A Quote by Steven Seagal
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.
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People get TV deals by doing something in their grandmother's basement. It is definitely the wave. Everybody is trying to do all that stuff. I mean, the Internet is the only reason that I've gotten work is because I've somehow created a line and people have seen it. And then I've been asked to auditions.
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.
Someone wrote to me asking me to illustrate a missed connection that "hasn't happened yet." This guy has seen the same girl waiting at a bus stop on his morning commute for weeks, and has been trying to find a way to approach her. He thought it would be fun to put up a Missed Connections poster [of my painting] on the corner where she waits and see what happens. It is kind of an intriguing idea but there's something a bit too manipulative about it for my liking. It's a fine line between being creative and stalking!
When I go to throw a punch, actually, my intention is to hit somebody. That's just second nature to me. So you have to just rewire yourself. It's not something where you have to sit and subconsciously think about it, but you kind of have to just put yourself in that mode and go with it. Learning the fight scenes, I've never had to learn choreography before, so learning the fight scenes was like learning a dance or something like that. I had a little bit of influence in the fight scenes and I tried to put as much influence there as I could, but I had fun doing it.
There's a fine line between imagination and reality. An inventor dreams something up, and pretty soon, it's there on the table before him. A science-fiction writer envisions another world, and then some space probe finds it. If you believe in something strongly enough, I think you can make it happen.
You have to be doing something very different from what everybody else is doing, hopefully different from what's ever been done before - something that nobody's thought of yet.
And I have the support of the writers: I have a great relationship with the creative team, and they have a good hold of my character and my personality, and they come up with some great stuff, and I'm forever trying to change it up, keep it fresh.
Well I liked the mixture actually. It's really good fun to have throughout a shoot to move from something which is quite character based in certain scenes where there's very little action and you're just working with actors and I suppose I've had quite a lot of practice at that. This is more action than I've had a chance to do so that was fun for me too to go into the action then and have some really good crew working with me. And sometimes you get these scenes where they blend.
If I pick up a guitar, I don't practise scales. I never have. I come up with something I haven't done before, new approaches to chord sequences, riffs, rhythms, so it becomes composition. It's not like the music I'm doing is just a single thread.
I don't ever want to take a part in order to prove that I'm capable of doing something. It's all based in doing stuff that's interesting or working with people who would be fun to work with.
All I really know in nonfiction is that when I come home, I've got all these notes and I'm trying to figure out what actually happened to me. I usually kind of know what happened, but as you work through the notes, you find that certain scenes write well and some don't even though they should. Those make a constellation of meaning that weirdly ends up telling you what you just went through. It's a slightly different process, but still there's mystery because when you're bearing down on the scenes, sometimes you find out they mean something different than what you thought.
All the best ideas come out of the process; they come out of the work itself. Things occur to you.If you're sitting around trying to dream up a great idea, you can sit there a long time before anything happens.But if you just get to work, something will occur to you and something else will occur to you and something else that you reject will push you in another direction.
I think being honest with one another creates an environment that's comfortable. You want to know where you stand, whether you're doing a good job. The players know what's going on before you do. They're trying to see if you're going to do something about it. And when it's not like that, everybody is pissed off, because they know that people can get away with stuff and that nobody is keeping them in line. That's not a team to me.
Advertising agencies come to you and they are great fans, they are great creative people themselves, but they ask you to do something, and you say, "Well, we will, we'll create something together." And it is work. It's like you're doing something and they're saying, "Change this" and "Change that." It's not hard, horrible work, but creatively it's not just freedom.
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 think the feeling that we're going to work together again usually starts to come up before the first project's even done. The Black Keys and I have already talked about starting on something new.
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