A Quote by Alfred Gough

Most fight sequences on a television show, probably any action adventure show that you know of, if you asked them how long they probably spend, [it's] one or two days doing the fight. Where we were spending eight days concurrently with an episode doing our fight sequences.
I won the Oscar for 'Raging Bull' for those fight sequences. If you look at those fight sequences, those were so incredibly storyboarded and shot in an incredible way - that is the conception a good director has to bring.
When I see action sequences I like, I imagine what I would do if it were me in the fight.
I used to do fight sequences, and I started to get self-conscious about fight sequences, because invariably the other person would get hurt, and you never want anyone to be hurt on a film, let alone you being responsible. The great thing about working with guys who have spent their life choreographing fights for wrestling is that that's what they do. That's their specialty. Their specialty is selling taking hits. Their specialty is selling explosive hits without making a contact or doing too much damage.
Why are we doing this?" Caine asked him. "You know damned well why we're doing this. Because it's a fight. It may be THE fight. I may be the final fight. And what else are we good at, you and me? What are we going to do if we ever get out there anyway?
You look at what China is doing to our country in terms of making our product. They're devaluing their currency, and there's nobody in our government to fight them. And we have a very good fight. And we have a winning fight. Because they're using our country as a piggy bank to rebuild China, and many other countries are doing the same thing.
I've done a bit of live action before but the fight sequences, the wire work and the physical regime were taken to another level [ in Doctor Strange].
I'm fairly comfortable in fight sequences and stuff like that. I've done a few of them. I'm comfortable with that sort of stuff as long as I'm reasonably fit, and it's fun to do actually. I'm like a kid in a toy shop doing that stuff.
Our firefighters, they show up every day to fight fires. If, God forbid, there's a situation where they have to fight cancer, they shouldn't have to fight bureaucrats to get the care they deserve.
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.
For my character, I mostly shot in the jungles and also did stunts and fight sequences on the harness. At the end of the day, I used to be hurt and bruised, but I completely enjoyed doing all these.
Fight, fight, fight and more fight. If you have that burning desire in you, if you're just one of those guys that does not like losing and you fight and you fight and you fight, that's what makes you a good wrestler.
Look around you. It's an honor to fight beside you. Today we choose to fight. For the freedom to fight on other days. So we remember what's worth fighting for.
I still don't understand why the tag of 'action hero' follows me. My films have all these elements - romance, action and comedy. None of the fight sequences of my character is an act of randomness. There's a reason to action in my films.
Everybody struggles to come up with stuff that no one has ever seen before. It's a fine line between trying to get creative and doing something that's new, fresh and different - yet, for me, something that's based in reality that would actually work in these situations. These are the keys to great fight scenes and action sequences.
If you fight improperly, you can be in great shape, run marathons, swim 200 meters and I can still gas you in two minutes of a fight. If you don't know how to fight, it doesn't matter.
Today we fight. Tomorrow we fight. The day after, we fight. And if this disease plans on whipping us, it better bring a lunch, 'cause it's gonna have a long day doing it.
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