THE FALL GUY

¡Estamos emocionados de compartir que la nueva película de Universal Pictures,

Se estrenará en los cines este viernes 3 de mayo! El estreno mundial, celebrado el martes en Los Ángeles, estuvo repleto de estrellas con el elenco completo, incluidos Ryan Gosling, Emily Blunt, Winston Duke, Hannah Waddingham y Aaron Taylor-Johnson, entre otros.

 

El estreno tuvo lugar en el Dolby Theatre y estuvo cargado de sorpresas. Ryan Gosling y los dobles que lo doblaron en la película realizaron una acrobacia increíble, mostrando por qué THE FALL GUY es una aventura llena de acción. Además del elenco principal, asistieron celebridades e influencers, lo que aumentó la emoción.

THE SYNOPSIS

He’s a stuntman, and like everyone in the stunt community, he gets blown up, shot, crashed, thrown through windows and dropped from the highest of heights, all for our entertainment. And now, fresh off an almost career-ending accident, this working-class hero has to track down a missing movie star, solve a conspiracy and try to win back the love of his life while still doing his day job. What could possibly go right? 

From former real life stunt man and director DAVID LEITCH, the blockbuster director of Bullet Train, Deadpool 2, Atomic Blonde and Fast & Furious Presents: Hobbs & Shaw and the producer of John Wick, Nobody and Violent Night, comes his most personal film yet. A new hilarious, hard-driving, all-star apex-action thriller and love letter to action movies and the hard-working and under-appreciated crew of people who make them: The Fall Guy. 

Oscar® nominee RYAN GOSLING (Barbie, La La Land, Drive) stars as Colt Seavers, a battle-scarred stuntman who, having left the business a year earlier to focus on both his physical and mental health, is drafted back into service when the star of a mega-budget studio movie—being directed by his ex, Jody Moreno, played by Oscar® nominee EMILY BLUNT (Oppenheimer, A Quiet Place films, Sicario)—goes missing.

While the film’s ruthless producer (Emmy winner HANNAH WADDINGHAM; Ted Lasso), maneuvers to keep the disappearance of star Tom Ryder (Golden Globe winner AARON TAYLOR-JOHNSON; Bullet Train) a secret from the studio and the media, Colt performs the film’s most outrageous stunts while trying (with limited success) to charm his way back into Jody’s good graces. But as the mystery around the missing star deepens, Colt will find himself ensnared in a sinister, criminal plot that will push him to the edge of a fall more dangerous than any stunt.

Inspired by the hit 1980s TV series, The Fall Guy also stars TERESA PALMER (A Discovery of Witches, The Clearing) as Iggy Starr, Tom Ryder’s co-star and showmance girlfriend; Academy Award® nominee STEPHANIE HSU (Everything Everywhere All at Once, The Marvelous Mrs. Maisel) as Tom Ryder’s personal assistant Alma Milan, and WINSTON DUKE (Black Panther franchise, Us) as Dan Tucker, a stunt coordinator and Colt’s close friend. 

The Fall Guy’s extraordinary stunt team is led by Stunt Designer and Coordinator and second-unit director CHRIS O’HARA (Free Guy, Fast & Furious Presents: Hobbs & Shaw), and includes BEN JENKIN (Godzilla vs. Kong, The Fate of the Furious), JUSTIN EATON (Deadpool, Avengers: Endgame), LOGAN HOLLADAY (Shazam, Fast & Furious Presents: Hobbs & Shaw), TROY BROWN (Quarantine, Sky High), SUNNY SUN (Logan, Deadpool 2), JONATHAN EUSEBIO (John Wick, Black Panther) and KEIR BECK (Mad Max: Fury Road; Hacksaw Ridge). 

From a screenplay by Hobbs & Shaw screenwriter DREW PEARCE, and based on the television series created by GLEN A. LARSON, The Fall Guy is produced by KELLY McCORMICK p.g.a. (Bullet Train, Nobody, Atomic Blonde) and DAVID LEITCH p.g.a. for their company 87North, by GUYMON CASADY p.g.a. (Game of Thrones, Steve Jobs; executive producer of the new series Ripley) for Entertainment 360 and by RYAN GOSLING. The film is executive produced by DREW PEARCE, CECIL O’CONNOR and by Entertainment 360’s GEOFF SHAEVITZ.

The film’s director of photography is JONATHAN SELA (Bullet Train, Fast & Furious Presents: Hobbs & Shaw). The production designer is DAVID SCHEUNEMANN (Bullet Train, Fast & Furious Presents: Hobbs & Shaw) and the editor is ELÍSABET RONALDSDÓTTIR (Bullet Train, Deadpool 2). The film’s costume designer is SARAH EVELYN (Bullet Train, Fast & Furious Presents: Hobbs & Shaw) and the music is by DOMINIC LEWIS (Violent Night, Bullet Train). Universal Pictures presents an 87North/Entertainment 360 production of a David Leitch Film: The Fall Guy. 

 

THE BACKSTORY

In the electrifying realm of action filmmaking, where daring stunts and adrenaline-fueled sequences reign supreme, few possess the firsthand experience and unique perspective that director David Leitch brings to the table. Transitioning from his roots as a stunt performer, Leitch has become a luminary in the industry, seamlessly blending gripping narratives with high-octane action.

Leitch’s early days in the industry were marked by years of hard work and determination as he honed his skills behind the scenes before transitioning into directing. “My love for films began in my high school years,” Leitch says. “Action comedies and dramas like Lethal Weapon and Die Hard left a lasting impact on me. I wanted to be a part of the magic behind the scenes. I had a background in martial arts, and a mix of timing, mentorship and persistence led me to the stunt department.”

A pivotal moment in Leitch’s career was working as Brad Pitt’s stunt double on Fight Club, which offered a front-row seat to observe director David Fincher’s meticulous approach to filmmaking. “As a stunt performer, I had the privilege of watching and learning without anyone rushing me off the set,” Leitch says. “When I saw Fincher work, I became hooked on the filmmaking process. As I continued my stunt career, I began my own filmmaking journey on the side. I filmed shorts, edited them and focused on choreographing, shooting and presenting action sequences as cohesive stories to directors. This was my transition from performing stunts to designing action and choreography.” 

But Leitch’s aspirations went beyond choreography. “I wanted to direct,” Leitch says. “The opportunities to shoot major action sequences as a second-unit director started coming my way, but I knew I had to keep pushing for that goal of directing a full feature. The moment came with John Wick.”

Although the official director credit for John Wick was attributed to Chad Stahelski per the Director’s Guild guidelines, it is widely acknowledged that Leitch directed the film alongside Stahelski, a partnership championed by Leitch’s producing partner, wife and former manager, Kelly McCormick. Since then, Leitch has directed global box office smash-hits Bullet Train, Fast & Furious Presents: Hobbs & Shaw, Deadpool 2 and Atomic Blonde. In 2019, Leitch and McCormick founded 87North Productions, a world-renowned production and action design company that has, in just a few short years, created films that have garnered a staggering $2.9 billion at the worldwide box office. But despite his directorial success, Leitch remains deeply connected to his roots. “My career is built on 20 years of being a stunt performer, taking hits, riding wires, crashing cars, being set on fire and working closely with every department in the industry,” Leitch says. “My love for moviemaking kept me going. I learned the film production model inside and out through years of working with various departments. If you asked me to stop directing movies and go back to being a stunt coordinator, I’d still be thrilled because there’s no place I’d rather be than on a movie set, making art with my friends.”

As the success of 87North continued to ascend, Leitch and McCormick were presented an exciting opportunity when Entertainment 360 co-founder and producer Guymon Casady approached Leitch to direct The Fall Guy and invited McCormick and Leitch to produce it alongside him. The project was inspired by Glen A. Larson’s 1980s television show of the same name, which aired on ABC from 1981 to 1986. It starred the charismatic Lee Majors as Colt Seavers, a Hollywood stuntman doubling as a bounty hunter. The show, which was infused with thrilling stunt sequences and a good dose of humor, achieved cult classic status and earned substantial success across its five-season run. Alongside Majors, the show’s other main characters included Heather Thomas as Jody Banks, a fellow stunt performer, and Douglas Barr as Howie Munson, Colt’s affable and tech-savvy sidekick and cousin. 

“My journey with The Fall Guy began over 20 years ago,” Casady says. “The show was my absolute favorite show growing up, and that motivated my year-long pursuit of the show’s creator, Glen Larson, for the rights. A dozen lunches and an endless onslaught of impassioned correspondence later, I convinced Glen to entrust me with his rights. I immediately sold it to Warner Bros., where shortly thereafter, the project stalled. There were then other attempts by other creative teams over the years to make the movie, but to no avail. In 2020, I found myself thinking about The Fall Guy, and thus set forth on the journey all over again. After convincing the estate to entrust me with the rights, I decided to approach things differently this time. I employed an altogether new strategy, which was to put the movie together entirely, outside the system, before taking it to the market. And this time, I knew I wanted to start with a director. For me, there was only one choice—David Leitch. I loved his movies, and I loved him, having gotten to know him previously on another project. But it was his background in stunts that made him the perfect guy. David and Kelly said yes, and thus started an exciting next chapter and collaboration.” 

Leitch and McCormick immediately recognized an undeniable connection to the material and the potential that the project gave them to showcase the world of stunts to a broader audience. “We had always kept an eye on it, and when it finally became available and Guymon shared it with us, it was impossible to resist taking a closer look and seeing if we could put our own David Leitch twist on it,” McCormick says. “This was a unique opportunity for David to showcase his intimate knowledge of the world of stunts. David’s personal stories from two decades of life on set made it abundantly clear that this was the story that he had to tell.” 

Crafting the storyline for the revival became a collaborative endeavor, and Leitch, McCormick and Casady enlisted screenwriter Drew Pearce to bring the story to life. “Kelly and I have a fantastic collaborative relationship with Drew,” Leitch says. “We had previously worked together on Hobbs & Shaw, and our rapport and sensibilities aligned perfectly. Our goal was to pay homage to the original series, but we wanted to add our unique twist on it and transform it into more of an origin story. In our version, our protagonist, a stuntman, discovers that his stunt skills are akin to superpowers. Drew came up with a brilliant concept that lent a noirish vibe to the story while combining investigative elements from the original show.”

Pearce joined the film in November 2019 and dove headfirst into the script development process. “I prepped two versions—a big, Mission Impossible-type movie, and the other, something smaller, almost noir…but still with giant stunts. We decided very quickly to tap more into the reality of David’s stuntman background, which would not only ground the action but also the romance that was increasingly becoming the most important aspect of the film. So the whole thing already has an authenticity running through its DNA.»

Pearce has an exceptionally personal connection to the 80s show and was thrilled for the opportunity to fulfill one of his childhood dreams. “There is a battered old Hot Wheels that sits in a display case on my writing desk,” Pearce says. “It was a gift from my father when I was six years old—my most prized toy, the GMC from the 80s TV staple The Fall Guy. It was our show. When I think of him, I still kind of think of Lee Majors (though they look nothing alike). And I really wanted to be a stunt person. Each summer, every single day, I trained. I had a course all worked out along the street and I would time myself on the crappy digital watch my dad got me for my birthday. Every day, I tried to shave seconds off my performance. Ultimately, I would discover that I had a gigantic fear of heights, and that killed the stunt person career path. But instead, with this movie… I at least got to write about it. There’s an assumption that when a movie as big as The Fall Guy comes out, that it’s impersonal—just a piece of available intellectual property or a product to shift Big Gulps. Nothing could be further from the truth with this movie.”

With the narrative blueprint in hand, the team set their sights on finding their leading man, Colt Seavers—a role that required charisma, allure and unparalleled talent. The team set out to find someone who not only embodied the character but could also contribute to shaping the essence of the story. Enter Ryan Gosling, whose talents extend beyond the screen. Gosling’s resume is a testament to his magnetic presence and versatility, and his seamless transition into a multifaceted role behind the scenes sets him apart. So, McCormick, Leitch and Casady were thrilled when Gosling not only agreed to embody Colt Seavers, but also take on the role of producer, adding an extra layer of creative synergy to the project. “When we presented our vision to Ryan, he was immediately enthusiastic,” McCormick says. “We knew he was discerning about his projects, so his immediate interest was a pleasant surprise. From there, we fine-tuned the pitch, put it on camera and created a story pitch. When we took it around town, everyone wanted it, and we ended up partnering with Universal because of our great history of collaboration with them.”

Gosling eagerly embraced the chance to be part of a film that would illuminate the remarkable achievements of the stunt community. “The opportunity to work with David Leitch was so exciting to me because I’m a fan, but also, the fact that he’s a stunt performer who’s making a film about the stunt community just felt like the perfect fit,” Gosling says. “Setting an action movie within the world of the people who make action movies felt so authentic because they’re the only people who really know how to achieve those things. One of my first acting jobs was on a kids’ action show called Young Hercules, so I’ve almost always had a stunt double. In my experience with stunt doubles, they’ll come in, do all the cool stuff, risk everything, then disappear into the shadows, and the actors take credit for what they’ve done. So, it’s exciting to be part of something that shines a spotlight back onto them and highlights all of the incredible things that they do and the risks they take to do it.” 

The initial pitch for The Fall Guy differed significantly from the final script and what we see on screen. “Our initial vision was to tell the story of a blue-collar hero, a la Rocky, who was not only able to take a punch, but could get back up again and again after getting knocked down,” Casady says. “However, as we delved deeper into the development of the story, the tone shifted to become more comedic and fun. Ryan is incredibly smart and intuitive. His instincts about the character played a significant role in shaping the direction of the movie and resulted in us coming up with an even more original and entertaining story.” 

As the filmmakers developed the narrative, the notion of a profound love story began to take shape. “Ryan played a pivotal role in this aspect,” McCormick says. “He recognized the potential for genuine romance within the story, tapping into his unique ability to convey authentic love on screen. And the romance provides a relatability that grounds the entire story and makes it so compelling. Everyone can connect with the universal themes of love, growth and self-actualization, and that’s what makes this story so unique and special. Colt’s motivation, love, became the driving force behind the film’s wild and daring actions.”

As the narrative evolved, so did the setting, with Sydney, Australia, providing a picturesque backdrop. The location served as a creative canvas for Leitch and McCormick’s vision to celebrate the hardworking men and women behind the camera by putting them in front of it. “When you work on a film, you forge bonds with your crew members that often turn into lifelong friendships,” Leitch says. “You spend so much time with them that it’s almost impossible not to become friends. These key collaborators are not only essential to the creative work we do but are also our dearest friends. Working together, sharing the highs and lows of a 15-hour filming day, it’s only natural that these relationships become deeply meaningful. Returning to Australia for The Fall Guy allowed me to reunite with many friends and colleagues I had worked with in the past, be it on The Matrix sequels or The Wolverine. Some I hadn’t seen in a decade or two, but it felt like we just picked up where we left off.”

McCormick adds: “We are fortunate to have a dedicated, close-knit movie family, a team of incredibly talented professionals, who have been with us on this journey and worked with us on various projects over the years. The Fall Guy allowed us to not only celebrate the stunt community but also shine a light on those individuals who operate behind the camera and play crucial roles in the filmmaking process. We value these collaborations, and it’s our way of paying tribute to cinema and the amazing crew members we’ve worked with across the globe.”

The term ‘fall guy’ has a rich history in the stunt world, originally referring to the performers who take physical hits for the sake of creating cinematic magic. “They’re the ones falling off horses, bikes or down a set of stairs,” Leitch says. “But in our film, we’ve given this term a broader meaning. It’s evolved into a metaphor that we use in various ways. Our fall guy is not just a stuntman taking falls for the camera; he’s someone unfairly taking the blame for something he didn’t do. He’s also a man who’s fallen deeply in love, willing to risk it all to reclaim the love of his life.”

And for Leitch, The Fall Guy is much more than a filmmaking endeavor. “The Fall Guy, to me, is truly a love letter to stunt performers and the unsung heroes of the film industry—the highly skilled and talented artisans who contribute their passion and dedication to the art of moviemaking,” Leitch says. “It’s a tribute to the production designers, cinematographers, grips, electrics, PAs, ADs, and everyone in between who pours their hearts and souls into crafting the magic of storytelling on screen. This project holds a special place in my heart because it weaves in real-life anecdotes from my journey as a stunt performer and a part of the crew.”

Glen A. Larson, the creator of The Fall Guy TV series, died in 2014, but his work shaped American culture throughout the 1970s and 80s, with iconic, and still-beloved, series that included Knight Rider, B.J. and the Bear, Mangum P.I., Quincy M.E. and Battlestar Galactica. And although Larson didn’t live to see the film make it to the big screen, Casady thinks he’d be proud of what they’ve achieved. “Looking back on Glen Larson’s contributions, his storytelling instincts and collaboration were invaluable during the initial stages of the movie back in 2003,” Casady says. “While the film’s direction veered from the original concept, we hope to honor his legacy by reinterpreting it for a new audience. Larson’s prolific output, including having eight network television shows on air simultaneously, speaks volumes about his extraordinary talent and lasting impact on the industry.”

 

THE CHARACTERS

Colt Seavers

Ryan Gosling 

In The Fall Guy, Oscar® nominee Ryan Gosling portrays Colt Seavers, once hailed as the greatest stuntman in the industry, whose life takes an unexpected turn when a high fall on set leads to a life-altering accident. The fall breaks his back and shatters his aura of invincibility, both to others and to himself. He’s drafted back into service by producer Gail Meyer (Hannah Waddingham) to help rescue a big-budget studio movie being directed by his former love, Jody Moreno (Emily Blunt). The star of the film, Tom Ryder (Aaron Taylor-Johnson) has gone missing, and Gail needs Colt—Ryder’s former stunt double—to keep the film on schedule (and hide Ryder’s disappearance), by executing some of the film’s most elaborate stunts. 

From the film’s inception, Gosling, who also agreed to produce the film as well, was the unanimous choice for the role. “Stuntmen often work tirelessly behind the scenes, performing some of the riskiest jobs while remaining largely invisible,” producer Kelly McCormick says. “This feeling of hard work and obscurity is something many people can relate to in their own lives, and Ryan’s ability to channel that makes his portrayal of Colt truly special.”

The Fall Guy is a film about making movies and the people who make those movies. “It’s not about superheroes, but about the people who play them,” Gosling says. “Colt is a blue-collar hero, who, in a lot of ways, is just a regular guy. He’s relatable, struggling with loss and trying to find his way back. He’s resilient, the kind of person we hope to be in tough circumstances, someone who keeps getting back up and doesn’t give up.”

The filmmakers admired Gosling’s level of engagement and the extent to which he asked questions on set. “He’s highly involved and collaborative, and some directors might find that intimidating, but for me, it was an endless source of energy that I thrived on,” director David Leitch says. “Kelly and I approach filmmaking as an organic process. We start with a script that we love, but we’re always open to ideas that make the story stronger. Ryan is on a perpetual quest for improvement, and that’s the kind of collaborator I value. If we could enhance a moment, a scene, a costume, or anything else, we strove to do just that. Ryan is tireless in his pursuit of excellence and was constantly pushing us to elevate our work.”

To prepare for the role, Gosling immersed himself in physically demanding stunts and action sequences, though he would have been happy to have become the first actor to say that he did none of his own stunts for the film. “It’s about the stunt performers, and I was excited to highlight their work and let them do what they do best,” Gosling says. “But it was important that I do some of the stunts for authenticity, for me to understand what they deal with every day. I have a fear of heights, and I knew that one of the stunts I would be doing was a 12-story fall. I thought I might overcome that fear after doing that stunt. I didn’t, but I overcame it in that moment because I trusted the team so much. In addition to the fall, I was also dragged across the Sydney Harbor Bridge. It was ingeniously scheduled for 6 a.m. I was so tired during the stunt that when it was done, I went home, fell asleep and woke up wondering, ‘Was that a very strange dream I just had? Or was it a nightmare?’”

 

Jody Moreno

Emily Blunt 

Oscar® nominee Emily Blunt portrays Jody Moreno, a cinematographer turned director and Colt Seaver’s former love. After Colt’s on-set accident that nearly ended his career, Colt had retreated from Jody, shutting her out with his silence. 

Now directing her first film, Metalstorm, starring Tom Ryder, the world’s biggest movie star, Jody has no time to focus on the past or open old wounds. When Colt Seavers shows up on set, it solves certain filmmaking problems but creates unwelcome emotional ones. Despite Jody’s efforts to maintain professionalism, her undeniable chemistry with Colt adds a layer of complexity to their relationship. 

Jody’s professional journey is, in a way, reflective of director David Leitch’s own career path, and he shared those experiences with Blunt as they developed the role. “Jody started her career below the line, just like I did, and worked her way up to the director’s chair,” Leitch says. “As a director, I’ve had a lot of experience dealing with producers, actors and crew members, so I was able to give Emily a reference point for how I would feel in those situations. She also has a wealth of experiences from working with various directors, and it was fun to see her navigate these moments that I could empathize with. Emily did an incredible job of bringing Jody to life, and made her into a smart, empathetic and highly competent director.”

Blunt joined the project in its early stages when Leitch and the producers were still reshaping the script. “I was drawn to the promise of pure escapism—a love letter to the world of filmmaking and the fearless stunt performers I’ve had the privilege to work with,” Blunt says. “The allure of this cinematic world was irresistible. For Jody, I wanted to avoid the cliché of an earnest, tough director. In conversations with David, we envisioned her navigating the tempest of moviemaking, mirroring the real struggles directors face in the chaotic film industry. She needed to be accessible…a bit of a creative whirlwind steering her passion project. Sometimes white knuckling it. She isn’t defined solely by her role as a director; but she is passionate, creative, eccentric and endearing. Exploring her further during development only deepened my affection for who she is at her core.”

For Blunt, working on The Fall Guy was an experience defined by creative freedom and collaboration. “Working with David, Kelly and Ryan felt incredibly collaborative, like an escape room, as Ryan fondly put it,” Blunt says. “Each day we would spitball and toss ideas around, creating a truly free-spirited environment. Perhaps that’s why the movie has such a vibrant and alive tone to it. Not just in pre-production, but even on the day of shooting, the scenes would organically take on different shapes, a testament to the chemistry among the cast and crew. I’ve never encountered a more collaborative duo than David and Ryan—they fostered an openness, humility, and egoless approach that allowed the best ideas to flourish.”

Big-budget studio movies often leave little room for creative spontaneity on set. Every scene is usually planned to the tiniest detail. But on The Fall Guy, spontaneity and inspired creativity were built into the plan. That, Blunt says, is all due to the partnership between McCormick and Leitch. “Kelly’s brilliance with structure, story and emotionality is truly extraordinary,” Blunt says. “Her laser-focused ideas made her an incredible partner for not just David, but for all of us. She provided a soft place to land for everyone involved. David, with Kelly as his backbone, is free-spirited, which allowed us to capture moments in this large-scale movie that break free from the structured and often derivative nature of big action films. David’s sense of humor and his eagerness for spontaneity brought a freshness to each scene.”

Before shooting, Blunt and Gosling would diligently work on scenes, ensuring they were in a good place, but oftentimes when it came time to shoot, the scenes would take an unpredictable turn. “Ryan’s a great writer with witty, smart ideas, which allowed the scenes to have wings behind them on the day of filming,” Blunt says. “Our creativity ranged from being hilarious to outright bonkers, and then we would zero in on something that felt both realistic and very funny. And I think that’s what I love about the tone—it’s accessible, it’s awkward, they’re not slick together as a couple. The messiness of them is what I love the most.” 

That messiness makes the relationship between the characters feel true in a way that few romantic relationships in films do. “What I love most about Colt and Jody’s on-screen relationship is its raw, genuine nature,” McCormick says. “It feels like an indie film romance where you see the stumbling and the awkward moments. It adds a layer of authenticity to their connection. It’s a messy love story, but that’s what makes it so real and relatable because love itself is wonderfully messy.” 

 

Dan Tucker 

Winston Duke 

In The Fall Guy, Winston Duke takes on the role of Dan Tucker, Colt’s close friend and the stunt coordinator for the movie within the movie, Metalstorm. For the filmmakers, Duke’s addition to the cast was a key choice. “We wanted someone who not only looked capable of handling the physicality demanded by the role but also exuded a love for film and potentially harbored ambitions beyond stunts,” producer Kelly McCormick says. “Winston brought an infectious zest and positivity and an undeniable larger-than-life presence to the character, which enriched the dynamic on set.”

Stunt coordinators are a critical role on every film set, regardless of genre. “Every movie set needs a stunt coordinator, whether it’s a comedy, drama, thriller, or an action film,” director David Leitch says. “In the case of our film within the film, Metalstorm, being a big action movie, it was crucial to have a cutting-edge and enthusiastic young stunt coordinator. Metalstorm is one of Dan’s first jobs as a coordinator, and he has to step up to the plate on a demanding set. When we approached Winston for the role, he brought some fantastic ideas about his character and how to emphasize the high stakes involved.”

Duke effortlessly embodies the multifaceted role of a stunt coordinator. “Most importantly, Winston captured the camaraderie and instant brotherhood that exists among fellow stunt performers when they reunite,” Leitch says. “There’s a scene with Dan and Colt when Colt arrives in Australia, and it sets the stage for their relationship. They might not have seen each other in years, but they dive right back into their shared world, discussing movies and personal matters, and then they get down to the business of delivering crazy action sequences. Winston put in the work and brought this dynamic to life.”

Duke was proud that the role of Dan allowed him to shine some light on an aspect of filmmaking that audiences never get to see. “The stunts community often gets rendered a little bit invisible, both by function and in how they’re thanked by the community,” Duke says. “But they make us look great. They are just as creative as anyone else on set, just as instrumental to making these big, impressive movies happen.”

 

Tom Ryder

Aaron Taylor-Johnson 

Tom Ryder is the quintessential egotistical, self-absorbed actor. Ryder is not just insecure, he’s conniving, spiteful and constantly threatened by the success of others, especially Colt. The character is portrayed by Aaron Taylor-Johnson, who most recently worked with Leitch and the 87North team on Bullet Train. “Tom Ryder is one of those people who can’t stand anyone doing something better than him,” Taylor-Johnson says. “His ethos is ‘I’m the movie star. I am the most important, no one should look better than me…especially my stunt double. No one wants to see your face. You’re the back of my head.’ There’s a hierarchy on set and ego is involved, so he’ll find ways to cut others down to size. At his core, he’s a narcissist. He’s someone who believes in his own hype. He’s a brand. He’s delusional and speaks of himself in the third person. He’s not going to be accountable to anyone for anything.”

Given their prior work together, Taylor-Johnson’s confidence in Leitch’s ability to foster trust and camaraderie made joining the project a simple choice. “David has the ability to draw out the ‘silly’ in me,” Taylor-Johnson says. “I think mostly because I have a huge belief in him and can only feel vulnerable in the hands of a filmmaker that I trust. When he asked me to jump on board it was a no-brainer! From hanging off high-speed trains to hanging off a helicopter, Leitch is your guy!”

For director David Leitch, Taylor-Johnson’s portrayal was spot-on. “I think he might have had some reservations at first, as an actor playing an actor who’s, well, not the most pleasant,” Leitch says. “It takes a certain amount of bravery to embrace the satire of celebrity and the lead-actor persona. For the sake of our story, Tom Ryder needed to be somewhat of a caricature, a character on whom we could focus our critique because Colt is the hero, and every hero needs a worthy adversary. Aaron hit it out of the park. Tom Ryder is an egomaniac, a narcissist, afraid of his own shadow, full of bravado but lacking any type of courage. He’s the antithesis of Aaron Taylor-Johnson, which is why Aaron’s performance was nothing short of incredible.”

Taylor-Johnson admired Leitch’s directing technique, particularly the way he emphasized the importance of narrative in both story and action. “You can have incredible stunts, but if they haven’t got anything to do with character or story, it doesn’t add up,” Taylor-Johnson says. “David’s a genuine storyteller—not just someone who understands stunts and action. He never disappoints. His films are always fun, but full of heart. There’s definitely a plan of action, but there’s also this room for spontaneity in the way David likes to direct and work. He’s brilliant at being able to mold these characters in the moment. He’s very intuitive, and that’s a compliment to him as a director, that he can actually adapt and change whilst in the process of filmmaking—which allows for happy accidents and self-discovery.”

Taylor-Johnson found the film to be a beautiful homage to the craftsmanship of stunt filmmakers. “There’s this absolute mindset of skill, dedication, and determination,” Taylor-Johnson says. “It’s a pure form of showmanship, using your entire physical self. One must take a huge leap of faith putting everything on the line. There is a high level of risk involved, no room for error. When you have the privilege of watching this first-hand, your heart is pounding out of your chest. When they triumph, you’re ecstatic with joy and relief. When you see these brave stunt performers putting their lives at risk or their bodies through endless battering, you can’t help but feel, not only  honored and proud, but an immense gratitude for the fact that they are ultimately elevating yours or an actor’s performance. They are shaping the character, bringing it to life, adding another dimension. It becomes a joint effort, a true collaboration. A movie like The Fall Guy depends on these incredible stunt performers and allows the audience to enjoy the spectacle and magic of cinema.”  ” 

 

Gail Meyer

Hannah Waddingham 

Gail Meyer, portrayed by Hannah Waddingham, is the formidable high-powered movie producer at the center of the film Metalstorm being made in The Fall Guy. Gail is also the producing partner of the film’s Tom Ryder, and she is focused solely on him and his needs. She’s tenacious, and often ruthless, in her mission to get things done and keep her star happy. “I think her heart is in the right place,” Waddingham says. “She’s trying to maintain—she keeps saying—’the greatest commodity in the world,’ ‘the greatest product in the world,’ the biggest star, who is Tom Ryder. People might say that Gail is twisted and self-serving, but I think that’s another element of her just getting the job done.” 

Waddingham drew inspiration for the character from her own experiences. “I would say I based Gail—her personality and her tenacity—on cutthroat theater producers that I’ve worked with, if I’m honest,” Waddingham says.

Director David Leitch says that as extreme as the character Gail behaves in the film, she’s a character anchored in the reality of film industry. “In Hollywood lore, every actor who behaves like a monster usually has a producer enabling their antics,” Leitch says. “You’ve got someone who makes excuses, feeds the beast and ensures the monster gets everything they want. They do it out of their fear of losing control over their money-maker. Now, you might think, does this really happen? Well, I’ll be the first to say…it does.”

Gail presented Waddingham the challenge of balancing the tone of the character. “We wanted to create a character who was someone we’d all love to see brought down, but who was also likable enough to engage the audience in scene after scene,” Leitch says. “Hannah did an incredible job with balancing those aspects.”

Gail’s appearance, particularly her distinctive hairstyle, influenced Waddingham’s portrayal of the character. “Basically, I look like Slash’s sister in this film,” Waddingham says. “We lovingly nicknamed my wig The Badger. The Badger had a mind of her own. The Badger can look lovely when she’s first put on in the morning but about five minutes later, she’s just chaos. I tried to make Gail into this volatile, quite hormonal, frustrated woman, and The Badger helped with that immensely.”

Throughout the film’s production, Waddingham developed a profound appreciation for the showmanship of the stunt world. “I thought the action was going to be me off- camera saying, ‘Great! Go on, chaps,’” Waddingham says. “I’m not actually a stunt woman. But it turns out I love it. I feel like I’ve missed my vocation in life because of the adrenaline rush that you get from watching incredible stunts. Watching the stunts on this film was one of the greatest privileges of my life. One stunt in particular was really emotional, and I don’t mind saying I burst into tears. The stunt team are the engine room of the whole film. They look after each other like a band of brothers and sisters, and they look after us in the same way. They are the coolest people on the planet but also have the softest, biggest hearts. They’re the proper superstars of this movie. They really are.”

 

Iggy Starr

Teresa Palmer 

Teresa Palmer portrays the fiery Iggy Starr, Tom Ryder’s showmance girlfriend on their film Metalstorm. Iggy is wild and unpredictable and her first scene in the film involves one hell of a fight with Colt Seavers in Ryder’s apartment. “It’s a really dynamic way for my character to enter the film,” Palmer says. “There’s a lot of banter, jumping, flips, a knee slide…all sorts of crazy things. It was exciting to read that in the script. I thought, ‘Oh, this is a show-stopping entry!’”

Despite Iggy’s erratic tendencies, her skills with a samurai sword are nothing short of impressive, which required Palmer to undergo rigorous training. “The sequences that I shot for the character were intense and physical,” Palmer says. “I trained extensively with our amazing fight coordinator Sunny Sun, honing my martial arts and sword skills. His guidance on set was invaluable because he offered constant feedback about the fight sequences in real-time.”

Palmer was thrilled to be part of a David Leitch film. “I’ve always been a big fan of David’s work,” Palmer says. “I love the way he effortlessly combines comedy and action while also making you feel deeply connected to the characters. David’s support and guidance made me feel right at home.”

 

Alma Milan

Stephanie Hsu 

Alma Milan, portrayed by Oscar® nominee Stephanie Hsu, is Tom Ryder’s assistant. Hsu was scheduled to begin filming around the time she was nominated for her performance in Everything Everywhere All at Once. “Stephanie is such a smart, fantastic actress,” producer Kelly McCormick says. “At the time of production, the buzz around Everything Everywhere All at Once was really growing. We were so grateful to get her on board amidst the myriad awards commitments she had and she delivers a fantastic performance in the movie.” 

When exploring the character of Alma, the filmmakers were amused by the idea that in Hollywood, no one knows more than the assistants. “They’re privy to every conversation, every phone call, everyone’s personal lives, and business,” director David Leitch says. “It might seem comical, but it’s not far from the truth that assistants often have this kind of unfettered access to their bosses, just like Alma has with Tom Ryder. Stephanie brought this character to life with such depth and authenticity. She came to the set with a wealth of ideas. As great a dramatic actress as she is, she’s also incredibly funny, and she managed to strike the perfect balance for this character.”

Hsu’s portrayal of Alma became a tribute to the production assistants that she’s encountered in her career, and especially those that she encountered on the set of The Fall Guy. “Nobody knew this at the time, but I spied on all the assistants and PAs on set, and came up with this bit for Alma where she’s always carrying like ten million things. I looked around me and saw everyone sweating, running around, working so hard and dealing with all sorts of shenanigans,” Hsu says. “Alma is up and coming, and she wants to be a producer one day. She loves this industry and wants to be someone in it someday, but right now, she’s swallowing the hard pills of having to cope with Ryder.”

 

THE STUNT TEAM

In every action film, the pulse-pounding sequences are a testament to the dedication and talent of the stunt team. For director David Leitch and producer Kelly McCormick, assembling a core group of skilled individuals became pivotal in meeting the unique challenges posed by the film. From intense fights to intricate rigging, daring high falls to water and fire stunts, the film spans the entire spectrum of stunt disciplines. To ensure excellence in each area, the filmmakers enlisted the best in the business.

 

Chris O’Hara

Stunt Designer and Coordinator/Second Unit Director

The Fall Guy’s stunt designer and coordinator and second unit director, Chris O’Hara (Free Guy, Fast & Furious Presents: Hobbs & Shaw), stands as a testament to the evolving landscape of the stunt industry. O’Hara has not only carved a niche for himself in the industry but has also been a pivotal force in pushing the boundaries of how stunt performers and coordinators are perceived. As the president of Stunts Unlimited, O’Hara brought a wealth of experience spanning two decades to The Fall Guy. “Chris and I go way back in this industry, almost 30 years ago,” director David Leitch says. “We started our journey together as struggling newcomers, part of a group we called the ‘original six,’ along with Chad Stahelski, Chris Palermo, Tim Rigby, Brad Martin, and me. We supported each other, shared job tips and even recommended each another when we weren’t the right fit for a role. It was a tight-knit community, and we trained and worked hard every day.”

As their careers progressed, the original six didn’t see each other as often anymore, but the connection remained. “Working with Dave on The Fall Guy was a full circle moment,” O’Hara says. “The six of us used to see each other regularly, though now, getting all of us in one place is a rare event, maybe once a year. But despite the time and distance, we’ve stayed in touch. Dave is such a passionate filmmaker and one of my best friends, so seeing him succeed is incredibly rewarding and being by his side, bouncing ideas off each other while shooting in a foreign country, was surreal. For us, The Fall Guy isn’t just another project; it’s a reunion and a celebration of the journey we began 27 years ago.”

O’Hara has become one of the most respected stunt coordinators in the business with an impressive list of credits. “Chris worked as a performer alongside me on The Matrix and also as the stunt coordinator and second unit director on Hobbs & Shaw,” Leitch says. “Having that sense of familiarity with him was vital for The Fall Guy, because we knew we wanted to create practical stunts rather than rely on visual effects, and Chris’ expertise was instrumental in designing stunts that were not only safe but also achieved our creative vision.”  

For his work on The Fall Guy, O’Hara received the industry’s first-ever film credit of “Stunt Designer.” While O’Hara’s position as a production head on set is traditionally called “Stunt Coordinator,” which is an official Screen Actors Guild credit also recognized by the Directors Guild of America, this addition of the “Stunt Designer” moniker better encompasses the multifaceted nature of the profession.

87North, the globally renowned production company led by Leitch and McCormick, initiated and championed the new Stunt Designer credit not only to acknowledge O’Hara’s extraordinary work on The Fall Guy, but also to accurately reflect the high-level artistic contribution of world-class stunt coordinators like O’Hara. These are artists who do more than coordinate the logistics of stunts; they design and create them. “Stunt Designers are the creative architects behind fight scenes, high falls, and more, and deserve to be recognized for the creative leadership of their contributions,” Leitch says. “Universal’s decision to allow Kelly and me to add ‘Stunt Designer’ to Chris’ credit on The Fall Guy marks a groundbreaking move for a major studio. We hope this will pave the way for the stunts industry to get the recognition it deserves.” 

To achieve this first-of-its-kind credit, McCormick and the 87North team contacted the Screen Actors Guild (SAG-AFTRA) and the Directors Guild of America (DGA) in collaboration with Universal. “Generally, it’s the Stunt Department’s job to be invisible on screen, but during a production, it literally touches all other departments on set,” McCormick says. “For The Fall Guy especially, David and I felt it was crucial to highlight the artistic and technical aspects of this craft. We proposed the addition of the word ‘Designer’ to the role to properly define the job and reflect Chris’ creative contribution on The Fall Guy production, which he wields on every production when he is hired at the current stunt industry title of ‘Coordinator.’”

O’Hara has, throughout his illustrious career, leveraged his expertise to redefine industry standards and elevate the creative aspects of stunt design. “The ‘Stunt Designer’ designation—added to my Stunt Coordinator and Second Unit Director responsibilities for The Fall Guy—is a long-overdue correction to what this production head position in stunts entails,” O’Hara says. “This is a step toward setting a new standard for recognizing the creative contributions of stunt professionals across the industry.”

This credit establishes a new benchmark for recognizing the artistic expertise of stunt professionals. “It is our hope that the Stunt Designer credit on The Fall Guy inspires other film and television productions to grant use of it for their own stunt professionals,” McCormick says. “If widely utilized, it may lead to greater overall recognition of the artistic contributions the stunt community provides our industry.” 

 

Ben Jenkin & Justin Eaton

Gosling Stunt Doubles

In The Fall Guy, two rising stunt stars emerged as doubles for Ryan Gosling: Ben Jenkin (Spider-Man: No Way Home, Guardians of the Galaxy Vol 3), a parkour specialist, and Justin Eaton (Deadpool, Avengers: Endgame), a martial artist. Both performers, who were introduced to the project by Chris O’Hara, brought a fresh and electrifying energy to the film’s set. Despite being relatively new to director David Leitch, their impressive decade-long journey in the industry had already set them apart. “Ben and Justin impressed me with their professionalism and remarkable skill levels,” Leitch says. “They’re both exceptional physical performers with a diverse range of skill sets. This movie provided an opportunity for them to further expand their capabilities because we were pushing the boundaries of what this generation of stunt performers had previously experienced.”

For Jenkin, the film presented a series of firsts, from daring car hits to first fire burn, which he did a total of eight times in one day. “I grew up playing every sport in the book,” Jenkin says. “I’ve always been active and enjoy physical challenges, whether it’s basketball, rock climbing or even roller blading. Then I discovered parkour freerunning, which offered a whole new level of physicality. Being able to do crazy things with my body, jump off massive structures and perform flips, allowed me to explore the realm of physicality like never before. Combined with my background in sports and various activities, it led me to meet incredible people, travel the world, and eventually find my way into the stunt business. I connected with individuals who were already in stunts, who excelled in parkour, martial arts and all the necessary skills to become a stuntman.”

Eaton utilized his martial arts background to choreograph and execute some of the film’s most memorable fight sequences. “I started in stunts over 16 years ago,” Eaton says. “I came from a gymnastics and martial arts background. I started competing on a martial arts circuit, which brought me to LA, where a friend of mine was performing in a pre-viz for the intro of a video game. The coordinator of that project asked him if he had any martial arts friends who could join, so he asked me and a few others. On my first take, I hit the ground and I remember staring at the floor and it just clicked for me. This is the thing I’d been looking for that I didn’t know existed before this. At that moment, I was 100 percent sure that being a stuntman was what I wanted to pursue. And strangely enough, I’d been unknowingly training for it my entire life. So, I stayed in LA after that and hit the ground running.”

 

Logan Holladay

Gosling Stunt Double (Driving)

Stunt performer Logan Holladay (Shazam, Fast & Furious Presents: Hobbs & Shaw) served as Gosling’s driving double. Holladay not only brought unparalleled skills to the set but also a genuine commitment to the craft, rooted in a family legacy of stunt performers. Holladay began as a professional motorcycle racer before transitioning into stunts, initially working on photo shoots and commercials before becoming a motorcycle stuntman. His diverse skill set eventually led him to embrace the challenges of all vehicular-related stunts. “Growing up, my dad was a stuntman, and while I initially pursued a career in motorcycle racing, the influence of film sets and the world of stunts was always there,” Holladay says. “I spent my childhood on sets like The Matrix and Final Destination, surrounded by my dad’s friends. Becoming a stuntman wasn’t originally my plan, but with the racing world opening doors to commercials and photoshoots, I found myself transitioning into the film industry. It’s allowed me to blend my love for motorcycles with stunts, and the rush I used to get from racing, I now find in stunts. When I heard about The Fall Guy through Chris O’Hara, I knew that no matter where it filmed globally, I had to be part of it.” He was more than just a part of it. For the film, Holladay set a new Guinness World Record for cannon rolls in a car (see THE STUNTS section below for details).

 

Troy Brown

Gosling Stunt Double (High Fall)

Stunt performer Troy Brown (Quarantine, Sky High) serves as Gosling’s stunt double for an awe-inspiring high fall that is a climactic moment in the film. Brown, the son of high fall virtuoso Bob Brown (San Andreas; Transformers: Revenge of the Fallen), stands as a testament to the continuation of a family tradition. “Growing up, I was always watching the guys who came before me, like my dad, Dar Robinson, Hal Needham, J.J. Dashnaw, who all went huge on high falls,” Brown says. “They all inspired me to stick with it and stay on the trampoline, stay in the gym and practice smaller falls. It was always a part of my life. And when I would watch videos of my dad, I always knew that I wanted to go big. So being able to fulfill that dream is just insane and I can’t sum it up into a word, but it means a lot to me. There were so many personal connections to the job alone and to the fall. Having my dad there, helping me line up and telling me on the radio that I had the green light was the biggest thing for me. High falls have been kind of dead for a while now, but my friends and I have wanted to help revive it in the stunt world, so I’m just so grateful for the opportunity to have done so on such a big film like this.” 

The film presented Brown with an opportunity to break his own record with a daring 150-foot fall, which he successfully completed. “The stakes were incredibly high, not just in terms of safety but also on a profoundly personal level,” director David Leitch says. “Seeing Troy achieve this remarkable feat was an extraordinary and unforgettable moment.”

 

Sunny Sun & Jonathan “Jojo” Eusebio

Fight Coordinators

Fight coordinators play a pivotal role in bringing the script’s intensity to life on screen through choreography. For The Fall Guy, the dynamic duo of Sunny Sun (Logan, Deadpool 2) and Jonathan “Jojo” Eusebio (John Wick, Black Panther), both members of 87eleven’s Action Design team, took charge of the film’s fight choreography. “Working with Sunny and Jojo brought a unique creative spark to our fight scenes, and they truly worked their magic in crafting some memorable sequences,” director David Leitch says.

When Sun is performing stunts, he prides himself on delivering great performances, but when he’s coordinating the fights, he appreciates the added responsibility. “With this film, I was able to see myself as a storyteller,” Sun says. “I’m always looking for interesting ways to relate our emotions to the action I perform, and with The Fall Guy, I was able to express that vision. Having known Dave since Conan the Barbarian in 2009, I appreciate his care for actors and stories, and I’m grateful to have been able to learn from him over the course of this production.” 

Eusebio was brought on partway through production to address specific needs of the bustling production. Because the film was shooting multiple units at once, Eusebio collaborated closely with Sun to help bridge the gap between the main and second unit teams. “I’ve always looked up to Dave Leitch and Chris O’Hara as mentors, having seen them evolve from stunt performers to second unit directors and now Dave directing major film productions,” Eusebio says. “My entire career has been shaped by their guidance and the invaluable lessons they’ve imparted, so when Dave asked me to join the team and help finish the film, it was easy to say yes. Having known Chris and the crew for over two decades, they’re like family to me, and I genuinely want to see them succeed. Working on this film for the last portion of its production was an absolute honor. Being part of projects with talented crews and leaving a lasting legacy is what matters most. As long as you’re contributing to something exceptional, it’s all worth it.”

 

Keir Beck

Stunt Coordinator

The meticulous work of stunt coordinators requires that they not only understand the art of performance, but also the science behind safety. Keir Beck (Mad Max: Fury Road; Hacksaw Ridge), an outstanding rigger from Australia, was brought onto The Fall Guy to contribute his expertise in safety rigging to bring the film’s stunts to life.

Beck’s journey with director David Leitch traces back to The Matrix sequels, where he not only showcased his prowess as a stunt performer but also demonstrated his skills as a stunt rigger. This marked a significant period for both as they forged their paths in the industry. “Keir stands out as an exceptional stunt rigger, performer and a true master of physics,” Leitch says. “He has also ventured into storytelling as a filmmaker in his own right, expanding his creative horizons. Keir is not only a trusted collaborator but also a dear friend, and I was thrilled to work with him again and benefit from his expertise.”

Following The Matrix films, Leitch and Beck collaborated on various other projects, including The Wolverine and Jupiter Ascending. “The progress in wirework since I worked with Dave on The Matrix films has truly transformed the stunt landscape,” Beck says. “When Dave approached me with the script for The Fall Guy, it had some exciting rigging challenges. One standout was the high-fall sequence, which required an entirely new rigging system that we created, plus it required us to work through complexities with councils, building management, engineers, insurance companies and various other stakeholders. So, it was particularly satisfying to navigate that hurdle.”

 

THE STUNTS

“The Fall Guy TV series from the ‘80s was a reflection of that era, celebrating the cowboy spirit of stunt work,” director David Leitch says. “Back then, stunts were about sheer toughness, fearlessness, and guts. While there were tricks of the trade, these stunts still came with a lot of pain. My journey in the stunt world began during the transition from this old-school era to the modern era where stunt work began embracing new technologies and practices. As I entered the industry, visual effects and special effects were starting to revolutionize the stunt world. Wire rigs, the removal of those wires via VFX and other innovations were transforming the way stunts were performed. While shooting The Matrix, I had the opportunity to witness the cutting edge of technology and the collaborative efforts that were shaping the future of stunts. For me, it was natural to embrace both sides of stunt performing—the old-school toughness and the evolving world of visual effects. So, now, with The Fall Guy, I’m paying tribute to my early career journey as a stunt performer. While we incorporate some nods to the role of visual effects, the film maintains a raw and practical element in every stunt. With this film, we aimed to deliver action that was true to the spirit of the stunt community by incorporating techniques that have become somewhat of a lost art.”

The Cannon Roll

• Stunt double Logan Holladay broke the Guinness World Record for cannon rolls in a car with eight and a half rolls, achieving the groundbreaking feat on the beach, which was notably on flat ground. This achievement surpassed the previous record held by stuntman Adam Kirley, who achieved seven cannon rolls during the filming of Casino Royale in 2006. Holladay’s years of expertise, combined with the meticulous planning by the stunt team, ensured the safe execution of the roll.
• The choice of landscape was a significant factor, as a car roll of that magnitude demanded a particular terrain. The beach setting presented unique challenges, requiring meticulous planning and adjustments during the stunt because of changing tides.
• Operating at a speed of 80mph with the cannon packing 900 psi, the filmmakers opted for a Jeep Grand Cherokee due to its equal width and height, providing a cylindrical shape ideal for rolling.
• The roll cage was purposely built with additional space at the corners to facilitate the cylindrical formation upon impact.
• In the movie, stunt driver Logan Holladay not only performed the stunt but can also be seen belting Ryan Gosling into the car before the cannon roll and getting him out of the car afterward.
• Crews worked tirelessly for hours compacting the sand to get it as firm as possible to achieve the speeds required for the stunt.
• Tides played a major role in scheduling the shoot and the stunt. Mother Nature waits for no one.

The Alma/Colt Chase Sequence

• The Alma/Colt chase sequence involved teamwork and innovation, featuring a thrilling scene on the iconic Sydney Harbour Bridge. While a scene like this would normally be done with blue screen, the team decided to film the scene entirely practically. Ryan Gosling’s direct involvement added authenticity to the action, and the team opted for in-camera shots with a garbage truck dragging Gosling on a spinning bin through the streets of Sydney. 
• Early versions of the script toyed with different vehicle options, but after initial scouts of Sydney, it became apparent that skip bin trucks were everywhere, which is how the skip bin truck sequence was born.
• Keir Beck’s world-class rigging skills, coupled with his attention to detail and safety, made the skip bin truck a stunt rigger’s dream.
• Collaborating closely with picture cars and special effects teams, the crew was well-prepared for any challenges that director Leitch presented. With a limited window on the Harbour Bridge, exhaustive hours were dedicated to devising and refining various scenarios.
• 50 stunt drivers were used for this scene, so ensuring the safety of everyone involved while maintaining precision in resetting to the starting point was crucial.
• The culmination of these efforts resulted in a truly spectacular sequence.

The 225-Foot Car Jump

• One of the most jaw-dropping moments in The Fall Guy involves a 225-plus-foot car jump. The jump was performed by seasoned driver Logan Holladay in a specially designed vehicle, crafted for practical, in-camera authenticity that could handle such an extreme leap. This extraordinary stunt stands as a testament to the film’s commitment to delivering genuine, practical stunts that defy the norms of modern CGI-dominated filmmaking.

• At the apex of the jump, the truck was close to 80 feet in the air.

• To streamline the process, an exact replica was built for simultaneous testing and set dressing.

• The test jump mirrored the actual jump, with the only distinction being the absence of a 40-foot-deep gap.

• Both the test jump and the real jump occurred at the same location, allowing for considerations of weather and wind direction.
• The vehicle reached a speed of 72mph during the jump.
• A suspension expert closely monitored the jumps during testing, making immediate adjustments to the truck as necessary.

The Boat Jump

• The boat jump sequence utilized a hidden driver for most shots.

• The boat achieved an impressive 80-foot jump.

• The ramp used for the jump measured approximately 4 feet high and 24 feet long.

• The boat used for the stunt was a 565 Formosa.

• Ryan Gosling obtained his boating license in NSW to ensure readiness for any unforeseen needs during filming.

The High Fall From Helicopter

• The high-fall stunt in The Fall Guy was executed by stunt performer Troy Brown, carrying on the legacy of his father, Bob Brown, a high-fall expert. Troy Brown broke his own personal record for the longest high fall, achieving an astounding 150 feet during the filming of this movie.

• Bob Brown, renowned for perfecting the craft of high falls, created his own bags and set records with hundreds of feet under his belt. The film pays homage to this era and the unique charm of the ‘old school’ stunt performers 

• The bag used on set was one of Bob’s own, previously used in one of his final high falls for the Taurus Stunt Awards before being sold to stunt professionals in South Africa.

• Acquiring airbags rated for such heights is rare, but essential for safety. The production team procured this specific bag for the monumental high fall scene in The Fall Guy.

• The dimensions of the bag were 25 feet by 50 feet.

 

STUNT GLOSSARY

• • 1X: Refers to a specific camera setup where the action is shot at normal speed, providing real-time footage without any slow-motion effects.
  • Air Ram: A device used to propel a performer or object through the air with force.
  • Bag (for high falls): Refers to the landing area or airbag used in high fall stunts to provide a cushioned and safe landing for the performer.
  • Bootleg Turn: A type of vehicle stunt maneuver where the vehicle makes a sharp and sudden turn by lifting and spinning the rear tires.
  • Blind Fighting: Choreographed fight sequences where performers execute complex moves without actually making physical contact, often using camera angles and editing to create the illusion.
  • Breakaway: Props or set pieces designed to break easily upon impact.
  • Breakfall: A technique used by stunt performers to minimize the impact of falls by distributing the force across the body, reducing the risk of injury.
  • Cannon Roll: A stunt where a vehicle, often a car or motorcycle, performs a rapid and controlled rolling motion, usually involving a special cannon mechanism to induce the roll.
  • Car Hit: A stunt where a performer is intentionally struck by a moving vehicle, often requiring precise timing and coordination.
  • Fall Guy: A stunt performer who specializes in high falls or falling stunts, often taking on the role of a character in a fall-related action sequence.
  • Fire Burn: A stunt involving a performer being intentionally set on fire for a brief period, usually with fire-resistant clothing and safety measures in place.

• High Fall: A stunt that involves a performer intentionally falling from a significant height, usually performed with safety equipment like airbags or other protective measures.

• Practical Effect: Physical effects, often performed live on set, as opposed to computer-generated effects (CGI).

• Precision Driving: Highly skilled and controlled driving maneuvers performed by a stunt driver.

• Ratchet System: A mechanical device used to propel performers or objects rapidly in a specific direction, often used for dynamic falls or jumps.

• Rigs: Various devices and setups used to support or control performers during stunts. This can include wire rigs, harnesses and other safety mechanisms.

• Squib: A small explosive device used to simulate bullet hits or other impact effects on a performer’s body.

• Stunt Coordinator: An experienced professional responsible for planning, organizing and overseeing stunt sequences in a film or TV production.

• Ultimate Arm: A specialized camera crane or vehicle-mounted arm used to achieve dynamic and sweeping camera movements during chase scenes or action sequences.

• Wire Work: The use of wires or cables to support or control the movement of performers during aerial or dynamic stunts.

 

THE CINEMATOGRAPHY

• Director David Leitch and cinematographer Jonathan Sela met on the set of Midnight Meat Train. Since then, Sela has become an integral creative force on Leitch’s films, notably serving as the cinematographer for John Wick, Atomic Blonde, Deadpool 2, Fast & Furious Presents: Hobbs & Shaw and Bullet Train. 
• For The Fall Guy, Leitch and Sela departed from their usual preference for one or two cameras and adopted a more naturalistic approach. They utilized multiple cameras, often five or six, paired with long, wider lenses to capture dynamic scenes while maintaining their distinct visual style. This decision facilitated cross coverage, allowed for dynamic actor interactions and fostered a natural back-and-forth in scenes.
• Sela characterizes the look of the film as reminiscent of a worn-down brown leather jacket, aiming to evoke a nostalgic nod to the 1980s and ’90s. 
• Sela also drew inspiration from studying colors and architecture in art deco imagery. He also referenced Tony Scott’s films, including Days of Thunder, Spy Game and Enemy of the State, as sources of inspiration.
• The Fall Guy was shot during summer in Australia and the cinematography embraced the country’s natural environment. The goal was to efficiently achieve desired lighting conditions, such as capturing sunsets within the condensed timeframe of the actual sunset. However, the unpredictable Australian weather, exhibiting all four seasons in a single day, added complexity to the mostly outdoor shoot.
• To highlight the immediate contrast between the main movie and the film within the film, Metalstorm, Sela employed a filtered look. This approach, utilized for Metalstorm photography, emphasized a singular color palette and stylized visuals, creating an arid, sunny atmosphere.
• Meticulous coordination was crucial for the split-screen sequences between Colt and Jody in The Fall Guy. Sela and his team synchronized separately shot camera movements to create a seamless visual, reinforcing the idea that the characters are in the same frame, despite being physically apart. 

 

THE LOCATIONS AND PRODUCTION DESIGN

• The Fall Guy was filmed in Sydney, Australia. The location aligned so well with the narrative that the city itself became a significant character in the movie’s visual narrative. The production shot in some of the city’s most iconic locations, including Sydney Opera House, Sydney Harbour Bridge, Bligh Street and more. Production notably required both the Opera House and Sydney Harbour Bridge to be closed down during filming.

• Production designer David Scheunemann’s initial treatment for The Fall Guy dates back to 2020, when he established a color palette of gold, brown, red and orange, with a touch of early 1980s light.

Inspiration and Influences

• Scheunemann drew inspiration from early futurism, with influences from architects such as Oscar Niemeyer, Le Corbusier, Jørn Utzon, and visionaries like Syd Mead, Chris Foss and HR Giger.
• The overall design and color palettes of the late 1970s and early 1980s, along with movies like The Cannonball Run and The American Friend, played pivotal roles in shaping the visual aesthetic.

Metalstorm

• During The Fall Guy script-development process, the decision to place Jody’s movie in a sci-fi world inspired the filmmakers to reference a little-known 1983 Universal Pictures flop: Metalstorm: The Destruction of Jared-Syn. That film grossed just $5.3 worldwide, ranking it 101 out of the 159 films released that year. (Star Wars: Episode VI—The Return of the Jedi was number one that year, grossing $252.6 million). 
• Scheunemann and his team visually developed Metalstorm as an almost complete movie, creating concept art, creatures and props that represented the entire world of the movie within the movie. Scheunemann also collaborated with costume designer Sarah Evelyn and concept artist STIAN DAHLSLETT (Bullet Train, Deadpool 2) to develop the characters and creatures for Metalstorm. 
• Concept artists MARCOS WEISS (Bullet Train, Deadpool 2) and GERHARD MOZSI (Extraction, Ghost in the Shell) played key roles in developing the individual looks for both The Fall Guy and Metalstorm. 
• The Metalstorm sets went beyond typical backgrounds, incorporating workshops, base camps, and more, requiring the development of an entire visual identity for the movie circus.
• The biggest set challenge was the Metalstorm backlot, a 10-acre area that needed rapid terraforming and sculpting within a limited 8-week timeframe.
• The Sydney Opera House served as a central source of inspiration for the entirety of the design of the look of Metalstorm. The set aimed to encapsulate the spirit of modernism from the 1920s to the 1970s.

 

THE COSTUME DESIGN

Director-Designer Collaboration

• The Fall Guy marks costume designer Sarah Evelyn’s third collaboration with director David Leitch and producer Kelly McCormick. She previously designed costumes for Bullet Train and Fast & Furious Presents: Hobbs & Shaw.
• Leitch’s distinct approach prioritizes visual aesthetics as much as action sequences, resulting in a balanced approach to filmmaking, where costumes play a significant role in storytelling.

The Action Sequences

• To address the complexity of action scenes, the costume team had to create multiple costume variations, ranging from 12 to 13 for different scenes.
• The fast-paced nature of the film’s production, with multiple units filming dynamic scenes and stunts, posed unique challenges for the costume team. Adaptability and innovative thinking were crucial to meeting tight timelines.

Metalstorm 

• • The Fall Guy features various cinematic worlds, requiring unique costume designs for the movie within the movie, Metalstorm, the film crews and central characters Colt and Jody. 
  • The Metalstorm costumes during the epic metal-on-metal showdown separated the costumes by color, distinguishing good guys in gold, the villains in silver and Teresa Palmer’s character, Iggy Starr, who plays the ambassador between the two factions, in copper.
  • Background-character costumes went beyond aesthetics, reflecting roles and styles within different movie set departments.

• Metalstorm costumes prioritized practical and functional design choices to accommodate the challenging environment and on-set activities.

Colt Seavers (Ryan Gosling) and Jody Moreno (Emily Blunt)

• The attire for Colt and Jody was influenced by their backgrounds, with Colt embodying Southern California daredevil fashion and Jody adopting utilitarian practicality.
• Jody’s costume design blended inspirations from Barbie director Greta Gerwig’s on-set style and insights from Emily Blunt’s observations on various sets. The focus was on a wardrobe combining utilitarian aspects with a sophisticated sense of color, pattern and proportion.
• Meticulous planning, such as a split-screen scene featuring Colt in a neon suit transitioning to yellow, coordinated with Jody’s Hawaiian shirt, created visually impactful moments.

Tom Ryder (Aaron Taylor-Johnson)

• Tom Ryder’s character showcases eccentric and daring fashion choices, reflecting his unpredictability and bold fashion sense. 

Dan (Winston Duke)

• The Fall Guy aimed to spotlight lesser-seen brands worn by stunt coordinators. Dan’s attire blends protective gear and products from brands like FastHouse and Deus, inspired by real-life figures in the stunt community. 

 

THE ENVIRONMENTAL SUSTAINABILITY INITIATIVE 

• To reduce environmental impact while filming, sustainable practices were integrated into the production of The Fall Guy through the longstanding NBCUniversal Sustainable Production Program. Measures included fuel reduction efforts, plastic and waste reduction, food and set material donations, and more. 
• The production actively reduced waste and contributed to the community by donating more than 1,500 pounds of excess food from catering. They also donated multiple truckloads of set materials and props to local housing initiatives. 
• To reduce fuel and energy usage, efforts included using hybrid electric generators and lighting their sets with energy-efficient LEDs. 
• They hired a crew to clean the oceanfront, ensuring shooting locations remained pristine. 
• In partnership with the film, GMC provided electric vehicles for the shoot, offering powerful yet eco-friendly alternatives on screen.
• The production received a Gold Seal from the Environmental Media Association, which recognizes efforts in sustainable production.
• Kelly McCormick and the 87North team is continuing to partner closely with Universal through its recently launched GreenerLight Program, which expands sustainability initiatives across the filmmaking process from script to screen.

 

THE UNIVERSAL BELOW-THE-LINE TRAINEESHIP

Launched in 2021, Universal’s Below-the-Line Traineeship provides on and off-the-job training and mentorship across select below-the-line departments on NBCUniversal film and TV projects around the world. With the increasing demand for experienced craft talent and artisans throughout the industry, this innovative and immersive experience cultivates the next generation of costume designers, prop masters, camera operators, technicians and the myriad of roles crucial to any production team by collaborating with local partners to source up-and-coming talent. 

Universal partnered with Screen NSW, the New South Wales region’s key film agency, on the latest cycle of the Traineeship on The Fall Guy. Seven below-the-line trainees were given the opportunity to be mentored for the entire duration of the production. Supporting departments included costume, extras casting, production office, props, set decoration, video assist and visual effects.