Behind the Shadows w/ Harvey Guillen
Behind the Shadows w/ Harvey Guillen

Season 4, Episode · 4 months ago

The Night Market w/ Tig Fong

ABOUT THIS EPISODE

Tig Fong is here! Our Emmy nominated (woo-hoo!) Director extraordinaire joins us on a new episode of Behind the Shadows. We talked about the potential dangers in the stunt world, and Tig gives us a little insight into who his favorite actor is to direct. Enjoy! 

Join us on the next AMA w/ Harvey Guillen Thur 7/28 @ 1 pm PT

From Straw Hut Media

Straw media. Welcome back to behind the shadows. I'm your host, Harvegien AK Malila Cruz, the show where we talk about all things shadows with cast, crew and celebrity friends. Today's guest is Emmy nominated director extraordinaire, Tig fun. We talk about the potential dangers in the world stunt and his favorite actor to direct and stunts. Stay tuned to behind the shadows. Were even it's so owhelming heart bizarre has so tell me why would anyone want to be lying dead? My hair a reputation before she arrives, but trust me, we have way more fun in the after line. We have way more fun the line. I'm so excited for today's guest. It's the one, the only, Tig Fong. Yes, good, how are you doing? I'm doing fantastic. Are you? I'm doing great, Uh Tig, we met on the set of what we do in the shadows first season. Now, for many of you, you may not know this, but Um, our friend here is m me nominated for the show that we are going to talking about today. Uh Tig is not only just an amazing uh stunt coordinator director, but he's also directed episodes of what we do in the shadows, and now a lot of people know that. So we're gonna be talking about that today. First and foremost, welcome to the show, Tig and uh, I'm so excited for this episode, tonight's or last night's. Last night's episode was a beast. It was one of my I think it's my favorite episode, if not one of my top two, because of how much action and how much planning and stunt work went into this episode and the way that it came out last night so seamless, so beautiful. But people don't know how much work goes into that. So why don't you tell us a little bit of how much it took to make this come to life? Well, you know, I mean we we knew that we were going to build up this scene to be visually rich, you know, and that's executed so accidentally by Shane Fox and the design team and they made such a beautiful environment and we really wanted to and then then we really wanted to punctuate all of that with with a with a fantastic action scene. And as as we left last season, we got a taste of GUARAMO fighting Nandor, and I think that just it was so fun and I think it really just left audiences wanting more. So we knew that we had to up the anti we had to, Um, really kind of bring that action up within the realm of what we can do, of course, you know, in terms of making sense human versus vampire, even an especially gifted human. So there was a lot of thought prior to building a single beat or move into what made sense for this to happen and how do we how do we extend that action? How? How is it not immediately over because of what we might guess as an apparent mismatch? But of course GARMO surprises us with some athleticism, uh, and some mastery of weapons that you that you would have saw last night. So you know, and hopefully that was delightful for the audience as it was for me to watch as much as it was to build. We had a conversation about this the last night we introduced that. We were trying to justify if Guillero...

...could actually you know, there's a scene where he picks up a long stick from the car swings it into this like you know, Um, what would you compare that to? Like I always say it's like gambit from X men. Who controls that stick, you know, that bow, staff movement, Staff Movement, and I was we were we stopped for a second and then it was a conversation like where did he pick this up? Was it always in it? But we forgot that he's been in London for a year and in a year he's we don't know what he's been doing. He's been fighting himself, you know, uh, emotionally, he's been asking himself questions, he's been training behind our backs to perfect the skills that are organic in him. And Yeah, he comes back with skills that we were like, Whoa, what happened that year, which we never saw, because we fly over, you know, back to the states, or not fly over, but get put in a crate again and and we don't know what's happening. And so we're gonna be getting sprinkles of information of what that year untail and one of those sprinkles was, yeah, I believe it. I believe that he became better, you know, at his like, you know, fighting skills, and that's how he justified doing that scene, because that was the big question, wasn't it was like would that make sense if he did this right, right right and and for our audience. And going back to you know, your question about prep. I mean this was, of course, the conversation that you and I had leading into us. So what, what? What could we put in there that didn't jump out and not make sense? And what could we put in there to make things interesting? And and this this this basically this backstory that you had kind of filled that in for me and sort of out took the cuffs off, allowed us to sort of explore with Sword Movement and staff movement and other weapons and and and, you know, tricking and everything. So we were really, really kind of allowed to explore much more given, given, well, your backstory that you put into this, which is not written explicitly, was never written in the script per se, but it's something that that that that you of course came up with, which which which I loved because you know, so much room to play. Yeah, I love when we get to do work together because, I mean, as much as uh, you know, there is stunt work and all that. Uh, I always want more. I'm always so greedy when it comes to stunt stuff because it's always so fun and I think ever since we did our big vampire theater, our theater, vampire massacre. Ever since then I've been just like hooked and I just like love it and it's Um. I think the first day when we were rehearsing that, which, by the way, is like, you know, we get time to rehearse with tig and Um, the rest of the stunt coordinators, uh, and go make this as safe as possible, because these moves are epic. Like that's that scene in the in the vampire theater and the massacre. That was nonstop. There was no bricks. So when people look at that scene now, because it's editing a way where they cut away to the vampire's reactions and like, oh, they took a break, I was like no, that was all one continuous, linear movement of fighting nonstop. That the take choreographed, and I say choreographed, remember the first day when we were talking about this, like Oh, it's like dancing, it's like steps, and you're like it is, but it isn't. You know, if there's steps, but there's also like because you're if you're not on the right beat or the right foot, someone get hurt. You know, if you're not on the five instead of the six and seven and eight and punch and turn into foot someone. It's dangerous dance. It's dangerous. It's a dangerous dance and you want to be on the right foot and know your dance pretty well because someone can get injured. Um. But thankfully we have uh, such you know, pros on our team that that hasn't happened and uh and I just look at the rehearsal. Sometimes take will take video and rehearse the scene before it even get shot and I'm already blown away. And that's like only within an hour of rehearsing with him, which is so great. And how's that for you?...

Take like, do you like working with actors who are excited about stunt work or you're like, here we go again? Let me think about that. I mean yeah, I mean there's two things. There's there's two things. First of all, I appreciate, you know, devotion and enthusiasm, because I am certainly devoted enthusiastic to making the action for any project that I'm on and regardless of ability, I'm just excited. If if the other person is excited or other people are excited, I'm excited about that. And then it's the Cherry on top when you have you know an actor that is an athlete or a dancer, which which which I did not know that you were both. Um, I have to say, no, no, no, listen, listen. The audience have to know. Listen. We talked about the Vampire theatre fight. So, as you said correctly, and it is, it is cut, you know, to to add inserts and add audience reactions and so on. Everybody should understand that. That is when I first learned about Harvey's ability to do choreograph, choreography rather, and complex choreography, right, because you don't. We learned those that sex, that that we learned that entire sequence and phrases. That that's how we teach it. That's how the actors learn it, that's how that's how Harvey learned it. But when we perform it, it's a wonner. That particular one, it's it's pretty much a winner, like he runs through and does, can and did do all of it, all of that scene, is Harvey. People should also know that too, that that particular scene in the Vampire Theater Um, there's nothing there that we felt was dangerous and inappropriate, you know, for an actor to do, and Harvey did it so well. There was never really a need to to swap in, you know, a double. So that was that was a treat and that's when I first understand how much you could do, which then again is like takes us forward to them, the versus, the Nandor fight and Nandora's room in that season and then and then now this, which is, you know, the so so far, the ultimate of what we've done. Or who knows what's coming? Who knows who? You said that with the twinkle in your eye, Tig yes, that's funny thing you said that started. Thank you so much for saying that, because people still don't believe that that was me in that fight scene, like they want to not believe it, and people come up to me and tell me all the times, like oh my gosh, that's so cool. Who did that scene? I was like I did that scene and they're like no, no, I mean like the moves, and I'm like what are you saying? And it's like no, like that must have been like. You know, that's that can act some kind of acrobatic person who's doing those kind of moves, because that's really quick and and it's the assumption that you assume someone, uh, mostly someone of size won't be able to move like that. It's a the commonly gets done. You know, you always just a book by its cover, and I'm always surprised of how many people still think that it's not me, even after we've shown the rehearsal video. We've shown us like working on it and we showed all the evidence. You know, we're like here on her, here's the evidence, and people are like, Oh, who's in the video, and it's like what are you talking to about? Talking about? That's me. I think at one point, I don't know I convouch. Maybe I asked my sister about this. I think at one point I showed my mom the rehearsal and she was like, she literally said Keness, who is that, which is like what? But I'm glad you said that. I have so much fun with the sun stuff. I'm glad that you like pushed me to do it and because you know, it's easier to say I'll let the stunt double do it, and that's fine,...

...but I like I like to be you know, challenge, and you did challenge. We just step up and you know, when that season when I need the big fight scene was coming up, to have that stamina to do take after take after take, like you know. Yes, I hit the gym. I go to the gym three times a week and and really commit to myself of you know, becoming Guillermo. You know, two point, oh, just so to make it believable, because this character can do this, and I mean that Harvey is the actor, should be able to do this as much as his ability as possible. So I you know, I try my best and and I'm glad that we gave me a little test, because then after that I heard that you went to the producers and said Harvey can do it, like they asked, can he do this stuff, and you went over and he said, Oh, you can do it. And because you know that's always a question like should we put the actor through this? If, if, if, they can't do it, is it gonna be dangerous for them? Is it gonna be and and and I'm glad that you said that. And look at the work that's come out of it, you know, like the Nandor Gullermo fight scenes, another favorite. People make edits of that on instagram and TIKTOK. Have you seen those videos? I haven't seen those. I haven't seen the edits. No, oh, people make videos of your like stunt choreography all over online, like it's all online and it's like people edit it. I'll have to send you some of these. And they add to it. It's so good. Some of it it's like, uh, you know, like I'm a I'm a boss as bitch, you know, like songs, and some of them are dresses. Look really cool edits that people, people love the you know, the work that you're doing. Uh, it really shines through and I and I thank you for it because it makes the show that much better just to have that kind of caliber of stunt and that work be put into it. It makes a whole difference. Wait, let's talk about bomb mass bitches for a second. So, so, so, you know, conceptually, we we we built this thing and I built pieces of it and and are the stunt coordinator, jff La Chapelle, Um, you know, who who actually has a karate school and and is an advanced and gifted martial artists himself. Um, there was we knew there was a bow staff pass a section that we wanted to put in there and and I was actually, I think I was off directing second unit. So anyways, he was, he was doing that work with Harvey and he sent me the rehearsal video of of Harvey doing the bow staff work. But this is this is maybe day one. I. Okay, maybe there was one rehearse before that, but this was this was what was it? It was day one. It was day one. So here it was day one in the hern, in the hern, right, we were in the hern. Yeah, they were here, and we'll insert the video right here. We'll show you, guys, a video now, and there you go. This, this so, so, so JF sends me this, you know, just this, sending me to over the phone and I'm like, well, who is she? My God, this is Harvey. This is Harvey swipping this bow staff around and then hitting like a superhero pose at the end. I'm like, God damn, that's definitely making it into the movie. That's not going to be the stunt double shot from behind or something like that, you know. So I was that day. I was like just so thrilled. Just this is one section and then of course, if you watch the height there's quite a lot going on. This is just one section, but this one section just blew me away to watch harvey doing it and in my own mind. I'm like, okay, well, we're not. Definitely, there's no cheating this one here. WE'RE gonna BE WE'RE gonna be looking at Harvey. Who is she? That's literally what I asked myself all the time, right, yeah, it's a that's that's that's what I'm saying. Like, you know, when we showed that was the first day in the her rehearsal and it was sent to you and that's sort of what you were like, Whoa. That's the same feeling that I got and people got when you videotaped the rehearsal for the vampiric massacre theater. Uh,...

...that's the same thing. You're always like. I'm always going away that. It's like we just learned this and we're putting it together and it already looks so cool. I can't even wait till we have more days with it and we get to polish a little bit sharper and whatever. It already looks cool on its on its feet, you know, and it's just fare like, you know, trying to beginning stages of the whole process, which is a lot of work and people don't understand that a lot goes into that. So my question to you is, what does it take, or what goes into preparing for a scene like? Let's use example for let's start off with the first one that I remember. That was a major one, the vampiric massacre, vampire theater. How what is that process like? How does that start and where do you go from there? Well, I mean I think everybody's process. Obviously, what's going to start with the script and looking at it, and then my process is about here is an here, here is the action slug. You know, but you see the and and you know they fight or you know, and germo Um kills a bunch of Vampires. It's it's usually pretty vague like that. Um. So then what you really do is you look at the over arching storyline, everything that we've done prior to that in terms of what guermo's Harvey's character as Guerrimo has done, and then then you look at, well, okay, what's what skills could we insert here and what we didn't start? We inserted some Cali fm a with knife work. Uh, you know, we inserted and we started comedic gags. Um, kylencheck thought it would be funny if you're spraying in a circle of of holy water. So and I thought, okay, well, we're really funny doing this in slow motion and spinning around with two hands at the same time and you know, and it just and and that, by the way, it takes me back to kind of like a mantra or or or a guiding question about all of the action that we make. I had no idea. I've done I've done action for for for big action shows and Superhero shows and so on. Action is very often it's usually serious, I mean, isn't it? I mean people, people are getting hurt. It's shootouts and car hits and all that stuff. And the action has consequences. On our show vampires get killed and sometimes, you know, uh, familiars get killed. People get killed. So it's not it's not without consequence. But but you are making action for a comedy show. And so the question always is for me, as we start building, imagining the action and then building the action, is yes, but is this funny? Right? And so a lot of that, like stabbing somebody in the foot and pinning into the ground, is would be in the vampiric theater. Stuff like that is effective, is brutal, it's violent. It's also funny, you know, and so is the way that he deploys the the holy water spinning around in a circle, so is grabbing somebody from behind and pouring it down their throat. You know, this stuff is it's funny. I mean it in terms of its action. If the tone were different, it could have fit into into a blade movie, could have been well, snipes doing all this right, except that's that's right, exactly easily. But our tone, of course, is we do it in a way that you laugh at it, but you're also impressed by it, by what Garmo is doing. So yeah, that's that's really what goes like in the very, very beginning is you think of it like why would we do it? What could we do? And is it funny? Right? And and then, and then you only work backwards from there and say, okay, well, how much of this can the actor do? Because then you'll think about, okay, we know, we know, we have stunt people, we know we have stunt doubles. We could to the whole fight very typically, depending on the level of the ability...

...of an actor in any given project, you okay, well, we'll insert they them whatever here, or they am them here, their faces maybe a little bit of the action. It all depends on ability. But in this particular instance, you know, as as you just said, once we walked through it, we're like, well, Harvey's going to be doing this all. You know, that's what I came back with. But that's the beginning, is those questions and then getting together with some stunted people and just walking the action, exploring, playing, uh, and it's always the Yes, and what would happen if this happened? Then what's the next thing? That makes sense. Most of the stuff this kind of happens in my head, uh, in weird lucid TC induced dreaming or something. But you know, and then I wake up the next morning and I'm like, okay, I actually think I already have this fight open my head. That that part of the trade secret. There secret reveal. That's the process that everyone should try. But you know what, looking at this last episode from last you know from last night that that must have been one of the more massive, Um, you know, undertaking, because it's just there's cars, there's jumping from cars, there's running, running upstairs, there's stick work, there's all this and and it's all, like I heard when I got to set, that day to rehearse. I feel like we're in a movie. I feel like we're actually in a movie because the caliber of this show feels it's always elevated and this, the night market episode, has been elevated to a different level. It just looked like we were in a movie, like the details and just thinking about the stunt and jumping from car to car and going upstairs and then falling down, you know, from the third floor into all of that. Uh, it's just it blows my mind, like how. What do you say? That's one of the bigger Um things that we've done in shadows stunt work wise. Yeah, what do you think about it? There's there's five choreography, there's there were wire ratchets when you get hit by Nandor after the staff work, because that was his sort of it was like a call and answer type thing. So that was your call at that point, flipping over the cars, throwing some stakes and then doing your staff work, and then his answer was to blast you out off of the set. Um. So wire ratchets, wire work, high falls, as as you just said, and then there was the prior to the high fall. There's the wonderful sword play that we built into which is another thing that I you know, just another phrase of action. And starting with the question of how do we extend this? How does Guarrimo continue to fight Nander, who is a superpowered vampire? And I guess I thought, well, what if we involved weapons? What if, again, Garmo's travels in, in, in, in his travels, he's he's come across this type of weapon training. And by the way, that the sword work on Nandor side was informed by actually Chinese swordwork, Straight Sword Gim and to contrast that, on on Garamo side of it, that sword work was more Filipino, with a little wishoe flare there. That he did. Um. So there's quite a mismatch of styles. And don't for all you martial arts fans out there who saw the action last night, and we'll see if you picked up in any of that, that's a little bit of Geek Trivia for you. There, UM and again again. You know, Harvey did all of that and I really have must say at this point. I mean you know it's your show, but Cavan did all of that too. It was just it was just so beautiful to see these two actors doing stunt work intricate stunt work. You know, not very long, but nevertheless sword fighting routine that actually had real techniques and that,...

...that's the other thing, is I don't like. I don't like mimicking technique. I like to incorporate real technique into things because it's foundational to the movement. You really have to pay attention to that. You can put your own flare on it if you want, and of course it is a movie, but nevertheless I think everything should be rooted in real techniques. It just makes it that much more satisfying, it makes it land better and it feels so organic to to really allow these two actors to, once they know the moves and the steps and the you know, and the actual tools and weapons that they're holding, to let them live and breathe in that moment, because that's what makes it look real, as opposed to make it look like, you said, a mimicking move. It's actually you know it. It's in your head. Now, incorporate body, the your voice, what we're talking and moving and hood and efforts and grunts and all that. They feel natural in that moment, you know, and that's what makes it look so real and cool. I remember Cavan, who committed to it completely, uh, you know, and over his steps over and over in our downtime we go over it, Um, I go over to his place and we go over it, because we wanted to be so part of our bodies that we weren't thinking about the move. It just was happening and organically, because it's so engraved into us that we could actually be breathing as the characters as well and talking to each other. It's like it's like your little rascal, you know, and all the lines and the funniness too, and the joke and the comedy and, you know, uh, to let it breathe. But getting the steps down was the first and getting the stunt work was the first step. And speaking of first steps, how did you get your start in stunt work? Oh Gosh, I didn't know. We're going to go there. Um. I growing up, you know, in the east coast of Canada. I community there as an Asian American, well Asian Polynesian Child. I was looking for for role models and I kind of, I guess I found them in martial arts films. I found them in Bruce Lee films and in jently films and and those watching those strong Asian characters. Just it made me want to learn martial arts and it made me want to do specifically martial arts and film, not not, not just you know, in life, and that's set about a very meandering, winding road of acquiring skills, dreaming about what I wanted to do and having no idea how to get there. Took Years, took decades to stumble onto a film set as a as a as a stunt performer, and then never getting to do the martial arts that I trained my whole life to do. That's the irony, by the way. That is the irony and that is the reason for my the changes in my career right reinventing myself. I had to go from being a performer frustrate to wanted that, to a five coordinator, to a stunt coordinator, to a second director, to a director, to to really do what I wanted to do, which never ended up in me doing the really cool stuff on camera. But I'm so blessed and happy to, you know, create that for you and and people like you and to and sometimes there directed and shoot it like it's it's a wonderful thing. It's it's very, very fulfilling. Well, it's wonderful that you started that way, in the trajectory that it all takes, you know its course, just because it leads you to things like you have directed episodes of what we do in the shadows and and my question is, how does that? How is that cap like putting on a different cap as like a stunt you know, director, to like I'm directing this comedy with these actors. And how how do you approach to how? How is that different? UH, well, the directing, the stunts, it's just sort of you grow up doing the action and then you are choreographing and creating...

...the action as a fire coordinator, and then you're planning it and overseeing the execution as a coordinator. So second AR director, I mean we're often required to, as stunt coordinators or fire coordinators, shoot little mini movies that we in our business we call previous and of course you know, uh, you've seen my work there, and that really is a lot of you're just you're just practicing to direct at least action. Well, now you're talking about, as a director, directing actors. Yeah, everything felt natural right up to them and then that that was terrifying. I'm like, Oh my God, I gotta, I gotta direct people that talk. What do I do? How do I get them to do what I want? I was, I was, I was, I have no trouble admitting this. I found it terrifying. I still find it terrifying, I suppose, and I told myself even as I was directing my first episode, I've done since the second one. There there may be more. I'm not going to say more than that right now, Um, um. But you know, if you're if if your heart isn't in your throat, you know, are you making art and Are you challenging yourself? And I would say no. Right. So I tried to embrace that terror. Uh, and the you know everything that went with that. But I mean you guys, you know, all of you, all of the casts on this show, what we do in the shadows, are just so talented and so but also such warm and lovely people. You know, it was about as less horrifying or terrifying for me as it could have been really, because I did feel like I was with family, to be honest. Yeah, I can see that we would be, you know, intimidating to try something new. It's funny because I remember the first dawn set where you were teaching, you know, stunt and you know that inside out and you've done it for so long, and then went to jump into the director like when you're you took a different approach and it was like a softer tig where it was like nurturing, nurturing the craft, where it's like stunt tig, it's like, Harvey, go over here and move over here, want to three? It's okay, good, and then it was like yeah, I gotta Tig. You got a coach, you know knows that. And then when in the acting element, you were softer tig and it was like Um, harvey trying, tried that again and do like it was the adjustment. The approach was softer where it was like putting. I could see you putting on a different cap and it was so nice to be like Oh, tigs, like you're putting on the director had this is like, because I imagine directing as a stunt directors like okay, there's no it's just black and white. This is that, this and that. You go over here, don't hit anyone and be careful when you don't. Don't hit there or whatever. It's so different because it allows you to feel, you know, comfortable and trying things, you know, and try and be like okay, okay, let's try that, because it's it's the warmth that you give to as well as a director that allows you to feel, you know, like you could also be yourself, you know. So that's good, that's great to me. That's so nice. I mean, thank you. I just want to take a moment and sit on that. I mean, thank you very much, like that's the first time you said that to me and it is exactly what I was trying to do. Like, if you're talking about the transition from yes, you're director, when you're the action director or second director, for sure you are. Um mostly you're working with stun people. If their actors doing action, you might be directing them too, but it's very precise. You know what action has to be doing. Everybody has to hit their marks, camera moves have to be correct. If something is not correct, you do it again and your whole day is just getting that action into camera right. But as soon as you change over to directing scenes, it's like, I want to live in the feeling of it, and so thank you for saying that. In terms of you know, more...

...nurturing. I believe I'm nurturing and stunts. I mean, I honestly, I'm just gonna stop here and say that it has been my my mission, as you know, an in stunts since becoming a coordinated to really kind of change the culture of stunts which maybe, let's just say, I wouldn't typified as being nurturing. Or Yeah, I mean I think you're maybe he's the wrong word there, but it is your nurturing with stunts as well, because you're encouraging and nurturing to like do your best. But it's very like you know that so inside out that it's like the description of what we're doing is like and then you go here and then you go there, and that's it, Bla Blah, and let's do it, you know. And with that and with the acting, because it's such you're dealing with such fragile creatures, actors, that your your approaches a different approach, which is like what do you feel this moment? You know what I mean, like the asking of because it stunts. I you can't ask me what I feel this stunt should look like because I'm not an expert. You know, you can't ask the actor to be like what do you think the stunts should look like? It's like you can ask for my opinion, but I can't be like I think it should be a double, you know, Axel into a Coupleeta move and like I'm not going to give that insight, but because I rely on the on the master of stunts to tell me and then say how do you feel about that? Oh, and I have a question. Then the question gets answered. But with acting it's more like asking and like, you know, what do you feel? Do you feel okay? How about this? Can I? You know, can I or can I suggest this, you know, approach or whatever? So it did a different hat and I appreciate both hats because they're both stylish and both wonderful. And my must say people might not know this. Matigue is very stylish. And when, when? When tigs on set and he directs and he just has his ensemble is like tens across the board. His socks are always a top of a conversation. We always remember came on and I were like, Oh my God, what talks do you have on today and he had like socks with like I think it was like some like puppies on it or something, you know what I mean. But it's like stylish like socks, and it's like a nice slick like saddle shoe and a nice vest and a collar shirt and it's rolled up a sleep like. I think it's a it's it's just always a nice, uh visual and we get to set and we know takes directing because it's always gonna be like, I wonder what he's wearing today, because it's it's part of who you are and it's such a nice a thing to to come home to. You know, if you will on set. We can't have just you guys looking pretty on the other side of the camera. Got Something over here on my side. Okay, you do. And then one of the questions that came in that Um randomly moved to the top, which was here, says you've have directed a couple episodes, Um, and you've also directed several of the stunt work. Obviously. which character is your favorite choreograph? I don't know where this question came from. So what's a favorite character to choreograph? Yeah, I don't know what. That's a trick question. Wait, did you write that? I think I just saw you write that down and read it back to me. That question was that they went all over the Internet to look for the number one question and that question, that's the one that that the producers picked. So, yeah, well, you know, as we as we just said, all the biggest action pieces. What have we got now? We've got the vampire theater. We had the wellness center fight that you did. That that Oh yes, and that was also harvey. Everyone who's WHO's listening? I mean it's that was that was all harvey too. It's so funny. You know, the Mirror gag with the Hula Hoop and everything else. You know, these are all sort of things that I dreamt up and then we actually did it, and when we did it, I went it looks exactly like I imagine it. I can't believe it. And also, once again, Harvey is doing all of it again. It was just like, I can't believe. It was like lightning striking twice...

...by that point, and that's that's that's preceding last night's work. You know what I mean. So it was kind of kind of mind blow. I feel very blessed. So I'm glad you're eventually saying the truth now, because finally we could put this to rest people who don't think it was me. I believe it was me. I was like, it's me, you guys, Hey, you know, listen, I mean, you know, I'm sure it's okay for me to say this, and Harvey has a wonderful snout double by the name of Josh, and there are things right and there are things we're gonna do. There's not only reason why you couldn't have done it. Could you have done the wire ratchet that gets you yanked out of frame at the market? Yeah, of course you could. I could have how to do it. We could, we could have done it, but it's not even time. Is that that? That's a risk that we shouldn't take. Ratchets are one of the more dangerous things you can do. People don't understand it because you're going to be pulled into Matt's off camera. Sometimes you are. Sometimes you pulled into a freaking column moral wall. You know, in this case the performer was pulled off camera, but even that sudden acceleration and sudden deceleration can cause you to have a concussion. The last thing we want, yes, is that we can't have, you know, one of our lead actors having a concussion. After that. So so for that reason it's it's not even an ability thing. Could you have done the high fall? Sure you could have. I don't think you would have been afraid to do it. To be very honest. Should I, as a stunt coordinator, risk that note? Will the producers allow that? No. So there are things that you know we will put in a stunt double before, and for good reason. But you know, so far, of of everything we've done, I've not seen anything that you couldn't have done, which is the reason why you end up doing like all your own action. And then to finally answer, this is my very long way of answering your question, is guermo has done the more staction on the show. So you know I mean by default. It would be my favorite character to build action for. I Love The when Colin Robinson got his powers and he's like swimming through the hallway. That was a very, very intricate wire rig from our rigging team. That stuff is a lot of fun. When when Mandara was floating in the parking lot, you know, about to attack somebody and then changes his mind, like that's a very intricate rig, using using computer program winches and so on. So I'm gonna love building all of that. But those are moments whereas the Garmo character has had these these these these well, these action sequences, like full on sequences. I love it. I guess the answers the question that I was asking online, so I'll just leave it at that. But yeah, and so thinking back at I was thinking about the the episode where the mosquito collectors of the tristate area. That was a big stunt one where in the house and that was a great one. And there was a scene where I was like coming from behind the Vampire Uh and, and I stabbed them from behind, remember, and they're like from in the go through their heart. And we had done that choreography, but we hadn't at the last minute the way that the camera worked and the way it was angled, because this was a troll actress who was playing that, and then when I came behind her you couldn't really see me. So I was losing its momentum. And so the very last minute, I remember telling you, I was like, is it okay if I just jump off a box, like we put a box in and I could like a step up and then down, and then you're like do you could do it and I was like yeah, and he's like okay, and then the last minute, like we allowed this, like you know, and it made that seem totally different. It almost gave gear almost first glimpse of like Whoa, how did he get that like high? You know what I mean, like it's like a little super power that he might that we we're being, uh, you know, introduced to...

...that. It was the first time where he's a vaunt healthine. He's a vampire killer, but he's also very, you know, quick and and and Agile and all this like. So it was the first time that we saw that and to this day that's one of the clips again that online all the keys. They say keep editing because it's such like a you see the vampire's head and then behind you just see and you just see like a punch with it looks so cool. It's one of my favorite moments that we shot and then we had. It just creates that energy. Yes, yes, yeah, it just creates that I don't know that it's a different energy whenever you see a scene like that. and Um, that was the one of my favorite episodes and that episode was written by Sara Enough Talas all the stonework by utig and and it was just so good to like see this Badass side full blown for Guillermo. And that's also what we lose Derek. That was the first time we derek went missing and then we just saw that, you know. So, Um, we okay, that's right. Yeah, it's okay. Yeah, he came out in season three. He came back and then we saw him again, which is great. Did he come in through? It was an episode. Was Season Three? He comes back to the Vampire Council. Uh, to be sentenced because he yeah, yeah, he's wearing he's wearing hot topic. He's wearing a hot topic outfits. Yeah, he can't. He doesn't know how to maneuver being a vampire. Um, so that's yeah. So, anyways, we uh, we have so much to look forward to in season four, because there's more work coming out, but also season five and six. We just got picked up first season five and six. So I'm really, really excited about that. Um, but I'm also Curio is what has been like the most difficult, not necessarily with shadows, but if of all your extended work, what has been the most extended, difficult or challenging stunt that you've had to put together? Oh Huh, too many, too many. Well, because there's so many interesting and differing challenges. First of all, you know if you're if you're doing television, if you're doing stunts for television. And now we've elevated television to to the level of the big screen, like many shows, Um, game of thrones, and and then even here are things that we've shot titans, the boys. Um, we do really big stuff. Yeah, the boys is a big one. The boys shoots next to us on our sound stage and we're friends with the boys. I'm friends with the boys, Karen Jack, all those guys are great. I I see. I love that show. It's great how that looks like a massive, you know, challenging show for stuff, because it's always fighting. Yeah, those are, those are sometimes. Those are sometimes massive moving pieces that we're trying to do on on titans, we had a huge scene with three superheroes versus a multiple gang of Asian bad guys. I guess they are. I mean, uh, my mom used to ask me, by the way, when she was still alive, you're such a nice boy. How come? How come? AH, how come you're always a bad guy, though, in film and I said to her, well, well, mom, that's that's just how white people see US anyways. Um, so it was a bit of a stereotype. But but anyways, it was weird because we're it's a kind of talent scene and it's all these Asian gangsters, but they, some of them were like even workers and restaurants and they come running out and they all know martial arts. But anyways, Um, we built a very satisfying and very intricate fights that we...

...shot at night in the winter. We had just had to reschedule a night because of polar vortex had blown in that was gonna be it was gonna be minus forty Celsius. So that was not going to happen. We waited for a slightly warmer night, but it was still, you know, freezing out and intricate action. And then on the boys we had a high rooftop jump with a character that had to jump from one sixty ft roof top to another high rooftop with about sixty ft span. And you don't know what that takes. I mean you're you're bringing in multiple cranes. We brought in a hundred and ten ton crane to pick up that act. That that's done person and do you need a hundred ten time crane to lift a hundred and sixty pound performer? No, but you need the reach between the buildings to create the pendulum and that's why you need such a massive crane. These are things that people don't think about. You have to have a logistic world. Can we even park the crane that close to the building? And so on. So I'm going down a rabbit hole heir of of things like rigging and the intricacies thereof. So I mean every every stunt can have its own specific set of challenges. I think you know, some are easy, some are some are mind bluggling. is difficult to to orchestrate. But it's good to voice that because, you know, sometimes it's easy to look at a stunt that twenty seconds on screen, but the audience doesn't know that it took months and months of preparation and work and and and hundreds of hours of like you know, of like research or actually putting together, finding the right material. Are The costumes have to be talked about. All of this is important and it goes together, you know, in the final product is just so lovely that people are like, oh, that was fun. I wonder how to did that, you know, and then it's good to know how they did it, and I think you've given us an insight of how much goes into the beautiful work on what we do in the shadows with the stunt and also the directing. So before we go, I want to ask you. Now that Naja has her own nightclub, we've been asking our guests if you had your own signature drink at the bar, what would it be called and what would it consist of? Oh my God, Um, I don't know for sure. I'll tell you a couple of one, it will have fruit juice in it, because it means to be fruity. And then two, and it absolutely has to have a live flower H and an umbrella in it. Absolutely. And it would be Polynesian. It could could be in a could be in a coconut or or a pineapple, you know, just a hearken back to heritage. And I'll have to I'll have to think about what I would call it, the name. What would be the what do you think that? I mean? It sounds like a like a nice tiki drink, like one of the tiki drinks. That's right, that's right, exactly. My name is almost in there already. Takes Tiki, there it is. Yeah, we just got it. Wait for that, coming to a coming to a bar near you. And what would it be? The Foundation? Would it be rum? Would it be? I would see like something fruity with rum, with go hand in hand. Right. Yeah, I think that. I think that's very kind of tropical, right. Yeah, yeah, coconut. I got those tropical roots. You know, you got the honey baby. So, yeah, I could already see it. I could see like the flower, I could see the umbrella. Um, yeah, I love it. Takes Tiki, I love it. A NASEAS near you, exactly, exactly. Well, take. I want to thank you so much for joining us and before we go, is there anything you want to tell the fans who have now been introduced to your your amazing work and continue to support...

...the show and you going forward? I just want to say keep watching season four. You're gonna love are you gonna love it? I love it and I can't wait for for Y'all to see my episode. So so, I don't know, I can't say much more about it. So but but yeah, look for my episode and I hope you enjoy it, and do you have any if you want to send takes? Some love take. Where can people follow you on socials? Oh, thank you. Well, I am on Instagram at Teak Fong, sorry, at flying the films. I'm also on Instagram for my photography, at at Tik Fong. Another hat, another hat. You guys check out his work. Yeah, there's another hat there, another hat. Well, again, thank you so much. Take and I'll see you on set. All right, thank you so much. Behind the shadows it's a production of Straw hut media, hosted by Harvey Gean, produced by Ryan Tillotson, Amda Sanchez and Tyler Nielsen. Original Music by Trevor Bumgar and Chris Hendricks, vocals by Maggie Glass. If you don't already subscribe wherever you're listening and make sure to follow behind the shadows podcast on instagram for more behind the scenes content and tune in live every Thursday at one pm Pacific on what we do in the shadows. Subreddit for an a m a with Harvey and special guests. Even it's sowhelming hot bizar has to tell me why would anyone want to be alive deaf, mad hairy reputation before she arrived. But Trust me, we have way more fun in the floe. We have way more fun. See you next week. He.

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