In 2006, during the filming of “Live Free or Die Hard”, director Len Wiseman oversaw the death scene of an unrecognized FBI agent portrayed by Chad Stahelski, who was then a stuntman. Fast forward to 13 years later, Wiseman and Stahelski had dinner together where Wiseman pitched his idea for the franchise’s first spin-off titled “Ballerina“. Following their meal, Stahelski, now director of four “John Wick” movies, promptly supported Wiseman’s recruitment by Lionsgate and producing partner Thunder Road.
The creative team behind “John Wick” made an excellent decision, as Keanu Reeves’ latest action film, “Wiseman” featuring Ana de Armas, has garnered his best reviews since “Die Hard 4.” Even “The Hollywood Reporter” praised it, and Tom Cruise, after expressing his admiration for the movie on the red carpet of “Mission: Impossible – The Final Reckoning,” added a positive remark.
It was fantastic. Not only did he respond to me, but he’s incredibly kind-hearted. I admire his enthusiasm for boosting others’ endeavors. Frankly, I believe more of that is necessary,” Wiseman shares with THR in endorsement of Ballerina’s June 6 cinema debut.
In October 2024, THR interviewed Stahelski for the 10th anniversary of John Wick (2014), during which he responded to the online gossip about Ballerina’s potential creative overhaul. As the franchise’s caretaker, Stahelski was well-informed and clearly frustrated by internet speculation that he had carried out extensive reshoots. He dismissed these claims by explaining that he supervised only two weeks of additional photography with Wiseman, not several months as rumored. Stahelski pointed out that Wiseman’s film did not have the same budget or time constraints as the recent John Wick movies, and they ran out of both runway (time) and suitable weather to capture all of Shay Hatten’s script. (Hatten wrote the original Ballerina script speculatively before Lionsgate purchased it and adapted it for the John Wick universe.)
Currently, Wiseman is reiterating similar concerns regarding resources, which the studio had agreed to provide upon reviewing an initial cut of the film “Ballerina” and realizing that the project was heading in the right direction. It’s no surprise that these issues also troubled the director, given the online discourse surrounding the production as well.
Chad and I shared mutual frustration regarding this matter. Listening to such assertions can indeed be quite vexing, and it seems to occur more frequently now than in the past. Wiseman further explains that there was extra filming because the studio was fond of the movie. Originally, some scenes from the script had to be cut due to lack of resources or time. This presented a thrilling chance to augment the movie. However, when the media learns about this and the stories morph into various reports, they often carry a negative implication.
In the original plan, there was an additional scene, not captured during filming due to financial constraints, that would have served as an extended introduction. This scene would have featured young Eve Macarro (played by Victoria Comte), who tragically witnessed her father’s death at the hands of the Chancellor (Gabriel Byrne) and his cult. This event would have provided a motivation for Eve, similar to John Wick’s motivation in the movie, where he seeks vengeance following the death of his beloved puppy Daisy.
Wiseman mentions that the scene wasn’t feasible due to time constraints and scheduling issues in the original script. However, they were fortunate enough to revisit it later, and he was delighted that the studio allowed them to do so in order to achieve their desired outcome.
Eve, who has recently lost both her parents, is enigmatically drawn into the world of The Continental, a hotel in New York City known for its assassins, by Winston Scott (Ian McShane), its proprietor. Winston presents Eve to Anjelica Huston’s character, The Director, who returns from ‘John Wick: Chapter 3 – Parabellum’. Driven by her grief, Eve decides to ally herself with the Director’s organization, Ruska Roma, which functions as both a crime syndicate and a ballet company in New York City. In ‘Chapter 3’, John Wick, who was also raised by The Director, crosses paths with grown-up Eve during his urgent journey home. This encounter takes place after a time leap of 12 years, where he is referred to as the “Baba Yaga”.
As a gamer, I was thrilled to learn that the creators didn’t just stretch out Chapter 3, but they also crafted fresh scenes from Eve’s perspective within that same timeline. Since this movie falls between the third and fourth chapters of the series, the team behind it thoughtfully added more twists to Eve’s revenge storyline, weaving those events alongside the narrative of Chapter 3.
In relation to my enthusiasm, there were instances I looked forward to incorporating into the film. Specifically, in the scene where Eve initially enters the Continental, there was a concept I had of motorcycles rapidly passing by in the backdrop of the city on a bridge. This detail-oriented audience would’ve appreciated it, as they could spot John and the samurai riding their motorcycles, a nod to Chapter 3.
In addition, Eve’s dance as a ballerina concluded with her checking into the Continental, while director Wiseman desired to wrap up the movie by presenting an alternative perspective from Chapter 3.
After Eve arrives at the Continental, she heads up to her room, and from there, we get a view of the hotel that seems to be where the movie concludes. This is according to Wiseman. Then, a loud noise, like a screech, is heard, and the camera swiftly moves down to capture the moment when two motorcycles, belonging to John and Mark Dacascos’ Zero, collide at the foot of the Continental hotel.
During a recent chat with THR, I (as a gamer) shared some insights about other beloved characters from the franchise we almost got back, but then I delved into why my take on the grenade snowball battle holds a special significance for me.
***
Tom Cruise gave Ballerina a very nice compliment, which was surely a pleasant surprise amidst the press tour.
It was truly delightful, I must say. Not only did he reach out to me but he’s incredibly kind-hearted. His enthusiasm for boosting others’ endeavors is commendable. “How about we revisit the cinema?” I believe it’s a sentiment worth embracing, indeed.
I had a very positive response to the movie despite all the buzz about the embargo language. Upon reexamining my initial message, I noticed it didn’t contain the contentious phrasing. It was just regular “spoiler-free social reaction” text. By any chance, were you quite annoyed by this misunderstanding?
Absolutely, I’ve been swamped with premiere events, leaving me rather in the dark about the details. However, I am aware that the misunderstanding was on the publicity team’s side. Furthermore, they’ve been very cautious about revealing any spoilers due to the numerous mysteries and secrets involved. Unfortunately, I can’t discuss it further as I don’t have sufficient knowledge myself.
The journey leading to the movie “Ballerina” kicked off with “Live Free or Die Hard”. Was it true that John Wick co-creator Chad Stahelski collaborated with you on that film’s set?
Indeed, Chad met a tragic end in the movie, portraying both an unrecognized FBI agent and a stuntman. He appeared alongside my old friend Brad Martin, who was also part of the same team as stunt coordinator. We filmed the Baltimore sequence together, which originally intended to be the first action scene featuring Timothy Olyphant’s character attacking Bruce Willis and Justin Long’s characters. In this sequence, Chad and Brad were two FBI agents engaged in a fierce gun battle with the helicopter gunman. Ultimately, Chad had an impressive death scene. We have built our careers in the industry side by side for quite some time.
Since you’ve created action movies in the 2000s, 2010s, and now the 2020s, you’ve witnessed changes over time. Having been part of it, do you now have a clear grasp as to why the style of action in the Wickian series has stood out for the past eleven years?
When you can clearly tell that the action is being performed by the actor, there’s a unique sense of engagement. Many discuss extended shots, but some prolong them excessively to make them even longer. I prefer the lengthy takes in John Wick, not those that seem like a director showing off with a long take. In such cases, the audience doesn’t get a moment to catch their breath, creating a sense of investment, particularly when the action is driven by the actor. [Writer’s Note: In our previous conversations, Stahelski has also criticized stitched oners.]
John Wick has truly raised the bar in action choreography, and one key aspect that contributes to this is its distinctly intense tone. Laughter would undermine the seriousness of the character’s actions, diminishing the sense of peril. If a sequence appears fun and light-hearted but lacks genuine risk or danger – especially if characters are joking amidst the danger – it can make viewers feel detached. They might think, “If I’m not supposed to feel fearful, then neither should I worry about you.
Essentially, there are several layers to consider, but to put it simply, the primary factor that stands out is the actor-driven actions. This is what Keanu and Chad have contributed significantly. Having the actors present in the scene creates a unique experience. It’s not just about watching an exciting action sequence; it’s about realizing, “That’s him,” or “That’s her.” This adds a different level of engagement and reaction.
Did No Time to Die essentially serve as Ana de Armas’ audition for Eve Macarro?
Indeed, not at all minimal, yet that sequence was extraordinarily captivating! I eagerly anticipate seeing that character return; it felt far too fleeting. Prior to that, we were engrossed in Ana’s storyline. I had been contemplating Ana for quite some time beforehand. I attended a private screening of No Time to Die, and her casting was solidified even further in my mind during that viewing. Thus, when I witnessed that thrilling scene, I was already intrigued because she was deeply entwined within the storyline’s progression.
As a passionate fan, I’d like to rephrase your question as follows: In the narrative timeline, ‘Ballerina’ unfolds somewhere between ‘John Wick: Chapter 3 – Parabellum’ and the forthcoming ‘John Wick’ film. This story offers a unique perspective by revisiting certain events of ‘Chapter 3’ from Eve’s standpoint, as she witnesses John’s return to Ruska Roma, employing a ‘Rashomon’-like narrative style. Can you share some insights into the challenges encountered when expanding upon ‘Chapter 3’ while ensuring continuity throughout?
Tackling Chapter 3 was both thrilling and demanding, yet I thrive on challenges. They ignite my creativity. Consequently, I enjoyed immensely experimenting with fresh perspectives on specific aspects of Chapter 3, and I became quite engrossed in the process. Initially, a moment that I believed would strike a chord and linger in people’s minds was when John meets the Director [Anjelica Huston]. Now, we’re viewing it from Eve’s viewpoint prior to his mention of, “It wasn’t just a puppy.” Recreating the sets precisely took considerable effort. I aimed to reimagine these scenes from a different angle so that we wouldn’t simply rely on footage from the original film.
As a movie enthusiast, I rewatched that scene meticulously to catch subtle details. A small but significant moment occurred when John and the Director paused on the stairs; John glanced to his left then, creating an opportunity to include a segment where he slightly looks up and notices Eve. This perspective shift was delightful as we got to see it from her point of view. I’m always fascinated by such intricate storytelling. Unlike sequels and remakes I’ve worked on, Ballerina doesn’t feel the same. In truth, I believe the term ‘spinoff’ might be a bit deceptive for this production.
Does this mean that John reappears in the movie after being shot off a roof by Winston (played by Ian McShane) at the conclusion of John Wick: Chapter 3?
Yes.
So it’s after he’s recovered a little bit? I just want to get the timeline right.
Yes.
Was the energy on set comparable to the enigmatic aura of the boogeyman character portrayed by Keanu in the tale?
Indeed, his presence has quite an impact. It’s surprising, given that he’s known for his kindness and generosity – not just as a performer, but as a person. There’s a sense of respect whenever he enters the set, dressed in his signature costume. In essence, he becomes John Wick, even during casual moments on set. It’s reminiscent of how Harrison Ford transforms with his hat and whip. It’s quite impressive and sends shivers down your spine.
Did Keanu have you trim his dialogue at all? He tends to have a “less is more” mindset with Wick.
He certainly was! He’s incredibly cooperative, making our collaboration an exceptional experience as we delved into the character together. Prior to filming, we convened at the hotel, and essentially, that’s what we accomplished. Indeed, he is the type who would suggest, “I don’t need to utter those words. What if I convey it silently through a glance?” Consequently, there was a reduction in the dialogue used.
As a gaming enthusiast, I’m currently immersed in the role of a “Scarred Eye Assassin.” This character sparked my interest because he was the one John Wick took out in the first movie. Now, I’m curious about the significance of the scar – does it hint that his original character somehow survived? Or is it just a part of this new character’s appearance? It’s intriguing to note that Daniel Bernhardt also did stunt work on the second and third Wick films. In Chapter 4, some fans have spotted someone who looks a lot like him, but it remains unconfirmed and uncredited.
We debated extensively on how much of Bernhardt’s face should be shown in my narrative. The decision was intentionally vague and humorous, leaving room for interpretation among readers. However, I chose to portray him as a distinct character within the story. Yet, I also aimed to ensure that he remains recognizable to the audience.
In Chapter 3, we first encountered Unity Phelan, who played Rooney in the original Ballerina script. Was there ever a consideration to reintroduce her character at some point? Given that Eve is being introduced, wouldn’t it potentially confuse readers or viewers to bring back another main character midway through? [Note: Rooney was the title character in Shay Hatten’s original Ballerina script before it was adapted for the Wick franchise.]
Initially, I considered including her, but you’re correct in your observation – it might lead to confusion. She is the prominent ballerina character from Chapter 3, and introducing her earlier could have created a moment of unclarity.
Was it a mix of joy and sorrow to catch a farewell glimpse of Lance Reddick’s character, Charon. Given that this was the last material Lance acted in, were there any scenes modified or given new meanings so they could still be incorporated?
Absolutely, everything we did for the film has significant value. Each scene we filmed is incorporated, and it’s included for the narrative and overall movie flow. I feel fortunate to have had the opportunity to collaborate with him on this project, and I must say, Lance’s character, Charon, is the emotional core of the Wick series. While Lance might agree that there aren’t many good guys in the Wick universe, I think his character truly embodies the heart and spirit of the franchise.
I really appreciate how you consistently maintain the joke about the mysterious expanses of the Continental in your films. Each installment seems to unveil another hidden room or section that wasn’t evident before, and these internal spaces rarely match the size suggested by the exterior architecture.
(Chuckles.) I recall discussing the subject with Chad. He demonstrated the production designer’s side view of the Continental’s various levels and potential hidden areas below. However, they opted to maintain it as a recurring joke, as you mentioned. Interestingly enough, if you examine that building, it appears as the tallest, most slender structure. This may seem an odd comparison, but it’s similar to The Man with Two Brains. In this film, Steve Martin enters a small condo door only to discover a grand castle interior, and he says, “From the outside, it doesn’t look this spacious.” (Chuckles.) Therefore, it’s almost like stepping through a doorway and entering into an expanded reality filled with numerous rooms. Thus, I believe that with its destruction, more of the underground sections will be discovered.
I had a conversation with Chad about the 10-year anniversary of John Wick, and we discussed the supplementary photography for Ballerina. He seemed somewhat aggravated because the extra weeks of shooting that were done ended up being exaggerated. In the end, aren’t you just pleased that the studio was so supportive of the film that they allowed for more firepower to be added to it?
Completely, we both felt irritated by this matter. It’s incredibly aggravating to encounter such statements, and it seems to happen more frequently now compared to the past. The studio was enamored with the movie, which led to additional filming. Unfortunately, we had to eliminate some scenes from the initial script due to lack of resources or time. Once we compiled the early version of the movie, Lionsgate became quite enthusiastic about it, creating an exhilarating chance to augment the film. However, whenever such information leaks and rumors ensue, they usually carry a negative undertone. Nevertheless, I’m simply thrilled that we were given the chance to revisit the project.
To put it simply, there was a crucial scene in the script involving young Ana’s character, which we hadn’t filmed earlier due to time constraints and scheduling issues. We were fortunate that the studio agreed to let us reshoot this scene so we could capture what we had envisioned. I was delighted by their support for our efforts.
For instance, the hand-to-hand grenade combat, the collision of cars in the narrow alley, and the flames from the flamethrower scenes are truly awe-inspiring.
Thank you.
What are your individual highlights from each?
I thoroughly enjoy all the unique tales they’ve woven together. The grenade sequence holds special significance as it was the initial action scene I penned down, quite some time back. (Laughs heartily.) During our initial script development phase, I posed the question, “What if a snowball fight involved grenades? How would that play out?” Designing the sequence for filming was an enjoyable challenge. There were numerous trap doors for our stunt performers to navigate before the explosions occurred, which enabled us to keep a single continuous shot with Ana. Consequently, it was an unprecedented element I hadn’t encountered before.
In the realm of action sequences, there are limited types of weapons typically used. A gunfight using flamethrowers is uncharted territory in cinematic history. When pitching an innovative action sequence to a studio, it’s advantageous if you can’t find any similar examples or references to draw from. This is a sign that your idea could be something truly unique and fresh.
Although I understand that visual effects are part of it, I’m still puzzled about how you can stage the flame thrower battle without accidentally setting the set ablaze and causing severe burn injuries to everyone on set.
87eleven’s top-notch stunt crew ensured our set was extremely safe, as we minimized visual effects and relied heavily on practical sequences (though some enhancements were made). The action was carefully managed, but make no mistake, it was incredibly risky, particularly when both flamethrowers were simultaneously ignited within the confined space.
Experiencing action scenes involving helicopters has been thrilling yet nerve-wracking on set. Up close, they can be downright terrifying due to their loud, intimidating noise. Getting inside a helicopter itself feels risky, especially when it’s executing daring stunts that fly dangerously close to cameras and other equipment. Similarly, flamethrowers evoke the same sense of danger, and I’ve never encountered a weapon with such an ominous aura surrounding it. However, this level of intensity is precisely what makes each scene exceptional – it’s the objective for every sequence we create.
[Important Note: This section subtly hints at the absence of certain characters and events without giving away significant plot details.]
Does the film conclude leaving viewers curious about Eve’s future? Can you tell me what happens to her next?
When it comes to this film, I’ve been solely focused, adopting a fantasy-like approach if you will. My aim was to create the best possible version of this movie. However, it’s natural to ponder about what might come next. When people ask me if I think about the future, I usually respond, “I prefer to see things as they unfold.” To some extent, that’s accurate, but when you’re shaping a project and become deeply invested in a character, it’s essential to consider their backstory and what happens beyond the scope of this film. This is key to truly grasping the character, so it’s always on my mind.
The movie concludes in a somewhat mysterious manner intentionally. Who could be behind her assassination order? I’m curious about various speculations regarding its outcome. Frankly, I have my own thoughts. I hope it gets renewed and I believe it would astonish viewers with the unexpected directions we might take. For now, we’re simply awaiting feedback on this installment, but yes, I do have ideas brewing about Eve’s potential future adventures.
So no one ever said, “Hey, tee this ending up for John Wick 5 to pick up where you left off”?
No, not at all.
Is there a pivotal moment in the scene, set around a table, where Eve needs to quickly put together and use a weapon ahead of another character? Did any earlier drafts depict Eve being positioned across that table instead?
Oh, interesting. No.
I assumed that’s where the story would go. She would have no choice but to return to the Ruska Roma, taking her seat on the opposite side.
Let’s observe what unfolds for Eve when the other character tells her, “I’ll be just like you in ten years.” (Chuckles.) As time passes, we witness a grittier aspect of the Director’s persona, and it becomes evident why certain rules are enforced. They adhere to their code and regulations, and even if the Director takes on a surrogate mother role, she must safeguard her community. I recall discussing with Anjelica the idea of making her character more somber, and her eyes sparkled with enthusiasm.
Did you consider any other franchise cameos?
In the process of refining the storyline, we initially explored Laurence Fishburne’s character, the Bowery King. At a certain stage, we also considered Donnie Yen‘s role. The key is to select what best serves the narrative. We used Ruska Roma as our foundation, which provided us with opportunities to seamlessly transition into the alternate timeline.
Beyond simply focusing on characters, I as a fan had additional ideas that I was eager to incorporate into the film. For instance, in the sequence where Eve initially enters the Continental, there were plans to show numerous motorcycles whizzing past in the backdrop, racing over the city bridge. While it’s crucial to maintain the story’s chronology, this detail-oriented addition would have been a delight for observant viewers. “And if you look closely, you’ll spot the samurai and John riding motorcycles [from Chapter 3].
That would’ve been cool.
Absolutely! Earlier in the storyline, there was an alternative concept that appealed to me, which I’ll explain. After Eve speaks with Winston and checks into the Continental, she retires to her room. The scene then shifts to a view of the hotel, giving the impression that the movie might be concluding here. However, suddenly, there’s a loud screech, and the camera swiftly moves downwards, capturing the moment when two motorcycles – one ridden by John and another by Mark Dacascos’ character Zero – crash at the base of the Continental. Quite thrilling, isn’t it?
You should add those details to your special edition of Ballerina in ten years.
It’s fantastic! I adore surprises like this. Some might wonder, “What’s happening?”, but for those who are in the know, they’d say, “That’s simply amazing.”
The ballet “Ballerina” is now playing in cinemas across the country.
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2025-06-06 21:26