It means everything. When I first came on the franchise, it really already had a bit of a stigma. "Fast and Furious" was so big it was almost like some people would go on autopilot – 'Oh it's 'Fast and Furious,' let's put some neon lights here.' So to bring the indie sensibility into a big tent pole was a big challenge. And sometimes people would think I was crazy. People would say, 'Why are you fighting for just a moment?' And I would say, 'It's not about that. It's about the approach.' I think through time I have been able to find more and more people of a like mind and we've become a family and grown together. It's a badge of honor for me. And now I have gotten to the point where I can demand that that stuff is in there. It took a little time to really fight for that. It means everything to me and thank you for acknowledging that. Without those small moments, those big moments would mean nothing.
I know that you were very adamant in the third one that you were going back to real cars and this one seems to be a great mixture of real cars and CGI and models. How hard is it to get that dynamic right?
If you ask any filmmaker, you'll probably get a different answer. We all get the same buffet and how we use that buffet is very different. For me it was about understanding the appreciation for the genre and for the people who love cars. When I came on the third one, the biggest turn-off for the second one was from the car people. I asked them why they were offended and they said that there's something very visceral about cars that defy physics for a split second because of the power that's being generated and stuff like that. And you put it in the computer and it literally becomes math. I love basketball and if I saw a basketball movie I hope that they would respect why I'm passionate about that sport. And through it I've been able to design the sequences in a certain way and I take a lot of pride in that. Even though we're defying physics in some of these moments, I want to make sure that they're done practically. I use visual effects as a supporting tool. So everything you see – from a crashing plane to everything else – are done practically and then augmented it with visual effects. It's not right or wrong but I've developed it and I do love this approach. I was joking with the visual effects supervisor, who had just come off "Harry Potter," that when people look at those movies he gets a pat on the back but if people look at this movie and notice the visual effects he's not doing his job right. So that's the difference.
It's very important but I hope it's not in the forefront of anybody's mind. It's one of the hardest things to do but also one of the most enjoyable if you find the right match. It's gotten to the point where music is being re-done for the movie. I think the Dom/Letty race, we have two tracks in there and Hybrid came in and remixed everything to go with the scene. It's gone that intricate now. That also, the idea of using music, has evolved for me. It's become even more specific. It's not something I take lightly. Everywhere I go, people pitch me music. And I hate that. With those kind of agendas attached, it's hard to find the right match. It's something that I've enjoyed all the way back to "Better Luck Tomorrow" and I think it's a big part of the music – how you can create a mood and a setting without hitting people over the head.
Has the pressure increased as the movies have become more successful?
I like the pressure to be honest with you. It doesn't make it easier but it means that you're doing something right. But even with 'Tokyo Drift' there was pressure because it was such an unknown – they didn't have any of the original stars and for them to take this approach, that it was going to be a post-modern riff on Tokyo and Japan and all that. I mean 'Tokyo Drift' was not a cheap movie to make either. Pressure comes with the territory and I enjoy it. I think nothing beats putting your own credit cards up and being in debt. All that pressure, all those hundreds of millions of dollars – I'm in great shape, I have a great crew, I get to work with amazing people. So my job is to take a step back and realize what we do and try to push forward.
Have you talked to James Wan at all about the next movie or have you mapped out anything for the franchise?
No. I've been talking with James back-and-forth, we've been emailing each other. And we're going to sit down soon. But I'm really excited about James, I think he was a great choice. He came from the indie world, so he's a filmmaker with a point of view. I'm always excited by that. For me, when I came on this franchise, for whatever it's worth, I got left alone, I got to play. So I wanted to respect that. I wanted to make sure that that I got him in a good position to succeed. And the tag that we have [that ends the film], I'm very proud of that tag because it's the best hand-off I can give anyone. I want him to instill his vision. I cannot wait to see what he's going to do with it. I don't want to get in his way. I feel like I've done everything I wanted to do. And this goes back to one of those film school talks where somebody goes, 'Wouldn't it be cool if Woody Allen took over Bond and Scorsese can do the next one.' And it's kind of the same. I'm excited for a filmmaker to come in. The worst thing they could have done was hire a director-for-hire, but they brought a filmmaker in. Again: I want to respect his process and I now want to become a fan. I'm excited.
Well, I have a lot of options, which is something I don't take lightly. These are options I've never had in my career. I have worked very hard. And the thing I love about these options is I have small indie movies, I have comedies, I have big tent pole movies, they're all kind of percolating. In about a month I should know what I'm going to do, which is really exciting.
Are you still planning on oscillating between the world of big budget blockbusters and smaller indies?
Yes. I don't think it's as much of a strategy, but in development you're always trying to create momentum and at a certain point there's always something that kind of pops up. Again: I think a lot of times, as a filmmaker, you're trying to make a living but "Fast and Furious" has done is take care of me and take care of my family. So I have a little bit more of a buffer. My choices aren't going to be driven by business, my choices will only be driven by what gets me excited. And I plan on taking full advantage of that.
Was there anything you really wanted to do in these movies but you couldn't do?
No. I think the plane was the one everybody was so scared because it was such a big sequence. We literally built a plane. It was a huge undertaking and everybody was worried. But I think they had enough trust, we had done this enough, that they told us to do our thing. It was a big logistical nightmare but it was my ultimate goal. I had worked on that for four years. That was the last piece I wanted to get in.
"Fast and Furious 6" opens on Friday.