The Art of Action - Steven Seagal - Episode 18

hello and welcome to another episode of the art of action today i'm very honored to be joined by a special guest mr steven seagal stephen how are you good brother very good so happy to see you and see you again actually and nice to be on your show uh you are undoubtedly one of the most recognizable martial arts action stars on the face of the planet in the early 90s your five film run with nico hard to kill mark for death out for justice and under siege those five movers saw you soar to the top of hollywood and become one of the biggest action stars we've ever known it's an absolute pleasure to have you on the show thanks again stephen thank you thank you so what we normally do is i'll ask my guests what their martial arts background is but i know that your martial arts background is absolutely huge but what i'd really love to know is how you became the first white man to teach aikido and have his own dojo in japan am i right in thinking that yeah i mean i'm not white but um okay non-japanese yeah my mother was an american indian and my father is a russian mongols so i'm asian i don't know what the hell i am but hey am i allowed to cuss on this show or i'll cut it out but you can i'll believe it okay until you start sticking knives in people's heads of course i will show that okay so i'll try to make this briefer than brief i don't think my martial arts background is as vast as you do but anyway um the beginning is i was with my father in michigan i was born in michigan right outside of detroit and my father was a football coach and at the halftime of a football game do you even know what that is a half time probably not because you're british you do know what it is it's the same in england soccer okay great so at a half time they sh they showed this little man he set these these mats out there and he started beating up on and throwing people around and throwing them around like pieces of paper and i went crazy i said my father said daddy that's what i was born to do i was probably about five years old at that time back in the 50s and the early 60s there were not a lot of dojos let me tell you i don't care who tells you what in america there are very few dodgers in the 50s at all in the early 60s and then you know uh by the end of the 60s they started to get to be more and more particularly gis that had studied abroad and came back there was a gentleman by the name sakamoto saying sacramento because he became my sensei and he was a cook there he didn't have a dojo didn't have anything else and he saw me moving very fast with these dishes and stuff like that he made some remark and of course me already being you know completely obsessed with the martial arts uh i said hey do you know karate i said where are you from and he said i'm from japan he said i'm from okinawa i said uh do you know karate and he said yes i do why do you ask and i said i said i just this is something i want to devote my life to and this uh he didn't really say anymore he just watched me for a few weeks and then you know i once asked him i said is there any way you would teach me karate and he said yeah i'll let you come to my home on you know every thursday night and saturday afternoon and you can come and and i'll give you some basics and when i went there he took me out of the garden and he said this is a makiwata this is how i want to teach you to punch i said all the he said all these other guys in here that you see doing katas and fighting with each other you're not going to do any of that for at least a year you're going to spend at least a year on the makiwara just learning how to punch and he said in a lot of the traditional karate you'll see people turn their their hand over he said we're not going to do that much here we're going to punch straight and you're gonna hit these two these two knuckles and that's the first punch you're gonna learn and you're gonna try it on the right side for a while and then the left side and the right side and then you're going to try right and left and you're going to do this until i think your fist is landing on the maki water nicely and so that was my first karate teacher how old are you down stephen sorry how old were you then probably 14 something like that there was a gentleman by the name of isakko kyoshi who was teaching he was born in kyushu and raised in hawaii and he became probably almost the closest teacher i ever had yeah and i mixed karate and aikido and um i can remember one of these guys telling me he said you know you're studying aikido in a pure form for misaka kyoshi but also the purest form is the pre-war aikido because after the japanese lost the war wishes the founder of aikido decided that he has to take out all the lethal punches kicks choke striking and anatomical weak weak points that would be attacked and that aikido would be more of a a martial art that people could do without getting hurt and that he would remove all um shiite how do you say uh fighting likes right no fighting you were not allowed to do these competition fighting and so i got this um pre-war aikido kind of buried in my head then went to japan when i did i didn't really graduate from high school but i took a test to graduate early and went to japan and my father kind of helped me i sold all my musical instruments and i went to japan when i was probably 16 15 16 and this was late 60s early 70s and started studying mostly aikido and then from aikido i started going into jiu jitsu and sword and i studied a lot of sword and the sword teachers were mostly outside of tokyo and they were very secretive and a lot of them were boson zen boson like zen monks and zen masters right so i was studying at that time and jiu jitsu and i i kind of stopped training karate for a while and i would go around tokyo and search out different masters to train with different dojos to study with train with other guys fight with other guys and then i met masayama uh you know who that is because you're a karate guy um and i i i got to be very good friends with him and started training with some of his guys i liked him a lot because he was korean you know and he knew what it was like to be prejudiced against and he kind of you know told everybody in the beginning you know that maybe he's japanese and he changed his name and so forth and so on but really yeah he he he's korean and i guess back in the olden days a lot of people didn't know that because i will tell you back in the day and i'm going to say a lot of things that are maybe politically incorrect but i just want you to get the flavor of what really happened i went to many places in japan where no one had ever ever seen a non japanese they'd look at me they look me up and don't go you know to the equivalent in english holy [ __ ] what what is that you know i mean they've never seen a foreigner because you're a big guy as well aren't you so you're tall right and so i went to many places where they just said we're sorry no no genji allowed so uh it's not just for american black people that they experienced this during those times but i think there are other countries that are you know have their own sort of ethnocentric uh rules and regulations and lives and cultural mores and so i had tried to enter a lot of places where they said you know no guiding allowed it sounds like you're on a quest to just become the best martial artist that you could possibly be and trying to seek out the best possible trainers you could possibly find in foreign land that is exactly what i was doing and when i got older in japan i actually went into hong kong to study some kung fu there and i went into taiwan to study some tai chi there so i did that kind of thing i was always going around trying to find the greatest master um when was uh this then that's probably around 1907 something like that okay yeah these are all your students right so like in america in the 60s was aikido something very new not people knew about was it moral karate and judo that people knew about nobody knew about aikido at this time this is the joe is it that's very impressive it's pretty full contact isn't it yeah if you don't know what you're doing you'll break your neck if you don't break it from the strike you'll break it when you hit the ground so is it are they is it called an uki is it the the person that's taking the the throws right am i right um you have to know how to fall specifically otherwise you're going to have your wrist broken your arm broke or your neck broken yeah that's fantastic stuff still training now obviously it's your life you are a lifelong martial artist i use the water every day every day you started with the makiwara and you were finished with the makiwara yeah yeah so you're saying you've been trained to punch almost like a wing chun sort of punch you're not turning a little different because what sakamoto says they said is when you when you punch you don't punch this is more wing chun yeah but he would turn it down so when you hit it's a little bit turned down that was he's very eclectic kind of an okinawa guy this guy he he didn't believe in rank he didn't give a [ __ ] about rank he you know i asked him about that once he said he said what's that going to buy you what's that going to get you he said either you learn karate or you don't and he said and if you learn karate the first thing you will learn is respect and humility and how to help others and make the world a better place and then when you really have power you'll be able to defend yourself and your family and innocent people and when you fight you will fight to destroy we don't teach how to give somebody a bloody nose he said in my style we we fight to end it and if they die that's fine and that was the way i was taught and that's the way going back to the samurai i suppose yeah and that's why i had such a hard time uh in america was just the way certain people act sometimes because that's what i was really used to that's the way i was raised i would love for you to tell the audience the story of how you got into hollywood um and how that whole thing came about did you ever have dreams as a kid to get into the movies or was it something that came out my dream you hit the nail in the head scott because you you got it my dream was to be one of the best martial arts in the world that was right certainly you can see that in 1985 i came back to america that's one date that i remember and i came back to america and i wanted to teach in america for a while i had been in japan for a long long time you know 18 years something like that i don't know and uh i didn't want to go back and forth anymore i wanted to sit down and make a really good dojo in america and um i can remember there was a gentleman by the name of michael ovitz who came to the dojo and i found that this tremendously powerful guy at that time very powerful guy in hollywood and he said hey man i want to introduce you to terry samuel who is the head of warner brothers motion pictures and they'd like to make a movie with you and i said what kind of movie and he said well you know your martial arts are astounding we nobody does what you do you were teaching michael ovitz right after that yeah he started asking me to teach you and so i said okay i'll go to meet terry semmel at warner brothers and and he said and we'd like you to do just a little secret private demo back you know with all the producers and executives and you know just a secret little demonstration i said okay and like i said you before i was very wrathful guy back then the technique was not nice you had to be you know a really nasty black belt to you know get in and do that stuff with me so i put on that kind of a demo and did the people that were women there too they were like gasping so terry symbol asked me to take a meeting with him i sat down with him he said i'm giving you four scripts pick one of them and we'll make a movie with you i said just like that and he said yeah just like that people really in america didn't know anything about aikido most of them have never heard of it or never seen it and when i did that i put in some of the pre-war jiu-jitsu you know the breaking the elbow snapping the arm choking people to that stuff like that that's really not a part of martin the whale sensei you know kind of left it but yeah i put all that pre-war jiu-jitsu stuff in there because that's what i loved the public anyone who did know something about aikido they may have considered it a little bit flowery and a little bit gentle and a little bit you know what i mean but when you burst onto the scene with above the law it was so brutal there was it was so violent and so visceral but perfect technique obviously but you hitting these guys with such force and what i also really loved about it was there'd always be people smashing over tables going into wardrobes you know glass smashing that is extremely cinematic so i want to know did the bone break and obviously you've said the bone breaking came from you and also the smashing through the furniture is that something that just is part and parcel of a stuntman being thrown around they want to smash through stuff right you know i i know that in the beginning terry someone said okay we're going to make you the next great kung fu star and i said terry there's been 5 000 kung fu movies i don't want to make a kung fu movie i want to show the world and they've never seen it and after that it became very famous around the world and i was talking to a friend of mine and he is a senior uh in in aikido in in the uk he's a great guy and he told me that he was so inspired he was a judoka when he saw nico and he was so inspired by seeing you in that movie that he then dedicated his life to ikeda he was massively inspired by you as many of us were never seen anything like it it changed action cinema forever you've never seen anything like it when you can come with something brand new like you that it is it is huge thank you well i mean i i didn't really do anything to change cinema as much as they show the real original pre-war jiu-jitsu i wanted to show that you know hey this guy's got to work too you know get down [ __ ] the setting of the movie as well and all of your movies especially in the beginning were very realistic acting's very realistic um nothing's glorified it's it's all just very real these guys are all high level black belts you know and one of them is one of oshima sensei's highest karate blackouts tom new zealand is a fantastic uh karateka yeah so i was going to say because i couldn't just get normal stunt guys coming in and expecting them to be able to react to this in a safe manner right they're just [Music] no way no way so did you always have in every movie you've done are you specifically choosing stunt guys or yeah i mean you know i had to uh you know with a lot of the fancy aikido see there's okay and this hammer fist on the face and the elbow underneath your chin you don't see that technique very often and uh is also what we call bang sao and min so i'm just mixing it up you know this kid right here is one of my black girls from japan craig dunn uh so he's one of your students this guy oh yeah he was with me in japan and with me for a long time okay yeah that's what i wanted to know you see because i was thinking you can't just be doing this to guys that aren't going to know how to react they'll get hurt with a broken wrist or elbow yeah broken wrist in elbow you can heal but the broken neck is what you really worry about and how successful was above the law well i was really very successful tremendously successful because obviously i was a kid i saw it on vhs i was blown away and then before i knew it um hard to kill well you know it's only for you guys and you only have one shot left in here you know [Music] i'm hard to kill came out and that that was a big success at the theaters as well right probably i think mark for death was even bigger well it seemed to me that with mark's death the violence was was amped up even more yeah it was that's what always impressed me about your your movies there's something very cinematic about violence and like these guys just smashing through things all the time and the arm breaks and everything it's just very cinematic well thank you now i'd normally i would ask were you um there to tell people where to put the cameras and and did you have a hand in that but i'm looking at it thinking your aikido is is just so dynamic from any angle i think it just looks good from any angle as long as you see most of the technique right when i first did above the law i had this kind of cowboy stunt coordinator that they'd hired and he didn't really understand any of this stuff at all his name was mickey gilbert he could do you know horses and cars probably really well but i ended up seeing right away that i needed to to show this stuff the way i wanted and uh so i ended up sort of studying and i got a couple of lessons from some people that i thought really understood and then i started placing cameras and i just did really basic things i usually take a 75 and a 50 and i'd do 75 and a 2t in my 50 to try to catch you know cowboy stuff and then you know really wide out just back up and try to do master with everything wide so really basic i mean i heard this gentleman chad the other day doing a interview with you and i was very impressed with his knowledge and his success the way i make movies are completely different i just never wanted to you know make everybody memorize a move four thousand times and i wanted to make it a little bit more wild and more chancy and visceral and confused and you know what i mean and so uh so how would it work working with you um then if i'm a stunt guy we're coming in good to do a fight with steven seagal are you gonna you're gonna choreograph the moves that you want to do right i would do that pretty simple are you working with your own team who uh own guys and uh like i said i i wouldn't really work them the way chad seemed to which is probably more intelligent and more professional i work them a little bit different and uh because inevitably everybody makes mistakes and i tell them to come with [ __ ] right cross and they'd come you know with the left hook or something and so i would always like that because it made it more crazy and more real is it your idea to smash people into things or is that the stunt coordinator wanting to certainly my so things can change in the moment are we saying it's going to be the stunt guy knows that he's going to come in with a certain technique and you may do one or the other it's one of your guys that they know how to fall regardless of what the technique is right okay i understand well if we ever work together stephen can you please uh let me know what's coming come get some acting lessons before you did your first movie are you kidding me have you never took acting lessons no you've always been very believable with your performances you know very understated no overacting just very believable especially in the you know new york cop sort of set in and which out for justice has what's cool about that one bar scene is i brought my old friend daniel osanto whom i didn't mention but james colburn was one of my very close friends back in the day and he was very close a friend and student of bruce lee and daniel santonso i was always up at james coburn's home and see everybody up there and uh became close with danny osanto and i got him to be in the scene with me sticks yeah whose idea was it to put the uh snooker ball in inside the saucer that was my idea it's a bar rag yeah and that would hurt scott that would hurt bad would definitely hurt this guy knocked his teeth out but all the uh the guys around you they're all you know very believable character actors that pretty much do good performances do you know what i mean yeah i thought everybody in this movie was very very good some great actors in this movie here's danny yeah now watch this scott people think i'm standing up for this i'm sitting down did you know that i think you're on one knee right yeah i'm on my knees there yeah a lot of people think i'm standing i know because the next guy that comes in you uh you throw him while you're meltdown i think yeah i remember right there you get that a little in there yeah there you go still on my knees still on my knees and this um oh what's this guy's doing again he's a great actor it seems like he's doing most of this on his own well when people are coming at you fast and hard enough you just have to move out of the way yeah well he's putting in a committed performance isn't he yeah he's he's off to chain this guy well he's a great actor and he's definitely suited this part yeah but look at that it's just so impressive bang i love it especially when the frying pan comes out i don't get to see those anymore oh you should watch them i do it's all on youtube i'll take that weapon quietly how tommy jones is a real real wonderful actor the truth has been yes that was probably the first time i saw him obviously he went on to be one of one of the greats i don't think people had seen knife fighting like that before you did it in under siege you know even if you didn't necessarily know what was happening there was something about it this seems more real i just ran into danny and brandon during brendon lee's funeral and uh first thing danny did was come up and give me a big hug and say man i love that knife right you didn't understand even if you don't necessarily know much about knife fighting and i wouldn't have done when i watched this it was something you you knew you were seeing something that rang true tommy's also quite physical back then i don't know he's a little older now but he's pretty physical back then which helped me a lot yeah i'm doubling him with one of my blackboards too you know okay vicious ending bang and then immediately with the one line it's brilliant brilliant stuff well i used to have this kind of personality where i always wanted to sort of test myself and see what i could accomplish with what i had learned and i felt that i learned a lot about movie making and i kind of wanted to test myself and see if i understood what i thought i did and that's why i asked them if i could direct another major environment major environmental movie and you say you're you've got um native american blood in you right my mother was a mohawk yeah okay so yeah very close in your movies there's always a bar fight well i like bar fights but i also uh forgive me for saying this think that one of the best places to do a really great fine and i haven't done it yet i mean i've done fights in the bathroom but i think if you wanted to make one of the greatest fights in the world the bathroom is the place to do it really i just haven't done that yet yeah how so all these porcelain sinks and metal you know faucets and porcelain toilets and stalls and some crews did a good one in uh mission impossible and uh there's a nice one in casino royale as well exactly it's a great place to do a great fight yeah that's for sure out of all the fights that you've done and there's so many do you have a favorite or i think attrition is my favorite for sure the the fight that's in the uh the horrible shop that's my fault [Music] it's a very hong kong flair to these fights in these movies obviously seeing more of a kung fu style from you now we're seeing you guys love the costume especially when you've got the hat on as well thank you in hong kong especially 22 frames will be used on a regular basis now i have to say i've used it uh the films that i've done as boycott undisputed the isaac florentine films that i've made that director he likes to shoot at 22. um and you know it's a filmmaking decision um you can either use it or you cannot but you've never you've never used 22 frames no never i mean listen my action is never sped up ever yeah it's always my speed in fact sometimes i'll go a little bit slower uh than my fast speed or top speed just so it's easier for the eye to see or comprehend um and but you know and this is not saying anything negative about anybody because you just sort of you know put it in perspective but i mean jackie chan donnie yen liam and all those guys speed up their action uh not always but a lot yes they they absolutely do and i've done it and i've done films where i haven't done it and i actually prefer to not do it but when i went to hong kong which is where i started yeah that's their thing and i would watch their movies and i would think i've got to go as fast as they do but they would say no slow down yeah because it'll look too fast exactly and then like if you even look at attrition this last movie that i did my stuff is all just normal speed and if you look at fun suite one he's speeding all his stuff up all the other guys are speeding their stuff up right so this is not sped up here not at all and we start out with some bong sao you know and boom yeah but that's not sped up none of that well that is legitimately fast yeah and uh i would have thought it was sped up because that is very quick stephen yeah plenty of witnesses yeah yeah yeah yeah and this is great because you're bringing out all the kung fu in this movie yeah if people haven't seen attrition they should check it out right i think so i think you know there's a lot of cool fighting stuff in here these are all of donnie yen's best guys he was kind enough to lend me all of his guides and uh they're good they are good you know well you know it's the art of filmmaking isn't it now recently i i was watching bruce lee's way of the dragon and there is a section where he is fighting bob wall and i'm pretty sure that that was at 22 frames and everyone would always say bruce lee never did 22 frames but nowadays we're more sophisticated but if you look at some of that stuff you know back in the day some of it was amazing for example you know bruce's sidekick yokogini was much better than mine ever was or ever will be masha getty also really good but i mean those to me those were the two things that set him apart from everybody that sidekick was spectacular nobody could do it like that still to this day it's uh yes those two things yeah magnificent well in terms of film fighting i mean there's an evolution there and he is changing things as he was shooting stuff he was inventing new stuff as far as i understand it in terms of how to capture the action and obviously it's dated in some ways but in other ways it still stands out i mean what i liked about bruce is always thinking and always practicing and always trying something new uh you know because for example when i told you you know daniel santo taught him nunchuku and uh the escrima and kelly stix and stuff like this it's like bruce would borrow techniques from other arts and make them a part of his art and he was kind of i don't want to say the first guy to do that but he did it like really the best in the sense that he spread that kind of you know new concept of mixed martial arts in his own way throughout the world he was one of the first to do that certainly on film one of the things that made me really want fancy wonders fantasy one was when i saw the fight scene of him and donnie in where he first comes into dunya's home as if one yeah remember that scene a little kid right around the box that that's a great scene because what i hate is when two guys just square off in the middle of a warehouse or something i love it when they're in something where there's so many artistic and beautiful and delicate things you know sort of crafting the the shape and the feel and the mood of the scene and so many you know fragile and expensive things to break and stuff like that and so uh and then putting the child in there this fragile child i thought lewis onesie one was wonderful in that of course donnie was wonderful the chinese movies are so beautifully shot as well but they have the time they have the time to do it yeah and they really they realize how much time they need to spend to do stuff like this most of the greatest fight scenes you see in my opinion are you up in but also some of whom is wonderful at choreographing these kind of real you know uh visceral fight scenes i completely agree sama hong and yon wu ping are the top two they really are yeah i mean even though i love the hong kong fight scenes yeah and and just adore and worship them i really never liked the wire work and i remember on uh exit wounds they asked me to do wire work and of course really didn't want to and uh you know the golden rule and the chinese of course know this with wire is you've got to have the wire team on the same level as the actor and you've got to have them on the same level where they can have a direct line of sight surprise didn't say i'm not getting on that wire yeah well i mean i did say i really don't want to do because i don't think it's you know realistic and then but that wasn't rage at that point wasn't it early 2000s people have gone wire food crazy because of the matrix right and so i said no no no i finally agreed to do it and then they had put the wire team around the corner so they couldn't see me and up two stories above me which are the two golden rules you can't break and sure enough they dropped me and broke my leg oh you broke your leg yeah they [ __ ] me up oh no i got really hurt on that uh deal and um it was just a rough rough shoot uh i've had a few injuries because it's hard to do it all day isn't it and stability anyone who's done a lot of martial arts if they haven't had injuries they ain't doing the martial arts for long yeah okay i guess i'm doing something right then because i've had can you talk about being in the corner for some of these famous ufc guys like anderson silver and leota machida yeah i've gotten a card from uh anderson silva out of nowhere saying hey teach me some of your lethal and i knew his manager george called george i said what is this he said yeah man everybody's a huge fan we really love to learn from you and um you know i got together with these guys and started working with leo dylan and anderson primarily and the first thing i wanted to teach them is a kind of a unique kick it's a front kick but it was different and i told them both this is what i want you to do in your upcoming championship fights and i worked them on it every day and i filmed it just for those people who are saying steven seagal didn't teach them the kick of course a black belt i know his father very well also is a similar background of mine and you know of course they both knew how to do their front kick i tried to teach them to do something a little bit different and i told them use it and they both you know uh leona machida knocked out uh randy couture and and you get the chronic kid kick he did put a little jump on it yeah and that's exactly what i what i taught him to do and then you know anderson silva knocked out a video bill for it this is exactly what i was working with them on constantly and then there's all those people like yourself steven's sick oh man he didn't teach them so okay i didn't teach him they made it up or they just it's just coincidence everybody has a sort of a different attitude on the martial arts for me martial should be something to teach you humility real humility respect respect for yourself respect for everyone out there and the courage to be able to help others even when you don't think you have the ability to help them to help them that's what it should be about but it's also a martial art and what that means to me is you don't ever use it unless you have to but if you have to like i said my teachers from the time i was very very young would say the same thing if you can't kill with one punch you don't know how to punch it and our idea of getting into a fight with the martial arts is only when you have to but is to get it over with immediately because you're defending your life or the life of your wife or your children or some other innocent person you cannot afford to let it go on for a lot of reasons and one is the longer it goes on the more chance you have getting hurt and the other thing is the more chance you have of someone else coming it's an insurance policy right you don't want to have to use it but if you need to use it it's best to know how to use it and get it over with quickly at all cost yeah and do you have any view on the whole mma thing that's come up and it's more of a sport and maybe we've lost a bit of the um respect that you would have in the traditional martial arts it seems to have been filtered out a little bit you have to understand it's a different animal it is to me a sport network and probably even though i don't know for sure i'm good friends with dana white and i've never asked him this i suppose i could but it's very possible that people badmouth each other and trash talk to each other for more hype to get more people to watch the fight but in the real world of bushido and the real world of the martial arts we don't talk like that we don't say i'm going to do this to you i'm gonna do that to you you're a piece of [ __ ] you're an [ __ ] your wife is this we don't ever talk like that about anyone we just say let's let the fight begin and the outcome of the fight will be the judge of you know who we are and what we are which is pretty much exactly what leotar machida says so yeah there you go well like i said he was raised well i love him like my little brother and his father is also a dear friend of mine cut from the same cloth i am brilliant is there anything that you you haven't done yet a movie that you you'd love to make that you haven't been able to make yet i hope someday i can make a great western oh yeah that'd be cool yeah yeah we all want to do a western yeah yeah well stephen um it's been a career spanning 30 years we've enjoyed it we've seen many of your movies you've done some great films and hopefully you will continue to do so steven seagal thank you so much for being on the show thank you brother thank you so much you

Channel: Scott Adkins

Views: 277,077

Rating: 4.9016147 out of 5

Keywords: scott adkins, Boyka, Undisputed, Martial Arts, steven seagal, aikido, marked for death, out for justice, above the law, hard to kill

Id: rlZVQTRU-EQ

Length: 43min 58sec (2638 seconds)

Published: Tue Oct 06 2020

Reddit Comments

[u/SetYourGoals]

Jesus god, Segal's hair in that thumbnail looks like it's made with fondant.

[u/LuckyRedShirt]

"Get your white ass 'outta here!"

[u/thehippestcat]

his goatee/moustache looks like a chocolate donut

[u/seemontyburns]

“I mean, I’m not white, but...”

[u/[deleted]]

Bitchin'... Seagal looking great as always...