Afterwards, they said: “You got obliterated!” I said: “It’s not that bad if you keep your mouth open – and you’ve got ear plugs.” So I did a test, standing between all these bombs, 3ft away. I’m an I’ll-go-first kinda guy I doubled for Mel on his 80s films. The Australian special-effects guys also developed a soft bomb – one that doesn’t have a hard explosion. Once they’re moving and on fire, it looks like a guy screaming. For the flamethrower scenes, we used neoprene hoods with faces laser-printed on them. We tried to use CGI as little as possible, especially with the stunts. We didn’t need to train them that much because the level of training in the second world war was not like it is now. And he would say: “I love it! Do some more of that.” We had about 70 extras, and tiled them with CGI: we shot them six times in sections, so they looked like 250 guys. I would take select moments, like a Japanese guy getting blown out of the fireball and flying towards the camera, and send it to him by cellphone. I was following his instructions, but making it up as I went along. Mel was off doing his thing with the actors and the dialogue, while I shot everyone fighting for about 15 days.
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