As a seasoned action director with a background in Taekwondo and years of experience working as a second unit director, I can confidently say that my journey in filmmaking is like no other. Just like the guy in my gym who transformed when he wore his Walkman, I’ve found my rhythm on the movie sets, and it’s a rhythm that’s been fueled by an incredible team of action enthusiasts.
In the late 1980s, J.J. Perry, director of “The Killer’s Game”, left his military service with the U.S. Army and relocated to Los Angeles. Soon after, he formed a close friendship with Chad Stahelski, who would later collaborate on the film “John Wick”. As stuntmen, fight choreographers, and stunt coordinators, they honed their skills together. When Stahelski and his previous partner, David Leitch, stepped into director roles for “John Wick”, Perry began considering the possibility of following in their footsteps.
As the John Wick films gained immense popularity, directors Stahelski (through 87eleven Entertainment) and Leitch (via his company 87North) chose to use their success to provide opportunities for other stunt professionals to excel in the highly sought-after roles within the entertainment industry. Following his work as the supervising stunt coordinator on John Wick 2, Perry was offered scripts, one of which was for a vampire action-comedy titled Day Shift, starring Jamie Foxx. He presented his concept to Stahelski and together they pitched it to Netflix, who ultimately bought the idea during that meeting.
Undoubtedly, Perry acknowledges Stahlenski’s role in guiding his first feature directing venture. He attributes a significant portion of this success to both Stahlenski and Leitch’s efforts. As a result, he considers the present age as the most advantageous period for the stunt community that he has ever encountered.
As I chat with Stahlenski, he shares that the biggest challenge for us isn’t about directing – it’s getting the chance to do so. The question they always pose is, “But can you tell a story?” To which I reply, “Am I performing Shakespeare? I’m not aiming for an Oscar, friend. I’m here to create entertaining action flicks.” Indeed, this is an exciting era for second unit directors and stunt performers, and the floodgates are about to burst open even wider.
Without delay, Perry resumed his role in the director’s seat, for 2023’s double strike had opened a window of opportunity for Lionsgate to bring the novel “The Killer’s Game” to life on the silver screen, following almost three decades of preparation. This romantic action-comedy revolves around a professional assassin, Joe Flood (played by Dave Bautista), who arranges his own death in order to cash out on his life insurance policy for the sake of his beloved (Sofia Boutella as Maize). However, he discovers that his diagnosis was incorrect, and predictably, it’s already too late to rescind the contract.
Through Day Shift, Perry honed both his time management skills for The Killer’s Game and gained a deeper understanding of the political landscape in post-production.
“I didn’t know what post was on Day Shift, and I kind of got ambushed a little bit. I probably shouldn’t say that, but I understood what was coming this time and I also tested [The Killer’s Game] before we showed it to Lionsgate,” Perry says. “We tested it ourselves. So I heard what the target market wanted and got their critiques. I left my ego at home and just took the notes and listened to what people liked and didn’t like.”
In another way of saying it, when Perry stated earlier that he isn’t aiming for an Oscar, this goes beyond just the award itself. Over the last few years, his colleagues in stunts have been increasingly vocal about their pursuit of a Best Stunt Oscar, reaching a peak with Leitch’s The Fall Guy, which was essentially a salute to the unrecognized workers behind the scenes of the film industry. Ryan Gosling, who starred as the main stuntman, even playfully suggested in late April that the action movie was merely a ploy for a best stunt Oscar. Despite his support for his friends’ aspirations, Perry is highly skeptical about their chances of ever achieving it.
Perry clarifies, ‘No, we won’t be receiving it because here’s the thing: when a stuntman wins an Oscar, it implies that Ryan Gosling didn’t perform the stunt himself. Similarly, if the stunt coordinator or second unit director gets the award, it suggests that the director wasn’t responsible for it; instead, it was them.’
Perry’s line of thought was molded by his sector of the business, where giving credit is rarely important.
Perry states that the nature of our profession and his background is different. It’s about enduring pain, moving forward, and maintaining composure, saying ‘I’m fine,’ even when hurt. He believes this is our niche, and he accepts that others may not wish to embrace it. However, he just wants to join forces with his friends, create chaos, and amass wealth. He’s not seeking accolades, but if his friends desire them, he wishes they achieve them. He personally isn’t relying on winning trophies.
In a recent chat with THR, Perry shares his thoughts on why stunt professionals might be more fitting for the director’s role compared to some other departments.
Were you connected to the 87Eleven group, which experienced great success with the film “John Wick”? Chad Stahelski and Dave Leitch have made it a priority to return the favor by helping other stunt professionals transition into directing, starting with second unit roles and eventually first unit. You, along with Jonathan Eusebio, are examples of this initiative. Is this currently the ideal moment, the most advantageous time, for the broader aspirations of the stunt community?
It’s an exceptional period, and I’d venture to say it traces back to the era when films like Hal Needham’s “Smokey and the Bandit” were produced. I’d contend that directing the second unit is even more challenging than the first unit. Not only do you need to stick to budget and schedule, but you also have to ensure safety while filming high-speed chases involving multiple vehicles and motorcycles, with explosions taking place in urban areas. This requires a level of responsibility among filmmakers, so indeed, this is an opportune time – all thanks to Chad and Dave.
Two of my close friends are Chad and another individual, but it was Chad who directed my debut film titled “Day Shift”. He mentioned that for individuals like us, the most challenging aspect isn’t directing, given our experiences in managing large-scale car chases globally. The real hurdle is securing the chance to do so, as people often question, “Can you tell a story?” My response to this is, “Am I writing Shakespeare? I’m not aiming for an Oscar; I’m trying to create entertaining action films.” As such, this is an excellent era for second unit directors and stunt performers, with the floodgates set to open even wider.
15 years ago, we were assisting and overseeing directors for visual effects supervisors who were new to directing. They came from creating animatics, but the studios decided to promote them to directors. However, they often lacked practical human experience. We specialize in training actors. For instance, we trained Keanu Reeves for three months, and we also trained Tom Hardy and Joel Edgerton for the film “Warrior.” We teach everyone how to handle a gun correctly or throw someone effectively. This close interaction with actors creates a unique bond, almost like a mentor-student relationship. You’re essentially teaching them how to be tough characters. The best way to convincingly portray a badass is to actually make them one. Therefore, our personal rapport with actors is hard to replicate by someone who simply presses buttons.
Indeed, I’ve been associated with 87eleven, and I’m also part of Stunts Unlimited, an organization with a rich history dating back to the ’70s. It feels like belonging to a brotherhood. However, 87eleven was more than just a workplace; it was almost like a lab where stars like Jason Statham, Keanu Reeves, and Charlize Theron could be found training on any given day. Our objective was always to push boundaries and create something new, as repetition in action filmmaking can lead to failure. While we appreciate the concept of homage, we strive not to simply replicate but to innovate. That’s likely one of the reasons why we tend to avoid watching action movies during our directing process.
Following the 2022 release of your first feature film as a director, “Day Shift”, you transitioned promptly to this project which underwent an extensive development period spanning almost three decades. Some may view this lengthy history as a warning sign, but did you find it inspiring to possibly be the one to solve it after such a long time? Was this rich background motivating for you?
Approximately ten years ago, this film presented itself to me with the role of stunt coordinator. Excitedly, I accepted and jumped on board. Three years later, they approached me again, this time as the second unit director, with another director and actor already attached. However, I managed to bring in producer Andrew Lazar during the editing process for “Day Shift” to view my director’s cut. This led to him offering me “The Killer’s Game.” Securing Dave Bautista for the project was like hitting the jackpot – a massive victory!
Later on, I managed to invite writer James Coyne into the project, and we introduced new characters. As you pointed out, the script had been circulating for quite some time, with many of its characters being borrowed and used in other productions. People would read it, share it, and incorporate some of the concepts into their own films. Therefore, I chose not to follow the original book or script too closely because by that point, elements from it had been extensively appropriated. I wouldn’t want to mention specific movies, but I aimed to create a unique perspective.
So I had some ideas for Korean characters. I had some ideas for my dancing Latino brother. I had an idea for unintelligible Scottish brothers because of my experience working in Scotland. I couldn’t understand a word anyone said, but it sounded cool. So together with my buddy James Coyte, who’s an amazing writer, we put some of my DNA into it, and that’s how it all happened for me.
As a former soldier turned stuntman, I never imagined myself stepping into the director’s chair. After hanging up my uniform, I was simply thrilled to be part of the action as a stuntman. Little did I know that my journey would lead me to directing second units, where I discovered a whole new level of excitement. You see, as a second unit director, you get to oversee action sequences in three films annually. As a primary director, you’re lucky to complete one movie every nine months. Recently, I wrapped up my third film, “Afterburn,” just last month. I prefer to keep the momentum going at a rapid pace.
For the film titled The Killer’s Game, we managed to shoot it despite the ongoing SAG strike, thanks to an interim agreement. This allowed me to invite my past colleagues for the project, such as Pom Klementieff, Terry Crews, and Scott Adkins. When you know you’re embarking on a film shoot in just 42 days, it can be quite challenging. Therefore, I decided to bring along friends to make the journey more enjoyable. If you surround yourself with skilled individuals, your chances of success significantly increase.
While it’s brief, did you give Dave Bautista’s character your own Army backstory?
In the movies “Day Shift” and “Killer’s Game,” Jamie Foxx and Dave Bautista sported the 82nd Airborne tattoo, which I gave them both. Even Snoop Dogg had it. In my creative process, I often include the letters ‘AA’ somewhere to represent All American. I did this by spray-painting them in the background for my upcoming film “Afterburn,” too. Bautista didn’t want the tattoo again, but I sneakily painted it in the background a few times. I always make an effort to hire veterans, something I take great pride in.
What did you learn from your first go-round on Day Shift that you wanted to apply here?
I’m focusing on managing my time more effectively, as all three of my films – “Day Shift”, “Killer’s Game”, and “Afterburn” – were completed within 42 to 43 shooting days. On the other hand, when I direct second units for other directors, they typically have 55 days, while I only get about 20. In essence, we’ve made 75 days worth of footage with just 42 or 43 days of actual production time.
In my own turf, I’m familiar with handling tasks, but when it comes to crafting plots, jokes, and character growth, patience is key. You can’t hasten these elements; they need time to unfold naturally. The actors require this space to shine, so from Day Shift, I grasped the importance of time management, and that’s likely the most significant lesson I’ve learned.
I really don’t want to say what the other lesson was. (Laughs.) But I learned a lot of things in post on Day Shift, because, as a second unit director, you never go to post. You only prepare and you shoot. Post is another animal. I was like, “Whoa. I didn’t know that was going to happen.” So I learned about post on Day Shift to where I knew exactly what I had to do on Killer’s Game.
“In creating this beautifully balanced and illuminated setting in Budapest, you incorporated numerous visual embellishments throughout the film. Can you share the thought process behind this contrast between the grounded and the fantastical?”
Initially, I didn’t aim to create an action-packed film, instead, my intention was to weave a heartfelt love story that would intersect with an exhilarating action movie. As I filmed Dave and Sofia [Boutella] falling in love, I opted for gentle colors and soft lighting. The first act is deliberately lit differently than the subsequent two acts. Moreover, I decided to style Dave differently, even giving him loafers to wear. He was hesitant at first, saying he wasn’t accustomed to such attire. I reassured him that he looked good, and we managed to make him appear softer. To add an interesting twist, I took inspiration from the slide transitions and split screening in the original Thomas Crown Affair, aiming to create something unique to guide us smoothly from one scene to another.
Did you examine Dave’s past projects in fight choreography to find areas where you could build upon and emphasize?
The individuals who originate from WWE are live show performers that I’ve collaborated with since the ’90s, including Hulk Hogan and the late Randy “Macho Man” Savage. My roles have varied extensively over the years, encompassing stuntman, fight coordinator, stunt coordinator, second unit director, working alongside them on diverse projects. Dave’s talent for memorizing choreography is exceptional; he can absorb a fight scene and recall every detail effortlessly. His background in actual combat sports is impressive – he’s a seasoned pro wrestler, holds a brown belt in Brazilian jiu-jitsu, has dabbled in MMA, and demonstrates excellent boxing skills. Having such a versatile performer simplifies our work, as they can convincingly handle multiple roles without the need for substitutes or hidden stunts. This allows the action itself to take center stage, keeping the audience engaged and invested, rather than trying to conceal anything. The ensemble of action actors we’ve assembled is exceptional, which has resulted in a captivating production that revolves around creating a challenge for our protagonist and showcasing their solution.
On your assigned shift, you encountered a challenge when trying to capture the motorcycle accident scene. Could you explain what specific aspects required your intervention during this incident?
My producers were incredibly generous, working tirelessly to ensure I had everything required and many of my desired items without any struggle. Lionsgate has been a wonderful collaborator throughout this project as well. Moreover, I was prepared for post-production on this film. To be honest, I wasn’t aware of the post-production requirements for Day Shift, and I was taken by surprise initially. However, this time around, I knew what to expect and even tested the movie before Lionsgate saw it. We conducted our own testing process, which is like hunting – knowing your prey increases your chances of success. I paid attention to the feedback from the target audience, focusing more on their criticisms than compliments. I left my ego at the door and merely took notes and listened to what worked and didn’t work for them. I find it more valuable to understand what people dislike rather than what they like.
What unique elements or comedic gags did The Killer’s Game have that were comparable to the contortionist jokes you had been proposing to directors in multiple films over the years?
Well, the characters have been in my head. I’d also pitched them to other directors for years on different movies as a second unit director. I used to compete in Taekwondo, and there was a guy in my gym that used to wear a Walkman. And when he had the Walkman on, he was way better than when he didn’t have it on. You didn’t want to spar with him when he had the Walkman on because he’d tune you up, so we tried to take the batteries when he wasn’t looking. But that was where Marko’s [Zaror] character came from.
The motorbike stunts scene is yet another addition. We enlisted a pair of skilled freestyle motorcyclists, veterans from the X Games, with the aim of producing motorcycle martial arts. It was incredibly exciting, however, due to scheduling constraints, we didn’t have ample time to film it.
My exceptional action crew is my constant companion, traveling with me for about a decade and a half. Together, we’ve completed 30 to 40 films across the globe. After each day’s filming, we retire to the same hotel room where we edit the action sequences I captured earlier that day. We might even indulge in some room service and share a drink or two while discussing our accomplishments and plans for the next day. This late-night brainstorming helps shape the following day’s work, ensuring it’s not just my ideas guiding the process. Although I’d love to claim all the credit, I have this incredible team by my side, consistently generating creative solutions and ideas. It’s like a never-ending idea factory.
Dave Leitch recently directed a film as a tribute to the stunt community and their skills, and Ryan Gosling humorously suggested that The Fall Guy was merely a ploy for a Best Stunt Oscar. However, there was a noticeable surge of interest in this area earlier this summer, which has made me reconsider my previous doubts about it. Did you happen to change your viewpoint on this topic as well? I recall your skepticism a few years back.
No, they’re not going to give it to us, and I’ll tell you why. When a stuntman gets the Oscar, what they’re saying is Ryan Gosling didn’t do the stunt. When the stunt coordinator or the second unit director gets an Oscar, you’re saying that the director didn’t do it; it was them. And the side of the business that we’re in and that I came up in isn’t like that. It’s very much like, “No, he did everything.” You never claim anything. No matter how hurt you are, you get up, you shake it off and you say, “I’m fine.” So I feel like that’s our place, and I don’t think that they’ll ever want to share that, but that’s cool with me. I just want to go around and blow shit up with my homeboys and make a bunch of dough. I’m not in this for trophies, but if my friends want to get them, I hope they do. I’m just not counting on it.
Just to present a different perspective, isn’t it possible to argue that when it comes to awards like the Production Design Oscar (or many other technical categories), the accolade given to the production designer might seem to overshadow the director’s intended vision for the sets?
As a stuntman, I’ve got to say, I’m the one who takes the fall, metaphorically speaking. I’m the one shaping the thrilling action sequences you see on the big screen. That’s just how it is in this business. And let me tell you, they compensate me well for it, and I couldn’t be happier doing what I do. Ever since my days in the Army, being a stuntman has been one of the most exhilarating experiences for me. When they shoot me, it’s not real blood; it’s just strawberry jelly, but trust me, it’s still pretty cool.
***The Killer’s Game is now playing in movie theaters.
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2024-09-17 02:26