Choreographing a fight scene is telling a little story. You learn a lot about the characters involved. David Leitch More Quotes by David Leitch More Quotes From David Leitch The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer. David Leitch presentyouphotographway 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. David Leitch fightyoucarlong Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film. David Leitch groundgoodyoutraining Spies go undercover. They take on different personas. David Leitch spiesgotakedifferent 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. David Leitch moreteamactionway People have given their lives to this industry to make movies compelling. David Leitch makemoviesindustrypeople Film is a collaborative art form. I don't know why you wouldn't recognize the stunt performers. David Leitch whyknowyouart You have to make bold choices to be noticed. David Leitch boldmakeyouchoices As a stunt guy, you become a mini-director. You're talking to actors about performance. David Leitch becomeperformanceyoutalking 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. David Leitch fightlookyouaction There's a lot of directing within the stunt coordinator's job. David Leitch stuntdirectingwithinjob If you have John Goodman in your movie, you want to use him as much as possible. David Leitch yourpossibleyouwant If you're trying to get to the underworld of Berlin, it's not suits and ties; it's rock and roll. David Leitch yourock-and-rollsuitstrying 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. David Leitch walkgreatyoucharacter 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. David Leitch skillyourselfyouopportunity Some actors have an affinity for dance, and they should explore it, train in it, and get good. David Leitch somegooddancetrain '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. David Leitch gameblondefunworld Coming from an action background, I always approach the action sequences in any script as kind of placeholders. David Leitch comingbackgroundalwaysaction In the stunt world, fights and vehicles are often two different disciplines. David Leitch stuntdifferenttwoworld 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. David Leitch understandlookactionwant
