The first season of the Paramount+ series ”Tulsa king“Was an instant hit with action fans who were happy to see Sylvester Stallone Back in his element as tough guy dwight manfredi, a New York mobs that is hilarious out of his element in Tulsa, Oklahoma. One of the show’s many entertainment was to see the 80s action icon that would not only go back to his roots, but to do what he used to do better than ever -the show’s irresistible mix of sardonic comedy and visceral set stallone gave Stallone the best part of his career and his most entertaining exhibition ago Walter Hill“Bullet to the head” almost 15 years ago.
Expectations were therefore high for season 2 to match or surpass the quality of the action that had been established, and “Tulsa king“Stunt coordinator Freddie Poole felt the pressure.” Riding on the heels in Season 1’s success, I knew we wanted to do something bigger, ”Poole told Indieview, and noted that increasing ambition was not an easy task given the show’s challenging production schedule.” We always shoot two episodes at the same time and prepare two others while we shoot, so you are four episode because you are charging at once. It becomes like a puzzle that I try to train. ”
Although Poole may have felt stretched thin – he says that the single most difficult thing about stunt coordination at “Tulsa King” is proper to assign its time – does not show the trunk in any of Season 2’s sets, which more than delivers on the show’s signature mixture of dark comedy and shocking violence. In section 9, for example, there is an elaborate shoot-out at Fennario Horse Ranch involving a rival gang and Manfredi’s soldiers who go to their heads. The combination of weapons, hand-to-hand battle, slash and tingling occurs so quickly that it is fun and disturbing to equal dimensions.
To arrange the stage, Poole saw a modern action classic for inspiration. “The thing about that sequence is that there is not much dialogue,” Poole said. “So what can we do to fill the screen with something that is really cinematic? One of the films I always refer to is” Last of the Mohicans “, where in the last nine minutes there is very little dialogue but they tell a lot of story.” When Poole broke down the script and thought of the most important storytelling points that needed to be done, he mapped the action to get every violence to these points, and at once – which resulted in one of the most exciting acts of action film this year.
Later in the same section, Manfredi’s main rival Ming is sent with a Tomahawk to the head in another Gory but great fun moment. Selling that gag required close collaboration between Poole, actor Rich Ting and the special effect department to create a prosthetic apparatus that enabled the crew to shoot the moment practically on set. “The special effects Makeup team created a life in Rich Ting and then made the prosthesis so that we could basically just put the props in his head,” Poole said. “It made it possible for us to get really creative with the stage.”
Perhaps the most impressive set in Season 2 of “Tulsa King” is the struggle at the wind farm that takes place in section five, and it is one that required significant planning from Poole and his team. “It required a lot because it wasn’t just Sylvester Stallone Fight against someone else, “Poole said.” It was a large group versus another group. “To prepare for the sequence, Poole created two separate pre-Viz videos, a preliminary shot on a scene with marks where the action was to be laid out and a second that refined the plan when Pool could work in the actual location.
“Then we had a rehearsal day with the actors where we rotated the role when we brought them in to call in all their action choreography,” said Poole, noting that he wanted to emphasize a special actor, Mike Walden, who plays Manfredis soldier Bigfoot. “Mike is a wrestler of the trade, so I just opened him and said,” Hi, let’s Spitball here. What things are you known for? What do you like to do in the ring? Let’s integrate some of it into this martial sequence. “It gave us certain moments that are comical in the middle of a sequence that is otherwise serious in tone.”
Poole provides Stallone Credit to collaborate on the action sequences for training not only their own beats but the other actors. “He always has thoughts and efforts, and there is a certain level of confidence in our relationship,” Poole said, noting that he has collaborated with Stallone since he first worked as the actor’s stunt double on “Bullet to the head” and “Escape plan.” Poole said he knew he had something with the wind power sequence when Stallone stopped the set after his pieces were shot just to look at what happened.
“I said,“ Sly, you’re done. You are wrapped. Thank you for being here, “said Poole.” And he just pulled up a chair and hung out and looked out. “At one point, Poole Stallone heard a comment to someone else about him who summarized how he feels protected by the actor when they work together.” He said: “He is in his element. Let him be a huge underlying message.
