265.Marissa Labog: The Art of Hitting the Ground

[00:00:00] Speaker A: Foreign. [00:00:04] Speaker B: Hello, my friend Dana here. Welcome. Where's the move Me. We're doing it. Oh, my God. I'm so excited about this guest today, you guys. Marissa Labog is a phenomenal dancer, stunt person, mother, production company, CEO, and all around badass who makes really hard things look really easy and has learned a lot along the way. And she's sharing some incredible stories and valuable lessons I'm so excited to share. But first, we do wins here at Words that Move Me. The win I am celebrating today is being open to almost committed even to cutting my hair. I have an appointment tomorrow, and y' all are just going to have to find out what happens. We're either going to do more of the same, which is some kind of cross between, like, Frodo Baggins and Bob Dylan, but we might come out of here like Tinkerbell, y'. [00:00:56] Speaker A: All. [00:00:56] Speaker B: I don't know. I'm feeling a pixie in my. In my near future. So that's where I'm at. Open to being a person with really short hair. What's going well in your world? Congratulations and am so glad that you're winning. My guest today, Marissa Lebog, is a stunt person that you will probably actually recognize as being X23 from Logan. She was also in the movie La Land with me. She owns a production company called UP Productions with a Z. And she is also in. She's the only person I know. Oh, wait, no. Maybe Chris was in it as well. Probably the most highly anticipated film of 2026. Odyssey by Christopher Nolan. Have you worked with Christopher Nolan? No. Then listen up to this podcast episode because you have something to learn. I think that's it, my friends. Let's get right into it. The one, the only, Marissa Labog. [00:02:05] Speaker A: No camera sees it. [00:02:07] Speaker B: I just did a front flip. [00:02:10] Speaker A: What was the word that we learned? [00:02:12] Speaker B: Kayatsi, Koyona, Scotsi. Marissa, Hello. The podcast. It's happening. We're rolling. It's on. We're on. Everybody's on. We're doing it. Welcome. This is so long overdue. [00:02:25] Speaker A: I know, I know. We've known each other for so long. [00:02:28] Speaker B: Did we meet on We. We knew each other before La La Land, but we're both in the traffic scene of La Land. When did we meet? [00:02:35] Speaker A: We did the Tina Turner tour with Basil. [00:02:40] Speaker B: Oh, my goodness gracious. I was one of Tony's assistants for that project. Yes. Oh, my God. Thank you for reminding me. Yeah. And Tony loves you. And to get an endorsement from Tony. Basil is not an easy accomplishment, my friend. [00:02:54] Speaker A: I think was A little upset when I started doing stunts, probably. Yeah. She was like, what are you doing? You don't have to do that. So. [00:03:01] Speaker B: Okay, that's a great question. [00:03:02] Speaker A: Yeah. [00:03:03] Speaker B: But first, introduce yourself. What do you want the listener, viewer to know about you? [00:03:06] Speaker A: Hi, I am Maris Lebog. I am multiple hats, I guess. Damn. Dancer, actor, stuntwoman, filmmaker. I have my own production company, UP Productions. And. Yeah. So I'm kind of an artist. [00:03:24] Speaker B: Yeah. [00:03:24] Speaker A: Put that all on the cap. [00:03:25] Speaker B: A renaissance woman. [00:03:27] Speaker A: Yeah. [00:03:27] Speaker B: Gorgeous. Thank you so much for being here. [00:03:29] Speaker A: Yeah. [00:03:30] Speaker B: Okay, so let's talk about your decision to. You're doing. You're dancing in movies, you're dancing in tours, and you're doing interesting work. What makes you go, I should do stunts. I should fall downstairs and get paid for it? [00:03:44] Speaker A: Yeah. I mean, it was actually a surprise. I had booked a movie where I was acting, but they actually needed a very physical person. They needed someone. An actress who could fall down. [00:03:56] Speaker B: And I was like, pretty sure I can manage that. [00:03:59] Speaker A: And I booked the job, and it was great. And then after, like, I literally. I think I got shot in the head, and I had to fall backwards. And after that, all the stunt guys were like, you should do stunts. And I was like, okay. Didn't really know anything about it. Didn't know, like, what it encompassed. And I had an amazing group of people kind of guide me through it. And because I had also martial arts training in my background, I did martial arts since I was 4, so I already had that there. And it just felt like a natural fit for me. And as I started to train it more and more, it was really just another form of expression because literally, it is movement. Yeah. Telling a story. Choreographed movement. Telling a story. It's just a different intention behind it. [00:04:45] Speaker B: Yeah. [00:04:45] Speaker A: Different emotion, 100%. And just the falling down part took a little bit of practice, you know, because it. I mean, it is. There's. Even if you do it right, it is gonna hurt. It's gonna hurt. [00:05:01] Speaker B: Yeah. [00:05:01] Speaker A: Yeah. So. So, like, that, you know, but it is a lot of training. Just like anything that we do within dance technique, it is 100% technique. It's. I feel like a lot of people assume that stance is just a bunch of, like, adrenaline junkies just, like, chucking [00:05:15] Speaker B: their cells, risking their lives. [00:05:16] Speaker A: Yeah. And it's highly. [00:05:18] Speaker B: Highly super technical. [00:05:20] Speaker A: Yeah. And calculated. [00:05:21] Speaker B: Yeah. [00:05:21] Speaker A: Yeah. And I. And I feel like there was a moment I remember going like, why didn't I have this? With dance, we get, like, hazard pay. Right. And. And I remember doing things as a dancer that was super. Like, dancing on scaffolding. That's, like, super high. No protection whatsoever. [00:05:36] Speaker B: In heels with a mask on. [00:05:38] Speaker A: Yes, exactly. And then you go into stunts, and it's like, everything, like, requires padding, rehearsals, [00:05:44] Speaker B: like, so do you feel safer? Do you feel. It was one of my questions for later. Do you feel more protected as a stunt person than as a dancer? [00:05:50] Speaker A: Yes, 100%. It is a hard thing to say because. [00:05:55] Speaker B: Because you know what it means and you know who's listening. [00:05:57] Speaker A: Yes, exactly. Because it's an unfortunate thing because I feel like, as dancers, there's such a underrated component to it. Like, we are. We are athletes as dancers, we are performers. Yes. But it's like, the amount of wear and tear that is done on our bodies as dancers is insane. Yes. [00:06:20] Speaker B: And I think the additional component. Stop me if I am getting it twisted, but is that usually we are paid to make it look easy and fun. [00:06:29] Speaker A: Yes. [00:06:29] Speaker B: You are paid to do things that look hard and painful. So on the receiving end of me watching you do a stunt, I'm like, oh, my God. Are you okay? Sure. But I watch dancers do things, and I'm like, they're fine. [00:06:39] Speaker A: Yeah, yeah, yeah. [00:06:40] Speaker B: That looks like fun. [00:06:41] Speaker A: 100%. You know, also, like, the pay rate is vastly different as a. As a dancer versus a stunt performer. And that was also something. Was like, an unfortunate reality. Yeah. And I still love dancing. I still do it. Like, I did a commercial last year as a breaker. Yeah. And I hadn't breaked in, like, I don't know, like, to the degree. Yeah. Like, it was sometimes 20 years, and. And I was like, oh, I still. I still had the moves. Like, it was still my body. That's cool. And, like, even, like, imagine even knowing, like, where the cameras were and, like, understanding, like, oh, don't land there. That was still there. But then the next day, like, I literally couldn't move. Could not move. I couldn't breathe. I couldn't laugh because, like, everything was just different game in a way that I was like, I. Like, I used to be able to do this for hours on end, and it didn't phase me. And now. Yeah, it's wild, but it's still in there. That's cool in there. [00:07:44] Speaker B: That's insane. To me, that. That breaking be like riding a bike to you. It's awesome. [00:07:50] Speaker A: I mean, there's definitely some moves that I'm like, I don't think I will get that back or necessarily want, like, head spins. I would never want to do again. [00:07:59] Speaker B: Me too. [00:08:01] Speaker A: My big thing Like. Like, as a dancer, I remember head slides was the biggest thing. Like, people are like, marisa, like, that's what you're known for. And I can still do it. But it's so painful now. Before, I was like, nothing. [00:08:14] Speaker B: Okay, so the work that you're doing as a stunt person is less painful because it's less demanding, or it's less painful because you're padded up and have all these techniques. [00:08:22] Speaker A: I mean, I wouldn't say it was less painful, but I think, like, the expectation's different. [00:08:27] Speaker B: Totally. Dancer can do this 14 times. [00:08:31] Speaker A: I mean, like. And they will push stunt performers to do that as well. But then we get. We get adjustments, which means that in the budget, stunt cornetors put in adjustments, which is depending on how many times you do a stunt or how severe the stunt is, you get extra money so that also caps, like, how much [00:08:51] Speaker B: the production is willing to make you do it. [00:08:52] Speaker A: Exactly, exactly. So sometimes if it's a high fall or whatever, they're like, hey, you got two. You know, and, like, here's. They're gonna get an actual. Like, you know, depending on high it is, could be an additional $8,000, you know what I mean, for that stunt. So there's more protection again, there. But I mean, like, there's some things that I've gotten that are just. There's no way around it. It's just gnarly. [00:09:16] Speaker B: Yeah. [00:09:17] Speaker A: Like getting thrown in trees or, like, going downstairs or, you know, like, there's things that you're just like, this is just gonna hurt. [00:09:23] Speaker B: Regardless. [00:09:23] Speaker A: Yeah, the padding. And regardless of the technique, it's just. [00:09:27] Speaker B: I'm curious if you have a favorite stunt sequence. As you're talking, I'm like, seven or eight are flashing in front of my mind that I'm like, oh, yeah, I bet that was. Oh, I wonder if they got extra for. [00:09:39] Speaker A: I mean. So there's two Columbiana, which was one of, like. It was like, my second stunt job ever, and I was flown down to Mexico City, and it was with David Bell. Some people may know him. He's like, the proclaimed creator of parkour. [00:09:56] Speaker B: Okay. [00:09:57] Speaker A: Phenomenal man. Like, incredibly skilled. And so he was my boss, essentially. And so I get down to Mexico City, and they're like, okay, so the first thing you're gonna do is you're gonna jump out of this third story window onto a balcony. You're gonna jump off the balcony down to another one and cat it. Which means, like, you grab onto the railing like this. Like a cat. Yeah. You're gonna push off of that, grab onto a drainpipe and then jump onto, like, the top of a car. That was my first sequence ever on this job. And it was like, oh, oh, okay. And David being David, like, he's just so used to that stuff. Like, there was not really a rehearsal. It was just like. And you go. And the whole production was very much like that. Like, I was, like, jumping, like, off a roof, down through another roof, landing onto a table. You know, sequences like that where it's just like, what am I? What? What? [00:10:54] Speaker B: How do I mark that? Yeah, market. Like, are we going to market? We're going to market first. I mean, there's no marking that. Right. [00:11:00] Speaker A: Well, like, you. You can, like, do steps. You could do baby steps. Like, you can put down, like, a nice fluffy pad and, like, look at the hole. Jump through the hole and right. Right over the wall. [00:11:09] Speaker B: Yep, yep. [00:11:10] Speaker A: And then you, like, jump, and then you. [00:11:11] Speaker B: So you can mark it. [00:11:12] Speaker A: You can kind of mark it, but depending on the amount of time you had. I didn't have a whole lot of time. [00:11:20] Speaker B: Right. [00:11:20] Speaker A: It was just like. And you go. So, like, one of them. I had to, like, literally jump off a roof, land on top of a refrigerator, and then jump off the refrigerator. And, like. And I had no rehearsal for that one. None. [00:11:33] Speaker B: How does that make. That doesn't make any sense. [00:11:35] Speaker A: It was just like. Literally, it was just like, hey, Marissa, [00:11:38] Speaker B: did you not have rehearsal? Was there just a fluke of a thing? [00:11:41] Speaker A: It was a fluke of a thing. It was like we were just running and gunning and we were in Mexico City and. [00:11:45] Speaker B: Yeah. It's go time. We're going. [00:11:47] Speaker A: Yeah. [00:11:47] Speaker B: Okay. [00:11:48] Speaker A: And I mean, part of that, like, for me, I think, was helpful because I was A, knew, so I didn't know any better. And then B, because everything was such a, like, mad dash, I didn't have time to think about it. [00:12:02] Speaker B: Totally. [00:12:02] Speaker A: It was just like, I got there. You're gonna do this. Oh, okay. [00:12:07] Speaker B: And you did it. [00:12:08] Speaker A: And I did it. [00:12:09] Speaker B: And maybe. Okay, so what Batman is it where. It's Christian Bale, and he's in the prison in the depths, and he's trying to climb his way out. Dark night and everybody's allowed to try to escape. [00:12:24] Speaker A: Yeah. [00:12:25] Speaker B: And they give you a rope, even. And when you. Batman Begins and when you wear the rope. [00:12:29] Speaker A: Yeah. [00:12:30] Speaker B: You miss. But he chose to not wear the rope. And he made it out because he was jumping for his life. So maybe the additional adrenaline of, like, I don't know. Better do it. [00:12:41] Speaker A: Well, it means interesting. Like, there Is a lot of us talk about, like, this need for three, two, one, action. [00:12:46] Speaker B: Yeah. [00:12:47] Speaker A: Because I feel like if they're, like, an action, I generally, like, freeze. [00:12:52] Speaker B: Ooh, interesting. [00:12:53] Speaker A: If it's, like, a very intense stunt, I love this. But, like, if there's like a 3, 2, 1. [00:12:58] Speaker B: Gives it a rhythm. [00:12:59] Speaker A: It's like 7, 8. Yeah. And it almost is like, there's a countdown. You have to. You have to go. [00:13:04] Speaker B: Yeah. [00:13:04] Speaker A: Three, two, one. Ah. You have to go. You know what I mean? Like, it's just. That's just what happens. [00:13:08] Speaker B: Have you been skydiving? [00:13:10] Speaker A: I have not, actually, which is so weird. [00:13:12] Speaker B: That is one stunt that I have done that you have not. Yeah, the only one, probably. I have been skydiving a couple times. [00:13:20] Speaker A: Yeah. [00:13:20] Speaker B: I am obsessed with it. I really love the freedom. It is. [00:13:25] Speaker A: Yeah. [00:13:26] Speaker B: Free. [00:13:27] Speaker A: Yeah. [00:13:27] Speaker B: And at a scale that. That I don't think you can feel with feet on the ground. [00:13:32] Speaker A: Yeah. [00:13:33] Speaker B: It is a kind of free. Like when you can see the curvature of the earth, but that's how far away you are unfreaking real. And I'm thinking of this. This memory came up because my coach. Instructor. Instructor. Skydiving instructor. Because you can't go alone, so you're tandem. Also side story on him. I dated my skydiving instructor for a short time. It's fine. I trusted him with my wife the day I met him. This is recipes for. For success. But he didn't want to rehearse with me on the ground. Everybody's partner. I went with a group of people, and they were all kneeling together, and like, three, two, one. And then we're gonna do this. And they're, like, having a rehearsal. And I was like, hey, are we gonna. Are we gonna rehearse? And he's like, no, I don't think. I don't think you need it. And I was like, no, I do need it. I actually love rehearsal. I'm a dancer. This is what I do. I rehearse. This is I. Part of my core, central part of who I am is rehearse. [00:14:30] Speaker A: Yeah. [00:14:31] Speaker B: And he's like, nah, I think we got. Got it. And I was like, what the. Okay. Okay. So we go. We're at the place. You're the expert. And I trust. And we get to the place, and he's like, I'm going to count three, two, one. And I was like, okay. And then he didn't count three, two, one. We just went. And I was like, like, the air is ripped from your lungs. It's so much fun. It's so cool. But apparently that kind of abuse of my trust was. Was a turn on. I don't know. It's so much fun. And I. I do get the idea of, like, having preparation for something. Finding a rhythm before you go is super critical, especially being a dance type. [00:15:09] Speaker A: Yeah, yeah. And I think, you know, there's also that within collaboration, like, you have wire work stuff, which is literally, you're on the line and you have rigors on the side and it helps kind of. It's a partnership. [00:15:22] Speaker B: Right. [00:15:23] Speaker A: Sync you all. [00:15:24] Speaker B: Yeah, it is. It's weight sharing. [00:15:25] Speaker A: Yeah, yeah. [00:15:26] Speaker B: Do you have favorite types of stunts and least favorite types of stunts? Like, I have favorite moves and least favorite moves. [00:15:31] Speaker A: Yeah, yeah, yeah. I mean, I. I love wire work. I think that's super fun. Except when it's like, we're gonna thrust you into the ground or thrust you into a tree or. You know what I mean? Like, that's. They're called ratchets. And basically, like, you're on a machine and this machine just, like, rips you back. And then there's a thing called Deadmans, which are the most horrific things. [00:15:53] Speaker B: Sounds pretty awful. [00:15:54] Speaker A: Yeah. Like, literally, like, you have two lines and, like, one will thrust you one direction, the other one stops you. So you like coon? [00:16:01] Speaker B: Yeah, my spine hates it. Yeah. [00:16:03] Speaker A: Oh, yeah. So that I don't. I don't ever. [00:16:06] Speaker B: I'm like, are you in a place career wise and. And when you are proposed with a project, do you get to know what the stunts are and then say yes? [00:16:15] Speaker A: And it depends. It depends. Some of them, yes. Like, if it's a car hit, they will generally tell you, like, hey, you're going to do car hit, you know, and that's when I'm like, maybe somebody else. [00:16:24] Speaker B: Yeah, yeah. I'm gonna pass on that. Let the youth. Let the youth take that. [00:16:27] Speaker A: Yeah. Oh, yeah. But there's other ones where you get on the job and like. [00:16:34] Speaker B: And you find out this is what we're doing today. [00:16:36] Speaker A: Yeah, yeah, yeah. Especially if you're a double. If you're like, doubling them. [00:16:40] Speaker B: Oh, yeah, for sure, for sure. [00:16:41] Speaker A: Like, sometimes you just don't know. [00:16:43] Speaker B: Yeah. [00:16:43] Speaker A: And you're like, oh, oh, oh. Okay, okay, Okay. [00:16:48] Speaker B: I want to talk about some recent projects of yours because I know you've been very busy and up to some very exciting stuff that I'm really jacked about. [00:16:55] Speaker A: Yeah. [00:16:55] Speaker B: And then I want to production company, because there's nothing I love more than a badass woman is a badass woman with a production company. Let's Go. [00:17:04] Speaker A: Yeah. [00:17:05] Speaker B: But first, let's talk about the badass part. So, Odyssey. [00:17:09] Speaker A: Yes. [00:17:10] Speaker B: Probably one of the most anticipated films of this year. [00:17:14] Speaker A: Yeah. [00:17:14] Speaker B: And you were a stunt performer. How many days did you work on the project? [00:17:18] Speaker A: So, for me, it was two weeks. Okay. On the project, so I didn't do the full run of it, but I got to go to Scotland for it, which was really fantastic. [00:17:26] Speaker B: Incredible. [00:17:26] Speaker A: Yeah. [00:17:27] Speaker B: I know you can't talk too much about the project itself, but could you tell me a couple lessons learned at working at that scale? Sure. [00:17:35] Speaker A: I mean, it's interesting. One of the. And again, this. This is dependent on, like, the production and, like, who's involved and whatnot. This particular one, Chris Nolan is a genius. He's amazing. But he's also very spontaneous. So there's things. Yeah. So there's things that you're just. Oh, did not know that was going to happen. You know what I mean? And, like, you just kind of have to roll with it. Yeah. But I do have to say it was one of the most remarkable experiences ever, because the team, it, like, it solidified this way of working. [00:18:12] Speaker B: Right. [00:18:12] Speaker A: That made the team so strong. Ooh. [00:18:15] Speaker B: It's like, we got this. Let's elevate. [00:18:17] Speaker A: We can. Yeah, yeah. And. [00:18:19] Speaker B: And also meet the vision. [00:18:21] Speaker A: Absolutely. And, like. Yeah, absolutely. Like, we all just rose to the occasion because, like, things are just, like, happening. [00:18:26] Speaker B: Yeah. [00:18:27] Speaker A: And, like, you know, like, when Chris Nolan is saying, like, hey, I just want this to be more violent, you're like, oh, okay. You know, and, like, having to adjust to that and, like, selling that, and the stunts just got harder and harder at times. [00:18:41] Speaker B: Okay, quick. [00:18:42] Speaker A: Like, really [00:18:45] Speaker B: question. If I'm a dancer on a project and somebody's like, I need this sexier, I can think of several ways that I could do that, but I'm trying to put myself in your position. And when Chris Nolan says, I need this to be more violent, how do you, a technical stunt person, make something look more violent? [00:19:05] Speaker A: So, like, it's. It's a lot. Like, there are times where a. Like, the. The stunt would potentially change. [00:19:15] Speaker B: Okay. Like, actually changing the choreography. [00:19:17] Speaker A: Yeah. But the other things that you can do with your body is there's, like, more release that you do. So, like, there's. [00:19:23] Speaker B: I. In my mind, it was like, more hair. [00:19:25] Speaker A: I mean, kind of. Right. You know what I mean? But it is that kind of like. [00:19:29] Speaker B: Like, more. [00:19:30] Speaker A: Yeah. Like, whip. And kind of scaling up the actual, [00:19:34] Speaker B: like, the physical space that your body is taking. If my arm. If my shoulder gets it, it can get Hit like that, or it can get hit. So you, like, dramatize the range of motion. Okay, that makes sense. [00:19:45] Speaker A: Yeah. [00:19:45] Speaker B: And then emotionally also, do you like more anger? More. [00:19:48] Speaker A: Yeah. Oh, yeah. Are you acting? Oh, you're 100% acting. Like, I think that's also something that people don't talk about as much when it comes to stunts. [00:19:57] Speaker B: For sure. [00:19:58] Speaker A: It is all acting. You have to, like, you have to act injured. You have to. Your movement is based on your character. [00:20:07] Speaker B: Yep. [00:20:08] Speaker A: So, like, one moment you're a housewife, you're going to move different than if, like, you're a superhero or your housewife [00:20:14] Speaker B: who just had a burglar walk in. [00:20:15] Speaker A: Yes, correct. Like, it's all. It's. It's all right. So when people say that stunt performers are not actors, it's. It's ridiculous. [00:20:26] Speaker B: No, it's like saying that dancers aren't actors. [00:20:28] Speaker A: Correct, correct. We do. [00:20:30] Speaker B: We do share lots of overlaps. We. [00:20:32] Speaker A: A lot, actually, which makes so much sense. [00:20:35] Speaker B: I'm actually. Sam Osoto was a guest who also is a dancer who has transitioned into stunt person. [00:20:41] Speaker A: Yeah. [00:20:41] Speaker B: I'm surprised, actually, that this isn't a More common. [00:20:44] Speaker A: There. There are quite a few dancers in our world. [00:20:47] Speaker B: You're like. You just don't know about them. [00:20:49] Speaker A: Yeah, yeah, yeah. No, there's. There's quite a few. [00:20:51] Speaker B: Kayla Radomski, I heard, is a stunting person these days. Right. [00:20:56] Speaker A: There's like Lauren Kim, like, different generation. Like Lauren Kim, Jade Kwan. [00:21:03] Speaker B: I am gonna say right now, I do not think that that transition is for me. [00:21:07] Speaker A: Yeah. I mean, like, it's not for everybody. No, it. Because it is. [00:21:11] Speaker B: I'm a vertical. I don't even really like being upside down. [00:21:14] Speaker A: I mean. Cause there is definitely one thing I have to say. Cause, like, some dancers have approached me and some I'm like, ooh, yeah, you'd be great. And some others where I'm like, movement wise, you'd be fantastic. But the amount of times we hit the ground or the amounts we have to make those impacts or like, that part of it is a real part of stunts. And so if you can't handle that, then you can't be a stunt performer. Really. [00:21:43] Speaker B: Could you, like, really cleanly to any dancers, other. My audience, primarily dancers, but to anybody out there listening who. Who might be thinking, like, dude, I might be able to pull that off. Could you neatly contain, like, a great stunt person is a stunt person, is a person who. Blah, blah, blah, blah, blah, blah. [00:22:02] Speaker A: I mean, like, you. Your job is to hit the ground. Your job is to wreck. So if that is the, like there's all these other skills, like fight skills. Absolutely. Like wires would be great. You know, but fundamentally the, the basis of your job is. [00:22:18] Speaker B: Are you okay hitting the ground? [00:22:19] Speaker A: Yes. Yeah. [00:22:21] Speaker B: I am not. [00:22:22] Speaker A: You have to like, know that you're okay to hit the ground. You have to know you're going to be in like really precarious situations where like you're getting thrown into objects into, you know, like, if you're okay with [00:22:31] Speaker B: my, like that at the end, like watching it back, it'd be like, yeah, I did that. That's tight. But in the process. [00:22:36] Speaker A: Yeah. [00:22:37] Speaker B: And it's all process your 12 hour, 16 hour days of that. [00:22:41] Speaker A: Yes. [00:22:41] Speaker B: And then you get to the final product and you can't even see your face because they. [00:22:46] Speaker A: Or like you did like a gnarly wreck on the ground. And then you like look at and you're like, oh, we didn't even see the floor. Why did we not have a pad down on the ground? And save our. Yeah. Save our bodies. You know, like, so there's things like that like also happen. [00:23:00] Speaker B: And that's on the stunt coordinator kind [00:23:02] Speaker A: of, sort of to me. I mean, like, because sometimes you just, you, you, you just have no idea. [00:23:07] Speaker B: Especially if it's a camera operator getting the chise. [00:23:11] Speaker A: Yeah. Or, or the director has a certain vision and like it changed or like, you know, things happen spontaneously or, you know, that type of thing. Yeah. [00:23:19] Speaker B: Okay, I want to. We'll put a pin in our conversation about stunts for just one second after I read you being brilliant on your Instagram. I know I didn't tell you I was gonna do this, but I'm doing it. [00:23:33] Speaker A: I was brilliant on Instagram. [00:23:34] Speaker B: Yep, you were this. Do you remember this? [00:23:38] Speaker A: Oh, yeah. I mean, I don't remember what. [00:23:41] Speaker B: Okay, so you posted a video of you playing with your 3 year old and some texts on top that helped me understand at least what it might mean to live in that dual space. [00:23:54] Speaker A: Sure. [00:23:55] Speaker B: One as somebody who's scared of someone falling on the floor and the other one is somebody whose job it is to fall on the floor. And you say, unfortunately, I do love thinking bruises equals choreography notes leaping off buildings but still needing a stool to reach the top shelf. Mixing ballet with brawls Plie leads to punch which I totally understand saying I'm fine with an ice pack taped to every limb Choreographing fights like their modern dance routines Doing flips that make people gasp than asking for some help Opening a jar being 410 but still the Scariest person in the scene. And calling falling downstairs practice, I was like, dang, what an experience of the world and of risk. Do you think that because of this being your job, that risk itself is attractive to you? Do you think of yourself as being a risk. Risk averse person? [00:24:53] Speaker A: I don't know about that per se, but I do think. I mean, I definitely have become more courageous through this process of being a [00:25:03] Speaker B: stunt performer, for sure. [00:25:05] Speaker A: I think there's. There's no way to go around that, I feel like, because it's like, it's not that I'm not scared of doing things, it's just that you're like, you [00:25:16] Speaker B: have evidence that you can. [00:25:18] Speaker A: Absolutely, absolutely. Like, and every stunt is different, even though it's safe, similar to something else. But it's like, it's like you kind of keep, like, adding on to that layer of like, oh, okay, I survived that. [00:25:29] Speaker B: If I did that, then I can do it. [00:25:31] Speaker A: Absolutely, absolutely. [00:25:32] Speaker B: If I did that, then I could do it on fire. [00:25:33] Speaker A: Yeah. You know, and then also your expectation of things and also the people that you're around starts to heighten in a certain capacity. And so, like, I have the most amazing group of people in my life. And there was. There was a perfect, perfect example. There was a moment where a group of us who are veteran stunt performers just were training one day. And like, there are some days where you're like, your mind just kind of is racing and it's just not wanting to allow you to do anything. Like, you're just overthinking everything and you're like, you're seeing the potential for harm. Like, you're seeing, like, the injuries, all those things. And we just had one of those days. And, like, all of us were having it in different moments. And it was interesting because it was. We all had to help each other understand. Like, oh, let's just go back to the basics. What was the first level of this? And then it was like, oh, and then just take the next step and then take to the next step. And then, like, by the end, you're like, doing the thing and you're like, oh, that's right. Like, I know how to do this. This has been in my body. [00:26:40] Speaker B: Marissa, you know, you're speaking to me. [00:26:42] Speaker A: Yeah. [00:26:43] Speaker B: There are so many different entry points to solve a problem. Yeah, right. Like, okay, let's look at it from this way. Okay, well, don't think of it like that. Think of it like this. But what I'm hearing you say is that the base floor is where you need to enter the problem solving, at least in. In the these circumstances that showed up for you guys. But that's such a helpful reminder. I am so fast to try to solve a problem the hardest freaking way possible. [00:27:07] Speaker A: Yeah. [00:27:08] Speaker B: With, like, materials that are inaccessible and some exotic kind of blah, blah, versus, like, what is the 1.0? [00:27:15] Speaker A: Yeah. [00:27:16] Speaker B: Okay, do that. Okay, what's the 1.5? [00:27:17] Speaker A: Because, like, you need that to build into the next thing. Right. So it's kind of like, for instance, there's a thing called, like a sayochi, which is basically you. It's like doing a front flip but not completing it and landing on your back or landing on your side. And so we were trying to do things from height, which is the only [00:27:38] Speaker B: way that I would do a front [00:27:39] Speaker A: flip, by the way. Right, right. [00:27:41] Speaker B: What's it called again? I should know. [00:27:42] Speaker A: Sayochi. [00:27:43] Speaker B: That's what I'm going for. [00:27:44] Speaker A: Yeah, but so. But you have to, like, know first. Like, okay, like, let me get a forward roll first. Like, that's the basis. Right. And then it's like, okay, forward roll to a break fall, which is basically you. You're just doing a forward roll, but you don't complete it completely. And you just lay out and you hit the ground. But you're on the ground, so it's not like you're making impact. But just understand the mechanics of that. And then you just. Then you add a little bit more air to it. And then, like, then you do it, like, as a dive roll. And then. You know what I mean? And then. Yeah, it's a building process. Yeah. And if you skip any of those steps, it gets gnarly. [00:28:22] Speaker B: Yep. [00:28:22] Speaker A: And it gets. [00:28:22] Speaker B: Or muddy or hard to think about or. [00:28:24] Speaker A: Yeah, yeah, yeah. Like. Like when you think about. Yeah. Especially when it's like, starts getting heightened and you start adding multiple things to it, you know, or like height to it. [00:28:34] Speaker B: Or. [00:28:34] Speaker A: I'm going from this point to that point to get to that. Yeah. And you, like, skip steps versus just being like, oh, what is the fundamental basis of what I'm doing? Oh, it's this. [00:28:45] Speaker B: Listen, stunt lessons are life lessons. If you can look at a stunt that way and have a technique for going back to one. Adding a layer. Adding a layer. Adding a layer and accomplishing something you've never done. You also have the recipe for goal cultivation, for healthy. Having healthy relationships for, like, this is. This is such a beautiful reminder of the simplicity in how you can solve a problem or how you can not necessarily solve a problem, but accomplish something very challenging. [00:29:14] Speaker A: Yeah. For sure. And it's. And it's something that, like, it just takes time. [00:29:18] Speaker B: Yep. Impatience with you. Some compassion, maybe. [00:29:22] Speaker A: Yeah. [00:29:22] Speaker B: And an outside eye doesn't hurt like the. I'm not shocked at all. Although in my mind, you stunt people operate as individual little anomalies. But your teams and you train together and you work together and it does seem like a tight ass community. [00:29:37] Speaker A: It's a very tight community because, I mean, if you think about it, we're all there to keep each other safe. [00:29:41] Speaker B: Right. [00:29:42] Speaker A: So, like, that's the thing that I think I most enjoy about stunts. It is totally collaborative. [00:29:48] Speaker B: It is such a community and safety centered. [00:29:50] Speaker A: Yes. And. And even if you're not doing your stunts, you are there with a pad to assist in any way because you're like my friend, you're a spotter. [00:29:59] Speaker B: If you're not, well, you're not. [00:30:00] Speaker A: My friend's about to do something really crazy. [00:30:02] Speaker B: You're not in your trailer. [00:30:03] Speaker A: No, no. So, yeah. And then also within. We talk about it even in fight scenes. It's a dance, so you have to work with your partner. [00:30:13] Speaker B: Yep. [00:30:14] Speaker A: And. And it's never a singular thing. It's never like, it's a. It's not about me, you know, you had epiphany. It's going in. Yeah. [00:30:23] Speaker B: Because I know you're a Seaweed sister fan. [00:30:26] Speaker A: Yeah. Yeah. [00:30:30] Speaker B: Do you know Chris Silcox? [00:30:32] Speaker A: Yeah. [00:30:33] Speaker B: Yeah. So I don't remember why this happened, but he offered or we paid for it. I can't remember. He taught the Seaweed sisters a fight sequence because we'd never all. You've only ever see the Seaweed sisters, like, getting along and being ding dongs in the world. Sure. We're like, what if they fought? Like, what if they hated each other? Like, what's the nega. Seaweed. [00:30:56] Speaker A: Yeah. [00:30:57] Speaker B: And we learned to fight separate sequence. Do you want to see it? [00:30:59] Speaker A: Yeah. How long did you guys rehearse this? [00:31:01] Speaker B: Or like 30 minutes. I mean, like, we had the gym for an hour, I think, and he taught us some basic stuff, like some somersaults and some dive rolls and stuff. And then choreographed us a fight scene. [00:31:15] Speaker A: Oh, heck. Yeah, [00:31:19] Speaker B: she likes it. [00:31:21] Speaker A: This is hilarious. So that was a sayute, by the [00:31:25] Speaker B: way, that I did. [00:31:28] Speaker A: Nice. [00:31:28] Speaker B: That was Meg. [00:31:29] Speaker A: Yeah, that was a serious one. And her. Yeah, yeah. So that was. Yeah. [00:31:37] Speaker B: When I tell you. [00:31:38] Speaker A: Yeah. [00:31:39] Speaker B: We had so much fun that day. [00:31:41] Speaker A: Yeah. There's something thrilling about it for sure. [00:31:44] Speaker B: And very team. [00:31:46] Speaker A: Yeah. Like, you have to work as a team. Like, there's no way that. That would work otherwise. [00:31:51] Speaker B: I. I am. [00:31:52] Speaker A: I mean, that was. That was an epic fight. That, like, wasn't just like a basic fight. [00:31:55] Speaker B: It's an epic fight. [00:31:56] Speaker A: Yeah. [00:31:57] Speaker B: Seaweed sisters don't do basic. [00:31:59] Speaker A: I know, I know. [00:32:00] Speaker B: Okay, we're gonna also put the Seaweed sisters in the parking lot. I want to know about your production company. I really, really love the name. Could you talk a little bit about the name of the company? And then also you've got an important meeting coming up. You can tell us as much as you want to about it or not. But as somebody who loves learning and still resists those steep learning curves, can you talk a little bit about what you're nervous to learn? [00:32:29] Speaker A: Sure, sure. So my production company is UP Productions, and the UP stands for Undeniably Powerful, Unapologetically Present and Unique People. So. [00:32:40] Speaker B: So you know what you're getting. [00:32:41] Speaker A: Yeah, no, exactly, exactly. I created it because I wanted to a expand myself for sure. [00:32:51] Speaker B: Being around film so much and probably seeing it done. I won't say wrong. I don't know there's a right or wrong, but I know after being on a handful of sets feeling like I could do that. [00:33:02] Speaker A: Right. And like, just like wanting to tell, like, different stories as well, I think. [00:33:05] Speaker B: Thank you for that. [00:33:06] Speaker A: You know, especially like female based, minority based stories that just are not told. And then specifically because I am in the world of action, so much of our action is based on men and a viewpoint of men in a certain way. And I wanted to challenge that a bit because even, like, if you look at some of the female action heroes, so much of it is through the viewpoint of men. [00:33:36] Speaker B: Absolutely. [00:33:38] Speaker A: And so I want to see us as women being able to do action but not do it as a reflection [00:33:45] Speaker B: of a man or a man's values or a man's interests. [00:33:48] Speaker A: Yes, absolutely. Or even copying a man. You know what I mean? Like, I don't want to like dog on any movies, but it's like, you can see when it's like, oh, that's the same movie as. As the male version of it, but it's just a female version. [00:34:02] Speaker B: Right, right. [00:34:03] Speaker A: Versus it being like, for the female market. [00:34:05] Speaker B: Cha Ching. [00:34:05] Speaker A: Right. But. But not actually addressing the female component of that. [00:34:09] Speaker B: Yeah. [00:34:10] Speaker A: Like, I did my first film, When Kids Grow up is a very violent one. And I'm killing a bunch of people in this for a specific purpose. But it got into the SAG foundation showcase, which was remarkable. And one of the things that happened during the Q and A was that this guy was like, I Just need to say I hate your movie. And I was like, great, let's talk about it. Love you. You know, and. And he was like, I just. He's like, it's just so violent. And I was like, okay, is it violent because of me doing it or is it just violent in general? Because if you look at movies like [00:34:49] Speaker B: John Wick, like frame for frame violent. [00:34:52] Speaker A: Yeah. Like there's just so much more violence. Is it just something. [00:34:56] Speaker B: And like, did you mention John Wick? Did this person like other movies just not yours? [00:35:00] Speaker A: Yes. [00:35:00] Speaker B: Interesting. [00:35:01] Speaker A: And so it was very much a discussion about his perspective. [00:35:05] Speaker B: Him not wanting to see a woman be fighting. [00:35:07] Speaker A: Yes. And. And kicking ass. Yeah. And like killing in a way because. Goes from one point where you like are like accepting of the violence and you're kind of like cheering on the violence. And then it gets to a point where it's like over the top where you're like, oh, that's gotten a little bit too far. [00:35:21] Speaker B: Oh, this might not be a hero. This might be a. [00:35:24] Speaker A: Yes. You know, in a way that you're like, yeah, but this is still stemming from the same place that she was in. [00:35:31] Speaker B: Interesting. [00:35:32] Speaker A: You know. [00:35:32] Speaker B: Oh, I want to see it. Can. Can the listener. Viewer find it and watch? [00:35:36] Speaker A: Yes. So if you actually we have a YouTube channel Productions. Productions with a Z at the end. [00:35:43] Speaker B: Oh, that's right. [00:35:43] Speaker A: Yeah. [00:35:44] Speaker B: And U.P. [00:35:46] Speaker A: but you could actually just put up and then separate word productions. [00:35:50] Speaker B: Cool. [00:35:50] Speaker A: With a Z. [00:35:51] Speaker B: Okay. [00:35:51] Speaker A: Yeah. Excellent. [00:35:52] Speaker B: And the name of the film One [00:35:52] Speaker A: more time when kids grow Up. [00:35:54] Speaker B: And you have a couple in post right now, huh? [00:35:57] Speaker A: Yeah. So we have. When kids Grow up we have cleaning house that do really well in the festival circuit. One is a full on drama, thriller kind of thing and the other one is a comedy. [00:36:07] Speaker B: Yeah. [00:36:08] Speaker A: So that was. [00:36:08] Speaker B: She's got range. [00:36:09] Speaker A: It was hard that. The comedy's hard. And then I have. Yes. I have three in post production. All of them are vastly different. One is more of like a horror kind of based thing. And then the other one is. Is also comedy but very much like scary movie tone, which is something I've never thought to do. [00:36:35] Speaker B: Parody. [00:36:36] Speaker A: Yeah. [00:36:36] Speaker B: Would you call it parody? [00:36:37] Speaker A: Yeah, yeah, for sure. I mean it is. It's kind of commentary of like the industry. [00:36:41] Speaker B: Nice. [00:36:42] Speaker A: Filmmaking itself. [00:36:43] Speaker B: Nice. [00:36:44] Speaker A: And then the other one is actually a dance film which is epic. Yeah. [00:36:48] Speaker B: Do you. Do you have in house directors that you work with? [00:36:51] Speaker A: Do you. [00:36:52] Speaker B: Are you taking chances on new up and coming director? [00:36:55] Speaker A: I mean, I'm doing. I'm constantly researching. But the, the Two that did really well is actually a dear friend of mine who is a remarkable director who's now second unit director for a lot of different films. Shahab Rubari. He's incredible. He did my first two films that did really well. And then Josh Mabie, who's an upcoming also filmmaker, who's brilliant. And then this one that I just did was Jackie Guardi. I wanna double check how to pronounce her. Her last name. We call her Jackie G. Nice. She. She directed the. The most recent one, actually. We finished it yesterday. Oh, my God. We finished shooting it yesterday. [00:37:36] Speaker B: Oh, my God. And you're here right now. [00:37:37] Speaker A: Yeah. [00:37:37] Speaker B: And you look amazing. [00:37:38] Speaker A: Oh, thank you. [00:37:39] Speaker B: Oh, my God. Usually the day after a project, I'm [00:37:41] Speaker A: like, oh, yeah, the day after wrap. Yeah. [00:37:45] Speaker B: I'm like, oh, my God, that's tough. [00:37:46] Speaker A: Yeah. Okay. [00:37:47] Speaker B: Congrats. [00:37:48] Speaker A: Thank you. [00:37:48] Speaker B: You're very welcome. Making that many projects in a lifetime, let alone in a couple of years. How long have you been making films? [00:37:57] Speaker A: I mean, I would say. [00:37:58] Speaker B: And being a mom at the same time, no big deal. [00:38:01] Speaker A: Yeah, that. That's been an interesting journey. [00:38:04] Speaker B: Balance. [00:38:06] Speaker A: Yeah. [00:38:06] Speaker B: Not even balance. Like, do you ever feel balanced? [00:38:09] Speaker A: No, never. And pursuit of it to a degree, it's the most bizarre thing because I feel like it's two worlds simultaneously moving together in a way that it's like you're constantly being like, well, this needs this at this moment. This needs this at this moment. And then you're like, how do I find that middle ground? [00:38:35] Speaker B: Oh, my gosh. So brilliant. [00:38:37] Speaker A: Yes. [00:38:38] Speaker B: I'm getting this imagery of balance as in a scale. Right. You know that. Like the Libra symbol. [00:38:44] Speaker A: Yeah, yeah, yeah. [00:38:44] Speaker B: And you put still objects on that scale, like an apple and an orange. But a family is not a still life. They're moving all the time. So there is no such thing as the point of balancing the scale. [00:38:59] Speaker A: Yeah. And I think that's, for me, like, as I start, at least, I have to say I'm in a position in my career where I feel like I have more opportunity to break free from some of the structure in a way that, I don't know, I would have had when I was younger or would have had the courage to step away from it. [00:39:22] Speaker B: Do you mean the structure of career, structure of parenting? [00:39:24] Speaker A: Both, I think. Both. But I think understanding that I can make my own path versus trying to [00:39:33] Speaker B: fit the path that already exists. Correct, I see. Yeah. [00:39:36] Speaker A: Because I think that there was a period of time, obviously, you know, like, when you're starting out, you don't know what that is, and you're just following what everybody else is doing and trying to understand it. But, like, now I'm in a space where I'm like, okay, I've established myself enough and I have enough experience that I can, like, make my own path. Yeah. Oh, you know. Beautiful. [00:39:55] Speaker B: Listener, viewer, please, if you are thinking about laying your own fucking bricks out ahead of you, this is your signal, too. The answer is yes, you should do that. [00:40:05] Speaker A: Thank you. Yeah. I mean, because if I want the life that I want, which is basically having a career but also having a beautiful family, I want to be able to do that. And sometimes it's difficult when you're having to base your life on somebody else's expectations and schedule and schedule and then on top of it, like, what I. [00:40:29] Speaker B: And creative vision. [00:40:30] Speaker A: Yeah. [00:40:30] Speaker B: And. And. And. [00:40:31] Speaker A: And no, for sure. And, like, I want to now provide things that I feel like are not out there. Like, for instance, for the production company. Eventually, I'm like, I want to be a production that actually has daycare attached to it. Because I'm like, wait, who. Who wouldn't benefit from that? I don't understand why it's not part of production right now. Because it's, like, from directors to, like, PAs, like, there's a family having people. You know what I mean? There's such a large gambit of people, men, women, like it across the board, and it would just make a much happier environment and something that I feel like there's this consistent feeling of, like, you have to choose between one or the other. And it's like, why. Like, why can't we have both within that space? [00:41:16] Speaker B: Yeah. I'm so glad that you brought this up. I want to point people towards an episode that I did with a roundtable parents conversation that was really illuminating at just how underserved parents are in our community and how frustrating that is for them and how on top of the day to day of being a parent, being unheard and feeling unseen in your needs is like the awful cherry on top of an awful, shitty Sunday. And it just. It was really nice to give space and time to hear some perspectives on that. [00:41:55] Speaker A: Yeah. And it's interesting to see, like, what has. What individuals have to do in order to have a family and have a career. And it's the sacrifice. The sacrifices that you have to make. And it's like, well, I don't understand. [00:42:09] Speaker B: Can't we just build systems that support. Can't we just. Famous words. [00:42:15] Speaker A: Right, Right. [00:42:15] Speaker B: Like you pointed out, stunts is predominantly male. The dance industry is praying Is predominantly intersectionally marginalized. [00:42:27] Speaker A: Yeah. [00:42:28] Speaker B: Gay people of color, young. [00:42:30] Speaker A: Yes. [00:42:31] Speaker B: And so there's, like, a lot of different types of people in this group with a lot of different types of lived experiences. Trying to get everybody to vote or agree on the same thing or open a freaking email can feel like an uphill battle. But I do think it is the most important thing that we can do is be organized, Especially in times where the systems currently in place want us disorganized and want us distracted and they want us mad at each other. [00:43:03] Speaker A: Like, totally divided. [00:43:04] Speaker B: Totally divided. This is exactly the time to organize and to have independent companies, tools, systems, infrastructure. [00:43:15] Speaker A: Yeah. [00:43:15] Speaker B: To tell stories, to get people activated. [00:43:18] Speaker A: Yeah. [00:43:19] Speaker B: So, yeah. Thank you. In a big, big way for the big and small that you do. [00:43:24] Speaker A: Yeah. [00:43:25] Speaker B: Question. Are you comfortable sharing? How old are you? We can cut this. But I'm curious for Daniel. [00:43:32] Speaker A: Yeah. [00:43:34] Speaker B: The conversation about being a woman in our industry can't be had without including the conversation of age in our industry. The way that women are treated when they're young, the way that women are paid when they're younger. And it just, like, seems so backwards. [00:43:51] Speaker A: Yeah. [00:43:52] Speaker B: It's because the older you have gotten, the more tooled you have gotten. The more skilled you have gotten, the more ambitious you've, gotten, the more you mentioned courageous in your work. [00:44:03] Speaker A: Yeah. I mean, it's. It's difficult. The reason why, like, I have such a weird connection to, like, because me personally, I'm like, that's my age. Right. But the industry is so interesting in the sense, like, if the majority of the stunt community knew, there's this feeling of, like, oh, she's too old to be doing it. Even though you're like, dude, I just did the thing yesterday. Like, but it's kind of like that weird thing of it's not about a number. [00:44:32] Speaker B: Yeah. [00:44:32] Speaker A: You know what I mean? Like, it's just how you take care of yourself. [00:44:35] Speaker B: It's about an ability. [00:44:36] Speaker A: Yeah. So, like, if I say, if they [00:44:37] Speaker B: hear the number and you. And then the work stops coming. [00:44:40] Speaker A: Yes. [00:44:40] Speaker B: Do you feel the same pressure about being a mom? [00:44:43] Speaker A: Yes. Yes. Even with me. And it was out of kindness. It wasn't out of, like, maliciousness, but it was just like, people stopped calling because they didn't want to hurt me because I'm a mom now. [00:44:56] Speaker B: Wow. [00:44:56] Speaker A: And then I'd get phone calls or like, hey, Marissa, don't worry. It's not a crazy stunt. You know? [00:45:01] Speaker B: And it's like, prefacing it like that, [00:45:02] Speaker A: packaging it like that. And I'm like, hey, I am a stunt woman. I know what I'm getting into. I've been doing this for 20 years. [00:45:08] Speaker B: Like, let me make the choice myself. [00:45:11] Speaker A: Exactly. Like, I will tell you if I don't want. I don't want to do car hit anymore. Like, I'm not gonna do that. I'll tell you the things that I don't want to do. But it was, like, a decision made. And, like. And I actually had one coordinator full out tell me, like, you know, because my. My partner is a. He's also a stuntman. And so, like, he was getting all these phone calls, being like, hey, man, I heard you had. [00:45:30] Speaker B: It. [00:45:30] Speaker A: Had a kid. Or we'd be walking together like, hey, man, we heard you got a kid. [00:45:34] Speaker B: Like, congrats, dude. [00:45:34] Speaker A: We gotta, like, we gotta get you some work because we know how it is. You need. And I'm, like, standing right there. [00:45:39] Speaker B: Shut it down, dude. [00:45:41] Speaker A: I was like, hi. I. I have been. And I'm more prominent than he is at this moment. And so it was just kind of like one of those moments of, like, guys, you know, and. And one of them literally said, hey, Marissa, here's the thing. Your child needs his mother when they're young, and then when they get older, they need their dads. So, like, this is your time. And I was like, who decided that? What. [00:46:07] Speaker B: What are you reading? [00:46:08] Speaker A: You know, it was a wild. It was a wild situation. [00:46:12] Speaker B: A lot. A lot of it is wild, my friend. The water we are swimming in is wild. Thank you so much for sharing that. That's some heavy and big and broad and. [00:46:25] Speaker A: Yeah. [00:46:26] Speaker B: And I don't know how to fix it yet. [00:46:29] Speaker A: Yeah, that's the thing. Because it's such a system, systematically socially cultural, generational thing. Yeah, it's. And it's like, what I've. I've been finding that's really interesting is that people that I love and. And who are remarkable human beings, sometimes they'll say something that, like, you're like, what? And they're like, oh, I didn't realize that that was. It was just in their body, a [00:46:54] Speaker B: belief that they had something that they had. [00:46:56] Speaker A: Yeah. [00:46:56] Speaker B: Programmed. [00:46:57] Speaker A: Yeah. Yeah. That has nothing to do with anything. But, you know, and I'm. I'm learning to not intake that information for myself to understand. [00:47:07] Speaker B: Like, oh, I'm gonna be the beginning of a new way. [00:47:11] Speaker A: Yeah. [00:47:11] Speaker B: Nice. [00:47:12] Speaker A: I do think this discussion is very important. Mm. [00:47:17] Speaker B: Yeah. [00:47:18] Speaker A: Like, one of the things that we were talking about as a group, a bunch of stunt women. We were talking about actually having [00:47:27] Speaker B: a [00:47:28] Speaker A: mentoring program or Just. I don't know if it's gonna be a program, per se, but literally having a mentorship of sorts, where we can get a gathering of women and just talk about what it means to be a woman in the stunt community, because it's just vastly different than what it means to be a man. Yeah. And there's so much more expectation. There's so much. You can't make a mistake in the same capacity that a man can. And then there's also, unfortunately, the elements of harassment and all that stuff, which is unfortunately, become more of an epidemic within our collective. And, like, how to navigate that. You're like, I really want the job, but I don't want the job in that capacity, and I don't want to have to protect myself from that when I. When I do the job, you know? [00:48:21] Speaker B: Yeah. [00:48:23] Speaker A: And then another friend of mine brought in, like. And then there's just, like, hormonal stuff that, like, guys don't have to go through. Like. Like having. I remember having to whisper to wardrobe about I was supposed to be in this robot thing and getting, like, thrown on the ground, and it was a difficult thing to get in and out of. And I had to, like, whisper to the wardrobe, like, saying, hey, guys. [00:48:45] Speaker B: To change my. [00:48:46] Speaker A: Yeah. I was like, just know. Yeah, I had. [00:48:49] Speaker B: Oh, my. [00:48:49] Speaker A: Yeah. I was like, I have to just know that I have a really heavy flow. [00:48:53] Speaker B: Mm. [00:48:54] Speaker A: Today. And so I'm gonna be doing a lot of this to be, like, having to get out of it and, like, having those conversations and just knowing that that's something that guys don't have to deal with in a way. [00:49:06] Speaker B: You know, in a big way. They don't have to have that conversation ever. [00:49:10] Speaker A: Or, like, being up. Like, being up in a. In a wire, like, and you're like, hey, I have to come down and change my tampon. And that's just, like, a whole other setup and having to deal with that. And, like, it's just something, again, that. That is a reality for women. [00:49:26] Speaker B: Yeah. [00:49:26] Speaker A: That we've had to kind of maneuver and kind of keep in a quiet space versus just being like, this is. This is real, guys. Like, yeah. Why is that not just part of the situation and understanding and why would [00:49:38] Speaker B: it be thought of as an inconvenience or a liability or a compromise? We have to have a woman in that role, so we have to. Blah, blah, blah, blah. Yeah. [00:49:53] Speaker A: Yeah. [00:49:54] Speaker B: Yes, you do, because your mom gave you life, and that's what women do. And so if you would like life to continue, then you would like Women to be doing it. [00:50:02] Speaker A: Right. Exactly. [00:50:02] Speaker B: Okay, great. So let's give her a 10, right? [00:50:06] Speaker A: Yeah. [00:50:06] Speaker B: Oh, man. My friend. Well, I'm thrilled to hear that There are talks in place about building. [00:50:11] Speaker A: Yeah. More community. [00:50:13] Speaker B: A program or more community around that. [00:50:15] Speaker A: Yeah. [00:50:15] Speaker B: Okay, you ready for rapid fire burnout round? [00:50:17] Speaker A: Oh, my Lord. Okay. [00:50:18] Speaker B: We call it wrist roll with it. [00:50:20] Speaker A: Okay. [00:50:20] Speaker B: Okay. Very simple. Answer from the gut. [00:50:21] Speaker A: You can do this. [00:50:22] Speaker B: I already know the answer to number one. Coffee or tea? [00:50:26] Speaker A: Tea. [00:50:27] Speaker B: Good job. Dogs or cats? [00:50:29] Speaker A: Dogs. [00:50:30] Speaker B: Morning rehearsal or night rehearsal? [00:50:32] Speaker A: Morning. Now. It's changed since Ash. [00:50:34] Speaker B: Oh, yeah. Yeah. Totally makes sense. I bet. At like, 8:00'. Clock. Oh, I bet. Oh, my God. Yeah. Favorite guilty pleasure. [00:50:41] Speaker A: Oh, man. I mean, it's so funny because, like, all I can think of, like, all the training things that I do, which is. Oh, I love that, you know, I. I can't think of anything else. [00:50:54] Speaker B: Okay. What about favorite indulgence? Kind of the same question. [00:50:58] Speaker A: Well, okay, so I've gotten into anime lately. [00:51:02] Speaker B: Yeah. [00:51:03] Speaker A: So, like, Hero Academia is one of my favorites. [00:51:05] Speaker B: Okay. Okay. I bet my. I also bet. L would be jacked to hear that. [00:51:10] Speaker A: Okay, so, like, that, definitely something like. Like, even last night after the. After the shoot, I literally was just like, here. [00:51:17] Speaker B: I can't wait to. Yeah. [00:51:18] Speaker A: You know what I mean? Like, it was just like, entertain Me. That was the knee movie. [00:51:21] Speaker B: Me. [00:51:21] Speaker A: Yeah. [00:51:22] Speaker B: Instead of me making the movie. [00:51:23] Speaker A: Yeah. It was just like, give that. Give it. [00:51:25] Speaker B: Nice. Do you have a favorite dance move? [00:51:28] Speaker A: I don't know. I mean, like, I love improv now in a way that I feel like I didn't when I was younger. So I don't know if there's, like, a specific move that I like. [00:51:39] Speaker B: I do love moving freely. [00:51:40] Speaker A: Yes. [00:51:41] Speaker B: How about least favorite move? Oh, [00:51:46] Speaker A: anything breaking related? I mean, like windmills. No. No. Heads. Head spins. No. Head slides. I could maybe still muster up. [00:51:55] Speaker B: Yeah. Yeah. [00:51:57] Speaker A: But. [00:51:58] Speaker B: Okay. Desert island playlist. An album that you would bring to a desert island. The only album you had to listen to for the rest of time. The only album you got to listen to the rest of the time. These hypotheticals are pointless. But. [00:52:11] Speaker A: Yeah, I mean, I mean, like, there's so many, but you get one. I mean, it's so funny because right [00:52:19] Speaker B: now, [00:52:21] Speaker A: K Pop Demon Hunters is, like, one of my favorite things right now. And. And also because my son dances to it in the most fantastic way. So I feel like that would be it for you. [00:52:33] Speaker B: It's got an anchor. It's got it. Yeah. [00:52:34] Speaker A: Yeah. [00:52:35] Speaker B: That makes sense. [00:52:35] Speaker A: Yeah. [00:52:36] Speaker B: Final question for you. [00:52:37] Speaker A: Sure. [00:52:38] Speaker B: I'M looking for the words that move you. A mantra, a guiding principle, a north star, a poem, something that you return to as being something navigational. [00:52:49] Speaker A: Two things have been kind of floating around for me. One is just be, because that's something that I feel like I've been working on quite a bit and has become a little bit more infused in my body. And then the other is related to my production company, which is. It's the idea that we embody what we do versus just creating what we do. We embody it. And so, like, that's. That's the other thing that I'm like. And it's kind of around the same kind of space of like, you know, just be like. [00:53:29] Speaker B: Yeah. [00:53:30] Speaker A: Just. Just. Yeah. [00:53:32] Speaker B: Thank you for this reminder to be and be present and be learning. It's the reason I started the podcast and I'm so grateful to get to learn from you. You're. You're a treasure. [00:53:43] Speaker A: Thank you. You're a treasure. [00:53:45] Speaker B: Thank you, my friend. [00:53:46] Speaker A: Thank you. [00:53:46] Speaker B: Thank you for offering all of your wisdom. I'm gonna use your camera to say, yep, good. That's all we got time for, folks. Click the bell for notifications. Leave a review and rating if you're loving the podcast. And of course, get out in the world. Keep it funky. Bye. Yeah. This podcast was produced by me with the help of many. Big, big love to our executive assistant and editor, Riley Higgins. Our communications manager is Fiona Small, with additional support from Ori Vajadares. Our music is by Max Winnie, logo and brand design by Bri Reitz. And if you're digging the podcast, leave a review and rating and please share. Also, if you want to connect with me and the many marvelous members of the Words that Move Me community, visit wordsthatmoveme. Com if you're simply curious to know more about me and the work that I do outside of this podcast, visit thedanawilson. Com.