 Never Have I Ever had an uncomfortable moment on public transport? Of course you had. Can you tell me a particular one? You know I cannot. But it was a long night and a lovely morning. Sounds juicy. Never Have I Ever had an awkward conversation with your taxi driver? Yeah, he wasn't picking me up. And this, yeah, that one too. Yeah, I got 13 of them one time when picking me up. Never Have I Ever gotten revenge? Could be on the taxi driver. Never Have I Ever been in a sequel? Never Have I Ever gotten a tattoo? Never Have I Ever preferred a sequel to the original? Ever. You have. You prefer this. Which one do you prefer? Godfather one. Godfather one. See, people say that all the time. Now why do you prefer Godfather two to one? Because Godfather two was more about business over family, which is the destruction, I think, of the mafia. Godfather one was family over business, which was great. But when it became business over family, the drama really came out. Okay, if you could only have one performance from the two movies, if you had to say, okay, I'm going to take out one performance, would it be Brando in one or De Niro in two? Be De Niro in two. You take that one out. Yeah. But still two better than one. That's a movie. Okay. Yeah. What is the most memorable moment that you had from filming? Oh, the rain that kept splashing water on me. I was slipping and sliding. The pigeons will bite me to seagulls. It was cold. It was raining. I hated it. I didn't like it. Antoine kept bothering me. And the next thing you know, we will finish. Now, you know, I was watching it. When you see the end of the film, I got to see it again. Because I don't know which cut is which. You know, when we're up there, when we're on stage, the whole fight sequence is a series of a lot of different shots. We had to build that and then we got the real set, which is way up in the sky. This big scene, sort of beach town, this rain coming in. What's the reality like? Is it green screen? We shot as much as we could in camera. And then, you know, obviously little big, big, wide shots when you're flying over the tower and everything. You can't do that. But we shot it when the weather got colder. And we had giants. Yes, we did. We shot it when the weather got colder. That's true. Yeah, so, you know. Did you need a lot of soup afterwards? Because you have some soup in this. I should have got some. I should have got some coming to think of it. I wouldn't say it was tedious, but it's a lot of bits and pieces that you have to put it together. So this piece and that piece. Like you said, you build it and, you know, it's a testament to Antoine's work. This is your only sequel. So what is it about the equalizer that made you want to do it as a sequel? Nothing. The audience said they liked the first one. The studio said they wanted the second one. Richard wrote something I felt I could, Richard Wank the writer wrote something that I loved, that I said, oh, wow, this was unexpected. And here we are. A couple of blankets and bowls of soup later. That's all it was. That's it. That's as simple as that. They gave us the money. We cooked some soup. You know, we had two cameras and one water fountain. We sprayed some water, blew the wind. Next thing I know, I was in England doing an interview. There you go. This is what I'm imagining. There's a lot of people with water bottles spraying you from different angles. That's all it was. Big water bottle. Big. So the fight scenes are just epic in this film. How does it work? Like what stage do you learn choreography and how long for? At least a couple of months out. We had some great fighters and martial artists and MMA guys and stunt guys and you know, you choreograph it all and you know, plan it out so it could be safe. Was there injuries or slip ups? No, no injuries because you know, they prepare for all those things way ahead of time. You know, there's bumps and bruises. Anybody get hurt? No, no, just bumps and bruises, you know, things like that. You know, the guy in the back of the car, you know, he caught an elbow once or twice, you know. But he's a fighter. Yeah, that's right. No, he enjoyed it. Yeah, he enjoyed it. Yeah, he enjoyed it. He was excited about it. I think they just knocked him all the way to the car. Yeah, I was trying my best. What would you say is your favorite thing about each other? When I tried directing my first film, Antoine Fisher, I was at home stealing from Spike and Antoine Foucault. I realized how hard it is. And I was like, oh shoot, what have I got myself into? Because now I'm looking at the construction of it. So the number one of the things, as well as being friends and having great success together is the appreciation for what he does, for his abilities and what you don't see and how it all comes together. And how much easier it is just to sit in your trailer and wait until your name is called and come out and do your little bit and go back in there. But the real work is in the construction and the building of a film. And the reason this is our fourth film is because he knows how to build films and how to act in them. And people seem to want to see him. He's a great man, actor, human being, everything else. The thing I admire about Denzel Denzel, we all see him as Denzel Washington, the great actor, the great human being, that part of it goes without saying. But he'll call me and say, I want great, not good. Be great, not good. He teaches everyone around him to be great, not good. And even at his level, he's always pushing.