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" 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

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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. "

" 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. "

" 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. "

" 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. "

" You have to make bold choices to be noticed. "

" 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. "

" 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. "

" 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.' "

" Choreographing a fight scene is telling a little story. You learn a lot about the characters involved. "

" Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography. "

David Leitch

Fight

You

" Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film. "

" In the stunt world, fights and vehicles are often two different disciplines. "

" 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. "

" The character of Cable is complex. "

" Film is a collaborative art form. I don't know why you wouldn't recognize the stunt performers. "

" 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. "

" People have given their lives to this industry to make movies compelling. "

" I've been really fortunate in my career to do budgets at all different levels. "

" The completely irreverent tone was the thing that won me over about the first 'Deadpool' movie. "

David Leitch

Over

Tone

" 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. "

" 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. "

" The DNA of 'Deadpool' shouldn't change. "

David Leitch

Change

DNA

" The thing that I like about action sequences is that if they're done well, you get to know more about the character in those few minutes than you do through 10 minutes of exposition. "

David Leitch

You

Know

" Spies go undercover. They take on different personas. "

David Leitch

Undercover

Take

" All film, at the end of the day, has wish-fulfillment. "

" 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. "

" 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. "