We're shooting a sequence
where we get surprised by a group of walkers,
um, bursting through a fence.
Sanders: We found some lines, we took that,
and then we made bindings out of them.
So -- Now, undo your hands real quick.
So, in that, they're made to be together
so that we could safely put people in bindings.
One at a time. Twist your hand.
Looks like you're bound up. Looks like you're tied together.
And then we wrapped them in the rope,
which was also in their hand,
held, and then they just spun around.
So if they got in any trouble,
they could drop the rope and drop their handcuffs,
and they'd all come right out.
♪♪
[Walkers growling] Woman: Walkers on the hill!
[Men shouting]
Simons: I've got three stunt people here
that are taking tumbles down the side of the hill.
And to make it look like we have hundreds of them,
we're repurposing them.
We'll do a couple takes
where they're falling down the hill,
then we'll change their clothes,
change the mask that they have on,
and then we'll do some more takes.
And that way, it looks as if,
you know, 12, 15 walkers
have come down -- fallen down a hill.
A normal person would reach out and put an arm out
to try and stop themselves from rolling.
But my stunt people can't.
They're just literally rag-dolling
down the side of this hill
because the second you put an arm out
to try and stop yourself or save yourself,
then you're a human being, and you're not a walker anymore.
[Screaming]
Let's go, let's go, let's go!
[People screaming]
What I want to do is create these strings of skin
that are tearing off.
Payne: So, I saw the guy come on set
with his eyepiece on and the tube,
so I was like, "Oh, great, they're gonna show that."
I didn't realize they were gonna show it.
Go! Go!
♪♪
Sanders: So, we also had to make sure
that if somebody was to push them over, a walker,
that they'd be able to let go of the rope
and get out and hold onto the walker
before they went down.
It was actually more for the walkers
because the walkers, when they're coming at them to bite them,
they really can't see them because of the contacts,
and they can't watch their footing.
[Screams] So it's more the control
of the person tied up to save themselves from the walkers.
Mikel: I don't think we thought we'd be coordinated
or have enough distance between us
to run that fast.
♪♪
Go! Go!
Our hand bindings are easy to get out of,
and the loop around us is very easy to get out of.
But it's still -- You know, you still have the tug of --
of the guy in front of you and the guy behind you.
-Get up! Get up! -Get him up! Get him up!
Get him up!
We give up!
[Gunshot]
♪♪
Morgan, stop.
Oftentimes in films, you bring in stunt doubles
because of their control.
In this case, Lennie and Tom
actually have exceptional control.
Lennie, you know, pops his staff
right in front of his throat.
And because he's been training so hard,
he's able to actually pop it in front of his throat.
So we don't have to cut and then reset
and then put the stick there.
He's -- He gets it there.
Same thing with Tom.
He's throwing, like, a full-power swing back kick
to Lenny's chest,
and he's -- he's able to control it.
Are you having a little trouble?
You have a character like Jesus who's capable of doing,
um, all the martial arts stuff,
then I wanted to make sure
that it was me that was doing it.
There are moments in the fight when we were shooting it
that I was completely in it and we were really close,
and he got very close with the stick sometimes.
And there was a moment where it whistled past my head.
And -- And afterwards, I was like,
"Wow! That was really cool.
Like, let's do it again. That's amazing."
You can see Lenny is doing an extra twirl.
He's doing an extra this.
Tom is doing extra jump kicks.
So, it really just -- it takes it to the next level up.
♪♪
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