Zitat des Tages von David Leitch:
As a second unit director, you're entrusted to shoot the action sequences. On every movie, it's slightly different.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
I've been doing second unit for years, which is sort of like directing mini movies. Now that I'm directing entire films, it's really just more of everything. There are a lot more questions that need answers.
Take up martial arts and get proficient. Take a sword-fighting class. Dive in and immerse yourself in it as you would any other acting class, so when the opportunity comes, that skill can be really utilized, and it's not half-baked.
As a director, just to be able to jump in to do something that's different, and to explore comedy and be challenged by that, is great. Some directors never get that opportunity.
Spies go undercover. They take on different personas.
I look at the action scenes as placeholders when I arrive on a script, knowing that I'm going to expand on them when I understand the constraints of the movie, the locations of where we're shooting, the abilities of the actors, and where we want to go with the characters.
Sometimes, the action genre does get stale. Although I want to go back and see my favorite characters in their tentpoles - and will religiously do that - it's really fun to see breakout ideas and concepts. Let's make some new stories.
Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
I find fight scenes actually more interesting, in a way, than chase scenes because you're watching your character go through this problem-solving process and fight the antagonist mano-a-mano. It's more powerful, more emotional.
Every movie you attack has its challenges, and I was excited about the challenges presented by 'Deadpool.' I was a huge fan of the original, and I think, as a director, you have to put the script first.
If you're trying to get to the underworld of Berlin, it's not suits and ties; it's rock and roll.
There's a lot of directing within the stunt coordinator's job.
As a filmmaker, I'm a collaborator first.
I'm a fan of the sensibility of comics, and I love the escapism of them and the defining of good and evil. They're just so creative, too.
I think what's really important is to challenge yourself. You can very easily fall into the rut of, 'We know it works! We'll use that old chestnut.'
I think in the 'Deadpool' franchise, the writers are really good at distilling the good stuff and applying that to the material in this universe.
People have given their lives to this industry to make movies compelling.
I think, as a choreographer and an action designer, you're constantly giving your characters problems to overcome. That's what makes it fun for choreography. But it also makes it fun for the audience to see them solve those puzzles and how they are as a human being.
A lot of people don't give their audiences credit. You can leave it a little mysterious. They can think about it.
While filming 'The Matrix,' we studied how a Chinese fight-choreography team trains actors before production starts so that they can participate in action sequences in a more dynamic way.
The thing that I like about action sequences is that if they're done well, you get to know more about the character in those few minutes than you do through 10 minutes of exposition.
People want to be empowered to the point where they can thwart their enemies physically.
The completely irreverent tone was the thing that won me over about the first 'Deadpool' movie.
Music emotionally and psychologically transports you immediately.
I've been really fortunate in my career to do budgets at all different levels.
We don't want John Wick to retire again; we're glad he's back in the game. We want a sequel or a prequel. There's a lot of fertile ground to cover.
There are a lot of big action movies that we've worked on where the attitude has been, 'Let's just get through this scene.' Then you get those jumpy, what-were-they-thinking action sequences.
You learn tricks to make action look more dynamic - having the fight come toward you or shooting on a longer lens to compress the speed.
