"No, in Lethal Weapon I was a taxi cab driver that Mel jumps in front of the taxi and pulls me out of the car and steals the taxi. Then I did some other indie driving for some of the car sequences"
About this Quote
There’s a certain Hollywood humility baked into David R. Ellis’s recollection: a director best known for engineering slick, high-concept thrills reducing his origin story to a blink-and-you-miss-it bit part and some anonymous “indie driving.” It lands because it’s so unglamorous. Not “I was mentored by giants,” but “Mel jumps in front of the taxi… and steals it.” The action hero literally yanks him out of the driver’s seat. That’s the subtext, whether Ellis intends it or not: the industry runs on displacement. You get pulled out of your position, someone louder takes the wheel, and if you’re good, you find another way back into motion.
The specificity is doing the heavy lifting. “Taxi cab driver,” “pulls me out,” “steals the taxi” reads like a miniature set piece, a compressed lesson in how Ellis thinks: in beats, in physicality, in clean causal chains. Even when he’s describing his own career, it’s storyboarded.
Context matters: Ellis came up through stunts and second-unit work, the blue-collar engine room of blockbuster filmmaking where craft is measured in precision and safety, not auteur myth. “Other indie driving” sounds tossed off, but it hints at the apprenticeship economy of action cinema - the quiet accumulation of trust behind the camera. The intent isn’t self-pity; it’s provenance. Ellis is saying his authority wasn’t conferred by prestige. It was earned at road level, one controlled skid at a time.
The specificity is doing the heavy lifting. “Taxi cab driver,” “pulls me out,” “steals the taxi” reads like a miniature set piece, a compressed lesson in how Ellis thinks: in beats, in physicality, in clean causal chains. Even when he’s describing his own career, it’s storyboarded.
Context matters: Ellis came up through stunts and second-unit work, the blue-collar engine room of blockbuster filmmaking where craft is measured in precision and safety, not auteur myth. “Other indie driving” sounds tossed off, but it hints at the apprenticeship economy of action cinema - the quiet accumulation of trust behind the camera. The intent isn’t self-pity; it’s provenance. Ellis is saying his authority wasn’t conferred by prestige. It was earned at road level, one controlled skid at a time.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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