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A former stunt performer walks away (mostly) unscathed from fist fights, flipped cars

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A former stunt performer walks away (mostly) unscathed from fist fights, flipped cars

Ryan Gosling plays a stuntman in the action movie The Fall Guy.

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Two concussions. A broken ankle and wrist. A torn meniscus (… actually make that two). A lost front tooth. Former Hollywood stunt performer David Leitch is no stranger to on-the-job injury. He says pain tolerance and being “a little bit tough” can come in handy when you get thrown out of windows for a living.

Leitch has since shifted into filmmaking. His latest, The Fall Guy, starring Ryan Gosling, is a tribute to stunt performers and the often unrecognized risks they take.

The film begins with a montage of action sequences: A man tumbles down a rocky cliff, rides a motorcycle over the roofs of several cars, gets thrown through a bus window and runs through a battlefield surrounded by explosions. Leitch says coordinating the stunts from behind the camera was actually more harrowing than executing them himself.

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“It’s harder because you have your friends that are doing the stunts and you’re designing them and you are responsible for their safety,” he explains. “Your heart goes through your chest.”

As a stunt performer, Leitch doubled for Brad Pitt in Fight Club, Mr. & Mrs. Smith and Ocean’s Eleven, and for Matt Damon in The Bourne Ultimatum. His directorial credits include Bullet Train,Fast & Furious Presents: Hobbs & Shaw, Deadpool 2 and Atomic Blonde.

“You have to evolve,” Leitch says of his transition from stunts to directing. “Being the physical double that’s getting ratcheted back from explosions or falling down the stairs or taking the big hits — I’m so grateful I was able to transition out of it, because you don’t want to be doing that at a certain age.”

Interview highlights

On not wanting to reveal too many industry secrets in The Fall Guy

It is a little bit like magic. I think we’re always reinterpreting the classic gags and the classic tricks. And so that’s what we did with Fall Guy. We sort of reimagined the big car jump. We reimagined the high fall from the helicopter. And there is a little secrecy. … Because it was such a business where it was passed down. It’s apprenticeships, it’s passed down from family — usually to kids — and it’s hard to crack in and find someone to teach you because they didn’t want to share the knowledge so much.

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I think in Fall Guy, we tried to pull the veil back just enough and not, give too much away. You see those fire stunts? We didn’t really give the science behind that away. That’s what’s really amazing about stunts. I think people think it’s a bunch of daredevils, and there’s a little bit of that sensibility in stunt performers, but really, there’s a lot of physics and math and legacy tricks that get you through the day.

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On what goes through his mind right before a stunt

Ultimately a lot of stunt work is trusting your team. … You’re hooked up to this machine and you’re trusting the physics of it, and you’ve rehearsed it and you’ve seen the weight bags go down and up, but again, you’re stepping off the ledge and you have to have this ability to calm your nerves, [to] trust in the process, [to] have the confidence that, you know, we’ve tested this over and over and it’s going to go great. And so it’s not unlike an athlete at the starting line: You really have to focus on the first step and then your body takes over. And you wait, you hear that cue “action” and you go.

On how his stunt work on the Matrix changed Hollywood

I was a fan of a lot of different Asian cinema, Korean and Chinese and Japanese cinema that had martial arts in the lead characters. Everyone just knew how to fight, and they could fight with a martial art style. Whether it was a police drama or a heightened sci-fi thing, every character knew how to fight. And it wasn’t until the Matrix movies where the Wachowskis [directors Lana Wachowski and Lilly Wachowski] had sort of said, “Hey, we want to have that same vibe in Western cinema.” And I think after that first Matrix film hit the ground where you saw Keanu and Laurence Fishburne fight in this dojo, and there were the actors doing the fighting, I mean, that had not happened to that level in Western cinema before that, really. So it was like a light went off for myself and a core group of us who were sort of training together at the time. …

We started to take that opportunity with a lot of different films, and we were of up-and-coming stunt coordinators and we were really specializing in fight choreography. And we did something that we learned from that Hong Kong team on the Matrix films: We would shoot and edit our own fight scenes to present to the directors and the producers, and through that we built a name for ourselves, and we also learned how to tell stories. And we also learned how to technically direct. We were shooting and editing these sequences and presenting them as sort of finished ideas like moving storyboards. And now it’s something that is like, standard.

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On enduring the physical pain of stunts

The car stunts and cars and fire and things like that, they actually hurt less sometimes, I think, because you’ve built in all these protocols to protect the performer and there’s a lot of science involved, but the meat and potatoes of stunt performing is just physical performance. And sometimes [it’s] getting thrown down a set of stairs [for] multiple takes and how to protect yourself. And you know you’re not going to break anything, but you’re going to get a lot of bumps and bruises and twisted ankles and crooked necks, but that’s just something that you accept.

Ryan Gosling, David Leitch and stunt performer Logan Holladay on the set of The Fall Guy.

Ryan Gosling, David Leitch and stunt performer Logan Holladay on the set of The Fall Guy. “Your heart goes through your chest,” Leitch says, of coordinating stunts for others.

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On being asked to do more takes when you’re in pain

You hate it, but you’re stoic about it. … The unwritten contract that you sign, like if you can get up, you should be going again. And the stunt coordinator expects you to do that too, because he’s hired you and he doesn’t want you to not make him look good in front of the director.

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On not showing your face as a stunt performer so the audience believes it’s the actor

It was definitely part of the old-school mentality. You learned how to hit a mini trampoline and jump in the air and keep your head away from camera. … Like, I always try to give [the director] the back of your head. And you just got good at it. … It’s kind of changed in the last decade or so, because the use of face replacement allows you to just let the stunt performer perform and then if it’s a few frames where we see a face, we can use a digital still and wrap it around their face and with motion blur and simple visual effects, you can mask the stunt performer’s profile or face or whatever. And it allows the performers more freedom in doing the action and not trying to contort their body to hide their face.

On whether visual effects will replace stunt performers

I know that that’s where the world is heading, and I think that that’s OK. For me, as someone who enjoys action films, I feel the difference in the stakes of what’s happening on the screen with the characters when I feel that it’s real. And so I think there’ll always be the want for that. I hope especially for action film lovers, but actually just really good storytelling. The visual effects and the CGI can’t deliver the reality of really feeling the stakes behind it all, then it’s always going to fall flat.

Heidi Saman and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.

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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.

Scenes from the new installment feel almost too recognizable to many doctors.

The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.

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Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.

Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.

So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.

That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.

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To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?

I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.

OK, but is every shift really that chaotic?

I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”

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As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?

There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.

Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?

I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.

If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.

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As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.

Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.

The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.

2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?

I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.

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There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.

In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?

The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.

The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.

A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?

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Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?

Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.

But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”

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The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.

Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.

In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.

There are so many more themes explored this season. What else should viewers look forward to?

I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.

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I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.

But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.

Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.

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