A Quote by Justin Lin
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.
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I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
Coming from an action background, I always approach the action sequences in any script as kind of placeholders.
I'm a big fan of the 70's action films. Where there is a lot of character and a lot of great action, but the action is kind of cemented with a great back-story with characters. And I thought, this kind of reminded me of the movies that, early on when I was telling Dwayne (Johnson) and the guys, the producer... my whole thing is if you look at a movie like The Driver by Walter Hill, it's a film where there's no names. They are just named, "the driver", "the cop".
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 wrote this script in 2003, when I was a humble college student, sitting in my boxers and writing in my dorm room. And I came up with the idea of writing an action-based 'Snow White,' with this kind of Huntsman character as kind of a way in. So, that's something I'm sort of proud of.
Acting is doing, because everything you say or do is some kind of an action, some kind of a verb. You're always connected to the other person through some kind of action.
No kind action ever stops with itself. One kind action leads to another.
I feel with 'Don 2' I got an opportunity to do a very good action with the kind of pace that I would like an action film to have.
In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.
[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.
I think as an action director; it comes kind of naturally to me to a certain extent, because I've done so much action myself - as my MRIs would suggest!
When I do an action thing, it speaks louder than the things that I've done that are dramatic and comedy. Actually, if you look at my resume, I have just as much comedic things as dramas, and I have far less action things than all of the other things, but I'm kind of defined as an action person.
Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
I feel Vidyut is a next-gen action hero who is extremely professional and a hard worker. I think he is the most sought after action king, because I really loved the kind of action he has done.
No kind action ever stops with itself. One kind action leads to another. Good example is followed. A single act of kindness throws out roots in all directions, and the roots spring up and make new trees. The greatest work that kindness does to others is that it makes them kind themselves.
There's an arc to an action sequence, and you need to come out the other end knowing your character better, and maybe the story has moved forward in a compelling way.
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