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David R. Ellis

I like Soderbergh, Spielberg, Lucas. There's a lot of talented guys out there obviously, and if you're a fan of films, you have to look at that stuff and learn from them.

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Well, I think on second units it's all about execution. Because you come in there, you don't have to worry so much about the studio and all the other actors and all that.

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Yeah, getting the company that would help advertise and cross promote the movie on the release was an important factor for New Line, so we went out to a lot of different companies.

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I think my biggest break though came probably on Patriot Games because it was the biggest, longest second unit up to that point. It was like five months of shooting and a huge crew.

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No, in Lethal Weapon I was a taxi cab driver that Mel jumps in front of the taxi and pulls me out of the car and steals the taxi. Then I did some other indie driving for some of the car sequences.

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They do think it is a big summer movie and that's why they want to give it a great chance, but they don't want to go up against Spider-Man 2 or some of the other big movies, the $100 million films that are coming up.

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So there was always a stunt coordinator on those films that was from Stunts Unlimited and I was just one of the young warriors from Stunts Unlimited that got to be a part of it because it was a big show and they needed a lot of guys.

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I felt that if there wasn't going to be a good opportunity, then I would just go back to second units which I love, keep working with great directors, keep learning and knowing that the opportunity would come when the time was right.

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I mean, you have a general tone of it but it's pretty much you get to come in and you're going to flip this car and it's going to blow up and you're going to come out on fire and you go oh, that's cool, and then you get paid a lot of money.

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You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

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