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I think the biggest thing you take from the stunt world is your understanding of the filmmaking process. For years, you've worked with every other department closely. You know hair, makeup, wardrobe, special effects, and you know what everybody's needs are and their expectations. You also know how to collaborate with them.
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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.
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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.
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Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
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Some actors have an affinity for dance, and they should explore it, train in it, and get good.
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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.
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Spies go undercover. They take on different personas.