s2e6 FINAL ===

[00:00:00] Paul: [00:00:20] There

[00:00:23] was a whole thing on, I mean, the algorithm, um. It, the algorithm knows what I like, but uh, today there was a whole, there was like three different headlines that were like, Ringo Starr admits to have never tried pizza.

[00:00:36] Sarah: The algorithm's like, send this to Paul.

[00:00:39] Paul: Eighty [00:00:40] three, like, is this a, is this a headline?

[00:00:43] And here is the Calisthenics index for episode 206, Subdivision. Subdivision first aired on September 25th, 2006. It was written by Monica Mazur. And directed by Eric Le Nouveau. It aired at [00:01:00] 8pm against Wife Swap and ABC, Deal or No Deal on NBC, and The Class on CBS. And against the competition it drew 8. 41 million live viewers.

[00:01:10] Sarah: To recap the episode super quickly, uh, When last we left our heroes they had just discovered a subdivision built on top of Westmoreland's millions in Utah. The silo was gone. [00:01:20] The silo is gone. It could be Tula, it could be Tuella, it could be Thule, or not entirely sure. Um, specifically, there is a middle aged woman.

[00:01:28] living in a house right on top of where the money is supposed to be so our gang cut the electricity to the house and then they pose as the electric company arriving to repair, repair the power supply. By the way, whenever [00:01:40] you say electric company, I say electric company. The electric company! Yeah, the next thing I hear is like, 1, 2, 3, 4, 5, 6, 7, 8.

[00:01:45] Talk about

[00:01:46] Paul: people not knowing what we're talking about.

[00:01:47] Sarah: Um, that's alright, everybody in our generation is going to be like, Oh my god, PBS Deep Cut, moving on. Uh, the gang succeeds in gaining access to the woman's house and they start digging. Sucre and [00:02:00] C Note. Uh, randomly meet up on the side of the road, and they join the others digging for the money.

[00:02:05] Eventually, Tweener is sent out to gas up the car. Ruh

[00:02:08] Paul: roh.

[00:02:09] Sarah: That turns out to be a big mistake, because while running that errand, he is captured by Mahone. Bum bum bum. Bum bum bum. Meanwhile, Haywire is off being whimsical and mostly [00:02:20] harmless. Um, elsewhere, Governor Tancredi sees Kellerman at the White House.

[00:02:24] I don't think it's the

[00:02:26] Paul: White House, but okay.

[00:02:28] Sarah: Oh, is it not that? Maybe it is.

[00:02:29] Paul: I thought it was

[00:02:29] Sarah: Wasn't he coming from a meeting where he's trying to Anyway, sees, um, sees Kellerman at some place that is Not where Kellerman's political and powerful. Yes. [00:02:40] Yes. And that upsets him because he also saw Kellerman at Sarah's house pretending to be her friend.

[00:02:44] What gives

[00:02:44] Paul: with that? Uh, in pop culture, the day this episode aired was also the day the New Orleans Saints returned to the Superdome for the first time since Hurricane Katrina. Superdome has been, had been used after the hurricane to house 30, 000 people who had lost their homes to flooding. [00:03:00] when the levees broke during the storm.

[00:03:02] And the next day, on September 26th, Martin Scorsese's film, The Dip Departed, debuted with a cast including Leonardo DiCaprio, Matt Damon, Jack Nicholson, and Mark Wahlberg, amongst many others. The film would win four Oscars, including Best Picture, and finally, a Best Director Oscar for Martin [00:03:20] Scorsese. Was

[00:03:20] Sarah: that his first Best Director?

[00:03:21] First and

[00:03:21] Paul: only.

[00:03:23] Sarah: Oh my god, that's wild. Uh, I saw that movie in the theater. Sure,

[00:03:26] Paul: me too.

[00:03:27] Sarah: Equally wild, um, because I didn't have kids yet. Okay, um. You know what's funny

[00:03:30] Paul: about seeing that movie now?

[00:03:33] Sarah: What's that? They

[00:03:33] Paul: look like children.

[00:03:35] Sarah: Do they?

[00:03:36] Paul: I mean, it's, Damon and DiCaprio look [00:03:40] like children. Oh, yeah, yeah.

[00:03:41] They're 20, they're like 25.

[00:03:44] Sarah: But they also had such baby faces their whole careers. They went from looking 25 to looking 50. But they don't, right, right. In like six weeks.

[00:03:52] Paul: Boy in a suit.

[00:03:52] Sarah: Like it was just sort of odd, yeah. That's what

[00:03:56] Paul: Liza always said. It's like a boy in a suit. [00:04:00] But which kind of works. It worked for the aviator.

[00:04:02] It works for certain roles.

[00:04:04] Sarah: 100 percent works for all kinds of, I mean, they're both amazing actors. They just have those faces. As opposed to like, I have a friend with a son who is currently 17 who has looked 40 his entire life. He's going to be a great 40 year old

[00:04:17] Paul: looking 40 year old too.

[00:04:18] Sarah: Born, yeah. Born.

[00:04:19] People are [00:04:20] going to guess he's 40 his entire life. When he's 80, it'll be great. Now it's That's super weird. Right. Anyway, moving on to global events. On September 17th, in Alaska's, uh, Katamai National Park, four peaked mountain erupted after that volcano had been dormant for 10, 000 years. Um, it was just super excited about going to the [00:04:40] department.

[00:04:40] Big DiCaprio fan. Anyway, big DiCaprio fan. Actually, it was Wahlberg. Right. Big Wahlberg fan. Um, and in catty political name calling news on September 20th, the president of Venezuela, Hugo Chavez, uh, who at the time was in fact alive, said this in front of the UN Generalist General [00:05:00] Assembly. I'm not going to do a Hugo Chavez impression because I don't have one.

[00:05:03] Um, yesterday the devil was here and it still smells of sulfur at this podium. Uh, except that presumably he said that in Spanish. He was talking, of course, about U. S. President George W. Bush. Of course. Um, in rhetoric that almost seems like quaint and charming. Right, that

[00:05:19] Paul: [00:05:20] was a big

[00:05:20] Sarah: deal. That was a big deal at the time.

[00:05:23] No. Yeah, that made headlines. Um, Hugo Chavez says something mean. And now, now it's like sweet pillow talk on Twitter. Okay. Um, let's go to, let's go to Marshall. Okay, and

[00:05:34] Paul: then we'll come back with our guest, Eric Norris.

[00:05:37] Sarah: We can talk quickly about the episode so that we actually [00:05:40] cover something in the episode and then we'll get to Eric.

[00:05:41] Paul: Okay, we'll be right back. We'll be right

[00:05:43] Sarah: back.

[00:05:49] Okay, we're back. Um, before we bring on Eric, some of you have pointed out, quite rightly, that sometimes when we have guests we don't actually talk about the episode. So, we've got a [00:06:00] couple of quick things to just go through with the episode. Right, and

[00:06:03] Paul: to tell, one, shut up, it's our podcast. Two Shut up. Shut up.

[00:06:08] No, I'm just kidding. I'm just kidding. It's not our podcast. It's the people's podcast.

[00:06:12] Sarah: No, no, it's our podcast. If it was the people's podcast, we'd have more people watching. And we could

[00:06:16] Paul: just talk and talk and talk about whatever we wanted. We know we're supposed to be talking about [00:06:20] Prison Break. As you can tell, we get sidetracked.

[00:06:26] Sarah: Yeah, we're like, look, squirrel.

[00:06:29] Paul: Prison Break related things,

[00:06:31] Sarah: but. Prison Break related things. Okay, so, I have a couple of notes on this episode. The one that's a mystery to me, because we actually did the rewatch a couple weeks [00:06:40] ago now, I have written down the name Steve Walters. Can you help me with that?

[00:06:44] Yes, so,

[00:06:44] Paul: uh, there's

[00:06:44] Sarah: a guy in the gas

[00:06:45] Paul: station that, I think, clocks Tweener?

[00:06:51] Sarah: The one who drops the dime on Lane.

[00:06:52] Paul: Drops the dime on Lane. Kind of a tall, lanky guy. Kind of looks like a very young John Cleese. [00:07:00] Okay. Uh, anyway, I keep saying, I've kept saying throughout the whole second season. Oh, that's Alison Tolman.

[00:07:09] Right. Who ended up on Fargo and like, uh, that's Derek Phillip. That's all these different people. I know that person through Steve Walters. Steve [00:07:20] Walters. Was on the show one day, and then I bumped into him at an a DR session and he was like, Hey, I am in this theater company. Uh, come check out one of our plays.

[00:07:31] And I was like, okay, great. Um, 'cause I'm an asshole and, uh, you're like, this is gonna, I was like, eh, I don't have anything to do. And I went [00:07:40] and like he had. Was already like an associate artistic director at the Dallas Theatre Center or something. He was like 22 or 23 And he had written like seven plays that had been produced there and he was had this theater company and they and it was all those Stacy Rostano, Derek Phillips, all these people that ended up on Friday Night Lights Alison Tolman was [00:08:00] I think I don't know if she was in the company or she was connected and so it was like one of those things where you're talking about like Dallas was very different for us and coming from wherever we grew up coming from Chicago.

[00:08:11] Suddenly, I was like, oh, there is this artsy young theater scene here of kind of like minded people. A lot of them [00:08:20] grew up in Texas, grew up in the south but you know, we're theater geeks and uh ended up becoming very, very close with with many of them and still close with a lot of them and Steve's a wonderful, brilliant writer and a great guy.

[00:08:34] For you Friday Night Light fans, uh, Billy Riggins. Is part of that group and his [00:08:40] wife, the stripper or dancer, played by Stacey, I didn't watch it so I don't know. But they ended up having their podcast.

[00:08:46] Sarah: You didn't watch Friday Night Lights?

[00:08:48] Paul: So you know who I'm talking about, so Taylor Kitsch's brother. Yeah, yeah, yeah, his big brother.

[00:08:53] And then his girlfriend Stacey, they were in that theater company and it's also a very close group.

[00:08:59] Sarah: [00:09:00] I, I know I've said this before, I will say it again. That first season is one of my favorite seasons of television. One of the other, one of the other things that I wrote down just because it was such an insanely stupid controversy Yeah.

[00:09:14] Is my shirt. Um, so there was a shirt that I was wearing. There was a shirt in the [00:09:20] Once Upon a Time, there was a shirt. Once upon a time there was a shirt. There was a shirt that I was wearing in our scene in the, um, grocery store.

[00:09:29] Paul: Uhhuh .

[00:09:29] Sarah: And, Sarah is always monochromatic, solid top, solid pants, usually black trousers or jeans, [00:09:40] whatever.

[00:09:40] And this time I was like, she's kind of coming out of like, she's trying to pull her life back together or whatever. And so it's this like blue paisley sort of chiffon y button up shirt. And the wardrobe designer and I were like, oh this could be cool, let's give it a shot, let's see how this works. Never expected it to be a thing.

[00:09:57] I got more notes on that [00:10:00] shirt, and so did wardrobe, than possibly any single scene I did From For the entire From producers and

[00:10:08] Paul: networks and studios?

[00:10:09] Sarah: Yeah, apparently like, the people watching the dailies were like, We hate the shirt. It's, it's too busy. It's horrible. Describe

[00:10:19] Paul: it again. [00:10:20]

[00:10:20] Sarah: It was just, it was like a paisley blue, there were like swirly things.

[00:10:24] It just wasn't monochromatic, I think. And I don't, I think maybe they thought it was distracting. I can't remember because this was a while ago. But it was a very odd, like, Like I think Gary Brown came to talk to me about it and was like, Hey, we know you really like that shirt, but we're going to ask you to change it.

[00:10:39] And I was [00:10:40] like, fine. Like ask you to change it?

[00:10:43] Paul: Like reshoot?

[00:10:45] Sarah: No, but it was like, I think the script day was supposed to go on for quite some time. And so I was going to be in it for a few episodes. And they were like, we know you're one of those actors who doesn't want to change clothes unless there's a reason to change clothes.

[00:10:58] But there's like, [00:11:00] there's like, I've gotten calls from LA about this shirt. And I was like, okay, that's fine. Don't worry. Like, I'm, I am not going to die on this hill. Um, But I'd forgotten all about it, and then we were watching that scene, and I'm like, Oh my god, it's the shirt! So that's, that's my shirt. Uh,

[00:11:15] Paul: let me ask you this question.

[00:11:16] As a director now, do you underst Are you more [00:11:20] I mean, you obviously didn't make a big deal about it at the time. But as a director now, are you more like, It breaks up the visual pattern, or like, It makes me look weird, or

[00:11:32] Sarah: No, I mean, I didn't it still doesn't stand out to me. As a director, I have been in the middle.

[00:11:38] [00:11:40] of big wardrobe

[00:11:41] Paul: kerfuffles

[00:11:44] Sarah: between wardrobe designer, cast, and studio. And it is one of the wonderful moments where I get to fully Homer Simpson in a hedge and be like, not my horse, not my barn. Like, I am Like you don't care. You know Well, it's not that I don't care, but [00:12:00] it's, as a visiting director, I actually usually have more opinions about hair, makeup, and wardrobe.

[00:12:05] Like, I've, I've come out of makeup meetings and be like, with people who are like, I have never in this show had a director actually ask me questions about eye shadow. Thanks for noticing I'm here. And I'm like, Oh yeah, man, I, you know, I came up in, in the [00:12:20] department that sits in your chair every day. And so.

[00:12:22] I like the idea of makeup telling a story and that kind of a thing. I think a lot of directors who are kind of older school dudes have a very like, I don't know, that's the girly stuff, do whatever you want, I don't care.

[00:12:35] Paul: Okay, so.

[00:12:38] Sarah: Want to introduce Eric Norris? Should we [00:12:40] get to Eric?

[00:12:42] Paul: Okay. Uh, here's a bit about Mr. Eric Norris before we bring him on. You may not Uh, Noah's face, because he's a stunt performer and as a stunt coordinator and stunt performer, it's kind of his job to be invisible, but you've seen his work a lot, and it's really great.

[00:12:56] He was a stunt coordinator, a coordinator on [00:13:00] everything from the current Magna PI to 24 to Walker Texas Ranger. He was nominated for an Emmy for his stunt coordinating work on Sons of Anarchy, a SAG Award for his work on the stunt ensemble on The Amazing Spider Man, and another SAG Award nom for Prison Break.

[00:13:14] Sarah: Um, he's also an accomplished driver who won the [00:13:20] 2002 NASCAR Grand National West Series Championships. Um, and he drives a lot, actually, on our show. And his father is Chuck Norris. Before we welcome Eric, uh, Paul, you want to change clothes?

[00:13:31] Paul: and, uh, welcome, Eric. One, two, boom. Oh, sorry. One, two, three.

[00:13:38] Sarah: Hi, dude.

[00:13:39] Paul: Okay, you ready? [00:13:40]

[00:13:40] Sarah: It's so great to see you. I just Forever. Forever. Forever. Why don't you

[00:13:44] Paul: age? It's kind of annoying.

[00:13:45] Sarah: You look exactly the same. But, I mean. It must be good lighting. That's all it

[00:13:49] Eric Norris: is.

[00:13:50] Sarah: That's the, that's the spirit. Um, by the way, my husband wanted to say thank you. Uh, while we were in Dallas, you connected [00:14:00] him up with the Machado Gym.

[00:14:01] Um, and he was rolling with Carlos and a bunch of his, uh, students. And it was the highlight of his Dallas experience. So, he, um, he wanted me to pass that on.

[00:14:12] Eric Norris: Now, is he still at it?

[00:14:13] Sarah: Well, he's broken his neck twice and separated his shoulder. And, and, and, and, and, and, and. So, he is not. Yeah. My [00:14:20] kids both roll.

[00:14:21] And, uh, I actually started a year ago myself, which is, like, why not start grappling when you're in your mid 40s? That sounds like a great way to, uh, learn some things about your pain tolerance or whatever. Um. So yeah,

[00:14:36] Eric Norris: it's, but it'll get your, it'll get your, get your butt in shape though. [00:14:40] That's for sure.

[00:14:40] Sarah: Yeah. And it, you know, actually, I mean, sort of a side note, but actually as a woman learning to fight on your back with someone bigger than you between your legs and like stay calm and stay focused has been like transformational. It's it's amazing. Um, yeah. So, so let's roll that into Dallas. It's season two.

[00:14:59] We're [00:15:00] coming down to Dallas. We end up with a hold on, hold on,

[00:15:02] Paul: let me go back one second because I want to do the introduction. Yeah.

[00:15:06] Sarah: Oh, you want to do that with him? Well, welcome

[00:15:08] Paul: back, folks. A bit about Eric Norris before we bring him on. Oh, I see, before we bring him on. Okay, go ahead. Eric, we're very professional here.

[00:15:16] I don't know if you can tell.

[00:15:17] Sarah: Yeah. I love it. We entirely know [00:15:20] what we're doing.

[00:15:21] Paul: All right, Sarah, hit it. Sorry.

[00:15:23] Sarah: Well, no, I mean, I'm just thinking, like, so we've already talked a little bit about, like, Dallas meant a change for everybody, but Dallas was your, you were part of the new Dallas crew that came in.

[00:15:35] Right? Yeah. Hold on. We have to say hi, Eric.[00:15:40]

[00:15:42] Didn't we? Sorry. Hi, Eric. How are you?

[00:15:44] Paul: Good. Really well. We just start in the middle. We're gonna start at the beginning. Okay. Uh, it's been, it's so good to see you. Um, uh, let's talk about Dallas a little bit. About coming on on season two. Right, Sarah? [00:16:00] Yeah. Hit it.

[00:16:01] Sarah: I, for what it's worth, all of that previous conversation, I'm happy to have it in there.

[00:16:08] I think Dallas was a really, Dallas was a big shift for us, but it was your home, right? Were you living in Dallas at the time or did they bring you out from California?

[00:16:18] Eric Norris: They brought me from California, but [00:16:20] I had been there for nine years because I was doing my dad's show because doing Walker, Texas Ranger.

[00:16:29] You know, Gary Brown brought me on So I knew everybody on the crew already because it was so much of our old crew So it was such an easy trans. Yeah, it was such an [00:16:40] easy transition for me.

[00:16:41] Sarah: Um And before, we've got a couple specific things to the episode, but also since you're here, there's so much like with the show in general.

[00:16:50] Is it different doing stunts in California versus Texas? By which I mean, Texas is, Texas felt like a right to work state with just fewer rules to [00:17:00] me generally.

[00:17:02] Eric Norris: I mean, I think only because, God, how many years ago was Prison Break?

[00:17:05] Sarah: 19. Season 2 was 19 years ago.

[00:17:09] Eric Norris: Nice guy. Well, everything's changed in 20 years, by the way, you know, every bit of our business has changed.

[00:17:16] And, you know, I mean, it [00:17:20] is different because in Texas, you don't have, you know, you didn't have the muckety mucks looking down on you, you know. As much as studio people didn't come to Dallas and check on us as much as if you're doing a show in LA for sure Yeah, yeah, you know and as long as you were safe and didn't do anything stupid and and they kind of left us alone [00:17:40] And you know that show went so smoothly.

[00:17:42] It was a well run machine

[00:17:44] Sarah: Yeah,

[00:17:45] Eric Norris: and we we had no issues

[00:17:49] Sarah: Um Okay. Paul, do you want to, I feel like I'm taking up No, please. I've, I've, I could, I, I

[00:17:53] Paul: have so many, I loved working with you, Eric. Um, uh, the season two of, of [00:18:00] Prison Break was really the first time. Well, I did a couple of stunts on a cop show in Chicago, but nothing like we did.

[00:18:05] Um, once we got into season two, um, when you're, when you're brought into a production meeting or when you have your first meeting with the producers or a director, how much of the stunts are you? [00:18:20] Taking from the script and saying, I'm going to do it exactly as is, or I'm going to come in and design something, um, or is that kind of give and take on the ground?

[00:18:31] Eric Norris: It's, it's definitely give and take. I mean, I mean, some shows they get, they'll write in the script, action [00:18:40] sequence, whatever stunt coordinator comes up with, you know, that, that happens a lot. I mean, yeah, but I was just in, Uh, Budapest on another Matt Olmstead show, you did exactly what Matt wrote. You didn't deviate it.

[00:18:56] You know, that was just Matt goes, here's, here's the action sequence. [00:19:00] Here's what we want to do. You know, so I don't remember it being quite. That strict, but I think, I think it was such a well written show. It was easy to go off of the script and you know, in our directors, we had such seasoned directors on that show, you know, I just went back and looked at them all and I was [00:19:20] like, wow, we, I mean, we had really strong directors that had a big opinion.

[00:19:25] So it was easy for me. One of the things we talked about prison

[00:19:28] Paul: break, you know, again, 19 years ago, it was one of the first. More cinematic shows, you know, shows weren't really shot like that at that time. There was only really a couple. And so, [00:19:40] especially we got into season two, we really felt, um, like visually it was super important.

[00:19:45] And the stunts obviously were a big part of that was your responsibility. Um, I don't think most people know this and correct me if I'm wrong. You're, you were responsible for the driving stuff too, right? A stunt coordinator. [00:20:00]

[00:20:00] Eric Norris: Yeah, anything, anything that had to do with the action, whether it was a little fight, somebody getting stabbed, a car chase.

[00:20:06] I mean, as much as, you know, I went back and watch, you know, episode six. And as much as Silas crawling into Dairy Queen to go eat that ice cream. He had to crawl through that window. So I was there with a, you [00:20:20] know, a chair or whatever. Pushing him in and getting him over. So, I mean, it's, it's, it's a little bit of everything big and small.

[00:20:27] I just gotta be there any chance that somebody might get hurt. I need to be there. It makes, it

[00:20:31] Paul: makes your, um kind of area of expertise, I think much wider than people would imagine. I mean, you're like you said, you went from somebody getting punched in the [00:20:40] stomach, somebody jumping off a roof to two cars smashing into each other.

[00:20:44] Like that's a pretty wide range.

[00:20:47] Eric Norris: It's a wide range. But listen, like you guys, we've been at this for a long time. There's not much that surprises us anymore. And there's, there's always the work. work your [00:21:00] way through whatever it may be, you know, so I mean, that was the one great thing about prison break. We had a little bit of everything.

[00:21:07] I mean, we had prison fights. We had car chases. We had, we had a little bit of everything.

[00:21:12] Sarah: I mean, we had water

[00:21:14] Eric Norris: work,

[00:21:14] Sarah: which is its own. It feels to me. I mean, I'm, I was actually, [00:21:20] there are episodes that had obviously bigger stunts in them. What was interesting to me watching this one was how many Stunts people might not know are stunts.

[00:21:30] Do you know what I mean? Like, any time T Bag puts a knife to somebody's throat, that's a stunt. Everything, Lane hits somebody in the face with a shovel, that's a stunt. And [00:21:40] what strikes me about that is that those littler things, like, I guess my question to you is, when you look at something giant, you know it's going to get a ton of attention.

[00:21:54] And we're going to really take our time and have a safety meeting and there's going to be doubles and there might be storyboards. [00:22:00] Is it sometimes trickier to do those little things because they can easily get underestimated? Or people can be cavalier with them? Or, not really.

[00:22:10] Eric Norris: No, a hundred, a hundred percent, especially You know, we had a, you know, a cast of characters on that show that [00:22:20] were, you know, some were easier than others and, you know, some, some, you just always kind of had to pull the reins back and make sure they're safe.

[00:22:28] And like you said, you know, I mean, Robert was such an amazing actor, but he was, you know, a wild card a lot of the time because he was in character, you know, so you always kind of had to be careful and [00:22:40] you, and listen, at the end of the day. You know, he listened, so you would talk to him and say, Hey, Robert.

[00:22:45] You know? Yeah. Let's do this. And he was fine. And, you know, it's just, like I said, it was a, we had a cast of characters that, you know, with Dom and everything else, but at the end of the day, they all listened and they were [00:23:00] all pretty safe, and it all went pretty smoothly. Can you

[00:23:02] Paul: recall, there was a, it was not in this episode, I think it was two episodes before, there was a scene where, uh, Bellic and Gary, where Wade And Gary are driving a car and Michael Lincoln are in a car and it is clearly them driving and the car is [00:23:20] like kind of ramming it on the highway and I'm like, I don't, I don't think that's a, that's not a CGI trick.

[00:23:27] That's not a green screen. That's real. Um,

[00:23:32] Eric Norris: I mean, that's, I think that's part about when you talk about going to Dallas and, you know, we, we had open roads. I wondered, you know, [00:23:40] that was some cowboy shit right there. That was some cowboy shit for sure. But, you know, we, there was nothing that we didn't do that we didn't discuss or at least rehearse and talk about it.

[00:23:51] And, you know, we, it, it was never. Let's just go do this and crash into each other and see what happens. Just from

[00:23:59] Paul: [00:24:00] experience, I'm like, Oh, wow. I can't believe they let them be in the car for that, which is great. I mean, the production value of that is incredible. Is there, do you remember, especially in, I guess, in season two, but season three was in Dallas too.

[00:24:15] So you were there for that. Do you remember the most challenging [00:24:20] stunt or most challenging day? Or maybe we, maybe that's. One big question.

[00:24:25] Eric Norris: Hey, you know I gotta go back and and remember it was so long ago, but you know, like I said everybody Was so seasoned on that show, you know, even the [00:24:40] whole dallas crew we went came from a show that was a huge action show that we did so much and it was just so easy to transition from That show and then, you know, we had kind of kevin hooks leading the way and Gary brown and they were so, you know, they were so hip to Action and all that.

[00:24:58] Yeah, you know, there was [00:25:00] never anything that I think was super overwhelming I mean there are things that put a lot of thought into it and and let's make this as great as we can But nothing super overwhelming

[00:25:11] Sarah: The Deadfall episode, I remember when we were shooting it and that's the one where Amaudi gets trapped under like a log.

[00:25:18] Oh,

[00:25:19] Paul: right.

[00:25:19] Sarah: [00:25:20] And I remember that being a lot, I wasn't in those scenes, but I remember just kind of like in the hair and makeup trailer, people would be like, boof. That's real because it was, it was all practical from what I remember. Like it was on location.

[00:25:34] Eric Norris: It was, we were in a river for sure. But, you know, listen, a lot of it is [00:25:40] smoky mirrors.

[00:25:40] You know, I mean, it wasn't like it was super deep. It was, you know, it was obviously super uncomfortable for our Maudie.

[00:25:47] Sarah: Yeah.

[00:25:48] Eric Norris: But there was never a time where it was like, Oh God, he could drown or anything like that. It was put him in and no, no, no. Or even, you know, you know, it's all smoke and mirrors, but we were definitely in a river and we had a [00:26:00] log on top of them and he had to go underwater and all that, you know, it was, you know, challenging, especially for a Maudie, but it was, it, yeah.

[00:26:09] Sarah: There's something about water work that I find, I mean, first of all, fundamentally as an actor, I usually love stunt work because your body and your mind are in the same place, whether you [00:26:20] want them to or not. You know what I mean? Like, sometimes the thing as an actor is like, oh, you can kind of get in your head and at the end of the day you're like, ah, I can't even feel my feet.

[00:26:27] You know the Robert Mitchum thing,

[00:26:28] Paul: N A R? I mean, it does, it also applies to, he would write N A R on certain scripts, which, in certain scenes, which meant no acting required. Oh, and like a [00:26:40] stunt is like you're not pretend. I mean you're doing it may be less extreme than it's going to end up looking, but you're doing the thing physically.

[00:26:47] You don't really have to add. You just have to do it. Right, especially with water work.

[00:26:54] Sarah: I mean, I don't know, at least for me, there is something about physically being. Soaked and [00:27:00] not being able to breathe that does something to like your nervous system. That's like, yep, I'm right here.

[00:27:07] Eric Norris: There's nothing fun about water work.

[00:27:11] I don't care what it is. If you're in the water, it's going to suck. It's going to be usually be cold and miserable and, and, and it takes forever. [00:27:20]

[00:27:20] Sarah: And it takes forever. And sometimes you've got to have special operators. I mean, I shot something, uh, a couple of years ago, and like, we had to bring in a whole underwater camera team.

[00:27:29] And so they're all brand new people to the show. Wasn't there an

[00:27:33] Paul: underwater camera on the thing, the drowning thing that we did, in whatever, that yetanus episode? [00:27:40]

[00:27:40] Sarah: Yeah, but I think that was a camera underwater. Oh, there wasn't a dive team. We had to have a team of people who were diving with their cameras, underwater operators, which is kind of its own, um, Anyway, uh, so okay, so when you talk about things going smoothly and we had some really steady hands at the [00:28:00] tiller, it does occur to me that, of course, the big wild card in any stunt is the fucking meat puppets, right?

[00:28:05] Like, and I imagine, especially in a set like ours, you would probably get to set and not necessarily know Are we going to have a day where someone's going, I have to do this myself, I'm going to do this myself, I'm going to do my own [00:28:20] stunt, or, hey man, this is not for me, please put somebody in. Like, what were those?

[00:28:27] I mean, listen,

[00:28:28] Eric Norris: you know, all you guys on that show were physical. You know, you were, Paul was, Dom, you know, Robert, [00:28:40] everybody was pretty physical, and not everybody always wants to do their own stunts. But sometimes they don't look as good doing it as a stunt person coming in and doing it. And, you know, there's, so if it's a fight scene or whatever, obviously you want to use the actor as much as you can.

[00:28:59] Sarah: [00:29:00] Right.

[00:29:00] Eric Norris: But at times you're just better off having a double. And let, here, let's just let the double go do this whole fight scene and then punch you in and let you guys do your thing and get that out of your system and get your good close ups and all that. But everybody, like I said, on this show was so physical and [00:29:20] really good that you can, I mean, even Wentworth got You know, pretty good with action.

[00:29:25] Sarah: Oh, yeah. He got super good with it.

[00:29:27] Eric Norris: Yeah, he did. And, you know, Dom obviously was super physical. Everybody was really physical. So, you know, it was easy to kind of punch you guys in and you know, and hopefully they would be [00:29:40] okay. And everybody was okay. Stick a double in there. Let's go do a big master of a fight and then pop everybody in and get some cool shots of the actors.

[00:29:50] And then of course That was, I think, maybe even that scene with the car scene. I thought Amaudi, we T boned Amaudi with Amaudi [00:30:00] in the car. And we had a camera and I was driving and Amaudi had to see me coming in and hit him right in the door. And we had put a bunch of tires and stuff to try to, to knock down to, but when I hit him, you could see Amaudi kind of hit.

[00:30:14] And you know, it was real. Yeah. And you did the driving there. I drove, [00:30:20] you know, you couldn't even see me. All it was was a car hitting another car. Right. And I think the camera was inside my car and seeing it. But I'm out. He was like a total trooper. A lot of actors were like, I'm not doing that or you lost your mind.

[00:30:34] But I'm out. He was all about it. And, and, uh, and I think it worked out great. I got to go back and look at it again. When

[00:30:39] Paul: [00:30:40] you, um. You were a stunt performer for a lot, probably for a long time. Right before you were a stunt coordinator or, or, and then a second year director, which I think a lot of people don't realize it would that stunt coroners oftentimes end up being second unit directors, meaning they're directing the entire sequence.

[00:30:59] [00:31:00] Sometimes the director's off shooting something in a diner while you're crashing cars and lighting guys on fire, but that you're in charge of the thing. How did you perspective on The whole enterprise change as you kind of moved into more and more responsibility, like did your, for instance, did your risk [00:31:20] tolerance change?

[00:31:20] Cause I'm sure as a young stunt guy, you're like, Oh, I want to do all of this stuff. But then suddenly you're responsible for other men and women who are doing stuff. And then you're responsible for the whole production. That's doing stuff.

[00:31:35] Eric Norris: You know, I mean, like we talked about things that really changed in [00:31:40] our business and safety, you know, I kind of feel like early in my career, you know what it was, obviously you never want anybody to get hurt, but it happens.

[00:31:51] You know, you break a finger, you break something, you do this and you just kind of cart them away and go, all right, let's get the next guy in. As long as it's [00:32:00] not extreme, you know, that was kind of back in the day. It was that's how you did it And these days it just doesn't fly anymore. Safety is such a huge concern and You know, so the most important thing, obviously, great, making a great shot is super important.

[00:32:18] But the most important [00:32:20] thing is at the end of the day, everybody grabs their stuff bag and walks away and goes home safely. And you know, and the big thing to now is with Uh, CGI and all that, you know, we've made it so much safer for stunt people, whether it's, you know, you know, people [00:32:40] don't do high falls anymore.

[00:32:41] And that, that was kind of the big killer of stunt guys is high falls. Yeah. I couldn't tell you the last time I had somebody jump off a building into an airbag, you know, everybody's on a cable now. And in whatever it is with CGI, everything has been made safer, you know, yeah, it's absolutely good. I mean, [00:33:00] even, you know, with the gunfire and the whole debacle with, you know, it has changed everything.

[00:33:06] You know, I mean, I love having blanks on set only because I think it just adds everybody reacts to it. But at the end of the day, it can be dangerous and it's easy to put a flash in a gun. [00:33:20] That looks exactly the same, you know, so it's just, it's, safety has just gotten so much better.

[00:33:27] Sarah: It's also, and forgive me, but it's also easy to set up a shot so that you're never pointing straight at a human being.

[00:33:34] I mean, I, I was, I was furious for days when everything happened on that set [00:33:40] because, you know, I think everybody who spent any amount of time Doing any kind of stunt work just goes there. 12. There's six things you could've done. 12. Yeah. Even if you wanted, even if you wanted blanks, you wanted a million, wanted million things.

[00:33:51] You know what I mean? Like there's

[00:33:52] Paul: a million irresponsible things. It's, I absolutely. Um, almost impossible that it happened. Um, just incredible that it happened. We're talking by the way [00:34:00] about it, is especially in the hands of somebody who's supposed to, we're talking about fucking

[00:34:03] Sarah: producer. I'm so sorry, but like this, we're talking about This made me, yeah, we're talking about Rus Hena Hutchinson died, and,

[00:34:07] Paul: um, the gun going off and Helena Hutchinson getting killed behind the camera.

[00:34:13] Sarah: Sorry, the gun being shot. So many things.

[00:34:14] Paul: Like,

[00:34:15] Sarah: like.

[00:34:16] Paul: I was shooting a movie at that time. Yeah, the whole

[00:34:18] Sarah: thing. Um.

[00:34:19] Paul: Where there was a gun on [00:34:20] set. There was one shot. And every other take, it was a rubber gun. Meaning it literally was just a piece of rubber. And even when it was a rubber gun. Yeah. The first idea would be like, gun on set.

[00:34:34] They would have an actor check it like this isn't even a dinkle. You could throw this at somebody and hurt them. But other [00:34:40] than that, it's not going to, I was like, right.

[00:34:44] Eric Norris: That, uh, that does drive me a little bit crazy, by the way. I get it. But when you have, when they say gun on set, it's a rubber gun, it's a rubber gun.

[00:34:51] You're like, okay, guys, I don't think we have to have a safety meeting for a rubber gun, but you're like,

[00:34:56] Paul: you know, but with that kind of, which I feel like has [00:35:00] happened in the last 20 years with that level. Of kind of, uh, attention to detail, which is, I'm fine with, it can be annoying, but I'm fine with it.

[00:35:08] For that thing to happen on Rust is, it's just mind boggling. I mean, if it's not 1970, you know, it's like

[00:35:15] Eric Norris: Exactly.

[00:35:18] Sarah: Well, and, I mean, something else that [00:35:20] I think, as I'm watching Impresses me and I just want to point this out for our viewers or listeners or whatever because I think you get more props for it we shot this on film and The other thing that I think has made stunt work easier at least on my side when I'm directing is that Nobody's [00:35:40] going, guys, six takes is expensive, you know what I mean?

[00:35:43] We can, we can try it five times the safest way possible and then be like, okay, this actually doesn't look great. So what do we need to make this, you know, whereas you're doing this kind of thing with giant film cameras, rolling actual celluloid. And there, [00:36:00] there is a pressure to that kind of thing when it's like, hey, once we veer into a certain number of takes, our budget's going up.

[00:36:08] Yeah. And that's, you know, I think, none of us are spring chickens in this business anymore. And I'm proud of the fact that we came up at a point where, like, [00:36:20] we've got a skill set to do things. To do things efficiently because it had to be done that way for the economics of the whole thing. And I just want the audience to know, like, double props to you because not only did you pull off some amazing stunts, but you pulled them off rolling film.

[00:36:37] Speaking of which, Eric,

[00:36:38] Paul: what do you, [00:36:40] what do you, is there something that, for our listeners, that people don't realize that is the stunt coordinator's responsibility? Like other things? That, um, people don't know that you guys do? That people would [00:37:00] be surprised? I mean, like, I talked about the driving stuff, but is there anything else?

[00:37:04] And the answer could be no, I don't know.

[00:37:06] Eric Norris: No, you know, I think, listen, anything that has to do with action on a set, you know, or even safety for that matter, I mean, it, it's, I think it's funny because the first ad is the [00:37:20] main safety person, the key grip, and then also the stunt person. You know, if you're, you know, I thi if I have stunt people on set, I, it's all, everybody's got an eye out for safety, you know, it's, you know, it's not just about crashing cars and putting roll cages in and [00:37:40] making sure.

[00:37:41] You know that everybody's safe. I mean, it, we're also there for the whole crew, you know, as an extra set of eyes and, and just to make sure the set is safe. I mean, it's not our, obviously our main thing. Mm-hmm. But we're there for that too. But, but as a stunt coordinator, I mean, it's, you know, it's, it is [00:38:00] far as a job in the movie business goes.

[00:38:04] I kind of feel like we've got the best job, you know, I mean, number one,

[00:38:08] Sarah: that's a cool way to feel

[00:38:09] Eric Norris: it. Well, okay, here, let me put it in perspective. If your hair makeup grips, you're there right at call and you're there till the 14 [00:38:20] hours later. You're there all day long. Yeah. As a stunt coordinator, a stunt person, you get to be creative, you know, come up with cool stuff.

[00:38:29] Well, we may not work till noon. You know, we may have a fight scene from 12 to, you know, 3, and we come in at 10, and, you know, we work a 5 hour day, [00:38:40] so you can almost have somewhat of a life. So you get to be creative, you get to do really cool stuff, and you're not on a movie set 14 hours every single day.

[00:38:51] Paul: Wow, that's cool.

[00:38:52] Sarah: Okay, totally, but also, I have noticed throughout my career, for whatever reason, the gnarliest stunts are always the last shot of the day. Always, and I don't And [00:39:00] it's like These guys roll up after lunch because they've got to jump off of a 75. This is, this is, you're right. Before, back when we had people who did these things, but I remember being on a set where they had, somebody had to jump off of an aircraft carrier and land into the water.

[00:39:12] And that is so far brought him in after lunch. And we were in like double overtime and they're like, all right, Simon, you're up. [00:39:20] Yeah, okay, let's go. And I was like, he's been here for like 10 hours. And it always seems to go that way.

[00:39:27] Eric Norris: That is kind of a crazy, it doesn't always end up. They always seem to push it to the end.

[00:39:32] Paul: That's for a very practical reason. Yeah, you've got five minutes, go. One, it could go on forever. It [00:39:40] always seems backwards. Two, it's like, if it goes wrong, We got the rest of our day at least. I mean, I mean, I mean, yeah. It's like, if we have to come back another day if it didn't work or, God forbid, something worse, it's like at least we didn't have to, you know, shut down.[00:40:00]

[00:40:01] Sarah: Oh,

[00:40:01] Eric Norris: God.

[00:40:02] Sarah: I didn't think

[00:40:02] Eric Norris: of that. Boy, you've got your producer brain on you. I've got your producer's hat on for that one. Yeah. Yeah,

[00:40:06] Sarah: 100%. Eric, have you ever Because I imagine your gut is like a reasonable part of your job. Have you ever been like, Sorry, flag on the play. Something's This doesn't feel right or this isn't right.

[00:40:19] Like, have you ever had [00:40:20] to be that person? Because it's hard. When there's 60 people standing around on a set to be the person to go, I gotta flag this play.

[00:40:28] Eric Norris: You know, a lot of times you're doing a big car wreck or whatever and obviously the DP or the camera, the director or whatever goes, Oh, I want to put a camera right here and I want it manned.

[00:40:38] And it's like, [00:40:40] Yeah, let's, let's not, that's a little, you know, I can't, it's a little too close. I said, lock it off and if we run it over, it's fine. I just don't want to put a cameraman on it or something along those lines.

[00:40:52] Sarah: Oh, cause shit, I forgot all about this. But one of the scariest things I've ever seen was on [00:41:00] season four.

[00:41:01] Do you remember when we were, I think it was Michael and Lincoln were in a, they're in like a Jeep or something. We were driving around the hills and. I can't remember if it was a stunt driver or if it was one of our actors and I want to say it was Dom, but it was nobody's fault. They lost control of the car.

[00:41:19] Going [00:41:20] around a turn, and we had a camera operator, we had a camera team, again, film, and they had to like bail off the side, there was like an embankment, and they had to like throw themselves down the embankment because the car skidded out, and again, it was, it was literally no one's fault, it was like, something happened and the car, they just lost track [00:41:40] of, you know, they ended up so far off the mark, and there was a camera operator on the side, They was just supposed to go shoo as they went by, but they like ended up, it was one of the scariest things I've ever seen.

[00:41:53] I remember jumping up outta my chair going, we just need to have the same number of living crew that we did five minutes ago. Like, that's, [00:42:00] that's the goal. And everybody was fine. Yeah. Um, but do you remember that time I kind

[00:42:03] Eric Norris: of remember they ended up having to jump down a hill? Yes, I do remember that. And I don't remember the details of it, but obviously it was a long time ago.

[00:42:13] Yeah, it was a long time ago. But I do kind of re you know what? And

[00:42:17] Sarah: again, nobody's fault. It was just one of those, like, [00:42:20] sometimes things go wrong.

[00:42:20] Eric Norris: But shit happens. Um, you know, there's just, nothing is, can be perfect all the time. And that, you know, as a stunt coordinator, that's one of the things you're responsible for, was when shit happens, you gotta be, okay, if this happens, we gotta be able to get the camera operator out and make sure everybody's [00:42:40] safe.

[00:42:40] You know, that's another part of our job.

[00:42:42] Sarah: Um, yeah. Oh, yeah. Do you have a favorite kind of stunt work? Are you just like, I love lighting people on fire? Like, is that I mean, I listen. I think

[00:42:52] Eric Norris: it's, it's for any, most stunt people, anytime you're doing car chases and stuff like that. I think that's

[00:42:58] Sarah: Well, and you're a driver.

[00:42:59] And I'm a [00:43:00] driver. That's your thing. That is my

[00:43:02] Eric Norris: thing. But so that's always a fun thing to me. But I mean, like I said, anything we're doing in this business, you know, I mean, most of it's pretty fun. Yeah.

[00:43:12] Paul: Um. We have some fan questions that we'd love to ask. We told the fans [00:43:20] you were coming. I told the fans you were coming.

[00:43:22] We're going to take a quick break and then we'll come back and ask Eric Norris your questions.

[00:43:31] Alright, we're back.

[00:43:35] Sarah: We're back with Eric Norris for some of your questions. I starred a couple of them. There was one that was [00:43:40] specific. LewisonXXI wanted to know, Eric if you remember this, because obviously this was a long time ago. I was there, I was there. How did they film The Haywired? I don't know why I

[00:43:50] Paul: was there, but I was there.

[00:43:52] Were you? I think I was shooting right, it was one of those I'm shooting right after.

[00:43:58] I don't remember the haywire. What was the haywire, John? [00:44:00] Mahone's kind of talk. Mahone. I gotta stop calling him Patrick Mahone. Mahone, he's up on a water tower. It's his demise. Oh, I do remember this.

[00:44:10] Eric Norris: Yeah. Yeah. That was actually a gnarly, gnarly stunt. Joe Box was the stunt guy that was doing it. [00:44:20] And he was on a wire, but it was weird because when he jumped off he had to go through Something so he it wasn't like he could Push out and jump.

[00:44:30] He kind of had to jump up and go straight down god. I forgot not used bring that up Yeah, that would wow Rehearse the heck out of it and [00:44:40] joe box At the time was like the big You know, high fall guy, wire guy and we had, he was the guy who did it and Dennis Scott rigged it and, and, but it took, uh, you know, two full days of rehearsing and rigging to get that, that would, that was a, that was one [00:45:00] of the bigger, actually, that was a bigger start of my career.

[00:45:03] That was a big danger. Yeah. How high is that? Water tower. It's that was giant. I, I couldn't even tell you, but it was not that it even matters if it's over 40 feet, you know, but that was two, 300 feet in the air. It was, it was huge. Yeah. It was [00:45:20] high. Holy cow. It was that high. It was really high.

[00:45:22] Paul: In the next episode.

[00:45:24] Right, Sarah? Jesus. I think we're getting there.

[00:45:28] Sarah: It's, it's either the next one. Well, it might be 8 or 9. This is episode 206. So I think it's either 8 or 9. I think it's 8 or 9. Um, by the way, it just occurred to me. That it would have been [00:45:40] relevant to you at some point somebody would have said to you by the way our leading lady is also Because that happened.

[00:45:46] I remember that too and It was I believe it was after we did all our bathtub stuff Because Paul asked me a couple episodes ago If I was pregnant for that and I'm 99 percent sure I wasn't [00:46:00] I'll know when we get there But, because that was kind of gnarly too, like, I remember that was, you know, that was a, that was a big day for all of us, and certainly I think it was my first stunt with you,

[00:46:12] Paul: ever.

[00:46:13] Sarah: And it was like, we're gonna start by, like, we're gonna start by torturing you, and by the way, hi, my [00:46:20] name is Eric Norris, yes, relation, charmed. Um, but uh, yeah, there were, season two, there were some big, big, big stunts. A lot of jumping on and off. I was pregnant for that fucking train. A lot of jumping up and I have never been so sick in my life.

[00:46:36] Eric Norris: Yeah, we did do a lot on that show. [00:46:40]

[00:46:40] Paul: Um, here's a good one. Yeah, we did. What are some of the most important skills to become a successful stunt coordinator?

[00:46:54] Eric Norris: I mean, I think number one is common sense. [00:47:00] You know, I mean, I feel like for me, you know, is you got to be able to read it and and be able to say, you know, for me, never. One of my things is I never say no to a director. You know, there's always, you know, if a director wants to do this and you look at it and you go, not [00:47:20] a chance, but there's always a way.

[00:47:23] There's no way I'm going to go up to a director and say, no, you can't do that because no director wants to hear it. And as soon as I do that, I'm going to alienate myself from him. So there's always a way to kind of maneuver. Well, that's, that's an awesome idea, but what if we [00:47:40] try it this way and try to maneuver so that it's still his idea, but we make it safe.

[00:47:48] You know, and it's important to be able to, you know, work that with a director and, and so, but, you know, common sense is super important. And [00:48:00] you know what, in, in my career, I have had a long, really good career by having the best people around me. I hire people around me that are smarter than me that make me look good.

[00:48:12] And. That can come whisper in my ear and go, Hey, how about this? And I go, Oh God, that's an awesome idea or no, whatever. But I I've made [00:48:20] a career about having people around me

[00:48:22] Paul: had done. I mean, you had done at least 10 years as a stunt performer before you were a stunt coordinator.

[00:48:33] Eric Norris: I did. I mean, I was right out of high school, you know, Yeah, I, you know, obviously my [00:48:40] dad was doing, you know, big action movies and my uncle was a stunt coordinator, so, you know, I

[00:48:45] Sarah: Sorry, just for the people who don't know, Eric, who's dad?

[00:48:49] Wait, what?

[00:48:49] Eric Norris: Uh, Chuck Norris. No. Yeah, you didn't know that, Paul. Yes. So anyhow, so I had a great, you know, here's, here's how it worked for [00:49:00] me. Right out of high school, I did a ton of stunts, and then when Walker started, my dad asked me to stunt coordinate it, direct second unit, and, and I was, as far as stunt coordinating and all that, I was really green.

[00:49:17] But like I said, I hired really great people [00:49:20] around me. And then I went to school for nine years. And I just learned every day I'd go to set and, you know, come up with ideas and make some really bad ones and I didn't get fired. Because it helps having your dad as the, uh, executive producer and lead actor.

[00:49:38] But for nine years, I went to [00:49:40] school and I went to the best training ever that just, you know, graduated all the way till now. And I'm, you know, every time I go on a show, I learned something new.

[00:49:49] Sarah: Apropos of that, in terms of bringing the best people around you, because I think you're right. Like. None of us succeed alone, so the best thing you can do is hire people who are better and [00:50:00] smarter than you.

[00:50:00] This, uh, this person here, firdevsrab. ia, that's F I R D E V S R A B. I A, um, has a really interesting question. What do you pay the most attention to when you're choosing a stuntman?

[00:50:17] Eric Norris: Well, I mean, listen, it [00:50:20] all, you know, you always want a real, well rounded stunt guy, but You know in today's Stunt person world.

[00:50:29] There's a lot of people that are Just fight guys. Oh just car guys just gymnasts, you know, they and they concentrate on they might be a free runner [00:50:40] So if you have a big let's say martial arts fight, you know, you're you're you're gonna want to go find the best martial artist or if there's like a big free running You know, running through the city, there's so many really good guys that do that.

[00:50:56] Or if you're doing a big car chase, you know, you're going to have your [00:51:00] group of guys that you know who are the best in the cars. You know, as a, as a stunt person though, you know, I think it's very important that you don't get pigeonholed into that one. Don't be just a fight guy. Don't be just a car guy.

[00:51:15] Don't be just whatever, a fire person. Go out and learn it all. You know, [00:51:20] so that it, that it's only going to widen your range of jobs you can do. I think it's important to do everything.

[00:51:29] Sarah: Oh, that's really good advice. Um, was there anything this person, B U R D U S A tutor, um, [00:51:40] and this kind of goes with something you mentioned before, he said, hello, Eric.

[00:51:44] After all these episodes of Prison Break did you learn something new working with that cast? Was there anything And again, I know it's a long time ago. It's fair to just be like, I don't fucking know. But, um I mean,

[00:51:57] Paul: other than,

[00:51:58] Sarah: other than that I was an

[00:51:59] Paul: [00:52:00] incredible physical specimen. Was there That is.

[00:52:03] Eric Norris: You, hey, by the way, follow Let's do another one.

[00:52:05] Fastest Dude in Harlem. You were, you could do fights. I loved it. You were okay, you did good. Yeah, um, you know what, I guess You're great with an iron. Yeah, I'm sure. You know what, the one thing I probably learned the most on Prison [00:52:20] Break is to handle personalities.

[00:52:23] Paul: Lots of them. We had lots of them. Because we had

[00:52:27] Eric Norris: big personalities and, and, and I think that has carried on into my career today is because no matter, you know, I did Sons of Anarchy, let's say.[00:52:40]

[00:52:40] And that was another show that had strong personalities and I learned a lot from Prison Break dealing with all our strong personalities and being able to that, to carry that on into other shows, you know, I mean, you, you kind of have to treat everybody a little bit different, you know, you treat Dom different than you do Wentworth, you know, when you're [00:53:00] talking about action, just because they had two totally different personalities, you know, so, so I learned a lot.

[00:53:08] Dealing with strong personalities on that show.

[00:53:12] Sarah: Does it feel like you ever have to inhabit a certain kind of masculinity as a stunt [00:53:20] coordinator or as a stunt man? Like, is there an expectation that like, ooh, the stunt guys show up and they're the tough guys. They're that like, is that something that you, especially as you talk about the business changing?

[00:53:32] Hey, you know what?

[00:53:33] Eric Norris: I don't know.

[00:53:34] Sarah: Maybe

[00:53:35] Eric Norris: I don't mind. I mean, here's my thing. Is, I mean, I've, I've made a [00:53:40] career in TV. I've gone from TV show to TV show, to TV show, to TV show. And, and when you go from TV show to TV show and you're on it for months and years at a time, you get to know the crew really well.

[00:53:56] And I think once you know the crew, the [00:54:00] people know who you really are, it's not like I have to come in with a chip on my shoulder. To think that I have to prove anything. I'm going to come in and do my job and I'm going to be friends with every, you know, it usually most shows at the end of the day, I come in and just have a good time with everybody and laugh.

[00:54:16] And I think the whole coming in with [00:54:20] any kind of trying to think you have to be something you're not, it's not a part of it. You know, I don't have to have a chip on my shoulder. You know, I'm going to come in and do my job and I'm going to do it the best I can. And most importantly, have fun doing it.

[00:54:36] Sarah: Man, it's good to talk to you.

[00:54:37] It's good to see you again. And congrats on, like, [00:54:40] the just, like, continued success and the directing and everything else. Like, you know, I always love it when I'm watching a show that I enjoy and then I get to the end and I'm like, Oh my God, that's my buddy Eric. Like, you know, you've been, you've been a part of some, uh.

[00:54:54] Some really extraordinary things and yes, with big personalities. Thank you so much for being here with us. [00:55:00] Thank you for having me.

[00:55:01] Paul: I've been really excited about this. We've got one final question for you. It's a wrap up question that we're asking every, every guest we have this season. Oh yeah, yeah. And it's, uh, it's part of the, part of the theme of the season.

[00:55:10] If you, this is going to be a good If you were fleeing the law, like the Fox River 7, 6, 5, uh, are, where [00:55:20] would you go? And why? If you're gonna, if you got your five million bucks and you were like, I'm out now, no one's ever going to find me. Where are you going?

[00:55:30] Eric Norris: I am going somewhere that has beautiful ocean water and sun.

[00:55:38] Paul: Yeah, no, I'm with you. Okay, you're [00:55:40] not

[00:55:40] Sarah: going to Park City to ski for the rest of your life? Yeah, maybe. But yeah, I'll be over

[00:55:44] Paul: that tomorrow. I'm with you. I'll see you on the beach because that's right.

[00:55:48] Eric Norris: Yeah I'll be hanging out on the beach somewhere

[00:55:52] Paul: Eric such a joy. It was such a joy working with you. I hope to again.

[00:55:55] It's just so great catching up

[00:55:57] Eric Norris: All right. Thank thank you you guys [00:56:00] Enjoy the slopes. Take real good care of yourself. I'm going, I'm going right now.

[00:56:04] Paul: Talk to you soon.

[00:56:04] Eric Norris: Bye. Awesome. Take care. Alright, take care of you guys. Uh, have a good one. Woah.

[00:56:08] Paul: Woah, we changed back. Crazy. Okay, thanks to all our fishes friends, folks for listening.

[00:56:15] This is a fun one. Uh, we invite you to subscribe to our watch party [00:56:20] episodes where you can watch the show with us Um, and here are live and idiotic but whimsical feedback, um, watch parties available to our subscribers. Join on the Patreon link which is on the show page wherever you're listening right now.

[00:56:33] Sarah: Um, and as you may already know, we are currently on YouTube, so you can watch these episodes there [00:56:40] translated into any language, which is cool. Maybe you're already doing that. Hi. Um, feel free to leave a comment and let us know what you think and what language you're listening to know. We're super curious about that.

[00:56:50] So, thank you for being with us, um, and thank you again to the wonderful Eric, Prison Breaking with Sarah and Paul. It's a Caliber Studio

[00:56:56] Paul: Kellis and Paul Adelstein. [00:57:00]

[00:57:00] Sarah: Our prison warden is producer Ben Haber.

[00:57:02] Paul: Hi Paul Edelstein and the front man of our jailhouse rock band. We made all the music.

[00:57:08] Sarah: Our prison yard, tattoo artist, logo, and brand designer is John Zito and Little Big Brands.

[00:57:12] Check them out at www.littlebigbrands.com and

[00:57:15] Paul: follow us on Instagram at Prison Break Podcast. Email us at pb [00:57:20] podcast@caliberstudio.com and call us at four oh one three PB break.

[00:57:26] Sarah: Prison Breaking with Sarah and Paul has been a Calibre Studio production. Thank you

[00:57:29] for listening. See you next [00:57:40] time.