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" A lot of people don't give their audiences credit. You can leave it a little mysterious. They can think about it. "
David Leitch
People
Mysterious
Credit
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" 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. "
David Leitch
Action
Fun
Giving
" You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.' "
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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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Kind
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" Film is a collaborative art form. I don't know why you wouldn't recognize the stunt performers. "
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" People want to be empowered to the point where they can thwart their enemies physically. "
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Where
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Enemies
" 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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Want
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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. "
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Like
Friends
I Am
" If you have John Goodman in your movie, you want to use him as much as possible. "
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Much
Him
Want
" You can sometimes break rules in comics that you can't necessarily break in cinema. It's fun to find something cool in a comic and then try and find a way to break the same rule in another medium. "
David Leitch
You
Rules
Fun
" The completely irreverent tone was the thing that won me over about the first 'Deadpool' movie. "
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Me
Over
Tone
" The character of Cable is complex. "
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Cable
Complex
Character
" 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. "
David Leitch
Great
Opportunity
Jump
" 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. "
David Leitch
Attack
Challenges
Think
" Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film. "
David Leitch
You
Stunt
Ground
" As a filmmaker, I'm a collaborator first. "
David Leitch
First
Filmmaker
Collaborator
" You have to make bold choices to be noticed. "
David Leitch
Choices
Make
Noticed
" 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. "
David Leitch
Story
Action
Better
" There's a lot of directing within the stunt coordinator's job. "
David Leitch
Lot
Job
Directing
" 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. "
David Leitch
Makeup
World
Think
" All film, at the end of the day, has wish-fulfillment. "
David Leitch
Day
End Of The Day
End
" 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. "
David Leitch
Partner
Arts
You
" 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. "
David Leitch
Through
Movies
Attitude
" 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. "
David Leitch
Journey
Want
Simplicity
" 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
You
Acting
Dive
" 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
World
Ideas
Fun
" 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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Way
Production
Action
" Some actors have an affinity for dance, and they should explore it, train in it, and get good. "
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Dance
Some
Train
" 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. "
David Leitch
Know
Own
Universe
" Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography. "
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Like
Fight
You
" 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
Way
Hanging
Present