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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.
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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.