Drama, Thriller
Synopsis
Armored-truck guards (Matt Dillon, Jean Reno, Laurence Fishburne) turn against one another after their plan to rob their company goes terribly awry.
Cast: Matt Dillon, Jean Reno, Laurence Fishburne, Amaury Nolasco, Fred Ward, Milo Ventimiglia, Columbus Short, Skeet Ulrich, Andre Jamal Kinney, Andrew Fiscella, Nick Jameson, Glenn Taranto, Lorna Raver, Garry Guerrier, Robert Harvey, Shawn Devorse
Producer(s): Stars Road Entertainment, Farah Films
Crew: Director - Nimród Antal, Screenwriter - James Simpson, Producer - Joshua Donen, Producer - Dan Farah, Executive Producer - Debra James, Executive Producer - Russell Hollander, Original Music - John Murphy, Cinematographer - Andrzej Sekula, Production Design - Jon Steele, Film Editor - Armen Minasian, Costume Designer - Maya Lieberman, Casting - David Rapaport, Casting - Lindsey Kroeger, Art Director - Chris Cornwell, Set Decoration - Dena Roth
Distributor: Screen Gems
Release Date: 12/04/2009
Running Time: 88 minutes
OFFICIAL SITE
| PG-13 | Parents Strongly Cautioned |
Production Notes:
- Notes provided by Sony Pictures -
The perfect crime-victimless, nonviolent and undetectable-goes terribly awry in the no-holds-barred, action-packed thriller Armored. A crew of armored truck guards executes a meticulously planned robbery of their own security firm, but when their seemingly foolproof plan unravels, the men turn against each other as they desperately try to save themselves.
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After the death of his parents, Ty Hackett (Columbus Short) returns from active duty in Iraq to face a stack of unpaid medical bills, a mortgage and the responsibility for his 14-year-old brother, Jimmy (Andre Jamal Kinney). Ty signs on as a guard at Eagle Shield Security, the same armored car service his father worked for. Under the tutelage of his godfather, Chief Officer Michael Cochrane (Matt Dillon), Ty trains for a grueling and often dangerous new career.
On the last day of his probationary period, his co-workers take the young man out for a congratulatory celebration. Over a couple of beers, they trade anecdotes, reveal loopholes in the security system, and discuss failed robberies and successful heists. Cochrane has the topper: an unsolved holdup in Texas that he believes he knows the answer to. The only way it could have happened, he says, is if the guards themselves staged the robbery.
Driving Ty home later, Cochrane reveals that the incident he was talking about inspired him to plan the perfect crime. With a pickup of $42 million dollars coming up, Cochrane proposes to slip away from the route, stash the money in an abandoned warehouse and call in a holdup. No victims, no bad guys and no clues.
All it will take to make six men wealthier than their wildest dreams is the cooperation of every guard involved. Cochrane has already convinced the others: impulsive, hotheaded Baines (Laurence Fishburne); quiet but intense Quinn (Jean Reno); high-strung, vulnerable Dobbs (Skeet Ulrich) and born-again ex-con Palmer (Amaury Nolasco). Ty is all that stands between them and their plans for a better life.
Initially Ty refuses to even consider robbing his employer, but the threat of losing his house to the bank and his brother to foster care convinces him to join his co-workers, under one condition-Cochrane must assure him that no one will get hurt.
On the big day, the pickup of the cash goes smoothly. After checking in with their dispatcher, the men make the brief detour to their selected hiding place. In high spirits, they move quickly to unload the money, but an unexpected interruption changes the game plan. With millions of dollars at risk and their futures on the line, the crew scrambles to salvage what they can and, in one tragic moment, everything changes.
Armored stars Matt Dillon (Crash), Jean Reno (The Da Vinci Code), Laurence Fishburne (The Matrix), Amaury Nolasco ("Prison Break"), Fred Ward (Sweet Home Alabama), Milo Ventimiglia ("Heroes"), Skeet Ulrich ("Jericho") and Columbus Short (Stomp the Yard). The film is written by James V. Simpson and directed by Nimrod Antal (Vacancy). Producers are Joshua Donen (Drag Me to Hell) and Dan Farah (Visioneers), with Debra James (I Know What Boys Like) and Russell Hollander (Good Luck Chuck) as executive producers. The director of photography is Andrzej Sekula (Pulp Fiction). Production designer is Jon Gary Steele (Quarantine). Editor is Armen Minasian (I, Robot). Costume designer is Maya Lieberman (Obsessed). Music is by John Murphy (The Last House on the Left). Casting is by David H. Rapaport, CSA and Lindsey Hayes Kroeger, CSA (The Final Destination).
Armored has been rated PG-13 for sequences of intense violence, some disturbing images and brief strong language. The running time is 85 minutes.
ABOUT THE PRODUCTION
Even before he began writing Armored, screenwriter James V. Simpson knew he wanted to create an unconventional thriller, a movie that packed plenty of action and suspense but avoided one traditional plot element: bad guys. "Armored is about ordinary, flawed people who are basically good," Simpson says. "These guys are in difficult situations and make bad choices. Then they have to deal with the consequences."
Simpson also wanted to find a unique setting for his story. Inspiration struck the writer one day as he walked his dog near his Vancouver home. An armored car pulled around a corner, and Simpson saw that he, as well as everyone else on the street, was following the truck with their eyes. "I realized immediately that the armored car was a visual cue that everybody was transfixed by," he says. "They were drawn to it automatically. And I knew I had to take that setting for my story."
When Simpson had a finished draft, he submitted it to the prestigious Nicholl Screenwriting Competition, an annual event sponsored by the Academy of Motion Picture Arts and Sciences. The script caught the attention of producers Chris Lemos and Luis Guerrero, who brought it to Dan Farah of Farah Films & Management. "I loved the concept," says Farah. "It's an action movie, but at the same time the characters are so strong. And it has such a great hook.
"I took the script into all the studios on a Tuesday afternoon," he continues. "Friday morning, Variety announced that Armored was one of the ten Nicholl finalists. We sold it to Sony that afternoon in a bidding war."
First-time screenwriter Simpson was surprised and delighted that his script sparked a wave of competing interest. "We connected with Josh Donen and (Screen Gems President) Clint Culpepper at Sony," he says. "They really got the story we were trying to tell. They understood the characters and the dynamic between the guards immediately."
Buckaroo Entertainment partners Sam Raimi (Spider-Man) and Joshua Donen had just signed a new deal with Sony to produce. They immediately expressed interest in Armored. "Josh is a Hollywood veteran with incredible experience working with some of the biggest directors in the business," says Farah. "I was thrilled to have him come onboard."
Culpepper shared the script with Nimrod Antal, a young director who had just finished the nail-biting thriller Vacancy for Sony. Like Vacancy and Antal's previous film Kontroll, Armored takes place in a mysterious, confined world. "We didn't even go to any other directors," says Farah. "He had done such a great job with Vacancy. Nimród made this more than just a movie. Even watching the dailies, you felt like you were watching a great film."
Like Vacancy, some of Armored's crucial sequences take place in claustrophobic settings that add to the onscreen tension. "I enjoy shooting in limited spaces," says Antal. "That kind of stricture forces me to come up with new ideas."
Heist films are a favorite genre for the director, who grew up in Hungary. "A French filmmaker was once asked why he makes heist films and he said, 'I don't have the guts to rob a bank, so I just make films about it,'" he says. "I thought it would be fun to play with. It seems like it would be a simple genre, but it's very difficult to do well."
The world of armored truck guards also seemed exotic to the director, who says he has always been attracted to unusual subcultures. "I thought each of these guards was a very interesting character and the situation they find themselves in is exciting."
Infusing the script with the kind of authenticity Antal required was tricky. Not many armored car companies were interested in sharing their trade secrets. Finally, Simpson contacted a friend with the Vancouver police who interceded for them. "Armored car services are notorious for being secretive, because they are so vulnerable and susceptible to robberies," he points out. "They were very concerned that we were actually planning a heist, because we were asking for all this detailed inside information."
Once the filmmakers were able to gain entry into that world, they spent time in the garages talking to the drivers and familiarizing themselves with the trucks. Although they weren't able to see everything, Antal says he got a sense of the guards' work lives. "They have a horribly difficult job, if you consider how much they are paid compared to the danger that they're put in everyday. It just didn't equate to me."
As much as some of the actors wanted to do first-hand research, that kind of access was not available to them. For instance, ride-alongs were out of the question. "I've been able to do that when I've played a cop," says Matt Dillon, who plays Chief Officer Bill Cochrane, the man at the heart of the scheme. "But they weren't going to let us ride along in an armored car. The research was still pretty extensive. We were shown what could go on if a similar situation took place in real life."
The guards explained what their day-to-day activities might be and why routine has to be avoided. "They told us things that the average person wouldn't know about," says Simpson. "For example, they never use street names or words that can help to identify where the truck is, to make it hard for anyone eavesdropping on the radio transmissions to track the truck. They may enter a building from one direction and exit another, which makes it hard to predict where the trucks are going to go. They use different routes every day, so they never go to a destination the same way."
An important element that Simpson was able to integrate into the movie is the truck's internal safety lock, which protects it in the event that a guard is killed or coerced into opening the truck. "The guards who are inside the trucks can use what's call the slam lock so it cannot be physically opened from the outside."
Seeing his first screenplay produced has been the experience of a lifetime for Simpson. "To use a sports analogy, it's like I've been slaving away for twenty years in triple-A ball and now I've finally been called up to the big leagues," he says. "I've just stepped out onto the field at Yankee Stadium, and I'm living the dream. As a screenwriter, it doesn't get any better than this."
THE GUYS ON THE TRUCK
Each of the diverse characters in Armored has a different motive for taking part in the heist, but all have one thing in common: none of them are heroes, and none are villains. That complexity sent the filmmakers looking for actors who could straddle the line between good and evil. From industry veterans Matt Dillon, Laurence Fishburne, Jean Reno and Fred Ward, to relative newcomers Columbus Short, Skeet Ulrich, Amaury Nolasco and Milo Ventimiglia, the cast of Armored helped shape the story by bringing unique insights to their characters.
Simpson says casting was the biggest surprise of the entire process for him. "It was different from my original vision, but when I opened myself up to it and saw what was being brought to it, I realized it was going to make the story that I wanted to tell even better."
"The cast is absolutely amazing," says producer Dan Farah. "Both Nimród and Clint Culpepper had a gut feeling about all of these guys and how they would come together. You have six armored truck guards who are supposed to work together every day in this small space. They needed to have a certain kind of relationship."
During shooting, the cast developed a camaraderie similar to that of their characters. "The relationship between the actors was genuine," says Antal. "Everybody's ego was put aside and it shows in the dynamic between the characters. After we establish the close-knit bond between them, then the machine starts to fall apart. We see how each person handles that. The ultimate betrayal is all the more painful because they start out so tight."
At the center of the story is Ty Hackett, a conflicted young man unprepared for the challenges of caring for his brother and keep their modest home together. The filmmakers were looking for an actor with unmistakable charisma. "Columbus Short embodies that," says Antal. "He's also very talented. He brought such energy to the set every day and his passion for the film was undeniable."
Short says once he started reading the script, he couldn't put it down. "This is a very smart movie and I fought to get the part," he says. "It juxtaposes drama and action in a believable way. There are plenty of rock 'em, sock 'em, blow 'em up moments, as well as emotionally intense scenes. And nobody's really seen the life of these armored truck drivers before. I knew that with the right director this would become such an amazing world and an amazing story."
Antal was the right director, says the actor, setting the tone for the cast and crew. "His attitude on the set reflected leadership, and that goes a long way toward creating the workplace atmosphere," continues Short. "He treated the extras the same way he treated me or Matt or Laurence. He genuinely listened. You can't be a jerk on set when the director is such a humble man. He rallies the troops and everybody gets behind him."
Working opposite veteran actors whose work he grew up watching was a remarkable experience for the 26-year-old actor. "I could talk to you for hours about what I've learned from these guys," he says. "All of them gave me such support from the start. They dropped little pearls of wisdom here and there, and I made sure I was there to catch them."
The actor he worked most closely with was Matt Dillon. "He's so charming," says Short. "He's just a genuine guy. His character is basically a father figure for my character and his brother. When the heist goes wrong, that's where the moral dilemma comes from. Do you stand up for what you know is right, or do you stand behind somebody you love?"
Bill Cochran, played by Dillon, is the senior officer on the truck. "Cochrane is definitely the big dog in the room," says Simpson. "Everybody respects and trusts him. But in private, he always felt there were great opportunities that lay just beyond his grasp. He's worked hard all his life. He's always followed the rules. And now he feels like life is about to pass him by.
"The robbery is his idea and his plan is elegantly simple. It doesn't involve a lot of pyrotechnics: just take the money, hide it, and stage a false robbery. He and Ty have a very close relationship, so Ty agrees to go along with him."
Dillon covers all the bases as an actor, says Antal. "Matt's able to bring the cool, and he's able to bring the funny. He's able to bring the rough. It's all there."
Dillon was attracted by the film's unique premise, as well as his character's complexity and contradictions. "I liked the relationship he had with Ty," says the actor. "Ty's father was his mentor and he has become Ty's. That lays down the foundation for what is to come later on in the story.
"This film has a lot of action in it, but it's essentially character-driven," Dillon continues. "Each of the characters is very specific, with a distinct personality and way of reacting under pressure. When I saw the dynamic coming together, it felt like a classic crime picture."
Dillon had seen Kontroll and liked what he saw. Armored, he says, presented a similar challenge. "A great deal of it takes place in one location and the characters are confined in more than one way, but the story has a kind of unrelenting energy. Nimród was able to open the whole thing up."
The strength of the cast was another plus for Dillon, who enjoyed working with Laurence Fishburne for the first time since Rumblefish, made in 1983. "He's a wonderful actor who has gotten better and better with time," he says.
Fishburne took his character, Baines, in a direction the screenwriter says he never anticipated. "He made him much more authentic," says Simpson. "Baines is more than just a generic loose cannon. He's a guy who enjoys getting his hands dirty. Had it not been for his connections to Cochrane, he could easily have already robbed an armored car. He's a criminal at heart who found his way into the company of good men and became a good man, but he's the guy who will take things a little too far."
Every heist movie needs a character like Baines, says Fishburne. "You have to have a guy who's not quite right. That's the guy I get to play in this movie. Baines does a good job at pretending to be normal, but he's definitely not."
Fishburne was impressed by Antal's spirit and energy. "There are some directors who appreciate what actors do, but who don't necessarily like actors," he says. "Nimród genuinely likes actors. He's really technically savvy and he grew up loving movies. He has a passion for this.
"The people in the cast aren't who you might think of right off the top," adds the actor. "I think it's really amazing that he cast Columbus Short as the hero. That's something that wouldn't have happened twenty years ago. And when you see us all together, it works. Everybody that's in the movie has this ability to go to these deeper places."
Reuniting with his Rumblefish co-star Dillon was also a pleasure, Fishburne says. "Matt is, in many respects, the same guy he was twenty years ago, but he's much deeper and his instrument has matured a great deal. He is really well-read and well-traveled, but the thing about him that is absolutely the same is the humility he had when he was very young."
Antal admits working with Fishburne, whose work he has admired since he first saw the actor in Apocalypse Now, was daunting at first. "He's one of the most incredible actors I've ever worked with. He did something that was so spectacular in this film. There is a moment where his character has to remove a box from the truck and put it up on the loading dock. We just needed to explain the steps that are taken in the transferring of money, but it wasn't an important shot, per se. He made the simple act of taking a box out of a truck and putting it on a loading dock a real moment. An actor who can do that is a rarity."
As experienced as he is, Fishburne says he learns something with each film he makes. "This time, working with Jean Reno, I rediscovered the power of silence."
Reno plays the third veteran guard, Quinn. "Quinn is a follower," says Simpson. "Quinn wants to please. Jean Reno brought a tremendous accessibility to the character. I think a lot of people are going to relate to him and be surprised by what he does with the character."
Reno, who was familiar with Antal's previous films, says that the director was his primary reason for taking on the role. "I thought it would be interesting to work with somebody so talented," he says. "He had a specific point of view and a real idea of what he wanted to do, from the image to the editing. It gave me a great deal of confidence in him.
"And I very much liked the idea of working with this cast. When you have a good group of professional actors, then you do not have to explain what you're going to do. When you dance with somebody who knows how to dance, you do not have to explain where you put your foot. They are aware of you. We each learned something every day about talent or about generosity."
Short recalls another musical metaphor that Reno shared with him. "Jean said, 'It's an orchestra, Columbus.' And it is. Without ever talking about it, without ever saying 'I'm going to be the violin and you're going to play the viola,' it just happened. One of the keys to becoming a quality actor is to listen and watch. Then you see where everybody's going with their character and how your character fits into this amazing jambalaya of work."
Skeet Ulrich's sensitive portrayal of the younger guard Dobbs is one of the highlights of the film, according to the director. "One of the first things everybody who's seen the film says is that Skeet is awesome," Antal says. "He is going to surprise a lot of people, because the emotions he brought and the depth of his performance are stunning."
The writer describes Dobbs as someone in over his head and unable to find a way out. "When things start to spiral out of control, he's afraid to do the right thing. It connects to the whole interplay of betrayal and loyalty, the push and pull between doing the right thing and being loyal to those around you."
According to Ulrich, the chemistry the cast shared is what he will remember best about the experience of making Armored. "I don't know how to explain it. There's a certain understanding of each person's position in the story as a whole. It was a pleasure to work with a group of actors who get the work done without a lot of histrionics. Some of the greatest moments I had were just sitting around talking with the guys."
The actor gives Antal credit for creating that atmosphere. "His gift is immense. He seems to have an undeniably clear vision of what it is he's doing, and where each piece of the puzzle fits in. It allowed him to take the suspense and twist it in a unique, powerful way."
Completing the roster of security guards is Palmer, played by Amaury Nolasco. "Palmer is a guy who grew up on the wrong side of the law," says the actor. "He was a problem child, he did his time in prison and after one of his incarcerations, he found God. So he's born again."
The shoot was an extremely collaborative experience, says Nolasco. "We all sat down together at the beginning and we brought a lot of ideas to the table. Each of us was able to set his own agenda and develop his own motive. Everybody's got a different reason to be in this."
Antal was impressed by the actor's willingness to take risks and try to find the subtleties in the character. "Palmer does something pretty nasty at one point in the film and encounters an emotional response he wasn't expecting. There was a puddle of water on the set and Amaury used it to wash his hands.
"That was improvised on the spot," says Antal. "It's one of my favorite moments in the film, because it brings home the idea you can see there's no black and white, no good guys and bad guys in this film."
Being on set with Antal and his fellow castmates inspired Nolasco to reach deep. "Nimród is hungry; he's passionate," he says. "He's not a director who sits in the video village watching on a monitor. He was right there next to you, giving you that green light to bring your character alive, pushing you to your limits. He was always willing to listen. Ultimately, he made the decisions, but he never shut anybody down.
"I struck gold getting to act with this cast," he continues. "Matt Dillon and Jean Reno and Laurence Fishburne have worked with some of the best directors in the business. And then there's Skeet, Columbus and myself who are the new pups coming up and it's like going to school for us. I tried to absorb everything like a sponge. A teacher told me once, 'Steal from the best and make it your own,' and that's pretty much what I did."
Milo Ventimiglia, probably best known as Peter Petrelli from the hit TV show "Heroes," is another "young pup" in the cast. He plays Eckhart, a police officer who stumbles across the would-be millionaires in the act of hiding the money. "I originally saw the character as someone a little bit older," says Antal. "But when Milo showed up, he was The Cop. His concentration and his level of commitment were constantly there. He was always engaged and curious as to what was going on. It was great to see someone who has had as much success as Milo and still loves the process of filmmaking as much as he does."
Simpson had also envisioned a more mature actor in the role, but agreed that Ventimiglia brought something essential to the table. "The character of Eckhart is like the conscience that Ty needs," he says. "With Milo on board, I liked the way the story went."
Ventimiglia describes himself as a huge fan of his castmates. "They are amazing actors," he says. "Then when I showed up to the set and they're just as excited to be part of the group, it was amazing. We were hanging out with the guys making a guy movie with guns and blood, and it was a great time."
Antal's preparation and vision gave the actors and the crew the freedom to do their jobs well, he says. "Being a director is twofold. You've got to be able to speak and relate to your actors, but you also have to be able to do something great with the camera and speak to the crew. It's been an absolute pleasure being on set and watching him work."
For his part, Antal gives credit to the remarkably talented and spirited cast for Armored's success. "Being a film fan first and foremost, these are all actors that I had not only seen but had also admired," he says. "They were the most amazing group of guys that I have ever had the opportunity to work with."
BEHIND THE ARMOR
Like each of Nimrod Antal's previous films, Armored has a visual style of its own, a tribute to the director's meticulous attention to detail. "Visually this movie is just awesome," says Farah. Antal assembled a crack team to help him build the unique look, including cinematographer Andrzej Sekula, whose resume includes Quentin Tarantino's Pulp Fiction and Reservoir Dogs.
Armored is a continuation of a partnership the director and the cinematographer began on Vacancy. "The director of photography is probably the person I work most closely with on the set," says Antal. "I prefer a relationship that is very intimate and very collaborative. I have a pretty strong visual sense, but I also invite and encourage as much input as possible and Andrzej is the ultimate collaborator. His visual style is sparse, very clean and stunning. The lighting, the film stock and everything else he used definitely goes against the grain. His eye is absolutely spectacular."
Antal likens the experience of working with Sekula to sitting in the passenger seat of racecar driven by an expert. "If the guy is a good driver, you can be driving with him while he is going 200 MPH, and you still feel comfortable. Andrzej thinks that going 200 MPH, doing power slides and turns are nothing remarkable because he does it every day."
One of Sekula's inspired ideas was to shoot a crucial scene from an unexpected vantage point: the truck's rearview mirror. "It sounds simple," says Antal. "In reality, it's very powerful. It serves the purpose of story-telling extremely well."
Another Vacancy alumnus, production designer Jon Gary Steele, also joined the team for Armored and made what Antal says was an invaluable contribution to the overall look of the film. "The sets he built were really special," says the director. "We found a location in Fontana, California, an old steel factory that was falling apart. It looked perfect on the outside, and we had to create an interior area that would feel completely organic to the exterior locations."
Because almost half the film is spent inside the factory, Antal and Steele were challenged to keep it visually interesting. "We decided to build an interior for it on a soundstage that would have several levels," says Steele. "That gave the director a lot of different options for a multi-level chase in a cavernous space."
"Gary had a great idea about using different tiers to create more tension," says Antal. "He designed an Escher-esque stairway system that was sensational. It gave the set a depth that we wouldn't have had if we stayed on the floor for the entire time."
Steele constructed a model of the set for Antal and Sekula to use for the planning of each shot. "We could then talk about how it was going to be used," says the production designer. "Andrzej decided where we needed to provide places to hang lights. The design process was finished within a few weeks."
Then the crew had less than seven weeks to build the whole set. "It's all made from new wood painted to look like concrete," says Steele. "Almost everything is brand new, except for a couple of rented equipment pieces. Everything else, we aged. Our scenic artist, Charlie Bryant, piled dirt on it so it looks like it's been there for many, many years."
In addition to giving the filmmakers more control over the location, building the set allowed a few more perks for the actors. "I kept forgetting that we were on a soundstage," says Fishburne. "I've worked in abandoned warehouses that have been converted into soundstages and they often look like what this set looks like. However, we had heat and there wasn't any live vermin running around. There were golf carts, a restroom, running water."
But those comforts didn't mean the filmmakers had to compromise on verisimilitude. "I was really blown away with the way they were able to recreate that steel mill," says Dillon. "It was so vast and the surfaces of everything matched perfectly with the real thing. The look and the texture were completely consistent with the rest of the film."
"It looked like it was lifted out of a steel mill and put onto a studio lot," adds Ventimiglia. "That added so much texture to the story. We were breathing the dirt, feeling the gravel underneath our boots. It put me right into the scene."
The second half of the film is packed with stunts that look alarmingly dangerous, but Antal worked closely with stunt coordinator Lance Gilbert and his crew to ensure that all possible precautions were taken. "I was lucky to be surrounded by really talented people," says the director. "Lance is a spectacular guy and very good at what he does. I dread doing stunts, because I never want anybody to get hurt, but it looks awesome and it all turned out well."
The planning of the movie's sophisticated stunt work began with a scene any 10-year-old boy could relate to. "Lance and I were on the floor with Hot Wheels trying to block movement. If anybody at the studio had seen us, I think they would have been concerned about where we were going. Two grown men on the ground playing with Hot Wheels isn't necessarily reassuring."
The all-male cast had a great deal of fun with the film's rough and tumble sequences. Nolasco admits that he's a little bit of a daredevil who enjoys doing stunts himself. "I jumped off a six-story building," he says. "There were a lot of safety precautions taken. For Lance, safety came first. He walked me through the whole process, and then asked me if I wanted to do it. I said, 'Are you kidding me? Why not?' I had a stunt double that was ama
