A Quote by Benedict Cumberbatch
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].
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I do think that as I said before the canvas of action sequences and the way in which the sequences unfurl will be very unique and will be different than any movie we've made before, and that's what makes it interesting, what makes it [Doctor Strange] special, and what makes it worth pursuing, and worth bringing to life for the first time.
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.
When I see action sequences I like, I imagine what I would do if it were me in the fight.
I've consciously taken on material that's a bit too much for me but not an overreach. The first movie, just about performances. 'The Town,' I learned how to work broader material, develop tension, direct bigger scenes, action sequences. 'Argo,' I experimented with film stock, widened the scope of my geography.
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.
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.
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.
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.
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.
I see a bit of a contradiction between the fight against the Islamic State and the desire to remove the Assad regime. And even if you work with Russia, I'm just not sold that working with Russia is an effective way to hasten the end of the Assad regime or to enact any type of punitive measures.
The thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.
Another thing to do with the blues is how they were recorded. They were done on the quick, and some of that stuff was made on wire, not even tape, let alone digital.
Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.
It's like live action if you reshot every scene a million times after finishing the movie. Because even apparently by the very end, a few weeks before they were screening it for the world premiere, they were making changes. That's just simply something you can't do on live action.
I think the physical comedy in action sequences is fantastic. Like, '21 Jump Street' did a great job with that.
As an actor you are supposed to do some kind of action in case it is required. I remember this sequence where I was pulled up by a wire 100 ft above the ground. This was my first time that I was hung with a wire and I was a bit scared. But I must say it was a very beautiful experience looking down at everybody from a height.
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