A Quote by David Leitch
Coming from an action background, I always approach the action sequences in any script as kind of placeholders.
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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.
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.
I approach an action sequence almost like a mathematical problem. Sometimes you get these action sequences that you read and go, 'Oh my God, this is huge, how do I do it?' and I go, 'Just a step at a time. Sit down and plot each piece of it out.'
I kind of approach action/non-action very much similarly. It has to be character-based and it has to kind of come off the theme and the overall arc.
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.
The thing about action films is that they are high on drama in terms of action sequences, have songs and other things, but content is secondary.
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.
It would be great to read a script, which is an action script uniquely written so that it doesn't cost an arm or a leg because we are now accustomed to seeing action in the superhero form.
Relationship is action, is it not? Action has meaning only in relationship; without understanding relationship, action on any level will only breed conflict. The understanding of relationship is infinitely more important than the search for any plan of action. The ideology, the pattern for action, prevents action. Action based on ideology hinders the understanding of relationship between man and man.
Action is a great restorer and builder of confidence. Inaction is not only the result, but the cause, of fear. Perhaps the action you take will be successful; perhaps different action or adjustments will have to follow. But any action is better than no action at all.
Then, if action is possible or necessary, you take action or rather right action happens through you. Right action is action that is appropriate to the whole. When the action is accomplished, the alert, spacious stillness remains.
It's not fundamentally different to any other genre, that action is a particular thing. Being able to do action sounds like it should be straightforward, but it really isn't. I always want the action to be witty. I don't want it to be merely routine.
[Action's] a Western thing. We think of the hero going into battle, rebelling against a government or an oppressor, but [in KUNDUN] action is nonaction or what appears to be nonaction. That's a hard concept for Western audiences. . . . We wanted to show a kind of moral action, a spiritual action, an emotional action. Some people will pick up on it; some won't.
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.
I've always loved the collaborative side of filmmaking, and there's a lot of things I can do in the acting side of things in terms of the creating of action sequences, and coming up with ways of doing things with a stunt coordinator.
Action is the normal completion of the act of will which begins as prayer. That action is not always external, but it is always some kind of effective energy.
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