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" Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film. "
David Leitch
You
Stunt
Ground
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" 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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" I've been doing second unit for years, which is sort of like directing mini movies. Now that I'm directing entire films, it's really just more of everything. There are a lot more questions that need answers. "
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" As a stunt guy, you become a mini-director. You're talking to actors about performance. "
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" There's a lot of directing within the stunt coordinator's job. "
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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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" 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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" The DNA of 'Deadpool' shouldn't change. "
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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 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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" 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. "
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Action
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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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Think
" We don't want John Wick to retire again; we're glad he's back in the game. We want a sequel or a prequel. There's a lot of fertile ground to cover. "
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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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Makeup
World
Think
" 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
" All film, at the end of the day, has wish-fulfillment. "
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Day
End Of The Day
End
" 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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Way
Hanging
Present
" 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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World
Ideas
Fun
" As a second unit director, you're entrusted to shoot the action sequences. On every movie, it's slightly different. "
David Leitch
Action
Director
Shoot
" People want to be empowered to the point where they can thwart their enemies physically. "
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Where
People
Enemies
" People have given their lives to this industry to make movies compelling. "
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Industry
People
Movies
" Part of the problem is that many directors treat female characters too often as precious. Or they want to live in a fantasy world where they just do spinning hook kicks and knock out guys who are six foot four, and that doesn't work either. "
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World
Treat
" Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography. "
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Fight
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" I think in the 'Deadpool' franchise, the writers are really good at distilling the good stuff and applying that to the material in this universe. "
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Franchise
Good
" 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. "
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Partner
Arts
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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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Chance
Character
" 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. "
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Rules
Fun
" A lot of people don't give their audiences credit. You can leave it a little mysterious. They can think about it. "
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People
Mysterious
Credit
" 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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Great
Opportunity
Jump
" I find fight scenes actually more interesting, in a way, than chase scenes because you're watching your character go through this problem-solving process and fight the antagonist mano-a-mano. It's more powerful, more emotional. "
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Character
Fight