David Leitch Quotes
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It's called 'John Wick' - it's really about this guy's very simple journey. We just didn't want to clutter it. It's gratifying it in its own right, in its simplicity.
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In the stunt world, fights and vehicles are often two different disciplines.
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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.'
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You have to make bold choices to be noticed.
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As a filmmaker, I'm a collaborator first.
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As a stunt guy, you become a mini-director. You're talking to actors about performance.
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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.
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The character of Cable is complex.
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'Atomic Blonde' is about the characters' bigger existential crisis and their world. It's not so much the conceit of the spy game; it's more that being a spy sucks. But we're going to make it fun to watch.
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The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.
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You know, the 'Atomic Blonde' universe is its own universe. There's influences obviously of Bond and Bourne and 'Wick,' all the things I've been exposed to, but it is its own universe.
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As a second unit director, you're entrusted to shoot the action sequences. On every movie, it's slightly different.
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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.
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People have given their lives to this industry to make movies compelling.
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I've been really fortunate in my career to do budgets at all different levels.
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People want to be empowered to the point where they can thwart their enemies physically.
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The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.
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The completely irreverent tone was the thing that won me over about the first 'Deadpool' movie.
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Music emotionally and psychologically transports you immediately.
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Coming from an action background, I always approach the action sequences in any script as kind of placeholders.
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There's an arc to an action sequence, and you need to come out the other end knowing your character better, and maybe the story has moved forward in a compelling way.
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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.
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Great actors can transform, but sometimes there's just this person who speaks right to the role. When they walk in the room, you know they're that character. That is something you can't teach an actor; that's something that's luck and chance.
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Friends who are directors like Jim Mangold or the Wachowskis or Zack Snyder - who, whether they know or not - have really left a mark on who I am as a director.