As a film enthusiast and someone who has been fortunate enough to witness the evolution of action cinema, I must say that the journey of John Wick is nothing short of awe-inspiring. The fact that such a simple concept – a man seeking revenge after losing his beloved dog – could ignite a genre-defining franchise is truly remarkable.
David Leitch, a co-director on the John Wick series, had initially planned to kindly turn down Keanu Reeves’ proposal for a project titled Scorn.
In 2013, Chad Stahelski and his fellow second-unit directors, who had been longtime associates and partners in business, felt it was time to advance their directing careers. With a combined 20 years of experience in stunt work as performers, choreographers, and coordinators, they had built an impressive resume, including contributions to the Matrix trilogy that brought them into contact with Reeves at different stages. As second-unit directors, they were responsible for action sequences in various action films and blockbusters while leveraging the infrastructure they’d established through their action design company, 87eleven.
Established in 1997, their company initially orchestrated action scenes and prepared actors such as Reeves to convincingly portray action heroes from their Los Angeles base. (Later on, in 2019, Leitch and his producing partner Kelly McCormick launched 87North, while Stahelski transformed 87eleven into 87Eleven Entertainment.)
Additionally, it’s worth noting that the script for the film featuring a mourning assassin named John Wick, penned by Derek Kolstad, was already in circulation before Keanu Reeves joined the project. Leitch mentions that another actor was linked to the role at an earlier stage.
Initially, we encountered the script from our former manager, Kelly McCormick (now my wife and producer). She had connected us with Basil Iwanyk and Peter Lawson at Basil’s production company [Thunder Road] for potential second unit work on that script. This was our first encounter with it, and it’s possible that Bruce Willis was involved at that stage,” Leitch recounts to The Hollywood Reporter, in celebration of the 10th anniversary of John Wick and its theater re-release on Nov 6.
After Reeves agreed to the project, he reached out to his previous partners about managing the second unit direction. However, Leitch and Stahelski, who had previously contemplated this possibility when Willis might have joined, instead invited him to join them as main directors. And he enthusiastically accepted, saying, “Absolutely! Let’s get started. How can we make this happen?
Over a thrilling weekend, my friend and I crafted an enticing pitch for our movie project, transforming the canine vengeance narrative from 11 to 15 kills into an impressive tally of 84. We also emphasized the mythical aspects of the assassin underworld, which resonated with producer Basil Iwanyk (Thunder Road). However, securing financing proved to be a challenge. There were disagreements about casting Keanu Reeves, who was envisioned as the movie’s protagonist, due to his beard at the time. Once that obstacle was cleared, Keanu graciously agreed to reduce his salary to fit our budget, while Leitch and Stahelski had to share the minimum required by the DGA. Yet, even with these adjustments, we weren’t out of the woods financially just yet. Actress Eva Longoria stepped in at the last moment to bridge a $6 million financing gap, saving our movie from being shut down.
Following numerous hardships and wrapping up filming towards the end of 2013, Leitch faced another setback when the DGA declined to acknowledge him as a co-director. Instead, he was only recognized as a producer, with Stahelski receiving full directorial credit. This was an unusual development given that they had been partners in business for almost two decades and had collaborated extensively on numerous films by that time.
Initially, we were given the impression that we could co-direct as we’re both longtime DGA members. They said they would support us and provide resources. However, upon our return, they reneged on their promise, stating that we hadn’t collaborated enough in the past to justify co-direction. Instead, they told us we had to decide which one of us would take the lead.” (Leitch)
Despite going on to direct a series of hit films like “Deadpool 2” and “Hobbs & Shaw,” Leitch continues to harbor lingering feelings of disappointment. “I must admit, I’m still a bit resentful that, as longtime DGA members, the DGA didn’t defend us,” he confides. “It felt like, ‘We didn’t come here to deceive you.’ We simply wanted to co-direct.
In a recent chat with THR, Leitch delves into the scheduling conflict that led him and Stahelski to part ways as directors before ‘John Wick: Chapter 2’. Furthermore, he touches upon the possibility of rejoining the franchise that kick-started his directorial journey.
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What is your recollection of receiving the Jon Wick script for the first time?
Initially, we encountered the script through our manager, Kelly McCormick (who is now both my wife and producer). She connected us with Basil Iwanyk and Peter Lawson from Basil’s company, Thunder Road, for potential second unit work on this specific script. It was during this initial encounter that we first read it, and it’s possible that Bruce Willis was involved at that point in the project.
Initially uninvolved, Keanu later presented us with the script and inquired if we’d be interested. Since we had already prepared extensively for Basil’s project, we realized the film was too minor to simply contribute as a second unit given our career trajectory. Kelly, who consistently advocated for us as main directors, saw this as an ideal chance for us to express interest in directing Keanu. Thus, we returned to Keanu and proposed, “Hey, man, it’s not ideal for us right now, but what about entrusting us with the entire project?” He responded enthusiastically, saying “Yes, let’s do it! Let’s figure out how to make this happen!
Following that, we hastily organized a proposal to present at Thunder Road, which we managed to accomplish over a single weekend. We outlined our interpretation of Derek Kolstad’s script, envisioning its potential. Typically, as a second-unit director, such tasks aren’t within my remit, but the experience from pitching on other projects over the past two years helped us grasp the art of convincing others. So, if preparation meets opportunity, it can lead to miracles, and that’s exactly what happened in our case. Everything fell perfectly into place.
It wasn’t until later that I understood Kelly’s part in everything. The year 2014, with its whirlwind of getting married and the release of John Wick, was a transformative period in your life.
What a phenomenal year it’s been for me! This year marked our groundbreaking debut as directors with the creation of “John Wick”. Initially, we believed it would be destined for video release, assuming it wouldn’t garner any attention. However, Fantastic Fest turned things around and the genre enthusiasts embraced it wholeheartedly. It was an amazing year, with the added joy of getting married and experiencing the excitement of a movie that resonated deeply with audiences. Now, it has evolved into a universe and franchise, all thanks to its overwhelming success.
I found some documents showing that Lionsgate obtained the U.S. distribution rights for the movie back in early August 2014, about five weeks prior to Fantastic Fest. Could the positive festival reception have led to a wider release?
As a movie enthusiast, I attended the distributor screening, but to my dismay, no one seemed interested in purchasing it. Despite being showcased in our town, the timing wasn’t ideal – it was at the tail-end of summer when decision-makers typically send their junior executives, and they weren’t exactly on the lookout for new acquisitions. Consequently, the buzz around the film never reached the higher-ups; no one expressed a desire to take it under their wing. However, Lionsgate had already secured international rights and used the screening as an opportunity to hedge their bets by acquiring domestic rights instead. They weren’t initially passionate about the film, but saw it as a way to protect their interests – viewing it as a potential backup plan for their international market. Fortunately, Fantastic Fest turned out to be the game-changer. The positive reception at the festival piqued Lionsgate’s interest, and they realized the film’s true potential. Suddenly, they were eager to capitalize on this newfound enthusiasm, securing a spot in October for its release and launching a marketing campaign to promote it effectively.
Is it possible that Keanu’s kindness toward his stunt teams, which includes gifting Rolex watches, luxury trip experiences for premieres, and custom Harley Davidson motorcycles, is not just a common tale, but one rooted in reality? Might his decision to bless two of his former stuntmen with director roles be an extension of the unique bond he shares with the stunt community?
I firmly believe this is true. Our creative work was undoubtedly affirmed by his recognition, and it was truly awe-inspiring that he was an early proponent of what we were doing. Chad and I worked together on the original Matrix, followed by the sequels. Consequently, we spent considerable time with Keanu Reeves, discussing character development and the shaping of Neo’s actions. Essentially, our goal was to help him evolve into a proficient martial artist in his own right. Keanu was deeply committed to embodying the character of Neo. However, people often underestimate the extent of time, effort, and interaction we have with actors when we’re designing action sequences for films. Therefore, it’s quite remarkable that he endorses our work. He appreciates it because he experiences it physically. He consistently strives to perform as many stunts as possible, and he gives it his all.
Given your current understanding of film direction, how would you handle making this movie right now? Might there be specific scenes that would play out quite differently?
I’m not sure if I would have managed things differently given the chance. Our extensive background in physical film production gave us an advantage. Many directors starting out don’t have 20 years of on-set experience like we did, nor have they overseen the planning of large-scale action sequences as extensively as we had in our big-budget films. Therefore, Chad and I didn’t feel intimidated by that aspect. Instead, we approached it with the wisdom gained from two decades in the film industry. At that point in time, location, and creative environment, second-guessing ourselves seemed challenging. Our collaboration on “gun-fu” was akin to capturing lightning in a bottle, something we had been nurturing for years, hoping to find the perfect opportunity to showcase it.
Regarding the play’s development, our decisions were based on genuine feelings about what we wanted to achieve, and we understood that some daring moves, such as the inclusion of the dog or portraying certain characters in specific ways, would be necessary. We then constructed an underworld using Derek’s script and emphasized the mythology more prominently. In my opinion, I wouldn’t alter anything about the process. It seems like I might come off as arrogant, but it was a unique blend of experience and ideal timing that made it all work out perfectly.
As co-directors, how did you and Chad divide up the work in general?
In our collaborative work, particularly when directing second units, there was no formal division of tasks or roles. Instead, ideas seemed to effortlessly flow between us. Over nearly two decades, we had run 87eleven together, during which time we had worked on numerous second unit assignments and stunt coordination. When working in a fight choreography team, everyone’s input is valued, so we approached directing by sharing our thoughts freely. Unlike some writer-director duos who have distinct roles, one being heavily involved with the script while the other focuses more on actors, we did not separate tasks or responsibilities.
When it came to directing John Wick, we hadn’t collaborated on a project in about three or four years. Prior to this, we were handling big second units independently, and our careers had taken a direction similar to what they are now following John Wick. It was delightful to reunite for that experience. We revisited our beginnings, and it was the collaboration that helped us achieve success.
Given that your name wasn’t credited as co-director, I assume you must have felt quite disappointed at the moment, unsure if there would be another opportunity for you in the director’s role. However, did the anger dissipate once your directorial career started flourishing?
Initially, we felt deceived. As longstanding members of the Directors Guild of America (DGA), we were assured that we could jointly direct this project. They said, “Take charge! You have our approval. We’ll provide resources, and so on.” However, when we returned to discuss it with them, they responded, “Upon review, you two don’t seem to have enough collaborative experience. Therefore, one of you must take full credit for the project,” despite both of us having valid DGA contracts and their witnesses observing that we were working together on set.
It’s common knowledge among those who needed to know that we both co-directed the film, and this fact is even more evident when you examine our respective careers in directing now. We’ve both achieved great success as directors, but I must admit, I still feel a bit resentful that the DGA didn’t defend us during that time. It felt like they were saying, “We didn’t come here to deceive you.” We also had a second unit director, so it wasn’t about playing games; we simply wanted to co-direct. Film is a collaborative art form, and the notion that two people can’t direct is illogical. The DGA allows co-direction under certain circumstances, and Chad and I have an extensive history of working together, owning a company, and doing second unit work. In fact, if you look at the Wachowski films, there are numerous instances where we worked together, which makes it all the more perplexing to me.
Did you imply earlier that before the release of John Wick, you and Chad were independently directing second units? If so, did you both anticipate that if John Wick turned out successfully, it would lead to individual filmmaking careers for each of you? In other words, was there no intention to continue as a duo like The Wachowskis full-time?
Initially, our plan was to work on projects together while maintaining individual directorial control. However, we recognized the importance of collaboration when it’s appropriate, such as for major events. For instance, the Coen brothers, who typically direct separately, are reuniting for a horror movie. This was our aspiration, and although it hasn’t come to pass yet, there’s still a chance that Chad and I could team up again if we both feel it’s right.
During our examination of “John Wick: Chapter 2“, we simultaneously had the script for another movie titled “The Coldest City“, which later became known as “Atomic Blonde“. At that time, we were committed to directing both films. Interestingly enough, they both secured foreign sales at Cannes or Berlin around the same period. Consequently, we were slated to co-direct these projects, but due to Keanu and Charlize’s schedules becoming available, both films needed to be shot simultaneously. I had a strong vision for “Atomic Blonde“, envisioning it as a tribute to the ’80s and sensual Berlin. I was deeply captivated by this project, and Chad posed the question, “How can we create this franchise?” My response was, “Perhaps we should direct them separately if they allow us.” This proposition required some effort to convince the studios that we could handle directing independently. It involved a bit of negotiation, repackaging our experience, and emphasizing our years of collaboration. If not for the scheduling conflict, we might have been involved in “John Wick 2” instead.
I once playfully mentioned to Charlize Theron that she may have been an inspiration for the character of John Wick, as her character in Sweet November sent a dog to Keanu Reeves’ character 13 years before Helen Wick did the same for John. She reacted by falling to the floor and texting Keanu about it. Were you aware of this connection?
(Laughs) I am now! I never connected those dots. That’s so great.
Following the completion of John Wick’s production at the end of 2013, you took on two second unit director roles: Hitman: Agent 47 and Jurassic World. Once John Wick was released, you continued to work as a second unit director for Captain America: Civil War and Teenage Mutant Ninja Turtles: Out of the Shadows. Were these jobs a precautionary measure in case John Wick did not perform well?
Absolutely, due to the limited budget of the film “Wick,” we had to work within DGA scale, which meant that Chad and I shared the directing fee. Additionally, we deferred some payment. We managed to secure Eva Longoria for a $6 million financing gap, and Keanu contributed as well. However, since we deferred money, we needed to continue working until we found other projects or could determine how “Wick” would perform. Our primary goal was to maintain control of the first unit directing, but I wouldn’t hesitate to return to second unit work if necessary. Second unit roles are essential in large-scale productions, and they help nurture directors who emerge from that sphere. You’re often contributing significantly to these films’ narratives, and at times you’re even managing more resources than the first unit. As a result, these projects are enjoyable, and the responsibility isn’t solely on your shoulders, as you can pass it on to the lead director when needed. The critical burden ultimately rests with them to deliver the final product.
For almost three decades, we were accustomed to seeing Keanu Reeves without a beard. However, now, when I see him sans-beard, it feels incomplete. It’s fascinating to realize, looking back, that his beard was such a significant concern for investors.
It turns out, our intuition about what would set the character apart was spot-on, and we were absolutely certain he looked fantastic. As directors, we often need to rely on our instincts, and in this case, style took precedence over everything else, particularly in genre movies. The character needed to embody a sense of wish fulfillment; someone who was once a clean-shaven hitman but is now grappling with the loss of his wife. So he won’t maintain his clean-shaven look anymore – instead, he’ll be mourning while wearing a suit. This added a new layer to his character that might not be immediately apparent to studio conventions, which were keen on presenting a clean-shaven movie star image for promotional purposes. However, it’s our responsibility as directors to ensure the character development is on point, so we fought for this change and fortunately, we succeeded in our endeavor. And you’re absolutely correct; that decision has become an iconic aspect of the film now.
In a previous conversation, you mentioned that a co-directing reunion with Chad could be possible. Given that he’s currently working on expanding the franchise with projects like the Donnie Yen and Caine movie spinoffs, would you consider returning to direct something independently? Or are there too many other projects you’re currently involved in?
While I’ve said I won’t return to the John Wick universe, I must admit my affection for the series and its characters is immense, and I’m deeply grateful for the time I spent there. However, with numerous projects brewing at 87North, including our very own Donnie Yen project, Kung Fu, and the expansion of our Violent Night and Nobody universes through sequels, managing all these projects is a challenge that I welcome. If the right moment arises, the right story presents itself, and if I’m the best fit to bring it to life, I wouldn’t hesitate. The Wick world is captivating, and I take pride in having contributed to its creation.
The influence of John Wick is evident even today, as it’s led studios to give more opportunities to stunt professionals, including the chance to direct. This has also opened up chances for your long-time collaborators like Jonathan Eusebio, a trend that Chad Stahelski started with J.J. Perry. Are you particularly pleased about breaking down doors and dispelling the old stigma surrounding stunt performers or second unit directors who aspire to greater roles?
I’m incredibly pleased with what we’ve achieved so far, and I can’t wait to keep moving forward. It’s high time for us to make our mark, and as everyone knows, the foundations of cinema were built on action and choreography. Legends like Buster Keaton, Harold Lloyd, and many other renowned directors in cinematic history hail from our field. Therefore, I take great pride in being a part of this resurgence and contributing to its success.
Additionally, it seems that the action movie style of “John Wick” is becoming a popular blueprint for many film stars. In much the same way as the “Die Hard” formula was adapted to various locations, isn’t it often complimentary to discover that something has been influenced by “John Wick”?
Absolutely, it’s quite an honor. To be mentioned in the same breath as timeless films such as “Die Hard” is truly humbling. It’s a wonderful feeling to know that you’ve left an enduring mark on popular culture. You hit the nail on the head; indeed, it has become the model. A fitting description, I must say. People still crave their “Die Hard” experience, but they also yearn for their own “John Wick”.
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John Wick returns to movie theaters on Nov. 6.
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2024-11-07 02:26