WEBVTT

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I don't know where I am.

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I have nowhere to go back to,
so please, please help me.

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Burnham and Book
make a pact

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to help each other out
temporarily,

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and the plan is they go their
separate ways afterwards.

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He's not a fan of Michael
Burnham when they first meet.

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I mean, they fight.

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It's a big old
friggin' fight sequence.

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Which was amazing
to shoot, by the way.

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Chris McGuire is our Stunt
Coordinator, stunt captain,

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and what I love about Chris
is how he collaborates

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and his enthusiasm and
his excitement.

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Chris, like myself,
is always driven

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by the narrative
of the story.

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He always wants to
incorporate character elements

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within the fight sequences,
so that they're real

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and feel organic for us,
as actors.

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My favorite part is to
work with the cast

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and figure out what they
would and wouldn't do.

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I know each and every
one of these characters

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and the cast who
play them.

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When they show up
to our first rehearsal,

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they'll tell me what it
is that they want to try

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to accomplish in the scene,
and then we make it happen.

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We give them the tools so
that they can do it safely,

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and so that they can totally
express themselves as actors.

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Iceland was incredible.

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It was the first time I
was able to choreograph

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a chase sequence that took
place on an alien planet,

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where I didn't have to try to
visualize what we were seeing,

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because ordinarily we're
looking into green screen

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or the cast are looking
into green screen.

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The vista was there, the
rock formations were there,

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the glacier-molded
landscapes were all there.

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So, Tunde and I, with my
iPhone, would run the sequence,

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and he would be
the actors and he'd say,

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"This is what I want to see."

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And so then we just
used the terrain

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and this outcropping
of rock and whatnot

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and just built the
action right there.

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It was pretty incredible.

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You're about to be
really mad!

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I love how Chris was
very supportive

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and just gave us
the room to create.

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He's a wonderful, wonderful
guy to collaborate with.

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And our stunt doubles, as well.

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I have to shout out
our stunt doubles

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'cause they are amazing.

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My stunt double,
Bauston Camilleri,

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has saved my life many
a time. So, between him

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and our Stunt Coordinator,
Chris, they're aces

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at getting these things
choreographed out,

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so they look real and staging
them so that we're safe,

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always safe.

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Safety first.

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From the moment
I read the script,

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I immediately think about

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which departments are going
to be impacted by stunts,

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from the art department,

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reinforcing walls for our
stunt performers to slam into,

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stunt foam on the
floors, the walls,

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and sometimes the ceiling,
to the costume department.

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Gersha and her team
build these super cool,

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elaborate costumes, and so
we try to build the action

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to accommodate that as well.

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We had to build
a fight sequence

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that involved having
Georgiou completely unarmed,

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surrounded by several
heavily armed regulators

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with their weapons up.

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The challenge is to
choreograph it in a way

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that it's believable. That
the audience isn't saying,

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"Well, he could have
shot her right here."

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And I think we did that.

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I'm off to the side,

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watching Michelle really
do most of the kicking,

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and her kicks go,
they go everywhere.

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She has no joints.

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I think they're just
like elastic in there.

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When we choreograph
and do walkthroughs,

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she literally walks it.

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You don't see Michelle
explode into action

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'til the camera rolls.

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Three, two, one, action.

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I remember that
day specifically

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because we did a ton
of prep, a ton of work,

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to build the fight,
rehearsed it,

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and then rolled the camera.

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We shot the first master
and it was unbelievable.

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I believed it.