A Quote by John Morrison

When I see action sequences I like, I imagine what I would do if it were me in the fight. — © John Morrison
When I see action sequences I like, I imagine what I would do if it were me in the fight.
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 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 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'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].
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.
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.
I prefer to work the old-fashioned way. I trie to do everything or most of his action sequences practically, because I feel that while added effects or the VFX process allows for flashier sequences, I feel that it lacks the energy we see in practical effects.
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.
Most of music videos were short films - they had dialogue, action sequences. I shot with cranes and helicopters. I wanted to created cinema-like moments.
I used to imagine what it would be like to do what Jim Brown was doing. I used to imagine what it would be like to be like a Tony Dorsett. I used to imagine what it would be like to be like a Walter Payton. I was imagining Emmitt Smith doing exactly what they were doing.
I imagine that people see me as they would see me if I were the man that I want to be.
Barboza is up there. He's a scary fight, but I like being scared. And that's a fight that me, as a fan, would want to see. I know how much fans would love something like that. So I'll go out there and try to finish that dude with leg kicks.
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.
I think I would say that there is absolutely no way to reconcile an austerity agenda with climate action. Our political class needs to understand that the fight against austerity and the fight for climate action are the same fight.
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.
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.
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