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Robert Nagle’s phone rang. On the other end of the line was director Michael Mann.
“Get your backpack,” Mann told the Academy Award-winning stunt coordinator. “We’re leaving for Italy tomorrow.”
That was how Nagle, a longtime stunt driver, coordinator and double in Hollywood, began his involvement with Mann’s latest film, Ferrari. Starring Adam Driver, Penelope Cruz and Patrick Dempsey, the Enzo Ferrari biopic opened in theaters on Christmas Day.
Nagle, an Oscar recipient from when he shared the trophy for technical achievement in 2015, has a long list of credits. Directors he’s worked with include Christopher Nolan, Denis Villeneuve, Edgar Wright, Damien Chazelle and Paul Thomas Anderson; titles in his filmography include The Dark Knight Rises, Baby Driver, the first two John Wick installments, several Marvel films, Mission: Impossible – Rogue Nation, Prisoners and the fifth, sixth, seventh and eighth Fast & Furious movies. He’s worked with Mann before on Collateral, Miami Vice and Public Enemies; doubled for the likes of Tom Cruise, Colin Farrell and Tom Sizemore; and has a number of racing movies under his belt in Ford v Ferrari, Talladega Nights: The Ballad of Ricky Bobby, 3: The Dale Earnhardt Story, Herbie Fully Loaded and, most recently, Gran Turismo.
The following is an abridged version of Frontstretch‘s interview with Nagle, edited for length and clarity; the full version can be listened to in podcast version above.
Adam Cheek, Frontstretch: What was working on Ferrari like?
Robert Nagle: Michael’s been trying to make this film for over 20 years, and I’d been involved in and out of it as it progressed, so to see it finally come to fruition and really coalesce into just a beautiful piece, it’s just so rewarding. I’m just so humbled to be part of it.
Cheek: You’ve worked on so many different kinds of movies where stunts are involved. How do you approach a movie like Ferrari as opposed to an action film?
Nagle: For something like this, we want to be more grounded in reality, and we also want to enhance/parallel a storyline — or sometimes you want to contrast the storyline. For this particular film, what that entails is Michael and I sitting down, and me understanding his vision and going through it step by step — what he wants to see for the car action and how he’s going to…
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