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.
There is an animated version of 'Lazer Team,' with all the action sequences, that exists. It's a pre-visual fidelity, and the voice acting is terrible because it's one of our animators doing it. But we could sit there and watch what the scene is supposed to look like while we're doing individual shots.
Acting is fun. I especially like the action sequences. That's what I do best.
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.
Coming from an action background, I always approach the action sequences in any script as kind of placeholders.
When I see action sequences I like, I imagine what I would do if it were me in the fight.
My love of visual sequences stems from live-action films like Sergio Leone westerns, Kurosawa, some '70s action films, Tex Avery, and my general love of animated movement.
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.
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 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 think the physical comedy in action sequences is fantastic. Like, '21 Jump Street' did a great job with that.
Most students of nature sooner or later pass through a process of writing off a large percentage of their supposed capital of knowledge as a merely illusory asset. As we trace more accurately certain familiar sequences of phenomena we begin to realize how closely these sequences, or laws , as we call them, are hemmed round by still other laws of which we can form no notion. With myself this writing off of illusory assets has gone rather far and the cobweb of supposed knowledge has been pinched (as some one has phrased) into a particularly small pill.
I like the action business. I like the action movies. I guess Hollywood wants to see me do action. So I am down. I like it.
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.
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.
Like a film, dance steps or sequences are creative works. If a script can have a copyright, and so can songs, why can't dance sequences as well?