As a film enthusiast who has followed the careers of these talented action directors for years, it’s fascinating to see how they’ve nurtured and mentored newcomers like myself. It’s a testament to their generosity and passion for the craft that they share their hard-earned wisdom to help us avoid the same pitfalls they encountered when starting out.
As a gamer, it’s not just a coincidence that I got my first glimpse of Jonathan Eusebio‘s “Love Hurts” this week, marking the 10th anniversary of John Wick. Back in the ’90s, I crossed paths with John Wick’s co-directors, David Leitch and Chad Stahelski, at a martial arts school. Ever since then, these action-film legends have been guiding me on my journey from a biological sciences major at UC Irvine to where I am today. It was quite the career shift, but given my lifelong passion for martial arts and Hong Kong action cinema, it wasn’t entirely unexpected.
Later, Eusebio progressed through his career, joining stunt teams for movies such as Blade II (2002) and Austin Powers in Goldmember (2002). Over time, he took on increasingly significant roles, starting from being an assistant fight coordinator in The Bourne Ultimatum (2007), and eventually becoming the fight coordinator in Iron Man 2 (2010) and The Avengers (2012).
In 2014, he took on the same position for Leitch and Stahelski’s first directorial venture, titled John Wick. Following its surprising success as a Keanu Reeves action film, these directors gained significant popularity, which in turn boosted Eusebio and their other key collaborators’ careers.
Leitch’s career progressed significantly, serving as the stunt coordinator for both Black Panther and Deadpool 2, and being promoted to second unit director on the latter. It was during this time that his partner in producing, Kelly McCormick, suggested Eusebio take on the role of a full-fledged director.
In an interview with The Hollywood Reporter, Eusebio shared that Kelly McCormick, during their conversation on the set of Deadpool 2, was the one who made a strong impression. “We were seated on director’s chairs under a tent on a hill,” he explained, “and after our discussion, our chairs slipped out from behind the tent and we almost rolled down the slope.
A little over two years ago, Leitch and McCormick started crafting “Love Hurts,” initially titled “With Love,” for Eusebio to direct. Then, during the 2023 awards season, it dawned on me that I had found the perfect actor to embody Marvin Gable, a likable Milwaukee realtor whose former life as a hitman resurfaced.
[Ke Huy Quan] was receiving awards and delivering heartwarming speeches,” Eusebio reminisces. “Seeing this motivated me to think, ‘Wow, he makes everyone feel good about themselves.’ Upon further reflection, I noticed similarities between him and the Marvin character, and I thought, ‘This person is a perfect fit.’
In a recent chat with THR, Eusebio highlighted that Quan’s past experience working on stunt teams significantly impacted his debut as a bona fide action star.
When I chatted with Dave Leitch a few years back regarding Bullet Train, he mentioned he was working on a project tailored for your directorial skills. Could it have been this specific venture all along?
For the past few years, I’ve owned this property, making it a continuous project of mine. This is exactly what Dave referred to during his conversation with you.
Did you ever have a job experience that made you feel prepared to move on to something new or advance your career?
Funny enough, I didn’t have a specific “aha!” moment that made me want to direct. Instead, it grew on me gradually over the years. When the right opportunity presented itself, it was either you were ready or not. My journey in this industry began as a stunt performer, where my goal was always to excel as much as possible. Then I moved into coordinating stunts, and I aimed to be the best coordinator I could be. As time went on, I advanced to directing second units, striving to be the best at that role too. I didn’t intentionally plan for this main chair; it just transpired naturally, and looking back, all my experiences have brought me to where I am today.
After watching John Wick use a pencil as a deadly weapon in John Wick: Chapter 2, it left me wondering if you’ve ever imagined a narrative where such an action takes place. Is there no tale spun around this intriguing concept?
(Laughs.) There isn’t a specific version of this, but during the filming of Deadpool 2, I had a chat with producer Kelly McCormick. That’s when she suggested the idea of me considering directing. She said something like, “I think you should start thinking about directing.” At that time, I was mainly working on the second-unit for them, and it was really her who made me understand this possibility. We were sitting in director’s chairs inside a tent on a hill, and after discussing this, our chairs accidentally fell out of the back of the tent, causing us to almost slide down the hill. This marked the first time the topic of directing was raised between us.
It appears that J.J. Perry and the Stahelski brothers, Dave and Chad, are actively creating opportunities for new talent in the stunt world, similar to what you’ve experienced and J.J. has as well. Does it seem like they’re generally focused on this?
Absolutely, I must say. Dave, Chad, and J.J. play dual roles as my business mentors and older brothers. They’ve consistently embodied a team spirit, with their advancement in the field leading to the growth of those beneath them. In our stunt work, we never just focused on performing the physical feats, but also on the narrative aspect – understanding why we were doing these stunts, what motivated our characters to act in specific ways. This thought process has always been a part of their approach, and they’ve passed it down to those who follow them.
You met Dave and Chad at Inosanto Academy of Martial Arts in the early ‘90s?
Absolutely, both Dave and Chad are my peers from the same martial arts school, and they’ve been stunt performers. Influenced by them, I ventured into this field, and they guided me throughout, from the beginning until today.
So when did Ke Huy Quan enter into the equation for Love Hurts?
Just before the SAG strike, in the vicinity, was where the concept originated. It was during awards season when he was vying for his Oscar that the idea emerged. He was receiving accolades and delivering heartwarming speeches, making it evident that he was truly content and deeply grateful. His popularity was palpable, with everyone adoring him. However, witnessing his positivity sparked a thought in me: “What an incredible individual who makes others feel good about themselves.” Subsequently, I noticed similarities between him and the Marvin character, and my response was, “He’s just right for the role.
In X-Men, he served as an assistant fight choreographer, and he has expertise in taekwondo. Had he already been a step ahead during his training at 87North?
In performing specific styles of fight scenes, there’s a unique lingo involved. Fortunately, he was fluent in this language as he has worked on stunt teams before. He understands fight pacing and knows how to deliver action convincingly on camera. As a result, communication between us flowed smoothly, making the action sequences much more straightforward.
Have you made him go through the several-month procedure that Keanu Reeves, Charlize Theron, Bob Odenkirk, and Mary Elizabeth Winstead have all experienced?
Absolutely, we prepared him extensively for several months prior to our production debut. He’s incredibly skilled, and he has a knack for understanding which moves suit him best. He’s adept at choreography too. Initially, a significant part of the process was about getting physically fit, but his familiarity with the language greatly simplified things.
Did you focus on one particular style, or did you mix and match a bunch of things?
In our approach, we purposely varied each fight sequence to give them distinct identities. The character’s demeanor evolved throughout the film, becoming more lighthearted initially and then deeply emotional towards the end. This transformation influenced his fighting style, making each scene unique. I strive for uniqueness in every fight choreography, yet it remains consistent with the character’s emotional journey. Given Ke’s extensive experience and versatility in dance and combat styles, executing diverse fight scenes is effortless for him.
Hey Chad, Dave, and J.J., when you were just starting out as directors, you all experienced some challenges, right? So, about how much time did it take for you to get comfortable and confident in your role as a director?
It turns out, I couldn’t grasp the task until I actually undertook it myself. Fortunately, I had experienced mentors guiding me along the way. They cautioned me about repeating their past mistakes or enduring similar struggles, but ultimately, there are certain lessons that can only be learned through personal experience. You just have to face the situation and see how you respond to it.
What prompted the title change from With Love to Love Hurts?
This title seems more appropriate since the film is set on Valentine’s Day and explores various forms of love. Additionally, it evokes a sense of the movie’s action-packed backdrop better.
Have you ever wondered if some of the characters from the 87North or 87Eleven series might exist in the same fictional world? Is there any nod or hidden reference to other action films produced by Leitch and Stahelski in your work?
There’s a hint of something inspiring about it, but the details will only be revealed by watching the film.
“As more stunt pros become directors, am I finding it harder and harder to find experienced crew members?”
In this vibrant circle, I’m fortunate to be among familiar faces. It feels like we’re all connected, ready and willing to lend a hand whenever needed.
At last, I observed that you’ve been welcomed into the Academy lately. I had a thoughtful discussion with J.J. not so long ago, and he thinks a Best Stunt Oscar will never materialize because it would mean taking credit away from the movie star and director. In response, I argued that the same reasoning could be applied to any technical category, but no one says the Production Design Oscar steals credit from the director’s vision for the sets. So, what are your thoughts on this matter?
It’s crucial that every aspect of a movie is acknowledged because each team member puts in a tremendous amount of effort, often working extended hours and pouring their heart into their work. Therefore, it seems only fair that departments like stunts receive recognition at events such as the Academy Awards, considering their significant contributions to the film’s overall success.
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Love Hurts releases in movie theaters on Feb. 7, 2025.
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2024-10-28 21:25