A Quote by Simon Kinberg
The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.
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I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.
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.
What interests Sam Mendes are characters and relationships, and he was a genius at giving you the freedom to create the type of character you want, and also to explore and have fun with your fellow actors. For him, characters and relationships are really the heartbeat of the film, and then the action is the backdrop. By developing the characters, he makes you care that much more about the action and going on a journey with the characters.
I can understand how technologically advanced action has become in our movies, but unless there is emotion or a strong story, it doesn't work. With every action sequence, there must be an emotion to justify it.
Character, story and plot are affected by any action sequence so you have to really design them accordingly.
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".
Essentially and most simply put, plot is what the characters do to deal with the situation they are in. It is a logical sequence of events that grow from an initial incident that alters the status quo of the characters.
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.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
The important thing is that we now have the tools to sequence all kinds of animals and plants and microbes - as well as humans. It is not important that we didn't actually finish the human sequence yet.
The hardest thing about movie acting is that if you're playing a character who changes within the movie, you've got to do that, but you've got to do it out of sequence, because we never have gotten to shoot in sequence, and that's really, really tough.
I don't see a difference between playing a performance capture role and a live action role, they're just characters to me at the end of the day and I'm an actor who wants to explore those characters in fantastically written scripts. The only caveat is a good story is a good character.
The very term "turning pages" suggests nonstop action. But I am all about character and beautiful writing. I eat that up like popcorn. Whether a book is action-packed or not, all I need are well-written prose and quirky, fabulous characters to keep me going.
Action films are great, but an action film that has characters that are compelling and a story that people can care about is something even better. We love to see action heroes that are vulnerable, that are sensitive, that are family people, that are accessible.
When the characters are believable and endearing, action scenes, for example, make an impact. Otherwise, the audience gets no kick out of action. The biggest strength of 'MCA' is that its characters are real.
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