As a seasoned filmmaker with a deep understanding of martial arts choreography and action sequences, I can attest to the fact that the influence of John Wick has indeed been profound. Yet, just like Chad Stahelski, I too wish for originality and innovation in the industry rather than mere imitations.
Approximately a decade ago, the co-director of John Wick, named Chad Stahelski, played a significant role in creating one of cinema’s most productive assassins, thus launching an unexpectedly successful franchise in the process.
In his role as Keanu Reeves’ stunt double in “The Matrix” and the martial arts stunt coordinator for its sequels, Chad Stahelski has witnessed firsthand the special rapport between the actor and his stunt teams. This rapport is not just limited to gift-giving and generosity, but it also extends to a mutual support that goes beyond professional boundaries. When David Leitch, who later co-directed “John Wick” with Stahelski, joined the second and third Matrix installments as a stuntman, they developed a strong bond. As their shared ambitions in business and filmmaking became apparent, Keanu Reeves took notice and encouraged them. In 1997, Stahelski and Leitch established 87eleven, a company that offers comprehensive action design, stunt training, and services as stunt performers, fight choreographers, stunt coordinators, and second-unit directors. (Leitch later branched off with 87North in 2019.)
2013 marked a significant turning point in their careers when Stahelski received a call about a revised script from Reeves. At first, they planned to only handle action sequences, but screenwriter Derek Kolstad’s captivating script, titled Scorn at the time, inspired them greatly. Seizing the opportunity, they presented their original vision for the material to Reeves and secured his approval by doing so. This approval, offered by Reeves, was a priceless endorsement.
Initially conceived with a character age of around sixty, the storyline of John Wick revolved around the retired assassin’s quest for vengeance following the brutal murder of his wife’s final gift – a puppy – during a home invasion and car theft, shortly after her death. The body count in the script was approximately 11 to 15 people, although director Chad Stahelski recalls reading an early draft with just three or four deaths. However, due to Keanu Reeves’ age of 49 during filming, the creative team decided to adjust John Wick’s age. Notably, Stahelski and co-director David Leitch intensified the action sequences, increased the number of casualties, and expanded the mythological aspects related to John’s criminal underworld. Lastly, the working title “Scorn” was changed to “John Wick,” as Reeves had consistently referred to the project as such.
Following a demanding nine-week filming session towards the end of 2013, the directorial pair faced some less than enthusiastic reactions during initial movie previews.
Initially, some of the early versions weren’t well-received, even at a private screening for our supporters,” Stahelski shared with laughter to The Hollywood Reporter. “These were our friends who walked out, it was quite harsh. But we didn’t truly discover the film until much later on.
In an attempt to perfect the movie, James Mangold – who had previously collaborated with Stahelski and Leitch on the 2013 film “The Wolverine” – consented to drop by their editing suite for a discussion about improvements.
Stahelski remembers, ‘We had an idea for a legend instead of a film, but others suggested a movie. However, we said, “Why complicate things with a detailed plot?” Mangold understood our vision, and his insights resulted in many structural changes. His notes were comprehensive, giving us the courage to say, “This is peculiar, let’s continue as planned.”‘
Initial showings of the film were met with confusion, but Lionsgate stood out as the distribution company that recognized its potential, releasing it widely through their Summit Entertainment label two-and-a-half months later in August 2014. Directors Stahelski and Leitch initially felt they had fallen short, planning to resume their previous roles as second unit directors or stunt coordinators. However, a screening at Austin’s Fantastic Fest just five weeks prior to the film’s October 24th theatrical release sparked hope within the creative team. This action-packed movie exceeded expectations, earning over four times its budget with nearly $90 million worldwide and resonating with audiences. The film’s success marked the beginning of three direct sequels, a spinoff movie, and a prequel TV series titled “The Continental.
2023’s “John Wick: Chapter 4,” directed by Stahelski, appears to have temporarily laid John Reeves’ latest action icon to rest, but the franchise is thriving more than ever before. The Len Wiseman-directed spinoff, titled “Ballerina,” featuring Ana de Armas, has recently unveiled its trailer for a June 2025 release. Moreover, a prequel anime feature is underway and promises to shed light on at least some of John’s legendary “impossible task” that allowed him to retire for love. Robert Levine’s spinoff series, “Under the High Table,” is also in development, focusing on the universe’s secondary characters. Lastly, Donnie Yen’s standalone spinoff movie centered around his “Chapter 4” character, Caine, is being actively penned.
Stahelski, who recently broadened his responsibilities with Lionsgate to manage the entire franchise, also lent a hand to Wiseman during two extra weeks of filming for the movie titled “Ballerina“.
We returned to work with my writing team from ‘John Wick: Chapter 4’, as well as my stunt team. Together with Len and his initial work, we polished some aspects of the film. It wasn’t a major overhaul. Everyone exclaimed, ‘Wow!’ Stahelski notes, addressing rumors that ‘Ballerina’ required additional shooting for ‘months’. However, he clarified that we only went back for a couple of weeks. We revised some action sequences and compensated for the time Len didn’t have due to scheduling constraints. Some of the larger shots needed more attention than he could provide. There was also an issue with the weather in Austria, which gave us the opportunity to go back and fix that. Overall, it’s looking good.
Regarding the progression of John Wick: Chapter 5, it’s important to note that this topic is somewhat complex. The previous installment, John Wick: Chapter 4, received the highest praise from both critics and audiences, earning an impressive $440 million at the global box office – a franchise record. Director Chad Stahelski acknowledges that there remains interest in the character, but he also feels that Chapter 4 serves as a conclusion to John’s story. However, he has devised several alternative ideas for the fifth chapter that would steer the narrative in a fresh direction without undermining the emotional impact of Chapter 4’s ending.
“The honest truth is you don’t [top John Wick: Chapter 4]. You simply don’t. There’s no topping what we did. That’s the end. That’s the deal. That’s what we found closure for. Look, sometimes, we’ll keep things in development. Sometimes, we’ll use development as an exercise, but is there an opportunity to do [John Wick 5]? Of course, there is, whether it’s for money or for creativity,” Stahelski says. “Jesus, in the last three years, I’ve already had three or four versions of a John Wick 5. They were different ways to crack the story, but it’s almost a mental exercise for me.”
Speaking as a devoted fan, I’d like to share some intriguing insights from Stahelski about “John Wick: Chapter 4.” He emphasized that the upcoming chapter wouldn’t fit into the current storyline as we might expect. Instead, it would be something unexpected and fresh. As for “John Wick: Chapter 3 – Parabellum,” Stahelski considers it his peak, his apex in the series. He feels content with how it ended, and it’s a complete story in his eyes. Watching it now, he expresses a sense of pride and satisfaction. However, they won’t attempt to surpass or expand upon that chapter. Instead, a new, distinct storyline would be required for any future installments.
In a recent chat with THR, I (Stahelski) shared my mixed emotions about the ending of John Wick and hinted at how I might handle it differently if given another chance today.
Ten years ago at this point, prior to the release, neither you nor co-director David Leitch anticipated that your collaboration would birth a unique film franchise with five movies, a TV series, and even more in development. In fact, it seems you were all set for additional work in the second unit, correct?
You were right about your job hunt; we hadn’t anticipated the outcome. Until Fantastic Fest, we were uncertain all along. This event took place almost five weeks prior to release, in Austin, Texas. Basil Iwanyk, our producer, managed to get us a spot at Fantastic Fest, and they welcomed us warmly. Keanu joined us there, and the audience applauded. This certainly boosted our confidence.
Before the release of “John Wick,” Keanu was already a first-ballot hall of famer, but if we consider careers as having peaks and valleys, he might have been in a creative downturn during that period. Given his past association with “The Matrix,” one could argue that his circumstances at the time made him more open to taking a risk on an unconventional concept and inexperienced directors.
As someone who’s been a fan of his work since the Matrix days, I can say I was pleasantly surprised by his recent actions. Although I can’t read his mind, I’ve learned over time that he generally collaborates with individuals he’s genuinely interested in working alongside. It’s almost like a personal choice for him. He might be passionate about the project, but if he doesn’t feel a connection with the people he’ll be teaming up with, it could be a challenge for him to fully commit. I’m just grateful he found something in us that made him want to join forces.
He knew Dave [Leitch] almost as long as me. I had met him almost three years earlier on The Matrix. I did Constantine with him [as the fight choreographer], and then I had kept working with the Wachowskis on some of their stuff. But he kept tabs on us, and when he came to me with [Derek Kolstad’s] script [known as Scorn], he asked me what I could do with it. And maybe because of his career and where it was, it allowed him to work on a smaller budget film, which, in turn, allowed us to get it. If it had been a $150 million version of John Wick with one of the bigger studios, we would’ve even been in the running.
Essentially, he found himself desiring to produce a modest action film, yet with his unique touch. He sought creative freedom and less scrutiny, understanding that this might mean a smaller budget, which was exactly what he required at that juncture. He wanted collaborators who shared his vision and work ethic, so it seems like a blend of both factors came into play. His current position opened the way for us to move forward, but it’s also about the past 20 years leading up to this pivotal moment.
Did you know that Helen Wick was not the first terminally ill woman to mail a dog to Keanu on screen? Charlize Theron’s terminally ill character in 2001’s Sweet November mailed a dog to Keanu, as well, although his character didn’t know her fate yet. I brought up the coincidence to Charlize once, and it knocked her sideways to the point of texting Keanu.
(Laughs.) Funny enough, I wasn’t aware of that at the time. After watching John Wick, I learned more about it and thought, “Wow, how didn’t I know this?” So, there might be three more interesting facts to discover. You never know. (Laughs.)
Your directing skills have improved significantly since earlier times. It’s evident that you strive for self-improvement between each movie project you undertake.
I hope so.
Would you direct John Wick a lot differently now if you were to re-approach the same script?
I appreciate your thought-provoking question, but it’s not a topic I’ve pondered much. To be straightforward, I don’t believe the outcome would be as favorable. The original version seems to hold a unique charm that might be lost in a remake. First attempts often carry an unparalleled appeal due to their novelty and originality. When resources are scarce, innovation becomes crucial to escape financial predicaments.
If given the resources and trust I have today, I believe “John Wick” would have become a somewhat larger film, veering more towards the style of “Bourne” or similar genres. However, I don’t think we would have managed to achieve the same distinctive tone. At that time, I was brimming with ideas, but unfortunately, my directing skills weren’t fully developed enough to effectively translate what was in my mind. Thus, the search for the right tone was ongoing.
For the initial nine days of filming, we captured scenes within John Wick’s residence. These moments primarily showcased him mourning, caring for his dog, and tidying up his late wife’s closet. We spent nine days to shoot this portion; the Red Circle fight was completed in just five days (laughs). As I mentioned earlier, we were striving to establish the film’s tone and develop the character. Initially, we aimed to avoid the typical action movie feel, instead choosing to portray a profoundly serious drama and heart-wrenching love story. Consequently, we filmed numerous small details, and if I were directing today, I would likely condense the entire mourning sequence into less than three days. However, this slower pace allowed us to explore John’s character more deeply, which might not have been possible had we taken a more efficient approach. In essence, taking the time to wander helped us discover aspects of the story that may have remained hidden otherwise.
I don’t believe it would be feasible to replicate the “John Wick” films given my current knowledge. A significant aspect of their appeal lies in the process of discovery that was involved. We were essentially learning as we went along, honing our skills, experimenting with different types of lenses, and figuring out what worked best. While we were already proficient shooters due to our second-unit work, we needed to find a way to integrate all these elements seamlessly through tone, pace, and rhythm.
Initially, some of the early versions left a lot to be desired. When we showed our work for the first time to people who genuinely support us, many were leaving the screening room. Yes, these were our friends! (Laughs.) They’d merely smile and say things like, “That’s sweet. You two really gave it a go. Well done, but we think we’ll head out now.” It was quite an ordeal, and we didn’t truly discover the essence of our film until much later on.
You thanked James Mangold in the credits. Did he give notes on early cuts?
He did. He watched two cuts. We had worked with him on The Wolverine and some other stuff as second-unit guys, and whenever he called, we were absolutely happy to go work with him on any show that needed stunts and stuff. I had good relationships with Mangold, Guy Ritchie, the Wachowskis, Stallone, Francis Lawrence and Gary Ross. They’re filmmakers that you click with no matter what kind of movie they make. There’s something you trust about them, and you can see the real directorial leadership in them.
Following our collaboration with Mangold on “The Wolverine” (2013), we were debating on finalizing our version of “John Wick”. We reached out to him, acknowledging his busy schedule, saying something like, “Hey, we know you’re swamped…” But he was quick to respond. He essentially said, “Sure, no problem. When do you need me?” So, he dropped by our humble editorial room in Santa Monica and sat on the couch. He reviewed the project and offered suggestions such as, “I like this part, but I wouldn’t do it this way, try doing it this way instead.” Studio feedback can be good, but directorial advice is often more about exploration; it’s not just about criticizing, saying things like, “This was terrible” or “This didn’t work,” or “It feels rough here.” A good director will inquire, “Have you considered trying this?” They have a comprehensive understanding of the project from the broad strokes to the smallest details.
He supplied us with numerous items, and we attempted almost every suggestion he made. Some matched perfectly, while others didn’t. Yet again, achieving the right tone proved challenging. Our goal was to create a myth, but others expected a film. However, we responded, “Forget it. We’re not interested in complex plotlines,” and Mangold understood this. Consequently, some of the most comprehensive feedback we received was from him, leading to significant structural modifications, but it also boosted our confidence to say, “Alright, let’s keep going. This is peculiar, let’s continue.
Does the lack of funds for an impressive finale still bother you or leave a sour taste in your mouth?
Many director friends I associate with reflect on that particular project and express, “If only I could have had so much more!” Indeed, there are moments in that production that make me squirm slightly, but I take pride in the way we captured the overall mood. I’m particularly proud of our innovative gun-fu sequences and the choreography, and I marvel at what our small stunt team, aided by Keanu, achieved with minimal preparation and scarce resources.
Chapter 3″. Therefore, I am still harboring the ambition for a car chase scene in “Wick”, and I hope to realize it in future installments.
Reflecting on our approach at the Naval Yard finale, it’s clear we were fortunate with how things turned out. We devised the car-crashing, martial arts with cars, and demolition derby elements instead of mimicking other films. If we had followed a similar script, it wouldn’t have been as unique as it was. Therefore, often, necessity fosters creativity.
Is there a particular moment in action films that you find particularly gratifying, where the villains come to understand their mistake in underestimating the hero, and your portrayal of this was exceptionally well done, especially with Michael Nyqvist’s character Viggo uttering “Oh”? Do you know where this common trope originated?
Michael was exceptional, and I mentioned him because I admired his performance in the 2009 Swedish adaptation of “The Girl with the Dragon Tattoo.” During our conversation, it appeared that Michael was proficient in English, Swedish, and possibly Russian. His mind seemed to be brimming with thoughts. In a scene written by Derek Kolstad, he responded, “Ah, I see. The Baba Yaga…” However, we had previously used similar dialogue from a later scene involving Alfie Allen as Viggo’s son, Iosef. Consequently, part of Michael’s response was directed at Aureilo [John Leguizamo], and part was intended for himself in Russian. This combination led to a complex monologue. While overlooking New York City from a hotel, we struggled to find the right rhythm with Michael, who had already completed several takes. He seemed slightly agitated with us, letting out an exasperated “Ugh” as he walked away. However, we encouraged him to repeat this, and it turned out to be just what we needed. And so, that’s the enchantment of filmmaking – sometimes a single word can encapsulate a whole paragraph.
It became public knowledge in January 2024 that you accepted a supervising role across the entire John Wick cinematic universe. I must confess, I thought you were already in this position, so why was the official announcement delayed until then?
As a devoted fan, I can relate when a creative project like “John Wick: Chapter 4” takes a unique turn. Since I’m known for my deliberate directing pace, every three years presents ample opportunities for meaningful conversations during filmmaking. However, whispers began about Lionsgate potentially creating another TV show without the core creatives, including Keanu and myself. They had previously produced “The Continental,” and were already developing their first spin-off movie, “Ballerina,” featuring Ana de Armas. This was certainly uncharted territory that we hadn’t navigated before.
After examining the initial drafts, we swiftly noticed certain elements didn’t align perfectly with the tone or mythology of the John Wick films. Consequently, Keanu, myself, Basil Iwanyk from Thunder Road, and others gathered to brainstorm on how to progress creatively. We’ve observed other franchises undergo intriguing evolutions, and we thought, “We require a guardian.” Our aim was to develop the TV series, anime, and other John Wick projects, but we needed one individual to maintain focus. Since I created the mythology for all four films and set the tone, it made sense that I would serve as the guardian, yet open to all ideas. The creative process remains unchanged; it simply flows through me, so I might say, “That’s fantastic, but…
Keanu and I have found ourselves in situations where others might question the ‘John Wick’-like nature of certain ideas, but when someone says, “I’m not sure that fits the John Wick mold,” we often exchange a glance, and I might remark, “I’m not so sure. That screams John Wick to me.” Then I’d ask Keanu, “Do you think this embodies John Wick?” To which he usually responds with a confident, “Absolutely, that’s John Wick.” (Laughs.) As more opinions pour in, it becomes increasingly crucial to have someone like Keanu as a ‘red light’ or ‘veto’ in the decision-making process.
Believe me, the John Wicks aren’t easy. They don’t follow a normal good guy-bad guy plot. They don’t follow literally 90 percent of the norms of scriptwriting. You have to be brave and go, “Nope, we’re just telling a story, man. It’s going to be fucked up.” So you’ve got to be a little outside the box, and too many times franchises get funneled into what they think the audience wants or the norm. When you try to serve too many masters, it always goes south, as we’ve seen in many franchises recently.
As a gamer stepping into the John Wick universe, I’ve got an essential role now – acting as a gatekeeper for the upcoming projects: an anime feature, a TV show, and a new spinoff starring Donnie Yen’s Caine. Keanu and I are deeply involved in these projects to ensure we stay true to the heart of John Wick. Whether it’s the pinball machine or the anime film, or the TV series we’re developing, we want to keep it under our watchful eyes. Whenever something lands on my desk, my first call is always to Keanu, and then Basil. It’s like a holy trio, and after we sort things out, we’ll consult Derek too. This way, we maintain control while also protecting ourselves from external influences that might divert us off course. After all, we’ve been working tirelessly for the last ten years to build this world, and we’re not about to let it crumble.
The trailer for Len Wiseman’s Ballerina was just released, and it looks really cool from where I’m sitting. Is it shaping up nicely after everyone got together for some course correction?
Of course, that’s typically how it goes. Here’s my dilemma: It’s gratifying to create something small and see people appreciate it. Before you know it, we’re discussing a decade of this project, and I still recall when no one was interested in watching. So, it’s flattering to have the studio show interest, whether for financial, creative, or opportunistic reasons, in keeping this going. It feels wonderful. Yet, at the same time, you’re the self-centered creator who doesn’t want anyone to mess it up. You don’t want to share your work. You prefer to keep everything private. You want to be a control freak, and I must admit, I’m quite the control freak. (Laughs.) So, I’m always caught between these two conflicting feelings.
When they expressed their intention to work on “Ballerina”, I was deeply engrossed in the preparations for “John Wick: Chapter 4”. At that moment, it was my primary focus. Therefore, I tried to contribute as much as possible, but I wasn’t actively involved in its supervision. My role was limited to saying something like, “Good luck. These principles are what made this great. Try to keep these ideas in mind and you should be fine.
Previously mentioned, the movie titled “John Wick” seemed like an unconventional idea that didn’t appear promising on paper. The concept seemed flawed. It shouldn’t have worked. However, it had an extraordinary confluence of factors such as myself, Dave, and Keanu at the optimal moment, and Derek, a debut screenwriter, had penned this peculiar script. The film industry was also transitioning out of a strange phase marked by shaky cam. Therefore, it was a rather odd occurrence that simply took place, and replicating its success with a new crew, a different director, and no original cast members seemed challenging. Over the past ten years at Lionsgate, I’ve dealt with five studio presidents, and each time, we have the initial conversation where we discuss discarding the numerous suggestions we receive. So, how likely do you think it is that they will succeed on their first try? We did discuss this. Yet, they managed to find Ana and capture the right feel, while director Len had limited resources compared to what I had for “John Wick: Chapter 4“. Despite these constraints, they made significant progress, creating something truly intriguing with immense potential. It was a bold move.
After discussing our previous conversations, Keanu and I returned with my writing team from John Wick: Chapter 4, along with my stunt team, to refine some aspects together with Len. The adjustments were minor but crucial. Everyone was thrilled, but we only spent a couple of weeks on it. We revised certain action sequences to compensate for time that Len didn’t have due to scheduling constraints. Some of the larger shots required more time than he could allocate. Due to a weather issue in Austria, we had an opportunity to go back and rework those scenes.
Indeed, things are coming together quite well. Just a quick reminder that I’ve been immersed in the world of John Wick 4, traveling through seven nations, while Ballerina is still gearing up for its premiere. Ambitious ideas are swirling around, but our focus remains on striking a balanced approach.
I found myself both surprised and not surprised by the announcement of John Wick 5. To be honest, John Wick: Chapter 4 seemed like it had a satisfactory conclusion for John’s story. As you mentioned, the test audiences seemed to favor a more conclusive ending. Moreover, there was a poignant full-circle moment where John saved a dog. So, I’m curious, how can they possibly create an even better ending than that?
To put it plainly, we haven’t stopped contemplating another John Wick adventure. Although we may use development as a creative exercise, there is indeed potential for a fifth installment, be it driven by financial or creative motivations. Over the past three years, I’ve conceived several different storylines for John Wick 5, but it remains a mental challenge for me to find the perfect fit.
In our field, you’ll often come across the term “active development.” This means that projects are in progress, being worked on, and this is certainly true for us. It involves brainstorming ideas with Keanu, writing scripts with Mike Finch or my partner Alex, and discussing potential scenes. We find these creative sessions very beneficial, as they inspire and fuel our own work.
So we have some really good ideas, and it would not be part of that [John Wick: Chapter 4] storyline. It would not be what you would think it is. If we could ever crack it to where Keanu and I thought it was a great idea and it didn’t feel like a cheese-out, then that’s great. But as far as [John Wick: Chapter 4], we’ve peaked. At least I have. That’s my apex. We ended it. It’s a complete story. I watch it now, and I feel very happy about it, but we wouldn’t try to outdo it. We wouldn’t try to add on to that. It’d have to be a completely different storyline.
It sounds like an epilogue-type thing.
Currently, we’re deeply involved in creating an animated series centered around the character of John Wick. This series serves as a prequel to the movies, making it quite exciting. What makes it even more intriguing is the fact that it’s being presented in a new medium.
Is it John’s impossible task that allowed him to retire for the married life?
Your analysis is quite accurate, but there’s an entertaining twist to it. The intention isn’t seriousness, rather enjoyment. Unlike some spin-offs and continuations in other series that are constructed differently, ours is primarily designed for amusement. We aim to bring joy through the John Wick universe. However, we’ve reached a conclusion with the storyline [in John Wick: Chapter 4], so let’s explore a new format or medium instead.
One intriguing aspect of the TV series “Under the High Table” is its design by Rob Levine, who’s behind it. Set in the John Wick universe, it delves into the lives of characters beyond John Wick himself. This opens up opportunities to explore themes and aspects that were not possible in the movies. Instead of continually presenting episodes centered on John Wick, we find it more engaging to delve into different facets of the world and John Wick’s past, whether through anime or TV. In the anime, we can be more imaginative and outlandish, while the TV show allows for a more explicit storytelling and world building. This approach keeps things fresh and exciting without feeling repetitive, which is where our focus lies at present.
I just spoke to Halle Berry, and she sounds eager to get back in the game as Sofia.
I’d jump at the opportunity to collaborate with Halle whenever possible. She’s constantly on our radar. To be honest, there isn’t an actor from the John Wick series we don’t admire and wouldn’t consider for future projects in different formats we explore. Simply put, she’s fantastic.
Initially, it seemed that Donnie Yen’s spinoff film would come out next. However, it appears that the anime feature might take the front seat instead.
As I type this, I’m simultaneously immersed in the process of creating a stunning feature starring Donnie Yen. Right now, my fingers are dancing across the keyboard, bringing his character to life through words. It’s an exhilarating journey!
“Active development.”
(Laughs.) See, you’re catching on, brother.
The impact of the movie John Wick on the action genre is immense. Its unique style, whether it’s the action sequences or the cinematography, has been frequently imitated. Instead of seeing a Die Hard-like film set in various locations, we now have films that are being labeled as a new John Wick formula. It must be quite flattering, yet I wonder if perhaps you sometimes wish people would strive to create the next original John Wick, rather than just another version of it?
Absolutely, I have a background in choreography, specifically for fight, action, and martial arts scenes. To be honest, there are very few individuals I’d categorize as elite choreographers on a global scale in this field. There are many excellent stunt coordinators, second-unit directors, action directors, and martial arts stuntmen, but the true masters understand that it’s like fashion. For every person who suggests copying Fong Sai-yuk, Wong Fei Hung, Jet Li, Jackie Chan, The Raid, or John Wick, there are those who innovate, seeking to create something new. This creative process begins with the cast members. On John Wick, we were short on time, as Keanu had a bad knee and we couldn’t spend much time perfecting punches and kicks. So, we decided to use aikido, jiu-jitsu, sambo, and grappling arts for longer takes, treating it like Fred Astaire’s dance sequences. We’ve been trying to push this style of choreography for years, but it wasn’t always well-received.
The primary issue within the action movie industry is that many directors lack a comprehensive understanding of choreography, often relying on the assumption that hiring a stunt coordinator will suffice. However, this isn’t a one-size-fits-all solution. Stunt professionals are not all identical; some specialize in vehicles, others in creativity, and yet others in execution. Therefore, to truly innovate, research is essential to find the right teams and actors capable of delivering your unique vision. Directors invest significant time selecting cameras, lenses, and conducting screen tests, but few consider martial arts screen tests beyond the stunt community. So, if you’re involved in action films, it’s crucial to concentrate on the action itself. My advice would be to delve deeper into the subject. If you want your movie to stand out, then the action will play a significant role, and you should seek fresh ideas. Moreover, if you don’t manage all departments effectively, you won’t achieve the desired mise-en-scène effect, as we did in John Wick, where we controlled our own destiny.
Do actors often approach you to create a John Wick-type movie for them?
Honestly — and I mean this in the most flattered and humble way — it happens every week.
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2024-10-22 23:59