratulations on this film. It's fantastic.
And this is about a guy who is a getaway driver.
He plans his getaway drives to specific songs.
-Yeah. -And this is an idea
you had back in your early 20s?
-Yeah, basically, when I heard the song that was in that clip,
actually, by The Jon Spencer Blues Explosion --
I heard that when I was 21.
And it's not like I necessarily thought,
like, "Oh, this is a movie."
I literally couldn't listen to the song
without thinking of a car chase.
So it was like kind of my version of action-movie synesthesia.
It was like, "Oh, this song is a car chase."
And then eventually I had to come up with the movie
that went with that song,
which has been, you know, a process over like 22 years.
-It must have been so fun
to pick all these songs that are getaway songs.
-Yes. -I mean, it's fantastic.
The soundtrack alone is sort of one of the co-stars of the film.
-Yeah, I mean, I think that's the thing, is that you --
I mean, I like -- There's that thing a lot of people have,
like, "Oh, this is a great driving song."
And I tend to think one further in terms of
"This is a great car-chase song.
This is a great foot-chase song.
This is a great kind of 'ramming into other cars' kind of song."
So it's just like this --
I've just got, like, I mean -- A bit like "Rain Man."
Just got endless, endless playlists
of, like, different songs for different scenes.
-Different chases. -Yeah.
-Now, there was no green screen in this film,
which happens in I think most films
where you have these kind of car chases.
So this was all practical.
This was on the Atlanta freeways.
I can only imagine how stressful that was,
to shoot this kind of stuff for real.
-Well, the thing is, I mean, people use green screen a lot
now just as a sort of practicality thing.
It's easier to do the actor shots on green screen.
So it's not just doing the stunt-car stuff on the roads,
but shooting all the actors on the roads.
And I remember when I said to the producer that,
"I want to shoot all the actor shots on the freeway, as well."
He went, "Okay."
And it's that thing where you're thinking,
"Oh, it's immediately got twice as complicated."
But I think it just mak--
It's so much more visceral. I think you just feel it.
Even in that clip, you can probably see it.
The actors are swinging around sort of corners
at like 50 miles an hour.
-So you had to get actors of a lot of renown
to agree to sort of race around, like Jamie Foxx and Jon Hamm.
And they were cool just saying,
"Yeah, we'll get in the car and get whipped around"?
-No actor says, "Oh, no, I don't want to."
Whatever they're really thinking, they just do it.
-Yeah. [ Laughs ]
Now, did you ever have to ride with the stunt drivers yourself?
-I did. Actually, in one of the shots
immediately after that, I think the first time
we did some shots, it was a shot of Jon Bernthal
coming around this corner extremely fast.
And even though you know what's going to happen,
nothing can really prepare you for it.
And I was sitting in the back,
and because you're with all the stunt guys and the actors,
I think the first take, I, like, whacked my head really hard,
and they turned around and said, "Are you okay, Edgar?"
I go, "Yeah, yeah, yeah."
You don't admit in front of the stunt guys
that there's been any pain. -Right.
Do you -- Was it hard to --
So you're directing the actors when they're in the car.
Are you communicating with them via walkies?
Like, how are you talking to them?
-Well, when you get to doing stuff
on the freeway and some of the other --
you know, usually, like, there's --
It's not like a trailer like it used to be
where the car is attached to a trailer.
There's this new rig called the biscuit,
named after the film "Seabiscuit,"
'cause that's what they invented it for.
It's basically the car is on,
like, its own platform with six wheels,
and a stunt driver is on a pod on the outside, like a sidecar.
But it does mean that the actors can move around independently
at high, high speeds.
Now, usually, the director is in the van following,
watching on a satellite link-up.
But I felt so distanced being in the van, the command van,
that I would say, "Can I just sit on the car, as well,
with the camera assistants?"
And it's that thing -- You know when you sort of make
a bold decision and then you can't go back from it?
It was like -- I want to be strapped in on that car.
And then I'm strapped in like Mad Max on the front.
And also, as an English person,
I'm not really ready for the Georgia weather.
We shot it in Atlanta.
So I'm, like, sitting there kind of like --
And it's this thing -- I've made a big thing.
It's like, "I'm man enough to sit on the car, as well."
I'm going to get strapped in. I'm watching on a monitor.
And every time that car took off, I was never ready.
It was like hat, walkie -- -[ Laughs ]
-And then also I can see the actors.
'Cause it's the one thing that makes it a little easier,
is you can -- 'Cause, you know, when
you're talking over a walkie doing a car chase,
all likes of articulate direction goes out the window,
and it literally just becomes you screaming,
like, "Intense!
Intense, Ansel! Intense!"
But, like, Jon Hamm saw me struggling outside,
and he said this later on.
I thought I was keeping it together.
And Jon Hamm said later
that I looked like a floppy, sunburned Muppet.
[ Laughter ]
Because every -- every -- every take, I was always going --
[ Laughter ]
And then everybody goes, "Are you okay?"
I go, "Yeah, yeah, yeah, yeah."
-Another thing working against you communication-wise --
You mentioned being British for the sunburns,
but also car terminology completely different in England.
-Yeah, the biggest lesson learned --
People say, "What's it like making a film in the States?"
It's exactly the same, except on a car movie,
it's, like, hood and trunk.
Hood and trunk, hood and trunk.
Not bonnet and boot.
Because if you are describing a scene and you say,
"And then Ansel comes running around the corner,
and he jumps over the bonnet,"
and the guys are going, "Hmm?
A lady's hat?"
It's a very -- I mean, also, the British terms are very feminine.
-Bonnets and boots. -Yeah. Yeah.
And it's a very masculine --
I mean, there's a lot of thrust
behind driving these cars around, and you don't --
I never thought, like, "There goes the bonnet!"
-The other word that would completely
sort of lose everybody was "shunt."
Which is like sort of like -- So, I'd say,
"Oh, and then he shunts into the back of him,"
and they're like, "What?!"
And I end up saying -- I said,
"What do you call it when you rear-end a car?"
They say, "We call it rear-ending."
I was like -- They both sound filthy.
So I'd like to teach you the word "shunt."
Shunting into the back of somebody.
-Well, there you go. Now you have two dirty ways of saying it.
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