 Well, Taylor, now here's what we're going to do. You'll see there's supposed to be an elopement chased down the highway parallel to the track. And Matt will be driving a car filled with three dummies. Yeah, you see, I'm doubling for Richard Bennett. He's supposed to be trying to overtake the couple before they get married. Oh, yeah, I see. And the dummies are supposed to be people riding with you. Yeah, that's right. And now here's what you're supposed to do. The plane is coming down the track at a pretty good cliff, and the car is racing along even with it on the highway. The road makes a turn up there about a mile and crosses the track. Just before we get to the crossing, I'm going to step on it and beat you over. You get the idea? Yeah, I see. You're going to make it close? Well, what do you say, Mr. Motley? It'll have to be within four to five feet to look good, Matt. Of course, two feet or one would look better. Yeah, I know what you mean. A half an inch would be perfect. How fast is the train supposed to be going? About 40 miles an hour. Well, gentlemen, it's entirely up to you. I couldn't possibly stop the train at that speed if something went wrong. Well, I'll give you the signal as we run along there together. All you have to do is hold the speed of the train exactly where it is when I give you the high sign. Well, that makes it easy for me. And I hate to think what will happen if you misjudge your distance. Well, we won't worry about that, Taylor. This boy knows his business and that sort of thing. We're all set, Mr. Motley. Everything's ready. Well, here we go, men. We'll be right behind you in the camera car, Matt. And I've got five more cameras set up at the crossing. Okay. Taylor, climb up in the cab and get the engine going. Keep a sharp lookout for my signal. All right. And here's the lock. Okay, let's go. All right, now stay about 50 feet behind him, driver. That train gets up speed pretty fast. Yeah, sure does. All right, camera. That engineer is watching Matt like a hog. Yeah, he's waiting for the signal. They're running neck to neck. The speed's just right, son. There's that signal, mate. Exactly 40 miles an hour. We'll have the scene pretty soon, Mr. Motley. Yeah, and believe me, I'll be glad when it's over. I know what that's up to. And so do I. He's gonna make that crossing in front of that train by engine. I've seen that guy work before. They're almost at the crossing. Are you getting it, Bill? Yes, sir. It's perfect so far. Look at Matt. He's gaining speed. Yes, but he's not gaining it fast enough. Oh, boy, it's gotta be close. There he goes around the turn. Step on it, Matt! Get across that track! Cowcatcher took his spare tire off. Three guns, water shot. Six inches. Ladies and gentlemen, it is our pleasure to present the courageous young man who made that scene, who has been making dangerous scenes for motion pictures for many years. Matt Gilman, interviewed by Hell Style. Well, Matt, that was very exciting, and it must have made a thrilling scene for the picture. But tell me, were you scared just before you got across that track? Strange to say how, I wasn't. In fact, in this business, you can't afford to get scared. Well, just what was your reaction? Well, that's a little hard to explain. I guess it was something like a hunter feels just before he pulls the trigger. Absolute concentration, I think you've thought. Oh, I see what you mean. Your mind was occupied solely with the consideration of the distance between your car and the train and with the calculation of your speed. Is that right? That's it, exactly. Well, would you say that the ability to concentrate in the face of such danger is the important thing with a successful stuntman? Yes, I'd say it was the most important thing. And the stuntman must never get excited under any circumstances. Well, look, Matt, have you ever been hurt? Yes. Yes, dozens of times. I just been out of the hospital one day when I got a call. It was a war picture back in 1930 with Wallace Breary in Raymond Hatton. The location was at Lasky's Ranch near Santa Monica. Pardon me, Matt. We'll hear about that crash in just a moment. But I see it's time now for a message from our sponsor. OK, Matt, now what about that scene with Wallace Breary and Raymond Hatton? Well, they were waiting to take the scene when I got out to the set. The ideal was for another stuntman and myself to run an army tank off a bridge and then climb out of the tank and do a fistfight. I was supposed to have concealed myself in the tank. I've forgotten how the story went, but anyway, this tank we were to use was just an automobile dressed up like a tank. When I walked on the set, the director came up and rushed me into a dressing room. The other stuntman was just finishing his make-up and while I put on mine, they started explaining the scene to me. What happened to him, old boy? All those people out there costing the studio something like $500 a minute. OK, I'll be right in a few seconds. They sure taped up that bad shoulder to yours. How does it feel? Oh, it's OK, Bill. Now, look, Matt, here's what you and Bill are supposed to do. Bill will drive that crate off the bridge. All you have to do is just ride it out in the back seat. And when she stops crushing, we'll climb out. We're able and start fighting. That's simple enough. It's not a very high bridge, is it? Uh, 18 feet. That's the drop. Yeah, we measured it in the car supposed to land. Bottom side up. Give me a hand with this coat, will you, Bill? Sure, man. All right, now, stick your arm through. Take it easy. There you are. Thanks. Well, let's take it. Well, come on, boys. All right, everybody, we're ready to go. In your places, everybody. Quiet, please. So this is the tank, eh? Yeah, look at the little people I got to look for. I don't see how you're going to see anything through that. They'll be looking to a keyhole, you know, like as if Wintle Smith is on the job. Well, you won't see what he does. How about it, Frank? The camera's all set? Oh, yes, sir. Everything's waiting. Okay, here we go. All right, boys, let's get going. Camera, here they come. They're not wasting any time either. No, I'll say they're not. Look at that zig-zag. Can't see very much of that little hole. All right, now they're coming to the bridge. Here comes the shot. Now, get this. Get it. They're going over. Something must have happened. Yeah. Yes, here they come. They're getting out. Oh, yes, there's a fight. Now move the cameras in on this. Little more. Boy, what a fight. Yeah, that's a beauty. I guess that's enough, though. All right, come on. Broke this shoulder again. Yeah, I'd hate to fight this fellow when he's okay. He's going to punch like a mule. Well, Matt, I think I'm beginning to understand just what you stuntmen go through. Did you go to the hospital again? Yeah, went back and got it fixed up again, went on back to work. You mean you kept on working with that broken shoulder? That's right. Well, they only had three weeks more, so I stuck it out until we finished the picture. And I suppose you took a rest. Well, by that time, I was okay. At least it didn't bother me anymore. Matt, how do you like this stunt business? Oh, I like it. There's a fascination to it. You never know what you're going to be called on to do. You do all kinds of stunts, don't you? That's right, as long as they pay the price. Have you ever turned down an assignment? No, I never have. And you've been in the business for 18 years. Say, that's quite a record. At least it's proof that you know your way around on these stunts. Well, a stuntman who doesn't know what he's doing usually isn't with us very long. Well, now, Matt, do you work for one particular studio or do you work for all of them? Well, practically all of my work is for Metro Golden Mayor, but occasionally I get other calls. Well, Matt, all I can say is this certainly has been very interesting, but all good programs must come to a close. We've enjoyed your visit immensely, and on behalf of our listeners, I want to thank you sincerely for coming here. I know that everyone joins me in hoping that you will come back again very soon. Goodbye, old man, and best of luck.