So can you kind of, is there a moment in your life where you felt that despair, that discouragement, and how did you overcome it?

Yeah, actually, that's happened quite a bit of times.

But that's how I met.

Dad bought the beards was meet Logan was I was at an event because I was going through a situation.

So I hadn't broke my neck.

I can't remember what year was but it was on mine and my wife's anniversary.

I had a shooting pain in my neck for six months almost my hand shook like this for for six months.

No, you're good.

What kind of direction do you guys most value from the show's creative team when you're building a season's worth of action?

You know, I think that we value their input on all things, really.

You know, we have a great team.

And I think one thing, and that's from everybody in production, all the heads of department were incredible in their fields.

And I think one thing that we had was trust in each other.

And we all were chasing the best outcome, not trying to stroke our egos.

It was best idea wins.

But how much planning around the location and blocking was necessary so that it was so technically precise and yet comes off like as if it was just happening so spontaneously?

Uh, what were some of the challenges of trying to get that action to be as, um, dynamic as it was and be able to shoot it the way that you wanted to shoot it so that you get that feeling where you were right there with them a- and you c- you had to duck because [laughs] it's, something's gonna come through the screen and take you out too.

Yeah, I mean, we started that process, like, the same way we start every process on the show, and we started with the authenticity.

You know, we mapped out what this, what this path would w- look like.

We had our, uh, our tactical advisors, our military advisors, our producers on the show, you know, really come and, and walk us through, like, "Hey, how would you attack this? How would you stop this van? How would you, uh, infiltrate? How would you get out?" Like, so they built that plan according to how they might with their own, you know, four-man team, uh, get these, get this MacGuffin and get out, right? And then when it goes sideways, hey, how are you gonna get out of this situation? So, uh, we just had them map out exactly what their route was, and then we would go into...

We had a rehearsal space for this one because, uh, we didn't have a location yet.

That was, uh, that's a whole other story.

... how does, uh, being, uh, stunt professionals yourselves, how did that inform, uh, you guys as choreographers, uh, just to, uh, to make things easier for the stunt doubles that you now get to, uh, um, choreograph for?

That's a great question.