A Quote by Hiro Murai

Directing action scenes is really just pure visual storytelling that just makes sense to me pretty intuitively. — © Hiro Murai
Directing action scenes is really just pure visual storytelling that just makes sense to me pretty intuitively.
Very quickly I realized that directing is a combination of things: It's visual, it's directing the actors, it's telling a story. And people don't always mention this part of directing, but it's also knowing how to really edit something into something that makes sense.
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.
I think it's somewhere in my head, in my travel space, and it just comes out. It's a visual thing that happens unintentionally. People will tell me, "You do realize you just spoke with that accent, right?" And I'll go, "Oh, did I?" So it's not something I think about. As we talk, I have a visual about my speech and it just comes out like that. If that makes any sense!
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.
I'm just insane. So what usually drives me is pure joy for something stupid. I'm also very visual. I'll have an idea in my head that I really can't shake.
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
I directed my first music video for Sara Bareilles. I like writing and directing. I co-wrote '21 Jump Street' and I'm in that. To me, they all inform the other one. I think writing makes you a better actor, acting makes you a better writer, directing makes you better at both. To me, I'm just trying to learn as much as possible.
I love storytelling, I love being a visual person, and it just made perfect sense to be an underwater photographer and explore the ocean and work with scientists.
I always want to be telling stories in whatever fashion I can, and directing is really just understanding and learning a different element of that storytelling process.
It was really an experience, being my first time directing a movie. The scenes that I was in, Brooke really directed me all the time. And the scenes that both of us were in, Brooke directed those. Come to think of it, Brooke directed most of the scenes.
If action scenes just happen decontextualized, they lose their weight and the viewer can feel they don't make sense and that they wouldn't have happened that way.
Let me completely condemn these sickening scenes; scenes of looting, scenes of vandalism, scenes of thieving, scenes of people attacking police, of people even attacking firefighters. This is criminality pure and simple and it has to be confronted.
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.
Most of the time, when someone tells you something, and it makes sense, it just makes sense. And that's that. But sometimes it really doesn't make sense.
I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.
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