Top 55 Quotes & Sayings by David Leitch
Explore popular quotes and sayings by an American actor David Leitch.
Last updated on December 22, 2024.
People want to be empowered to the point where they can thwart their enemies physically.
You have to make bold choices to be noticed.
A lot of people don't give their audiences credit. You can leave it a little mysterious. They can think about it.
We don't want John Wick to retire again; we're glad he's back in the game. We want a sequel or a prequel. There's a lot of fertile ground to cover.
I think in the 'Deadpool' franchise, the writers are really good at distilling the good stuff and applying that to the material in this universe.
There's an arc to an action sequence, and you need to come out the other end knowing your character better, and maybe the story has moved forward in a compelling way.
Selling art is a lot different than making it.
Even when you're being safe, eight hours of choreography makes you look like you've been through a war. It's hard. It's like playing hockey for eight hours.
I think what's really important is to challenge yourself. You can very easily fall into the rut of, 'We know it works! We'll use that old chestnut.'
If you're trying to get to the underworld of Berlin, it's not suits and ties; it's rock and roll.
You can sometimes break rules in comics that you can't necessarily break in cinema. It's fun to find something cool in a comic and then try and find a way to break the same rule in another medium.
All film, at the end of the day, has wish-fulfillment.
'Atomic Blonde' is about the characters' bigger existential crisis and their world. It's not so much the conceit of the spy game; it's more that being a spy sucks. But we're going to make it fun to watch.
Some actors have an affinity for dance, and they should explore it, train in it, and get good.
Take up martial arts and get proficient. Take a sword-fighting class. Dive in and immerse yourself in it as you would any other acting class, so when the opportunity comes, that skill can be really utilized, and it's not half-baked.
In the stunt world, fights and vehicles are often two different disciplines.
I've been doing second unit for years, which is sort of like directing mini movies. Now that I'm directing entire films, it's really just more of everything. There are a lot more questions that need answers.
As a second unit director, you're entrusted to shoot the action sequences. On every movie, it's slightly different.
I think, as a choreographer and an action designer, you're constantly giving your characters problems to overcome. That's what makes it fun for choreography. But it also makes it fun for the audience to see them solve those puzzles and how they are as a human being.
The character of Cable is complex.
I think the biggest thing you take from the stunt world is your understanding of the filmmaking process. For years, you've worked with every other department closely. You know hair, makeup, wardrobe, special effects, and you know what everybody's needs are and their expectations. You also know how to collaborate with them.
I'm a fan of the sensibility of comics, and I love the escapism of them and the defining of good and evil. They're just so creative, too.
Coming from an action background, I always approach the action sequences in any script as kind of placeholders.
Every movie you attack has its challenges, and I was excited about the challenges presented by 'Deadpool.' I was a huge fan of the original, and I think, as a director, you have to put the script first.
As a director, just to be able to jump in to do something that's different, and to explore comedy and be challenged by that, is great. Some directors never get that opportunity.
Part of the problem is that many directors treat female characters too often as precious. Or they want to live in a fantasy world where they just do spinning hook kicks and knock out guys who are six foot four, and that doesn't work either.
People have given their lives to this industry to make movies compelling.
Fight choreography has far more in common with dance choreography than it does with actual martial arts. You learn martial arts techniques, but those are just the movements for the choreography. You're working with a partner in choreography. You're working on timing.
I find fight scenes actually more interesting, in a way, than chase scenes because you're watching your character go through this problem-solving process and fight the antagonist mano-a-mano. It's more powerful, more emotional.
The DNA of 'Deadpool' shouldn't change.
Spies go undercover. They take on different personas.
Friends who are directors like Jim Mangold or the Wachowskis or Zack Snyder - who, whether they know or not - have really left a mark on who I am as a director.
As a stunt guy, you become a mini-director. You're talking to actors about performance.
Film is a collaborative art form. I don't know why you wouldn't recognize the stunt performers.
You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'
As a filmmaker, I'm a collaborator first.
It's called 'John Wick' - it's really about this guy's very simple journey. We just didn't want to clutter it. It's gratifying it in its own right, in its simplicity.
If you have John Goodman in your movie, you want to use him as much as possible.
Sometimes, the action genre does get stale. Although I want to go back and see my favorite characters in their tentpoles - and will religiously do that - it's really fun to see breakout ideas and concepts. Let's make some new stories.
There are a lot of big action movies that we've worked on where the attitude has been, 'Let's just get through this scene.' Then you get those jumpy, what-were-they-thinking action sequences.
You know, the 'Atomic Blonde' universe is its own universe. There's influences obviously of Bond and Bourne and 'Wick,' all the things I've been exposed to, but it is its own universe.
I've been really fortunate in my career to do budgets at all different levels.
While filming 'The Matrix,' we studied how a Chinese fight-choreography team trains actors before production starts so that they can participate in action sequences in a more dynamic way.
The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.
Music emotionally and psychologically transports you immediately.
Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
I look at the action scenes as placeholders when I arrive on a script, knowing that I'm going to expand on them when I understand the constraints of the movie, the locations of where we're shooting, the abilities of the actors, and where we want to go with the characters.
Stunt coordinating is a good training ground for directing because you have exposure to all the departments in film.
You learn tricks to make action look more dynamic - having the fight come toward you or shooting on a longer lens to compress the speed.
Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography.
The way you present a stunt is tied in to the way you photograph it, so you're hanging out with the cinematographer.
There's a lot of directing within the stunt coordinator's job.
Great actors can transform, but sometimes there's just this person who speaks right to the role. When they walk in the room, you know they're that character. That is something you can't teach an actor; that's something that's luck and chance.
The thing that I like about action sequences is that if they're done well, you get to know more about the character in those few minutes than you do through 10 minutes of exposition.
The completely irreverent tone was the thing that won me over about the first 'Deadpool' movie.
Related Authors
Arnold Schwarzenegger Quotes
Austrian
Actor
Benedict Cumberbatch Quotes
English
Actor
Bruce Lee Quotes
American
Actor
Clint Eastwood Quotes
American
Actor
Daniel Radcliffe Quotes
British
Actor
Dwayne Johnson Quotes
American
Actor
Jeff Bridges Quotes
American
Actor
Johnny Depp Quotes
American
Actor
Kevin Hart Quotes
American
Actor
Kevin Spacey Quotes
American
Actor
Leonardo DiCaprio Quotes
American
Actor
Rob Lowe Quotes
American
Actor
Robert Pattinson Quotes
English
Actor
Sylvester Stallone Quotes
American
Actor
Will Rogers Quotes
American
Actor
Zach Braff Quotes
American
Actor