Here’s How That Crazy “Barry” Chase Scene Came Together

This motorcycle chase.

Nothing in “Barry” Season 3 stands out like the virtuoso sequence near the end of Episode 6, “710N,” when the hitman/actor tries to outrun a vengeful motocross gang in the middle of traffic. congested on the titular highway.

There’s more to the episode, though, which is why it earned three of the 14 HBO comedy nominations this round: for star Bill Hader’s direction and Duffy Boudreau’s writing as well as the stunt team.

Consider this John Ford-inspired desert idyll where Fuches (Stephen Root), obsessed with avenging his ex-partner in the contract killing, blows another chance at heaven. Or master donut baker Mitch (Tom Allen), the stoner oracle who imparts wise wisdom to Barry, Sally (Sarah Goldberg), and NoHo Hank (Anthony Carrigan), whom they quickly ignore.

But yes, this pursuit.

“The most notable component of the sequence was really Bill’s vision for how he wanted to shoot it,” says stunt coordinator Wade Allen, himself nominated for the season. “It wasn’t covered like a conventional action sequence, he didn’t go out of his way to make it action. He let the camera sit and watch what was happening, and it did everything for him.

It started with previewing the entire sequence via computer animation. From Barry’s car surrounded by the motorcycles of Taylor’s murderous gang and him crashing and commandeering one of their bikes, to shuffling through traffic on the 710 in Pasadena, and then driving through dozens of idling vehicles on the Alhambra stretch of the highway, every shot was planned to perfection.

“There were the camera angles, for the most part there was just one angle that we didn’t use,” Hader told the Envelope. “People could see that it wasn’t a chase where there were a lot of inserts, cuts on speedometers or a hand that was turning an engine, and it wasn’t flimsy. It are just very simple plans, simple dynamic coverage.

Deceptively. The lane separation was repeated around 40 cars in the Forum car park. The California Film Commission, Highway Patrol, Caltrans, LAPD and Alhambra Police were all involved in authorizing and securing the 710 freeway shoots, which took place over three Sundays last September. Two cam bike specialists, Regis Harrington and Dan Wynands, were hired to ride the 100-pound remote camera rigs in front and behind the image bikes.

” Do not turn around ! was the trick to going from car to car at 40 mph, according to Dave Castillo, the named stuntman who doubled for Barry. “It was easily the fastest I’ve ever done in a lane-split. I was a bit worried that the bag of donuts hanging from my wrist would snag a car’s rear view mirror and crash me. Luckily , This does not happen.

Clay Cullen pulled off a botched weapon transfer with perfect, slapstick intent. In it, one of the gangs shoots Barry from the sunroof of a vehicle stuck in traffic as Barry drives by. A handover of the gun to the biker directly behind goes wrong and the biker cuts off a vehicle and crashes into traffic ahead of him.

“It was actually an awesome, easy gag,” reports contestant Cullen. “My whole career I’ve crashed motorcycles, usually right on the pavement. Wade had me cut the back of a cargo trailer, then I flew into boxes. I crashed anyway, but it was kind of nice not to go straight to the ground.

A special ramp has been built for another contestant, Jolene Van Vugt, to climb onto the roof of the used car dealership Barry encounters during the final indoor-outdoor wide shot of the sequence. The location was an empty AutoNation in Torrance.

“The steel bridge was raised about 4 feet, level with the edge of the sides of the building so that I could be seen clearly by the camera below for the riding and shots knocking me down,” explains Van Vugt. “It was an extremely fun scene to shoot, technical and creative.”

Everything had to be.

“In the original script, there was just one line in italics that said, ‘There’s going to be a great lane parting sequence,’ and there hasn’t really been much elaboration on that,” according to the cinematographer Carl Herse, who shot “710N” and is nominated for the Season 3 finale, “Starting Now.”

Boudreau acknowledges that his contribution to the iconic “710N” sequence was limited, but he helped craft some of its comedic aspects.

“Bill was inspired by ‘Mad Max: Fury Road’ and all the traditional hunting stuff, but he also had to be consistent with what our show is about, which is to say it’s funny,” said said the writer, who has known Hader since they were teenagers in Tulsa. , Okla., says. “There’s a lot of stupid things going wrong, like the motorcycle not working, so the sound design became a big part of the joke. Little moments like Barry crashing into the trash cans in the background while the used car salesman shares too much When we do a big action scene like that, you also want to do something cool to make it part of our show.

From donuts to bikes and ballistics, that can mean a crazy array of moods that somehow work together.

“Me and Bill like ’70s movies and foreign stuff that plays with different tones, can get really serious and really funny in the same movie, and aren’t so preoccupied with genre,” Boudreau says. “We are comfortable having these moments together. It’s always been a big thing about the show.

“It’s kind of like, well, it’s funny and all, but it didn’t really hit me until I sat down and watched a cut how crazy it is” , Hader says of the “710N” trip.

Writer Mark Olsen contributed to this report.

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