Extremely Dangerous - Behind the Scenes (5)

(Click on the small pictures to see larger versions)


Sean discusses the fight
We've been given blanket permission to go anywhere on the set and to photograph anything, as long as we remain unobtrusive. The action has shifted around the corner and so Julie and I collect our belongings and relocate to the dark alley where the big fight scene is being set up. It really is ominous-looking down here, in spite of the legion of crewmembers and the presence of hot pink signs pasted to the brick walls inviting everyone to a Hellblazer party (costumes incorporating leather, latex, bondage gear and functional forms of underwear encouraged). The walls of the buildings are high, and block out the sun. The alleyway is narrow - so narrow that it is difficult to manoeuvre the assorted vehicles which are required for this sequence of scenes.

The group of actors who will be part of this climactic fight have been extremely well rehearsed, so that each step, each punch and lunge and swing is a study in precision. Sean has been rehearsing too, but - again -- his preliminary moves are only a vague dance in the shadows compared to the 100% energy and focus that seems to seize hold of him once the camera is rolling.

The "iron pipes" look real, but are in fact lightweight cardboard or PVC - I can't tell. Sallie Aprahamian is ready to film. There is silence on the set - and suddenly, all hell breaks loose. Sean kicks one thug in the groin, resulting in a frighteningly-real sounding thud. He lurches at another, swinging a punch through the air. Filmed straight on, the punch looks as if it connects. Seen from the side, the illusion is apparent, but perfect. Iron pipe in hand, Neil Byrne is fighting for his life - down goes another thug, whacked in the back and on the leg for good measure.

There is a brief lull in the proceedings as the onsite paramedic is called upon to tend to a pulled muscle. The actors' costumes are hiding a multitude of secrets - elaborate arm pads, a back brace….

And then the fight scene is repeated -- a number of times - to focus in on the assorted actors playing the thugs, to capture a series of frames that can be edited in to heighten the tension and the sense of action - close-ups, long shots, quick cuts.

It's late in the day by the time these scenes are completed. Sean sits down to have the previously-debated cut applied to his left arm by one of the makeup ladies. Out come the scissors and the bottle of French blood. The makeup lady holds Sean's sleeve taut while Sean himself cuts the fabric to simulate a knife wound.

The actors take their places again, and an expensive-looking convertible is driven into the alleyway. From this car, co-star Juliet Aubrey will emerge to stop the fight. She will drive off again with an injured Neil Byrne writhing in the passenger seat.

An expensive car rolls up....
It's all very straightforward in the script, but involves a number of intricate manoeuvres in the alley, which is barely wide enough to contain the camera crew. As the car is being driven up to its mark in front of the camera, Sean stands very close to its passenger side and pretends to inflict a very long scratch along its gleaming length with a make-believe implement - complete with the appropriate sound effects. Scattered laughter erupts - only a few people gathered around the car have seen this spontaneous bit of silliness.

The attention of many others has been captured by the late-afternoon arrival of a large cardboard tray of snacks for the cast and crew.

"Jammy Dodgers!" one of the Cops on the Box exclaims excitedly - and proceeds to snaffle them all, leaving assorted sandwiches for everyone else.

It's nearly time for us to leave - our train back to Stoke-on-Trent leaves Manchester Piccadilly at 6:20pm - and we're a good fifteen minute walk from the station. We linger long enough to steal a photo with Sean - enlisting the help of the paramedic - and to watch the scenes with Juliet Aubrey being filmed. With very little rehearsal, Sean staggers into the passenger side of the car, collapsing in the seat, his face contorted with pain. The camera continues to roll as Juliet Aubrey turns the key in the ignition.

Nothing happens.

She tries again.

Nothing happens.

Both actors are bravely staying in character but it's a losing proposition. The engine is not going to start. Juliet Aubrey gives up with a hapless grin, and Sean starts to laugh.

It is a lovely ending to a wonderful day.

  Click on the map of Manchester to see an enlarged view of where filming took place.

Next page....Meeting Sean


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