Fourth Law of Thermodynamics: If the probability of success is not almost one, then it is damn near zero.
It was great. I mean, it's a blast directing underwater stuff.
I felt that if there wasn't going to be a good opportunity, then I would just go back to second units which I love, keep working with great directors, keep learning and knowing that the opportunity would come when the time was right.
It's just about going out and getting the shot, so I have a great understanding of how to execute it, so that really helps me, and also having a good understanding of all the action that I'm shooting, it helps me in determining how I'm going to capture it.
So there was always a stunt coordinator on those films that was from Stunts Unlimited and I was just one of the young warriors from Stunts Unlimited that got to be a part of it because it was a big show and they needed a lot of guys.
You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.
Chris Columbus was really interesting to watch how he works with children.
Comedy. I think that's something I'd really like to do.
I jumped 18 cars on a motorcycle, so I did almost everything.
I like Soderbergh, Spielberg, Lucas. There's a lot of talented guys out there obviously, and if you're a fan of films, you have to look at that stuff and learn from them.
I mean, you have a general tone of it but it's pretty much you get to come in and you're going to flip this car and it's going to blow up and you're going to come out on fire and you go oh, that's cool, and then you get paid a lot of money.
I think my biggest break though came probably on Patriot Games because it was the biggest, longest second unit up to that point. It was like five months of shooting and a huge crew.
No, in Lethal Weapon I was a taxi cab driver that Mel jumps in front of the taxi and pulls me out of the car and steals the taxi. Then I did some other indie driving for some of the car sequences.
No, we always had something to do because I did all the wave runners and jet skis and boats approaching the atolls and stuff like that, so you could do that without showing the actual atoll or the set that you're going towards, but detailing all those guys racing towards it.
So then I started doing a lot of episodic TV, just car chases or helicopter chases or whatever.
They do think it is a big summer movie and that's why they want to give it a great chance, but they don't want to go up against Spider-Man 2 or some of the other big movies, the $100 million films that are coming up.
They had some really cool rigged cars and things that were different that they would tow behind the camera car that were actually on these trailers that manipulated side to side and stuff like they were getting hit, and actually put the actor right in the middle of the chase.
Waterworld was the best time of my life. It was physically demanding, but it was fun. I mean, you're in Hawaii for nine months shooting on the water every day.
We're talking to New Line. They've got a couple projects they're interested in me doing and I'm having meetings at MGM. There's a lot of available projects.
Well, I think on second units it's all about execution. Because you come in there, you don't have to worry so much about the studio and all the other actors and all that.
