A Quote by Geoff Johns
My favorite thing to do is action-driven, emotionally-charged scenes. If it's not just two people talking in a room, but it's on the move and things are happening and it's chaotic, and emotion comes from the characters and from the action, and the fall-out ultimately changes the character relationships, that exactly the kind of stuff I like writing.
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I love finding balance. My favorite thing to do is action-driven, emotionally-charged scenes.
I try to stay away from stuff that's just action, action, action, action, action, and you kind of fast-forward through the dialogue scenes. I'm not interested in doing that. Give me a reason to fight, and I'll go there. But don't just make it, 'You touched my pen! Haaa-yah!' I've done that before.
And also, I'm most comfortable with like two people just sitting and talking about their feeling, you know, in a room with like two cameras and that's it. And I wanted to do something where there was like action and running and you know crowd scenes and big set pieces and certainly did a lot of that, so yeah.
What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.
Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.
I'm a big fan of the 70's action films. Where there is a lot of character and a lot of great action, but the action is kind of cemented with a great back-story with characters. And I thought, this kind of reminded me of the movies that, early on when I was telling Dwayne (Johnson) and the guys, the producer... my whole thing is if you look at a movie like The Driver by Walter Hill, it's a film where there's no names. They are just named, "the driver", "the cop".
I'd love to do a Paul Greengrass movie, or something like that, that's a character-driven action film. I'd like someone to make me go to the gym every day, and all that stuff. I don't know. Wherever the good characters are, I tend to try to get a job. It was nice because this was dipping my toe in the action genre. Maybe I might put my foot in, next time.
I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene.
When the characters are believable and endearing, action scenes, for example, make an impact. Otherwise, the audience gets no kick out of action. The biggest strength of 'MCA' is that its characters are real.
With action films, it's great if it's not just driven by action, but by a good story and interesting characters, as well. Though, there's nothin' like kicking butt!
Music and writing do fold together in the sense that you have to have a certain level of skill in order to execute your ideas and you need a medium. The idea of improvisation is one that many writers fall into, and I improvise a great deal when I'm writing, but there's a structural framework that I'm working around, and that takes more time than the actual writing. Once the characters get to yapping and talking, they'll move from one room to the next, and I just have to make sure that the house is built. That's really hard, that's the kind of thing that sits with you all day long.
Well I liked the mixture actually. It's really good fun to have throughout a shoot to move from something which is quite character based in certain scenes where there's very little action and you're just working with actors and I suppose I've had quite a lot of practice at that. This is more action than I've had a chance to do so that was fun for me too to go into the action then and have some really good crew working with me. And sometimes you get these scenes where they blend.
When I do an action thing, it speaks louder than the things that I've done that are dramatic and comedy. Actually, if you look at my resume, I have just as much comedic things as dramas, and I have far less action things than all of the other things, but I'm kind of defined as an action person.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
All human action is expressive; a gesture is an intentionally expressive action. All art is expressive - of its author and of the situation in which he works - but some art is intended to move us through visual gestures that transmit, and perhaps give release to, emotions and emotionally charged messages. Such art is expressionist.
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